A Letter To Black Men film review by UK film critic Jason Knight. Starring Baba Oyejide, Jesse Lihau, Lynsey Murrell directed by Kiosa Sukami. HOME | FILMS | REVIEWS A Letter To Black Men Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 13, 2022 Directed by: Kiosa Sukami Written by: Kiosa Sukami Starring: Baba Oyejide, Jesse Lihau, Lynsey Murrell A former prisoner tries to prevent a youth from going down the wrong path. Kevin (Lihau) is an unmotivated young man who commits petty crime, socialises with the wrong people and lives with his sister Kelsie (Murrell), who is against criminal activities. Black (Oyejide) is an old acquaintance of theirs who has just been released from prison and has understood his errors. When he finds out that Kevin is getting more and more involved with crime, he decides to take action and try to stop him from making the same mistakes. This short crime drama takes a hard-hitting look into urban crime, particularly gang violence, drug dealing and their consequences. Storywise, this film is about a reformed ex-convict making efforts to make a naive young man understand that committing crime will destroy his life, which proves difficult, as Kevin refuses to listen. There is a great deal of drama and confrontation and crime, including beatings and drugs. The protagonists deliver very strong performances. Oyejide is superb as a good-hearted individual who has turned his back on crime and tries to act as a mentor to Kevin and help him make the right choices and appreciate the value of education. Lihau's character is a youngster who does not see the wrongs of being a criminal and Murrell does a great job as Kevin's caring sister. Sukami directs very well and creates some well-executed long takes. Director of photography Miguel Carmenes develops beautiful cinematography and the dramatic music is a significant addition that includes wonderful guitar and piano melodies. The dramatic voice-over adds to the atmosphere. This is a powerful drama that deals with the devastating consequences of being a criminal. However, there is more to this story than crime, as it explores the importance of support, making amends and making the right decisions. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Paws of Fury: The Legend of Hank film review by UK film critic Hope Madden. Starring Michael Cera, Samuel L. Jackson, Ricky Gervais directed by Chris Bailey, Mark Koetsier, Rob Minkoff. HOME | FILMS | REVIEWS Paws of Fury: The Legend of Hank Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Jul 15, 2022 Directed by: Chris Bailey, Mark Koetsier, Rob Minkoff Written by: Mel Brooks, Ed Stone, Nate Hopper Starring: Michael Cera, Samuel L. Jackson, Ricky Gervais Who’s up for a perfectly harmless, slight, not especially funny cartoon? Well, depending on how hot it is outside and how bored your kids are, Paws of Fury: The Legend of Hank could be worse. Hank (Michael Cera) dreams of being a samurai. Ika Chu (Ricky Gervais) dreams of ridding the land of this ugly little town that ruins the view from his palace. How about making Hank the samurai that protects that ugly village? Hank will be a terrible samurai! He’s a dog! Who ever heard of a dog samurai? Well, who ever heard of a cat Western? But that’s what we essentially have here, because Hank has crossed many treacherous lands to find his way to the land of cats so he could fulfill his destiny, even if nobody there wants him. Like at all. OK, maybe little Emiko (Kylie Kuioka), who also dreams of becoming a samurai. But definitely not Jimbo (Samuel L. Jackson), the town drunk who used to be a samurai before shame led him to catnip. It sounds like it should be funny. There’s also the supporting voice cast, if you need to be impressed: George Takei, Michelle Yeoh, Djimon Hounsou, Aasif Mandvi, Gabriel Iglesias, Mel Brooks. Brooks also co-wrote the screenplay, which explains a lot. A dozen or so jokes littered throughout the film might have been funny 60 or so years before the target audience was born. Very few jokes connect to dogs, cats, samurai films, Westerns—anything in particular, but they lack that fun, random feel. A giant toilet figures prominently. There is flatulence. Cera and Jackson definitely share an odd couple quality—enough that I’d love to see them do a live action film together. But Yeoh and Takei are wasted, and Gervais gets no good dialog to deliver (though he does a villain well). Hounsou’s fun. The movie looks fine—not great, but fine. Its themes about acceptance are muddled and soft peddled, though—another victim of weak writing. A profoundly odd short film called Bad Hamster precedes Paws of Fury , though. There’s that. Just depends how hot it is, I guess. