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.. Brand new film trailers. Avengers: Doomsday The anticipation surrounding the Marvel Cinematic Universe has reached a fever pitch following the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, the film marks a monumental shift in the franchise's trajectory, promising a scale of narrative ambition that rivals, and perhaps exceeds, the heights of the Infinity Saga. Writing for UK Film Review, we take a closer look at these initial frames and what they portend for the future of British and global cinema. From the very first second, the trailer establishes a tone of sombre gravitas. This is not the vibrant, quip-heavy Marvel of old; instead, we are treated to a landscape of atmospheric dread. The most striking element of this introduction is the voice that guides us through the darkness. The unmistakable, velvet-toned resonance of Sir Patrick Stewart provides the narration, immediately grounding the spectacle in a sense of Shakespearean weight. Stewart’s inclusion is more than just a nod to legacy; his voice acts as a bridge between the established history of the genre and the uncertain, chaotic future that Doom represents. The narration itself is philosophical, questioning the nature of legacy and the finality of existence. Stewart’s dialogue suggests a story that is as much about the internal reckoning of its heroes as it is about the external threat of Victor von Doom. For a British audience, there is a particular pride in seeing one of our most distinguished actors lead the charge into this new era. His presence suggests a maturity in the storytelling, moving away from simple pyrotechnics toward a more nuanced exploration of power and its consequences. However, the most significant revelation—one that sent shockwaves through the industry—is the explicit confirmation that the X-Men will return in Avengers: Doomsday. For years, the integration of mutants into the main Marvel timeline has been the subject of intense speculation and slow-burn teases. Here, the ambiguity is stripped away. The trailer makes it clear that the X-Men are not merely a cameo or a post-credit curiosity; they are fundamental to the resistance against the coming doom. The visual cues, though brief, hint at a team that is already established and ready to fight, suggesting that the multiverse has finally collapsed in a way that brings these iconic characters home. This integration is a masterstroke of pacing. By placing the X-Men at the heart of Doomsday, the filmmakers have elevated the stakes to an almost unimaginable degree. We are no longer just watching the Avengers protect a single world; we are witnessing the union of two of the most beloved rosters in comic book history to prevent the total erasure of reality. The juxtaposition of the Avengers’ established tactical brilliance with the X-Men’s unique, often more raw power sets the stage for a cinematic event that feels truly earned. Visually, the trailer is a masterclass in scale. We see glimpses of a world being reshaped, where the boundaries between dimensions are thinning. The cinematography favours deep shadows and high-contrast lighting, mirroring the moral ambiguity that often surrounds the character of Doctor Doom. While the titular villain remains largely shrouded in mystery, his influence is felt in every frame—the silence where there should be life, and the crumbling monuments of past victories. The December release date feels appropriate; there is a coldness to the footage that suits the winter season, promising a film that will offer both spectacle and a chilling look at a world on the brink. As we look toward the 2026 release, the implications for the UK film industry are significant. Production on this scale often finds a home in British studios, and the involvement of talent like Patrick Stewart highlights the ongoing synergy between Hollywood’s biggest exports and British acting royalty. Avengers: Doomsday appears to be a film that respects the past while being ruthlessly focused on the future. It acknowledges the long journey we have taken with these characters but warns us that the hardest trials are yet to come. This first look at Avengers: Doomsday is a triumph of atmospheric marketing. It manages to provide the high-octane thrills expected of a summer blockbuster while maintaining the intellectual intrigue of a high-stakes drama. The return of the X-Men provides the narrative engine, but it is Patrick Stewart’s haunting narration that provides the soul. December 18th cannot come soon enough. This is not just another sequel; it is a cinematic event that promises to redefine the boundaries of the superhero genre for a new generation. 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.