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Companion film review by UK film critic Hope Madden. Starring SophieThatcher, JackQuaid directed by Drew Hancock. HOME | FILMS | REVIEWS Companion Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 30, 2025 Directed by: Drew Hancock Written by: Drew Hancock Starring: SophieThatcher, JackQuaid It’s not to say that writer/director Drew Hancock is saying anything new, exactly. Most of the ideas are borrowed, and even the look of Companion feels cribbed from more insightfully stylized films. But the way he puts these ideas and images into play and keeps them playing guarantees a mischievously, wickedly good time. On the surface is a timely reminder of themes played out on film since Bryan Forbes’s 1975 Stepford Wives and before. But today, as AI and sexual predation become terrifyingly acceptable, the tension feels wildly of-the-moment. Sophie Thatcher (so good just last year in Heretic ) is Iris. She doesn’t know it yet, but Iris is a robot companion, an emotional support robot, a f*ck bot. She and Josh (Jack Quaid) are hanging with Josh’s friends Eli (Harvey Guillén), Patrick (Lukas Gage) and Kat (Megan Suri) at Kat’s boyfriend Serey’s (Rupert Friend) for the weekend. Things get out of hand. Lars and the Real Girl meets Revenge meets AI meets maybe twenty other movies, but damn if Hancock and this sharp ensemble doesn’t make it work. A great deal of the film’s success is in our investment in these themes, the way we recognize and respond to buttons Hancock pushes. But what’s maybe more impressive is the plotting and structure of the thriller underneath. It’s smart, its beats make sense and amplify tension. A couple of reveals are telegraphed, but it’s not nearly enough to sink the fun of the story. And it’s funny. Guillén can be counted on for hilarity, but the dark sense of humor that flows through this thriller as surely as blood consistently strikes the right chord. Quaid convinces as entitled “nice guy” Josh, an excellent foil for Thatcher. Her turn in Heretic offered a glimpse of the instincts on display here. Thatcher seems simultaneously aloof and vulnerable, unnatural and human. She gives the film a depth of character, a heartbeat that allows it more punch than your garden variety dark comedy. Hancock does settle for humor, biting though it may be. The script flirts with darker, edgier but no less honest ideas, but Companion isn’t here to expose all of that. Because that stuff is just not funny, and outright horror films need content too. Turns out it’s kind of fun to be on the side of AI for a change. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Hello Darlin' film review by UK film critic Patrick Foley. Starring Doug Allen, Nimmi Harasgama, Daisy Badger directed by Gary Delaney. HOME | FILMS | REVIEWS Hello Darlin' Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 6, 2022 Directed by: Gary Delaney Written by: Edward Hockin Starring: Doug Allen, Nimmi Harasgama, Daisy Badger Hello Darlin’ is a geezer-ific, morally obtuse drama from director Gary Delaney, which features some great tension and character building, but is let down by plot holes and an ending which feels detached from the rest of the story. The result is an engaging, if flawed film which doesn’t quite deliver on its promise. Les Dalton (Doug Allen) is an ex-soldier recently released from prison for armed robbery. He is stalked by detective Derek Clayton (Patrick Carney Jr) who brought him down 9 years earlier, as he attempts to rebuild his life with daughter Holly (Daisy Badger) and new neighbour Aanya (Nimmi Harasgama). But both his friends and enemies believe Les still has stolen gold stashed away somewhere, despite his objections. And that belief soon gets him into trouble again… There’s a lot about Hello Darlin’ that really doesn’t work. It’s central macguffin (the mysterious gold) is given little definition or detail – such as where it was stolen from or how it came to be hidden. The plot is confusing and convoluted, and features some rushed and poorly explained developments – such as Les and Derek’s impromptu alliance only shortly after it is established that the detective has spent 9 years planning to take revenge on his rival. Character motivations are all over the place as well, with pretty serious transgressions from Holly and Les’ wife Carol (Sian Reeves) raised and dropped in sudden fashion. The ending also feels a poor fit thematically, and fails to really wrap up the numerous plotlines. However, despite this, there is something enjoyable and engaging about the film that is worth checking out. Doug Allen is brilliantly empathetic as the hero who cannot quite escape his dark past. Learning to direct an inner fury and calculated malice at those who deserve it, whilst working on making up for his past failings with his family and recovering from PTSD make him a fascinating anti-hero, and Allen’s quiet yet intense performance serves the character brilliantly. His chemistry with Nimmi Harasgama is convincing and makes for a believable love story between two very different characters. Similarly, Patrick Carney Jr and Daisy Badger are strong as allies and antagonists to Les. It’s just a shame that their characters in particular do not act more consistently within the story. The film is shot in a dynamic manner and director Gary Delaney shows a real ability to build tension in a number of scenes. The night-time break-ins are pulsating (though the lighting in the second makes it hard to follow) and even simple conversations are directed in such a way to bring a sense of unease in viewers as to character’s true intentions. Fight scenes are believable and brutal, and impressively restrained in their number given the film’s premise, to the greater effect of those that do take place – which are used sensibly to progress character development. Hello Darlin’ is not a classic, but for an intense, well-performed drama that builds its characters well and intensifies its central premise, it works well. The plot unfortunately falls apart somewhat, and undermines some excellent stuff elsewhere – leaving the film’s potential unfulfilled. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert.. Brand new film trailers. Focker-in-Law Just when you thought the Byrnes-Focker family tree couldn't handle any more psychological trauma, Hollywood has decided to shake the branches once again. At UK Film Review , we must admit to being thoroughly intrigued by the official trailer for Focker-In-Law . Universal Pictures seems to have realized that the only logical progression for a franchise built entirely on weaponized father-in-law anxiety is to pass the torch of neurosis down to the next generation. This time, however, the tables have turned spectacularly, and Greg Focker is about to find out exactly what it feels like to be the overprotective patriarch under siege. The premise flips the script beautifully. Greg—once the ultimate victim of polygraph tests and secret surveillance—is now the one strapping a lie detector machine to a prospective new family member, Olivia Jones. The twist? Olivia isn't some meek, easily intimidated outsider. She is an FBI hostage negotiator. This means that while Greg thinks he is playing mind games, Olivia is casually pulling the strings of strategic emotional puppetry. She doesn’t just intend to marry into the family; she explicitly announces her plan to free Greg's son, Henry, from his father's suffocating grasp. What makes Focker-In-Law look so deliciously witty is this battle of passive-aggressive titans. Ben Stiller returns to his signature role with that brilliant, eye-twitching panic we’ve all grown to love, but watching him navigate the evolution from an "outsider in the hot seat" to the defender of the castle is a stroke of comedic genius. The trailer hits its comedic stride when it leans into the franchise's rich history. Robert De Niro’s iconic character looms large over the proceedings, leading to a genuinely hilarious sequence where a panicked mishap results in someone accidentally "baby birding" Grandpa Jay. The dialogue is delightfully sharp and painfully awkward, packed with cringeworthy banter about childhood nicknames, boundaries, and the ever-sacred "circle of trust." The friction between Greg and Olivia looks set to carry the film, culminating in a spectacular verbal showdown where Greg desperately declares he will not be a little Pinocchio to her "evil Geppetto." It is a classic comedy dynamic, but elevated by the fact that the antagonist is an elite government interrogator who can manipulate a room with a single sentence. While UK Film Review hasn’t yet seen the final cut, this trailer provides an incredibly promising glimpse into a comedy that knows exactly what its audience wants. It takes the timeless dread of meeting the parents, infuses it with high-stakes psychological warfare, and wraps it in a warmly familiar family dynamic. If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Smoke and Mirrors: The Story of Tom Savini film review by UK film critic Brandon Thomas. Starring Tom Savini, Tom Atkins, Howard Berger directed by Jason Baker. HOME | FILMS | REVIEWS Smoke and Mirrors: The Story of Tom Savini Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Oct 19, 2021 Directed by: Jason Baker Written by: Jason Baker Starring: Tom Savini, Tom Atkins, Howard Berger The word “Savini” conjures up a lot of historic imagery in the minds of horror fans. From the zombies in George Romero’s Dawn of the Dead to the ground-breaking slasher effects in the original Friday the 13th , Tom Savini has been involved in some of the most iconic horror movies of the last 40 years. In the documentary Smoke and Mirrors , director Jason Baker moves past the well-known effects work, and digs into the personal and the