Wait For Me film review by UK film critic Jason Knight. Starring Karen Hassan, Aaron Cobham, Neil Bell, Theo Ogundipe directed by Keith Farrell. HOME | FILMS | REVIEWS Wait For Me Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 15, 2023 Directed by: Keith Farrell Written by: Bernard O'Toole Starring: Karen Hassan, Aaron Cobham, Neil Bell, Theo Ogundipe A troubled man and a prostitute go on the run from bad people. Alison (Hassan) is a sex worker in a brothel that is run by Max (Bell), a vicious gangster. Sam (Cobham) is a lonely, quiet man who is associated with Max. Circumstances will cause Alison and Sam to meet and develop a rapport between them and after things go downhill with the people who control the prostitution ring, the two of them will attempt to vanish and start a new life. However, the criminals are not willing to give up easily and attempt to track them down. This is a hard-hitting story that is partly a crime thriller, partly a road movie and partly a drama about family and relationships. Overall, it is a rather dark feature that deals with prostitution, drug addiction, loss and regrets, although it also shows the significance of support and courage. Alison and Sam both have a tragic past that has left them with deep emotional scars and as their freindship grows, they share their pain with each other and create a very strong bond. They end up arriving at the home of Alison's sister Karen (Elva Trill), who is raising Alison's daughter Ruby (Izobella Dawson). Alison clearly wants to reconnect with her estranged child, complicating matters between herself and her sibling. There are plenty of emotional moments and quite a lot of tense moments, with people getting beaten up and life-threatening situations and there are dramatic revelations. The two leads, Alison and Sam are tragic figures. Alison is a sex worker and is torn apart by the fact that she gave away her daughter. Sam loves photography and constantly takes pictures, yet he is deeply damaged by a devastating loss. Max is the antagonist, along with his right-hand man Barry (Ogundipe) and both of them are ruthless and willing to resort to violence. Ruby is the character who represents innocence, the one person of the story with no negative elements. Director Farrell does a great job and creates some terrific aerial shots and a few well-executed long takes. Composer Phil France deserves commendations for the dramatic music that includes beautiful piano melodies and praise also goes to director of photography Mike Staniforth. This is a crime drama with an intriguing story, interesting characters and strong acting, particularly by Hassan. It is an emotional and harsh story about escape, about moving on to better things and it is an experience that is worth seeking out. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Everyone Writes Memoir film review by UK film critic Jason Knight. Starring Gloria Blake, Anthony Crum directed by Alexander Campbell, Mark Solter. HOME | FILMS | REVIEWS Everyone Writes Memoir Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 10, 2023 Directed by: Alexander Campbell, Mark Solter Written by: Alexander Campbell, Mark Solter Starring: Gloria Blake, Anthony Crum A story about a couple's relationship, which is suffering due to a lack of connection and communication. Mia (Blake) and Daniel (Crum) are a young New Zealand couple who live in a house by the beach. Mia has just returned after being away on business and is unimpressed with her partner's housekeeping activities during her absence and even less happy about the fact that their home does not have electricity because Daniel failed to make payment. Later, during night-time, as the two of them sit at the table, in the dark with lighting provided by candles, they play a game of honesty that involves sharing secrets with each other, which leads to a dramatic revelation. This short drama explores a relationship that has been unstable for a while and might be coming to an end. The slow beginning contains very limited speech and gradually reveals the couple's situation and it is after the two of them meet at the house that the real insight into how things are between them begins, with Mia's dissatisfaction regarding Daniel's ignorance and unwillingness to effectively communicate with her being the main element of the plot. Daniel spends a great deal of time on his mobile phone, greatly annoying Mia and she is finding it hard to trust him and even suspects him of infidelity. Daniel stands his ground and supports a theory for a book that he is working on, which claims that technology can help people see things better. Clearly, the two of them do not see eye-to-eye and their relationship is unlikely to continue. Generally, there is a lot of drama this thirty-five minute film, which has a script that explores the characters well and contains dramatic dialogue. Directors Campbell and Solter do an amazing job, create some beautiful shots of landscapes and some well-executed long takes. Credit also goes to the smooth camera movements. The lighting also deserves praise, particularly during the scenes with the candlelight. This is an emotional story about a relationship that appears to be coming to an end and it is also a commentary about how mobile phones and technology in general end up keeping people apart, isolating them from the world, thus preventing them from being communicative and understanding, which are essential for relationships to work. The film's greatest strengths lie on the well-written dialogue, the revelations and Blake's emotional performance. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Shepherd film review by UK film critic Patrick Foley. Starring Kate Dickie, Tom Hughes, Jamie Marie Leary directed by Russell Owen. HOME | FILMS | REVIEWS Shepherd Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 18, 2021 Directed by: Russell Owen Written by: Russell Owen Starring: Kate Dickie, Tom Hughes, Jamie Marie Leary Living in isolation on an island in the remotest part of Scotland, with only a herd of sheep and a dog for company? In Brexit Britain, that is what you call ‘lucky’. But even the most antisocial will be traumatised by Shepherd, a psychological horror from director Russell Owen which finds true terror in the deepest reaches of isolation. Haunted by the death of his wife, Eric Black (Tom Hughes) comes across an unusual advert in a newspaper for the role of a shepherd to work on a remote, deserted island off the Scottish coast. As he is ferried across by a mysterious boat captain (Kate Dickie), he receives a warning about the impact of isolation on the mind. But as his tenure begins, Mr Black’s time on the island starts to descend into an inescapable nightmare – and one not just in his own head… Shepherd is a timely, terrifying horror that hammers home the horror of isolation, our own regrets and a supernatural danger for good measure. Eric’s dark past drives his every action – and his inability to rectify his terrible mistakes is what leads him into seeking out his own secluded torture. The theme of regret threads throughout the picture, and the film clearly and consistently places Eric as someone running away from facing his actions. It’s hardly an original premise for a horror film, but it is executed well. Eric directly confronts these themes through dialogue in the film, coming across as almost genre-savvy in some scenes. Bu the strength of the writing means it is actually refreshing to see a horror be a little less opaque for once – not every meaning has to be buried under layers of subtext. Eric’s awareness of his own growing madness is where the film’s real intrigue lies. Audiences will be wondering just how much of what they see is real, or whether everything is a manifestation. A strong plot means viewers are kept guessing, and that twists and turns arise in a natural manner – with a few missteps regarding the true story of Eric’s wife’s death. The film is also careful not to overload on shock, gore, or monstrous paranormal abominations – making it all the more shocking when those moments arise. One particular scene involving Eric’s flock is a great example of this – and is one of the most memorable scenes from any horror in recent memory, thanks to the careful way in which the film has knitted together terrifying imagery with an emotional response – and its prior abstinence from the level of gore it is capable of. The film features some fine acting, with Tom Hughes appropriately distant as the traumatised Eric – though he never quite gets to demonstrate that special moment of release which the performance requires. Kate Dickie meanwhile is effortlessly intimidating as the boat captain – and executes a nice gender-reverse on a traditionally male role. Special note should be made of the cinematography and setting. Shots of the Scottish coast are almost Nolan-esque, as Russell Owen presents the surrounding hills as overbearing monoliths to drive home the sense that Eric is truly trapped on the island. Eric’s exploration of a strange Lighthouse echoes… well… The Lighthouse – with some innovative shots that show the island itself seems to be excluding this unwanted intruder. Robert Eggers’ masterpiece is something of a spiritual companion for Shepherd – just replace the seagulls with sheep. Fully utilising psychological horror in a precise and considered way, Shepherd stands out amongst its peers as a great example of how to build unbearable tension – and deliver on it. It manages to innovate on a classic premise and stand out on its own merits. Shepherd will had its World Premiere at London Film Festival on 14th October and is in UK Cinemas from 12th November Buy UKFR Banner Space About the Film Critic Patrick Foley Film Festival, Theatrical Release < All Reviews Next Film Review >

Equal Opportunity film review by UK film critic Jason Knight. Starring Amani Alnababteh, Nezim Mmegwa, Miguel Zapon, Francesco Nuzzi directed by Rick-kendy Noziere. HOME | FILMS | REVIEWS Equal Opportunity Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 4, 2026 Directed by: Rick-kendy Noziere Written by: Rick-kendy Noziere, Francesco Nuzzi Starring: Amani Alnababteh, Nezim Mmegwa, Miguel Zapon, Francesco Nuzzi A short comedy directed by Rick-kendy Noziere, written by Noziere and Francesco Nuzzi and starring Amani Alnababteh, Nezim Mmegwa, Miguel Zapon and Nuzzi. Three HR managers, Emma (Alnababteh), Jack (Mmegwa) and Marc (Zapon) are sitting in a boardroom. They have been told by their boss (Nuzzi) to wait there for further instructions. Soon, he contacts them via the phone and through the speaker, he informs them that five people are being considered for a top role in the company and in fifteen minutes he will be meeting with a potential investor and during that time, it is up to the three managers to decide which of the five candidates should get the position. So the three managers get to work. They have the candidates' resumes and relevant paperwork All five candidates have qualifications of equal standards. How will they decide then? They attempt to do that by considering the applicant's race, gender, sexual orientation, religion and disabilities. They contemplate whether the company has certain staff shortages that involve these traits, for instance, whether an Asian woman should be hired because the company has few (or none) of such individuals. In other words, instead of work experience, they focus on characteristics that can be used to discriminate, with the obvious goal to show that the company is against discrimination. So Emma, Jack and Marc discuss, question and argue what is the trait that stands out the most (if there is one) and should a decision be made on the basis of how significant a person's characteristic is or because the company does not have an individual with a specific trait? As the three of them sit and analyse all this, it makes an interesting conversation that has its fair share of humour. Regarding the technical aspects of this seven-minute short, commendations go to the use of split screen and the light-hearted music by Kevin Lynch adds to the atmosphere. Alnababteh, Mmegwa and Zapon portray experienced office workers, who are of different races. Emma appears to be from the Middle East and comes across as considerate. Jack is an African-American and gives the impression that he is the most serious one in the room. Marc is a guy who looks Hispanic and is more cheerful that the other two. One thing these three seem to have in common is that they cannot decide which trait should matter the most. Although Nuzzi only acts via brief voice work, he manages to present the head of the company as a narcissistic man. It is intriguing to see the way this film explores how people are perceived because of of traits involving race, gender, religion etc. and asks whether some traits are more significant than others. The story has a lot to do with discrimination and equality and appears to be pointing out that a people should not be appraised for job positions based on the characteristics mentioned above. A viewing that is amusing and, more crucially, rather thoughtful due to the subjects that it deals with. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

STI: Sexually Transmitted Introductions film review by UK film critic Jason Knight. Starring Wendy Smith, Natalie Lauren, Harris Vaughan, Charles Ruhrmund directed by Harris Vaughan. HOME | FILMS | REVIEWS STI: Sexually Transmitted Introductions Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 25, 2024 Directed by: Harris Vaughan Written by: Harris Vaughan Starring: Wendy Smith, Natalie Lauren, Harris Vaughan, Charles Ruhrmund As the title suggests, this short is about sexually transmitted diseases. The story takes place in the waiting room of a Sexual Health Clinic and it concerns a small group of people who arrive at the clinic primarily to have themselves examined. These people include Fanny (Smith), a cheeky elderly woman, Clem (Lauren) a young woman, a young man named Will (Vaughan) and a rather worried homosexual youth named Eddie (Ruhrmund). The film begins with just Clem and Fanny sitting in the waiting room, before one by one other characters show up, each bringing their own complications, some of which are related to sexual diseases while others involve revelations. It should be mentioned that the protagonists interact with each other because they know each other. As one might expect, the main subject that is explored in this comedy is sexual diseases and that is done in a comical manner, with amusing dialogue and jokes that are related to that subject. Apart from this, self-discovery is also on the radar and it is explored predominantly through Stan's character (Paul Baichoo). The amusement that this short provides consists of two things. The first is the well-written screenplay, with the cheeky dialogue and film references and the second is the performances. Perhaps the one that stands out the most as far as the acting goes is Smith with her portrayal of a childish old woman. Sexual health is mainly what this film is about and for that reason the song Sexual Care by T-Roy McCoy that plays during the end credits was an excellent choice. This short is a comedy and a rather entertaining one. However, it is obvious that it also aims to raise awareness