passions of the horror icon. We’re living in a time where documentaries focusing on filmmakers and other notable TV and movie personalities have become ubiquitous. A lot of these are quite good, but usually end up checking many of the same boxes. Talking heads do a lot of the heavy lifting, and the main subject’s participation isn’t always guaranteed. Thankfully, Savini himself is front and center in Smoke and Mirrors . Having Savini so involved gives Smoke and Mirrors a larger sense of legitimacy. There’s also a notable difference in focus that might not have happened had the film relied solely on interviews and secondhand accounts. Instead of offering retreads of effects stories he’s told dozens of times before, the film gets deeply personal with Savini. From touching on tragedy he experienced as a child, to the horror he witnessed in Vietnam, Savini doesn’t hold back when discussing the trials he’s faced in his life. A particularly surprising bit for me was learning just how passionate Savini was – and is – about acting. He comes alive when talking about the stage productions he was a part of and how that opened doors he never dreamed of. There’s a twinge of “What if…” sadness surrounding Savini’s acting career that he delicately dances around due to personal obligations. Smoke and Mirrors goes out of its way to highlight Savini’s character over his career. The interviews that are peppered in all end up in the same place: talking about what an amazing guy Tom Savini is. The importance of his contributions to cinema is never forgotten, but the value of the man over the work takes center stage. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Documentary, Indie Feature Film < All Reviews Next Film Review >

Barry Versus The Binman film review by UK film critic Chris Olson. Starring Graham Earley, John Connors directed by Craig Moore. HOME | FILMS | REVIEWS Barry Versus The Binman Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Dec 21, 2023 Directed by: Craig Moore Written by: Craig Moore Starring: Graham Earley, John Connors Perhaps the most regularly stressful part of any adult’s week is bin day. Which bins are being collected? Will they accept our cardboard recycling if it’s above the height of the bin? And don’t get us started on the food waste bin that looks like it needs napalming. Filmmaker Craig Moore has captured this intense frustration we all feel with his plucky and entertaining short film, Barry Versus the Binman . Graham Earley stars as the titular Barry, a morose thirty-something who lives alone in his house surrounded by empty beer cans and whose only company seems to be the irritating neighbour Shane (John Connors) down the road, with whom he argues over the early use of the latter’s leaf blower (8 am is indeed ridiculous for that sort of thing!). However, it is Barry’s weekly encounter with his binmen that becomes the thing to tip him over the edge into a fully psychotic ordeal. They keep leaving his bin down the road! Even though it clearly has his number on it. The fiends. Earley absolutely shines in this role. Drawing us in through his humorous portrayal of Barry and then compelling us with the darker and more pathos-laden moments. Connors is also fabulous as the annoying neighbour, and the two enjoy a sort of Planes, Trains, and Automobiles kind of chemistry. Barry Versus the Binman has a delightful filmmaking style. From the Edgar-Wright-influenced quick-cut transitions to the dramatic orchestral soundtrack, this is a short film heightened for big laughs. Indeed, the scene where Barry chases the bin lorry through the streets whilst Shane laughs on maniacally is a particular highlight. Barry’s struggle to overcome his anger at his neighbour, the binmen, and the world at large reveals a deeper layer of thematic storytelling here that audiences are able to engage with. His mental health gets mentioned and it’s a film that uses an array of devices to examine this central character’s situation in life to get us thinking about how commonplace annoyances can become far bigger challenges for someone not in the right headspace. A particular dream sequence threatened to plunge this short into the thriller territory which would have been a bold move. Dramatically, the film touches upon Barry’s partner leaving him (Shane makes a comment about a man with three legs “two for walking” and there are pictures of a lady on the mantle) but this isn’t really explored to its fullest potential. Viewers may find it difficult to find the reasoning behind Barry’s elaborate reaction to the binman’s misdeed, or at least yearn for a little more of the storyline to go along with this excellent piece of comedy filmmaking. Overall, it's a successful executed and enjoyable comedy film that hints at a lot of future filmmaking potential for those in front of and behind the camera. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026.. Brand new film trailers. Looney Tunes: The Day the Earth Blew Up Write up by Chris Olson The moment the trailer for The Day the Earth Blew Up: A Looney Tunes Movie dropped, I knew we were in for something special. For decades, fans like me have waited for a return to the true, unadulterated madness of the classic animated shorts, and director Pete Browngardt and his team look like they have delivered. This is not some watered-down, CG-hybrid; this is 2D, hand-drawn, pure cartoon chaos at feature length, and it looks glorious. The premise alone is gold, proving that the high-stakes, sci-fi buddy comedy genre is a perfect fit for the dynamic of Porky Pig and Daffy Duck. The trailer establishes our duo not as superstar celebrities, but as genuine, if highly dysfunctional, roommates who stumble into an alien mind control plot. Their antics at the local bubble gum factory, a setting so wonderfully mundane it immediately screams "Looney Tunes," lead them to uncover a sinister conspiracy. Who else but Daffy Duck would be the one to recognize the sticky green residue of alien sabotage? Eric Bauza, stepping into the roles of both Daffy and Porky, sounds pitch-perfect, capturing the manic energy of the duck and the enduring exasperation of the pig. The trailer showcases their classic opposition: Porky, trying to maintain some semblance of responsibility and order, and Daffy, a hurricane of ego and good intentions that inevitably causes more problems than he solves. This film takes that relationship and stretches it across a global emergency, where they are, hilariously, Earth's only hope. What truly excites me, and what the trailer absolutely nails, is the visual style. This is an ode to the golden age of animation. The bold colors, the exaggerated expressions, and the sheer, physical comedy of the slapstick are all present and accounted for. You can see the love for the source material in every frame, from the fast-paced gags to the random cutaway bits that make the Looney Tunes Cartoons series so beloved. The fact that this is the first fully animated feature in the franchise’s history to be created specifically for a theatrical release signals a level of commitment that fans have craved. The trailer also teases a larger, wonderfully ridiculous narrative arc. We see Petunia Pig, an unexpected addition to the heroic trio, utilizing her scientific know-how alongside the duo’s knack for destruction. The ultimate reveal that the antagonist, "The Invader," was not trying to destroy the Earth but rather protect it with a giant gum bubble—all to save Earth's supply of boba tea—is a brilliant meta-gag that encapsulates the franchise's irreverent humor. The Day the Earth Blew Up promises a sci-fi action comedy with a scale never before experienced by this specific pair. It’s a film that knows exactly what it is: a giant, zany, hilarious cartoon. It’s a nostalgic trip that feels completely new and essential. This trailer didn't just sell a movie; it declared that the greatest comedic duo in animation history is back on the big screen, ready to drive each other—and us—absolutely looney. I’m ready for the chaos. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Sombras Chinas film review by UK film critic William Curzon. Starring Candela Del Zotto, Carlos Benincasa, Pablo Alarcón directed by Sebaztian Baz. HOME | FILMS | REVIEWS Sombras Chinas Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Aug 5, 2026 Directed by: Sebaztian Baz Written by: Sebaztian Baz Starring: Candela Del Zotto, Carlos Benincasa, Pablo Alarcón Sombras Chinas is a satirical feature-length film set in the age of social media. The piece follows an influencer, Candela Montenegro (Candela Del Zotto), in pursuit of going viral and winning back her ex, as she teams up with a cab driver who keeps dark secrets. Together, their obsession with popularity and views leads them down a disturbing path of betrayal and unexpected consequences. The most ambitious aspect of Sombras Chinas is its distinctive presentation. While its unconventional approach may not resonate with every viewer, it is thematically well suited to the ideas the film seeks to explore. The 9:16 vertical framing is a deliberate aesthetic choice reflecting how contemporary life is consumed through social media rather than simply depicting it. While it may seem like a gimmick at first, it works well in the film's context, giving certain sequences a raw, visceral edge. Despite how outlandish the narrative becomes, the focus on satire makes these aspects more forgivable. That said, the primary focus on social media accounts and how individuals consume content is incredibly relevant in today’s world. It presents a deeply uncompromising vision of today’s content creation and influencer