about sexually transmitted diseases and that would be the main reason why this film deserves attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Nyctophobia film review by UK film critic Chris Buick. Starring Olivia Clari Nice, Soulo Smith, Sophia Biscotti directed by Seayoon Jeong. HOME | FILMS | REVIEWS Nyctophobia Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 18, 2025 Directed by: Seayoon Jeong Written by: Seayoon Jeong Starring: Olivia Clari Nice, Soulo Smith, Sophia Biscotti Nyctophobia , the experimental film from the highly creative mind of filmmaker Seayoon Jeong, is a journey through the psyche of a woman named Liz (Olivia Clari Nice), a seemingly long-time sufferer of this particular condition. Defined as an “extreme or irrational fear of the night or darkness”, nyctophobia manifests itself through several key symptoms: anxiety, fear, sleep paralysis, panic attacks, etc. Liz is a particularly unfortunate victim of this phobia; she sleeps with lights on, mirrors are covered, and all doors are locked but constantly checked and checked again. Finally settling into bed, it takes every trick in the book —counting things, white noise, and even metronomes —to take her off to dreamland. Initially, it's her happy place, but it’s not long until the fears begin to take real shape there as well. What Jeong’s film showcases from there is a narrative of intertwining visual representations of each of those aforementioned symptoms, resulting in a kind of psychological thriller like no other as we traverse with Liz through a multitude of dreamscapes. It is a sensationally creative film, overflowing with mind-boggling ideas from musical numbers, to scary clowns, trippy visualisations and more, each a special knot in a string of diverse vignettes that leave you constantly on your toes wondering where the next five minutes will take you, Jeong serving us healthy doses of absurdity, humour and at times, genuine terror and dread along the way. The monochromatic palette really complements the film as well, especially considering its subject matter, giving it that perfectly unsettling aesthetic it needs, with splashes of colour used effectively throughout to accentuate significance within each scene. The film's one recurring issue, however, lies in not knowing when enough is enough. Each new segment is a delight to unpack, each as unique, engaging and exciting as the last at first glance, but each also always seems to linger just that bit too long, the idea almost being run into the ground before finally moving forward, meaning the film often dips in pace and makes the film feel a tad overlong. But the film's two core strengths, as well as that slick presentation, are enough to trump most of that; Jeong’s endless creative brilliance, and the commanding performance from Olivia Clari Nice. The former’s intoxicating filmmaking style allows for a film that captivates at each turn, and while it’s arthouse vibe for sure won’t be to everyone’s taste, there is no denying a level of ingenuity and invention on display here. Yet while ideas are great, bringing them to life is another thing entirely. Thankfully, Jeong has Olivia Clari Nice on hand to be able to handle absolutely anything that is thrown at her, whether it’s delivering a serenade as a 1920s flapper girl, disco dancing or acting like a macabre marionette, Nice never flinches once. An artistic offering that might not be for everyone, but there isn’t much out there like Nyctophobia , the film a credit to Jeong’s unique ability to evoke feeling and life into an idea in such an original way. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The Sweater film review by UK film critic William Curzon . Starring Maziyar Khatam, Anya Chirkova directed by Maziyar Khatam. HOME | FILMS | REVIEWS The Sweater Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 9, 2025 Directed by: Maziyar Khatam Written by: Maziyar Khatam Starring: Maziyar Khatam, Anya Chirkova The Sweater follows a young man named Maz and his girlfriend Anya, who pressures him into giving away all of his clothes. He is intent on reclaiming his beloved sweater before it vanishes into the local donation. The protagonist goes through a journey of self-discovery and reflects on his nostalgic past to achieve his goal of reclaiming what he has lost. Shot entirely on handheld, the piece has a vintage feel throughout with its fly-on-the-wall experience as it ushers the viewer into the daily routine of the protagonist. Written, directed by and starring Maziyar Khatam, the piece, within its minimal runtime, explores the relationship of the central character with his girlfriend and other individuals around the neighbourhood, accompanied by an anxiety-inducing score that pervades the sequences of distress. The absurdist nature of the narrative is incredibly endearing thanks to the committed central performance from Maziyar Khatam. The story takes a far more character-focused approach, which feels refreshing thanks to its simplicity. Tonally, the premise is highly light-hearted, and the interactions the central character encounters are engaging and awkward as he goes through an existential crisis. Its comedic tone is highly delightful thanks to the chemistry between all the actors and how well they play off each other. While the narrative feels aimless as it tracks the unpredictable lifestyle of Maz, the pacing exudes a profound level of patience as it allows the events to flow naturally without feeling convoluted or rushed. The documentary-esque approach makes the experience feel grounded and naturalistic within its dialogue and the way in which specific events unfold throughout the film. Utilising a mix of musical score and needle drops, music plays a significant part in the tonal shifts present throughout the piece. It creates a level of anxiety throughout scenes of desperate panic and plays a more understated role in scenes of recollection. The film is a terrific example of the power music can have to elevate the overall experience of a piece of filmmaking. One of the standout sequences is amplified by a needle drop, which anchors the emotional resonance the narrative is desperately grasping for. Sadly, due to its short runtime, the piece concludes abruptly, lacking character growth, and could have benefited from an extended runtime to flesh out the character motivations and relationships more deeply. The piece has a compelling premise, and the ideas are there; it just lacks the thematic flair due to its restrained runtime and lack of closure for its characters. However, even with its minimal runtime, it still manages to flesh out supporting characters such as Anya. The script does a commendable job in this, as this is something that is unfortunately lacking in many pieces of media, as love interests are frequently pushed to the side as plot devices to anchor the protagonist's ambitions. Thankfully, this excels in delivering a compelling love interest to further engage the audience in the profound charm of the piece. The Sweater is a simple yet engrossing piece of guerrilla filmmaking impressively helmed by Maziyar Khatam, showcasing his talents behind and in front of the camera. While the piece may suffer from a restricted runtime that is a detriment to the thematic culmination, it makes terrific use of its limited budget and displays a plethora of astounding formal choices, making Khatam an exciting new voice in indie cinema. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Stolen Dough film review by UK film critic Patrick Foley. Starring Cody Pomposello, Sal Rendino, Bobby Kruger directed by Stefano Da Fre. HOME | FILMS | REVIEWS Stolen Dough Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 28, 2024 Directed by: Stefano Da Fre Written by: Stefano Da Fre Starring: Cody Pomposello, Sal Rendino, Bobby Kruger I had to stop several times whilst watching Stolen Dough to check if the extraordinary story it unfurls was actually true. An upstart young Italian American taking on Pizza Hut for stealing his idea of stuffed crust verges on parody, but this remarkable documentary turns what could be a tiresome recounting of a legal case into a real-life David and Goliath story combined with the crusade of an innovator denied his moment in the sun. The film covers the case of Anthony Mongiello, an Italian chef who patented an idea for stuffed pizza shells in the 90s who believes his idea was stolen by Pizza Hut after he presented it to them, to make their signature stuffed crust. In suing the restaurant chain for millions, Mongiello finds a system that seems stacked against him from the beginning, and details the struggles he has faced throughout, and following the court case. In recent years there have been an influx of documentaries focusing on corporate legal cases – McMillions, Pepsi Where’s My Jet? and Pez Outlaw just to name a few. These usually involve scrappy, innovative up-and-comers fighting a giant adversary, and make for quirky, quick (and likely, cheap) ways for studios to pump out content. Stolen Dough certainly fits this mould, though a more intimate and hands-on production style injects it with heart. The inherent problem these films have is usually with the stakes. Ultimately, the outcome the viewer is waiting for depends on which of two parties ends up rich. We naturally want the underdog to be the one who does of course, but what are the wider implications or consequences of these events? Stolen Dough does try and convince us that the case could have been life or death for Anthony Mongiello, but not entirely successfully. Its opening sequence featuring a young Mongiello (Cody Pomposello) in his car with a gun promises a much more intense and momentous story than we as the audience ultimately receive. It betrays a lack of full confidence that the events of the story itself warrant a documentary 30 years later. However the film itself is genuinely entertaining throughout – told with a combination of interviews with some of the key participants (primarily on Mongiello’s side) and recreations of key events in the 90s that took place in the lead up to the case. The talking heads, including Mongiello himself, make for engaging and enjoyable narrators – though it should be said that one side of the story is heavily represented over another. The film also presents Mongiello’s case as self-evident without truly detailing how the ultimate judgement was flawed, instead pointing to separate charges of corruption found against the judge who made the ruling. Stolen Dough therefore is entertaining enough and worth investment given its shorter runtime and colourful, vibrant production. But it does fall a little short in convincing its viewers quite why its story truly stands out given the litany of corporate abuses that have been detailed in similar features. It’s a little bit like Pizza Hut itself – quick and easy, but ultimately forgettable. Watch the official Stolen Dough trailer here . Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Documentary < All Reviews Next Film Review >

Same Old film review by UK film critic Patrick Foley. Starring Limin Wang, Mingjie Li, Lei Han directed by Lloyd Lee Choi. HOME | FILMS | REVIEWS Same Old Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 31, 2022 Directed by: Lloyd Lee Choi Written by: Lloyd Lee Choi Starring: Limin Wang, Mingjie Li, Lei Han In Alan Moore’s The Killing Joke, The Joker famously states that everyone is just ‘one bad day’ away from insanity. If that was true, New York City delivery drivers would have formed the Legion of Doom by now. In Lloyd Lee Choi’s Same Old, we see one driver’s particularly bad day play out in darkly amusing yet dramatic fashion. The short film follows Lu (Limin Wang) who delivers food around Manhattan on his electric bicycle. As night falls, a series of increasingly frustrating setbacks threaten to drive him to the limit – ranging from the death of his goldfish, his bike being stolen, his wedding ring being proven fake, and more. In the face of adversity, Lu is forced to call upon his own resilience and ingenuity to make it through the day. Same Old is a Korean production that pays tribute to the oft-ignored workers who keep the modern, consumerist world running, as well as the fortitude of the everyman who couldn’t be blamed for thinking the world is out to get him. Nothing that occurs to Lu in the story is especially extraordinary, yet the series of misadventures he falls victim too over the course of one night would be enough to push anyone to the brink. The character’s stoicism despite his setbacks, and creativity in finding ways around his problems (including ways which break the law…) are presented neutrally – yet the reasoning behind these upon the film’s conclusion makes its key message clear – that people who take on the thankless, menial and taken-for-granted roles are as deserving of respect and kindness as anyone else. The film presents in subject in an almost documentary-style, making interestingly little effort to guide the audience into feeling one way or another towards Lu. His morally questionable actions on the night in question can easily be seen as a desperate man doing what he must to survive, or those of someone whose ethics are descending in-line with the world around him. Similarly, Lu’s stiff-upper-lip at the film’s conclusion when his wife asks him about his day can be interpreted as an admirable example of endurance, or a sombre case of someone who has accepted their poor hand in life, and refuses to unload their stress. These unspoken-yet-evident details within the film demonstrate an impressive depth, as well as Lloyd Lee Choi’s confidence in his own storytelling and respect for his audience. New York City is presented as a dark, intimidating labyrinth – don’t expect any trademark shots of the Empire State here. Dark lighting and foreboding sound design show that this is an unwelcoming place for Lu, and the constant uncertainty of the streets and ever-present danger of the traffic means viewers will never quite feel settled – mirroring Lu’s own place in the world. The mostly static camera adds to the sense that the world does not change for its inhabitants – it’s they who do the moving. And a grainy filter over the film harkens to classic cinema such as Taxi Driver , and its similarly grim environment that seems to invite darkness and misfortune. Despite all of this, Lu’s strength and indifference in the face of the Kafkaesque misery that falls upon his shoulders has its amusing side – and this pays off in a largely heart-warming, if melancholic final scene. Same Old’s brilliance in taking such a simple story concept and yet embodying it with many, often contrasting themes and interpretations is what makes it a worthy watch – even if you’re having one of those bad days. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Ready or Not film review by UK film critic Chris Olson. Starring Tyler Day, Mathias Seiler, Eleanor Sturt directed by Jessica Marie England. HOME | FILMS | REVIEWS Ready or Not Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Aug 13, 2024 Directed by: Jessica Marie England Written by: Not Available Starring: Tyler Day, Mathias Seiler, Eleanor Sturt A sub-five-minute short film, Ready or Not from director Jessica Marie England is a fascinating, if brief, burst of suspense storytelling. Whilst calmly walking through the streets of London in the daytime, Kevin (Tyler Day) is about to experience a cranking of adrenaline. First, his mother (Eleanor Sturt) messages him to remind him to take his medication (our first signpost as an audience that something is about to go down). Secondly, Kevin is wearing a highly discernible red bandana tucked into his trouser back pocket which catches the attention of the soon-to-be Chaser (Mathias Seiler) who happens to be wearing a blue bandana in his back pocket. What ensues is a thrilling chase through the urban streets as Kevin hopes to elude his mysterious attacker. Ambiguous and cerebral, Ready or Not plays with the viewer’s unknowingness brilliantly, keeping us glued to the action and desperate for more information. The warning signs about Kevin’s health (the medication) give us enough cause for concern almost instantaneously to ensure the very short film is successful in its execution. Without that layer of fragility applied to his character, the chase that forms most of the movie would have felt inconsequential. Instead, we are clinging to Kevin for dear life, hoping he escapes and that we get some glimmer of explanation as to what the hell is going on. More of a physically demanding performance than needing to worry about remembering his lines, Tyler Day puts in a wonderful turn as Kevin. It’s a role steeped in confusion and perturbation, not an easy one to play, but Day showcases a plethora of acting chops in quick succession to ensure the audience connects with Kevin and stays with him for the duration of the piece. The final moments of the short film, which I won’t spoil, are particularly noteworthy. It’s a limited film and viewers will be forgiven for feeling used and abused. We quickly get on board with the action sequence unfolding before our eyes and there is a payoff but it is all too quick. This feels like a small scene in a much bigger movie and whilst the subtle links to substantial themes such as mental health and anxiety make it a worthwhile watch, it feels like only the thinnest skimming of the water compared to what we want as an audience. Jessica Marie England shows herself to be a very capable director of action sequences and delivering a compelling story with rapidity. Given a full running time and the resources to boot, it would be fascinating to see what else could be delivered. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Reaper Man film review by UK film critic Chris Olson. Starring Jessica Jai Johnson, Kenon Walker, Ebony Bivens directed by Jaron Lockridge. HOME | FILMS | REVIEWS The Reaper Man Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Jul 19, 2023 Directed by: Jaron Lockridge Written by: Jaron Lockridge Starring: Jessica Jai Johnson, Kenon Walker, Ebony Bivens When a group of thieves end up killing her husband Joseph (Kenon Walker), it leaves Jessica (Jessica Jai Johnson) desperate enough to seek the help of a local mystic who is able to resurrect people. Regrettably, the Joseph that returns is not the same as before and he only has one thing on his mind: revenge. A humble horror, filmmaker Jaron Lockridge wears many hats to get his film up and running (writer, director, editor etc) and the result is an immersive, if clunky, watch. It’s always impressive to see an indie horror that shoots its shot and ends up somewhere near the goal. There are a lot of elements to praise in The Reaper Man , such as the contemplative pacing (although some shots do veer into the awkwardly lingering stage), the passionate performances of the two leads, and the use of flashback scenes to intelligently fill in the viewer’s narrative gaps. It’s a difficult film to know who to root for. Joseph is a kind man pre-death but his zombie version is full of righteous anger and violence. The thieves who terrorised our couple at the beginning become the targets, being stalked by Joseph. It’s only really Jessica who we cling to but it was her decision to summon him back (even after being warned) which causes all of the dark aftermath. The revenge theme is compelling though and scenes where innocents get caught up in the fray make for some of the most exciting. A few of The Reaper Man 's subplots are interesting to follow, such as the detectives who are always one step behind Joseph, or the relationship between Jessica and her sister Candace (Ebony Bivens). The “demon back from the dead” plot feels familiar and ambitious at times for a film with this budget. Horror aficionados will lament the lack of gore and brutality in Joseph’s conveyor belt of killings, and may even laugh at the numerous times he says “Time to atone” whilst, I assume, wearing Hallowe’en contact lenses. There are sound issues aplenty and the film does have a cheap charm that will remove any mainstream appeal but for fans of the genre (we bloody love you) they will certainly get a kick out of Lockridge’s appealing, almost romantic zombie thriller that sways just the right side of schlocky. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film, Horror < All Reviews Next Film Review >