landscape, exposing the ways these individuals’ actions are consumed through a satirical lens. The film's prolonged narrative is both a positive and a detriment to the experience, as it allows for the narrative to flesh out Candela’s characterisation; however, it suffers from repetition within certain story beats and overstays its welcome. Despite these shortcomings, the film maintains its defiant edge through its protagonist’s actions and its unflinching reflection on the damaging effects of social media consumption. While its ambitious concept is commendable, the vertical framing occasionally distracts from key narrative moments (without venturing into spoiler territory), and the film at times struggles to find its rhythm as its storytelling becomes overly convoluted. It's an incredibly evocative experience, with the camerawork shot primarily through smartphones, lending the film a raw, intimate edge. While there's a deliberate lack of conflict throughout the first half of the narrative, the final third picks up and the camerawork helps to depict a sense of urgency within brief sequences of tension. Nicolás Fontimpe, serving as the film's composer, also helps create tension and anchors the severity of the situations the central character winds up in. The piece frequently hints at conflict but never truly commits to it outside of the third act, and it's a shame as the vertical framing makes these sequences more visceral. Candela Del Zotto’s portrayal of the central character, Candela, is riveting throughout, conveying the character’s need for consumption through documenting her life on social media. Her character’s mental health takes a toll throughout the narrative, and it's devastating to endure how convincingly she conveys her actions of consumption. She uses social media as a coping mechanism to express her frustration with trying to win back her ex, and it's increasingly detrimental to her character’s wellbeing. The supporting cast are also memorable; however, the narrative rests entirely on Candela Del Zotto’s terrific turn in the leading role. The narrative's conclusion recontextualises key events, encouraging viewers to reconsider the film’s earlier moments through a different lens. While its execution is on the nose, the attempt to convey the current age of social media through satire is commendable. Sombras Chinas is essential viewing for many, as it exposes the current social media landscape and how individuals consume content. While it may suffer from some pacing issues and repetitive narrative beats, the themes it tackles and the way it executes them through vertical framing and satire are incredibly evocative and engaging. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Ready or Not 2: Here I Come film review by UK film critic Hope Madden. Starring Samara Weaving, Kathryn Newton, Elijah Wood directed by Matt Bettinelli-Olpin, Tyler Gillett. HOME | FILMS | REVIEWS Ready or Not 2: Here I Come Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 19, 2026 Directed by: Matt Bettinelli-Olpin, Tyler Gillett Written by: Guy Busick, R. Christopher Murphy, Matt Bettinelli-Olpin Starring: Samara Weaving, Kathryn Newton, Elijah Wood Back in 2019, filmmakers Matt Bettinelli-Olpin and Tyler Gillett released Ready or Not . This tale of scrappy hero Grace (Samara Weaving) delivered a giddy, action-oriented, splatter-fueled horror comedy with the relatable central message that rich people are evil. Weaving is back for the sequel Ready or Not 2: Here I Come . Grace is paired with her sister and reluctant sidekick Faith (Kathryn Newton), as both are forced to endure Round 2. Last go round, newlywed Grace had to survive until dawn on the evening of her wedding while her husband’s family tried to kill her. There were rules, specific weapons—they aren’t savages. They’re Satanists. Well, in surviving the Le Domas family’s game of hide and seek, Grace triggered a second game. And what this game teaches us is that the entire world is run by a bunch of billionaires, each of whom is unspeakably, irredeemably evil. Just like real life! But in the movie, the evil billionaires face consequences. So Ready or Not 2 is a cathartic joy. Weaving and Newton share a fun, funny, bickering chemistry. Their backstory becomes the spine of a film that, like the original, delivers series of entertaining, bloody set pieces. Bettinelli-Olpin and Gillette surround the sisters with a great ensemble, including the legendary David Cronenberg as the Danforth family patriarch. Elijiah Wood is an understated hoot as Satan’s lawyer, reteamed for the first time since The Faculty with Shawn Hatosy, effortlessly psychotic and endlessly familiar as that white guy born into loads and loads of money. (Titus is his name.) Sarah Michelle Gellar also stars as Titus’s twin sister Ursula Danforth. Geller’s turn is a manipulative delight, a billionaire convinced that a little evil is OK in the grand scheme of things if you do good stuff too. Kevin Durand, Nester Carbonell, Maia Jae and the whole set of entitled hangers on are also spot on and fun. The entire film feels a little like therapy, honestly. If you enjoyed Ready or Not , I’m hard pressed to believe its sequel won’t also leave you smiling. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Strange Days Diary NYC film review by UK film critic Jason Knight. Starring Zack Winestine directed by Zack Winestine. HOME | FILMS | REVIEWS Strange Days Diary NYC Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 10, 2025 Directed by: Zack Winestine Written by: N/A Starring: Zack Winestine A feature-length documentary about the COVID-19 pandemic, directed by Zack Winestine. Winestine lives in new York City, in the Far West Village with his wife and when the outbreak occurred, he decided to document his experiences on camera, resulting in an eighty-minute long account of the things that he saw. The film consists of footage that was filmed from February 2020 to January 2021 and the footage is shown in chronological order. Frequently in between, there are title cards that contain dates and corresponding figures revealing the fatalities due to the virus both of in New York City and across the United States. The events that are documented cover a variety of occurrences that include pre-lockdown public concerns with signs warning people about the virus, news reports, businesses closing, people isolating themselves, cheering for frontline workers, the lockdown being lifted, the murder of George Floyd, protests and looting. The events that Winestine captures will most likely seem familiar to many people who went through lockdown and the same goes for the feelings that the documentary creates such as isolation, restriction from sociable activities they enjoy, fear and uncertainty for the future. Through the footage of people protesting, the film also addresses police brutality and expresses disapproval of the government. Apart from brief footage where he is wearing a gas mask, Winestine himeself does not appear in the film, nor does he provide voice-over, with title cards being his for of communicating his actions to the viewer. This feature is an account of part of the global pandemic as experienced through the eyes of one person and the result is a documentary that provides a dramatic insight into how this oubreak affected New York City and many viewers will probably identify with the events that they will see. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

The Moisture film review by UK film critic Brian Penn. Starring Mucahit Kocak, Okan Selvi, Muhammed Mayda directed by Turan Haste . HOME | FILMS | REVIEWS The Moisture Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Sep 27, 2023 Directed by: Turan Haste Written by: M. Furkan Dasbilek Starring: Mucahit Kocak, Okan Selvi, Muhammed Mayda Our schooldays will evoke sharp memories of characters that inhabit the classroom. We all remember the quiet miscreant who says little but makes his presence known to all and sundry; the child who delights in exclusion and get their wish when they are suspended from school. However, in this scenario the teacher in charge is distracted and busily fighting for access to his son. It is a bleak but curious snap shot of life in the Turkish countryside. Director Turan Haste fashions an expressive script leaving a series of threads that need to be picked up at some point. The difficult child in question is Yusuf (Muhammed Mayda) who regularly torments classmate Ayse (Elif Eylul Yesilyurt). Teacher Ishack (Mucahit Kocak) really wants a quiet life and is desparate to mend a broken relationship with his ex-wife and son. He finds an unlikely ally in school caretaker Siracettin (Okan Selvi) who confides that Yusuf’s father is just as troublesome and has upset a number of locals. The mundanity and relative peace of the village is shattered when Ayse goes missing. As fears grow for her safety the police mobilise in readiness. In a small community people soon start to talk and it can only be a matter of time before the culprit is exposed. For a short film completely lacking in pace the narrative never drags to an inordinate degree. Teasing glimpses of Ishack’s life are captured with a phone call and a text message. Yusuf is a toxic influence on the rest of class particularly Ismail (Baran Salman) who is never able to tell Ishack exactly what the problem is. Siracettin is hiding much more than he shows and seems locked in petty squabbles that would surely make enemies. Although brief this film carries a universal truth. No matter the country, culture or language the human condition is the same the world over. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >