Film news - FRANKIE - In UK Theatres 28 May 2021. Find out more at UK Film Review. FRANKIE - In UK Theatres 28 May 2021 Chris Olson Wednesday, March 24, 2021 at 2:18:46 PM GMT IN UK CINEMAS 28 MAY 2021 DIRECTED BY IRA SACHS STARRING ISABELLE HUPPERT, BRENDAN GLEESON, MARISA TOMEI, JÉRÉMIE REINER, PASCAL GREGGORY AND GREG KINNEAR WRITTEN BY MAURICIO ZACHARIAS AND IRA SACHS Picturehouse Entertainment is delighted to announce the release of Ira Sachs’ intimate family drama, FRANKIE , in UK cinemas on 28 May 2021 . Unfolding over the course of a late summer’s day in the stunningly beautiful Portuguese town of Sintra, the wonderful new film from acclaimed director Ira Sachs follows a family that has gathered for a holiday organised by family matriarch Frankie (Isabelle Huppert). In this fairy tale setting, husbands and wives, parents and children, friends and lovers – all stirred by their romantic impulses – discover both the cracks between them but also unexpected depths of feeling. Isabelle Huppert stuns in the titular role, alongside an outstanding cast that includes Brendan Gleeson, Marisa Tomei and Greg Kinnear. FRANKIE delivers a funny and utterly engaging cinematic treat. FRANKIE is brought to audiences by writer/director Ira Sachs (Little Men, Love is Strange, Keep the Lights On ), his frequent collaborator Mauricio Zacharias (Little Men, Love is Strange, Trinta) and producers Saïd Ben Saïd (Bacurau , Lovers for a Day ) Michel Merkt (It Must be Heaven, The Traitor, Photograph ). FRANKIE RELEASES IN UK CINEMAS 28 MAY 2021 The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. 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Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. 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Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Deep Water film review by UK film critic George Wolf. Starring Ana de Armas, Ben Affleck directed by Adrian Lyne. HOME | FILMS | REVIEWS Deep Water Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 16, 2022 Directed by: Adrian Lyne Written by: Zach Helm, Sam Levinson, Patricia Highsmith Starring: Ana de Armas, Ben Affleck Adrian Lyne hasn’t directed a movie in twenty years. It’s been twice that long since the 1957 source novel by Patricia Highsmith (Strangers on a Train, The Talented Mr. Ripley) has been adapted for the big screen. They’re both back with a new vision for Deep Water, a sometimes frustrating erotic thriller that can never fully capitalize on all of its possibilities to be either erotic or thrilling. Vic and Melinda Van Allen (Ben Affleck and Ana de Armas) are living a life of luxury in New Orleans with their young daughter Trixie (the incredibly cute Grace Jenkins). Vic developed a computer chip used for drone warfare, so his days of early retirement are mainly filled with watching Melinda openly flaunt her affairs at parties. When one of Melinda’s past lovers turns up dead, Vic lets her latest boy toy (Brendan Miller) know that he’s the murderer. But Vic is only trying to scare the kid away, right? Neighbor Don (Tracy Letts with another standout supporting turn) is suspicious early on, and when another of Melinda’s lovers (Euphoria ‘s Jacob Elordi) drowns at a pool party, plenty of others are looking at Vic as the prime suspect. Screenwriters Zach Helm and Sam Levinson provide Lyne with undercurrents of subtext that are never fully explored. We assume Vic doesn’t want to subject Trixie or his finances to a messy divorce, but the deeper we dig, it’s clear this marital arrangement is feeding some need for both parties and fostering a concerning worldview for their child. Lyne showcases the aimless privilege of their daily lives to hint at a lesson on the rot of wealth, then pivots, often to Vic’s creepy but uneventful hobby of raising snails. And though Lyne has made his name on the steamy sexual politics of 9 1/2 Weeks, Fatal Attraction and Unfaithful, there’s more smoke here than fire. And water, water everywhere. You won’t notice grand chemistry between Affleck and de Armas, which is a credit to both. This is a marriage of psychological warfare, and it is Vic and Melinda’s contrasting plans of attack that keep us invested, especially in the early going. De Armas embodies the cruelly uninhibited as well as Affleck brings the condescending and calculated, which is a major reason the major twist to Highsmith’s original ending works as well as it does. For these two, it feels right. But only for a moment, because strangely, Lyne doesn’t let it linger. Instead, he quickly cuts from the credits to a performance from the adorable Jenkins singing along to a cheery pop ditty from the 1970s. If it’s an attempt at chilling humor, it falls hard, becoming another anchor weighing down Deep Water just when it starts cruising. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Glorious film review by UK film critic Alasdair MacRae. Starring Ryan Kwanten, J.K. Simmons, Sylvia Grace Crim, André Lamar directed by Rebekah McKendry. HOME | FILMS | REVIEWS Glorious Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Aug 25, 2022 Directed by: Rebekah McKendry Written by: Joshua Hall, David Ian McKendry, Todd Rigney Starring: Ryan Kwanten, J.K. Simmons, Sylvia Grace Crim, André Lamar Fleeing the end of a significant relationship Wes (Ryan Kwanten) has an emotional breakdown at a highway rest stop. Before he knows it, he is trapped in the public toilets with an ancient god (J.K. Simmons) that communicates with him through a glory hole. Shudder’s latest release comes from a familiar face, director Rebekah McKendry is well known amongst genre fans not only as a filmmaker but as co-host of Fangoria’s Colors of the Dark podcast. Needless to say, expectation was high for this latest work. Unfortunately, Glorious is not quite as outlandish as the premise suggests, and it largely rests upon its identity as ‘that film with the god in the glory hole’. Even more disappointing is the fact that it features the insufferable joke where a character recites back the premise in simplified terms to emphasise just how strange the situation is. “So you’re a god, living in a rest stop bathroom, in a stall that is glory hole adjacent. Is that it?”. Yes, we get it, we are meant to describe this film as weird. Glorious ’ focal point is Ryan Kwanten’s Wes, a man struggling to accept both the situation and more interestingly his complicated feelings around his own culpability for the ending of his relationship. Wes is a great example of an unlikeable protagonist that you begin to root for by default. Although it is frustrating watching his stubbornly reluctant arc towards redemption as it inevitably collides and conflicts with the supernaturally absolute nature of fate posited by Simmons’ Ghat. Simmons’ performance, as a character mostly obscured from view, is purely vocal and oddly reminds of 2001 ’s HAL. Off-kilter and grating in its passiveness, one could describe it as falling into an aural uncanny valley. Kwanten and Simmons may combine well enough but even at seventy-nine minutes the material they share is spread rather thin. Visually, McKendry leans towards cosmic Lovecraftian horror with the use of bold, coloured lighting and tentacled monsters. Although the gunk and gore may be infrequent there is one particular standout moment, that I will not spoil, but it takes the form of a simple but brilliant, grotesque fading transition. Ultimately, Glorious feels like a potentially great short film stretched over a feature-length run time. Considering the concept and personnel, it feels disappointing. Nonetheless, sign me up for the next McKendry film. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Digital / DVD Release < All Reviews Next Film Review >

Stray Dog film review by UK film critic Jason Knight. Starring Jack Sambrook, Robin Hodges, Angela Bonning, Jack Elliott, Will Unsworth directed by Jack Sambrook. HOME | FILMS | REVIEWS Stray Dog Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 21, 2022 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Jack Sambrook, Robin Hodges, Angela Bonning, Jack Elliott, Will Unsworth A young man is involved in crime while at the same time is trying to make it as a writer. This short film is the first ten minutes of the feature film Stray Dog and during that time is gives the impression that the narrative is going to be rather intriguing. The story centres on a youngster named Tom (Sambrook) and introduces two aspects of his life. At the beginning, Tom is doing a drug deal that goes wrong. The atmosphere then becomes less dramatic and rather more uplifting when it is revealed that he has ambitions of becoming a writer and he pays a visit to his mother on his birthday. He appears to be living a double life as a criminal and as a wannabe writer. Approximately the first half feels like a neo-noir, focusing on Tom as he attempts to sell drugs for money during night-time. The other half explores his dreams and personal life and turns the narrative towards themes concerning self-discovery and following one's dreams. The events that take place during the ten minutes would classify this short as a dark, crime drama and the ending will most likely leave the viewer wondering how things are going to turn out. The acting is strong and Sambrook delivers a dramatic performance as a person who is involved in crime and at the same time, is a talented writer who wants to move on to better things. Sambrook directs competently and creates well executed long takes. Director of photography James Walker develops beautiful cinematography and the dramatic score by Will Unsworth is a positive addition. Generally, this short is a good opening for a feature movie. The intriguing plot indicates that things are about to change significantly for the protagonist and the audience will probably be keen to know what is going to follow. The completed feature should be eagerly awaited. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Souls Divided film review by UK film critic James Learoyd. Starring Connor Wulfric, Alina Allison directed by Ginevra Gentili. HOME | FILMS | REVIEWS Souls Divided Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 28, 2025 Directed by: Ginevra Gentili Written by: Ginevra Gentili Starring: Connor Wulfric, Alina Allison Souls Divided is a handsomely put-together romantic short film from writer-director Ginevra Gentili. It tells a Before Sunrise -esque tale of two people who meet one night and spend the dwindling hours talking about life and striking up a connection. The main thematic crux being that one character is hopeful - believing in the grand scheme of the universe - while the other refuses to indulge in what could be labelled as spiritual. We follow these two individuals on a bus ride and eventually to a beach where dawn breaks. Before we get into infinite praise of formal technique, we must address that which lacks polish: it could be argued that the screenplay slightly struggles to find its footing. The main reason for this is conflicting characterisation as the man in the story seems to occupy an odd space between being not likeable enough while not explicitly dislikable. Personally, these days, it's my wont to admire a film for including conventionally unlikeable protagonists and not feeling the urge to explain or be didactic. However, you could misinterpret the tone of this piece to suggest that we're meant to find any and all antics charming, and that's part of the issue. You could accuse the story of being slightly clichéd (what isn't), but the fact is that this film either needs to go full-on David Thewlis in Naked - completely unpleasant but fascinating - or put that character on equal footing with the other lead in terms of likability. It's a very tough line to walk, both for a screenwriter and an actor, and so we should admire the attempt on both counts. Onto the formal: the cinematography, composition and colour of this film are a genuine achievement and truly elevate the piece to another professional level. First and foremost, our eyes are immediately drawn to the richness of the colour. There's a perfect vibrance to it - a tint and finish which very much adheres to a studio-level aesthetic - and yet it never feels as if the colourist is overdoing it, never a garish saturation. And then the cinematography is pretty damn flawless for a short film of this nature and genre. They completely nail the look. It's simultaneously soft and grounded - shimmering with the bloom of the romance genre, combined with a more dramatic handheld construction. And yet it's not just the cinematography - referring specifically to the practical lighting and lenswork - which makes this a beautiful looking movie; there are other, less technical, but just as exacting, methods that come into play as well. For instance, from a production standpoint, a massively important part of the movie's visual success must come in timing and scheduling. This story required the exact right weather conditions, and the exact right moment in the day - the stunningly captured dusk and dawn - to allow the image to be as gorgeous as it is. This should be a great source of pride in terms of planning. Additionally, this is a superbly directed picture, defined by simple yet effective shot setups that feel appropriately intimate. The audience will be able to sense a cinematic confidence; a clarity of purpose and an inherent understanding of good storytelling. This is the sign of a great director. Whether or not one is completely taken by the narrative, there is no denying the strong craft at play. What this also means is that there is a base level of skill and ability which ensures that the viewer is not left checking their watch or wondering what the point should be. They're more inclined to forgive any of the weaker aspects because this is a well-made movie, almost inarguably. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Death on the Nile film review by UK film critic George Wolf. Starring Kenneth Branagh, Gal Gadot, Annette Bening, Army Hammer directed by Kenneth Branagh. HOME | FILMS | REVIEWS Death on the Nile Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 9, 2022 Directed by: Kenneth Branagh Written by: Michael Green Starring: Kenneth Branagh, Gal Gadot, Annette Bening, Army Hammer “He accuses everyone of murder!” “It is a problem, I admit.” This playful admission by legendary detective Hercule Poirot (Kenneth Branagh) is one of the ways Death on the Nile has some winking fun with the often used, often parodied Agatha Christie formula. And since Christie’s source novel is one of the works that perfected that formula, it’s smart to acknowledge some inherent campiness while you’re trying to honor the genius of the original construction. After his successful revival of Murder on the Orient Express in 2017, Branagh is back to again star, direct, and team with screenwriter Michael Green for another star-studded, claustrophobic whodunit. This time we’re aboard a lavish cruise down the Nile in the late 1930s. Wealthy heiress Linnet Ridgeway (Gal Gadot) has just married the dashing Simon Doyle (Armie Hammer), and they’ve invited a group of friends and family (including Annette Bening, Sophie Okonedo, Russell Brand, Jennifer Saunders, Letitia Wright and no-that’s-not-Margot- Robbie-it’s Emma Mackey) to help them celebrate. Ah, but love and money bring “conflicting lies and jealousies,” and soon Linnet proves wise in putting the world’s greatest detective on the guest list. Murder is again the case! And when Hercule Poirot is on it – which takes a while – Branagh and Green craft a capable reminder of what makes this formula so sturdy. From the discovery of clues to the requisite red-herring accusations, it’s just fun to feel part of Poirot’s deductive process. But while Branagh and cinematographer Haris Zambarloukos expertly utilize the confines of the ship to their advantage, the surrounding locales smack of outdated CGI and land as a disappointing stand-in for the eye-popping wonder of Orient Express. Branagh and Green also try valiantly to weave a layer of love through the mystery. Opening with a prologue that introduces a decades-old pining (along with Poirot’s keen eye for detail and a dubious inspiration for that mustache), the film’s ambitions for this added narrative weight are worthy, but ultimately add more running time than substance. The epilogue that checks in with Poirot six months after the cruise lets us know Branagh may have more Christie mysteries on his itinerary, and that’s not a bad thing. Death on the Nile proves that a trusty return to glamour and intrigue can still overcome some excess baggage. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Current State of the Backyard Pool Industry film review by UK film critic William Curzon. Starring Gil Damon, David Amadio, Steve Kuzmick directed by Derek Frey. HOME | FILMS | REVIEWS The Current State of the Backyard Pool Industry Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Feb 4, 2026 Directed by: Derek Frey Written by: David Amadio, Gil Damon, Steve Kuzmick Starring: Gil Damon, David Amadio, Steve Kuzmick The Current State of the Backyard Pool Industry follows the Osgood family, who are divided over the fate of their rundown pool, due to a costly repair that may force them to shut it down. However, when a strange visitor named Willy Chamieux (David Amadio) attempts to convince the Osgoods to take one last plunge in the pool, they must decide whether their family togetherness is worth the price of this dilemma. The central theme of the piece is the importance of family and their connection to the backyard pool, which feels like a metaphorical allegory for reconnecting a fractured bond. Derek Frey, the director of the piece, clearly set out to blur the line between surrealism and a music video, utilising an excellent, choreographed dance sequence. Also serving as the cinematographer, the short consists primarily of medium and over-the-shoulder shots in its dialogue-heavy sequences, which maintain the intimate and engaging flow of the piece. Klebe & Davis, a two-man band from Florida, serve as the composers of the piece, delivering an endearing musical score that perfectly accompanies the experience. Despite the film's budget constraints, the opening title card is incredibly creative and drives the viewer into the world of the Osgood family. While the film can suffer from some jarring editing choices and a bizarre tonal shift, the filmmakers clearly have their heart in the right place with a distinct passion for the material. The piece starts rather sluggish in its pacing; however, once the central plot line is introduced, the experience picks up drastically and becomes far more engrossing. One of the biggest detriments to the experience is the lack of chemistry between the Osgood family. While the younger actors are clearly expressing their disinterest in the pool earnestly, their line delivery unfortunately feels wooden and unnatural. The lead performance from Gil Damon in his portrayal of Henry Osgood, however, is mostly impressive and a deeply nuanced depiction of a father struggling with his inner turmoil. Both the comedic and dramatic beats land thanks to Gil Damon’s goofy and naturalistic delivery of dialogue. The film entirely rests on his screen presence and his actions being the driving force of the central plot points. Despite the narrative being fairly straightforward and simplistic in its ideas, the filmmakers never spoon-feed the audience, allowing them to decipher their own interpretations about certain plot elements, which is refreshing. Unfortunately, the conclusion to the narrative amounts to fairly minor despite its uplifting intent; the payoff sadly feels underwhelming thanks to how abruptly everything wraps up. Perhaps the screenplay could have fleshed out its themes of family and emphasis on water more profoundly to stick the landing. That being said, it's still a mostly satisfying experience thanks to how intimate and grounded in scale this feels despite its absurd nocturnal elements throughout. The Current State of the Backyard Pool Industry is a mostly entertaining short piece entirely held together by a solid lead performance from Gil Damon and Derek Frey’s formalism. Despite its pitfalls with the disappointing lack of chemistry between the supporting players, the piece feels like a passion project made with a profound love for the subject matter and characters that shine through its cracks. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Baked Beans film review by UK film critic James Learoyd. Starring Shelby Lattany, Kahmal Sealey directed by Remone Jones. HOME | FILMS | REVIEWS Baked Beans Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 9, 2025 Directed by: Remone Jones Written by: Remone Jones Starring: Shelby Lattany, Kahmal Sealey What if you had to rush the consumption of your beans on toast? And what if your boyfriend seemingly forgot about your birthday? But most importantly, what if these two unrelated occurrences coincided with gastronomically disastrous results?! These are some of the amusing questions which Remone Jones’ new five-minute comedy Baked Beans poses to its audience. The film tells a simple story of one woman’s unfortunate encounter with circumstance. We begin with the appearance of the titular beans on toast – a meal which our protagonist Tameka slightly begrudges, because she should be doing something sweet with her boyfriend Liam on her birthday. But it’s not as simple as that – her boyfriend, in fact, has not failed to remember, and has something planned for the special day. The beans, however, pose an obstacle. It’s a tonne of fun and incredibly watchable; a well-formed comic piece. The performances featured in the short are absolutely terrific due to the confidence of the actors. For how heightened and humorous the movie is, the characters are completely believable. Oddly it’s through their big, expressive use of vocal expression that brings the performances both a hilarity and a realism – we believe in our protagonist’s annoyance in her boyfriend, and, in turn, her embarrassment come the film’s payoff. I’d also like to mention the authenticity of the opening conversation between our main character and her friend. The dialogue is funny in a satirical sort of way; you can feel that the scene is being used not only to convey information but to establish the silly but endearing tone. The cinematography is strong, and also demonstrates a similar sense of amusement. Specifically, the opening shot – that of a perspective shot from inside the can of beans – shows a high level of inventiveness. Then again, in terms of the negative, one might question the use of the widescreen format. When viewing the camerawork and direction, it almost feels as if the compositions might have been even more interesting were it to adopt a more conventional 1.85:1 format. This kind of visual style doesn’t require an extended frame, and prioritises clarity over complexity; so, the black bars are just cutting off visual information as opposed to adding to the aesthetic. For clarification, though, this is a really well thought-through movie in terms of its look, even if a couple of choices don’t entirely translate. The best thing about the audio and music is its consistency. An intelligent use of sound design comes towards the story’s end when the main character is given noise-cancelling earmuffs to wear by her boyfriend while he sets up the surprise. A wonderful attention to detail is how the sound itself becomes muffled as well, and then fades back to being clear and sharp when the earmuffs are removed. Not only does this place the audience in the sensory perspective of the individual, but it also leads into the final joke of the film which everything has led up to. Beans on Toast is based around joke structure and elegance, and having the viewer experience a pleasingly elaborate setup before the payoff. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Teddy and the Mountain film review by UK film critic William Curzon. Starring David Mason, Linda Dootson, Charlotte Claypole directed by Stanley Roubaix. HOME | FILMS | REVIEWS Teddy and the Mountain Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jan 4, 2026 Directed by: Stanley Roubaix Written by: Stanley Roubaix Starring: David Mason, Linda Dootson, Charlotte Claypole Teddy and the Mountain is an independent rom-com exploring the lives of widower Teddy (David Mason) and Rose (Linda Dootson). They both join a walking club, facing challenges, and Teddy sets out to climb a mountain alone. As the film explores their touching journey of romance and laughter despite their life’s difficulties, they both face challenges. However, a hidden truth looms over Teddy as he grapples with an illness and a friend's death that threatens their relationship. One of the most endearing qualities of the piece is the independent funding and production value, given its budget constraints. It’s an impressive feat to behold, giving the film a homemade approach with its sense of community and down-to-earth cast of characters. While the piece may suffer from inadequate camerawork, primarily consisting of wides and extreme close-ups of the actors accompanied by infrequent drone photography, the filmmakers clearly have their heart in the right place. Despite the flaws in the camerawork, the black and white photography in the flashback sequences is admittedly effective. The film almost has a ‘TV movie’ approach due to its episodic nature in the edit, with jarring smash cuts throughout. Another bizarre choice formally is the flat colour grade, which gives the texture of specific scenes a lack of visual flair. However, Daniella Nassar’s musical score is whimsical and, overall, an engaging aspect in the technical department. The performances are serviceable across the board, in particular, Linda Dootson’s portrayal of Rose. She conveys a profound level of nuance and comedic flair in her line delivery and plays off the other actors incredibly well. On the other hand, David Mason, in his portrayal of Teddy, can at times poorly deliver crucial pieces of dialogue in some of the most pivotal moments of the film, which may leave a sour taste in viewers’ mouths. Fortunately, the supporting players are chemistry-laden and have relatable character traits, which grant the film its light-hearted tone. Due to many of the comedic aspects consisting of British humour with its incredibly deadpan and dry delivery from the actors, audiences outside of the UK may find it difficult to connect to many of the gags. Perhaps the biggest issue of the film is the over-convoluted nature of the characters which are introduced, and this can become jarring to digest at times. Thankfully, Stanley Roubaix’s screenplay fleshes out many of the characters with enough development to ensure the viewer genuinely cares for each of them. Unfortunately, towards the third act, the narrative becomes unfocused due to its repetitive nature and the plethora of characters the script is juggling. The narrative structure is too aimless and meandering that it almost feels like a chore to sit through at times. The conclusion to the narrative sadly falters by wrapping up abruptly, and the one-note delivery from David Mason can detract from the emotional stakes. However, the emotionally resonant themes of grief and loss are impactful and may stick with the viewer long after the credits roll. Teddy and the Mountain is an effective rom-com exploring the lives of two lost souls attempting to find closure in their respective hurdles of grief. Boasting some solid independent production value and impactful comedic gags, this is a feel-good piece of filmmaking which will leave the viewer with a sense of ambition in never giving up on their aspirations, just like Teddy. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Borderline film review by UK film critic Jason Knight. Starring Samara Weaving, Ray Nicholson, Eric Dane, Jimmie Fails directed by Jimmy Warden. HOME | FILMS | REVIEWS Borderline Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 29, 2025 Directed by: Jimmy Warden Written by: Jimmy Warden Starring: Samara Weaving, Ray Nicholson, Eric Dane, Jimmie Fails A dark comedy thriller feature film written and directed by Jimmy Warden in his directorial debut and starring Samara Weaving, Ray Nicholson, Erc Dane and Jimmie Fails. The time is the 90s, the place is Los Angeles, and one disturbed man has a plan: he is going to break into the house of a famous actress and singer and marry her. The man is Paul (Nicholson), and in order to execute his plan, he needs the help of two associates: Penny (Alba Baptista), a young French woman and Calhoun (Patrick Cox), a single-eyed guy. The unfortunate celebrity is Sofia (Weaving), who lives in a large mansion and whose partner is DeVante (Fails), a professional basketball player. So, on the day of the event, the three culprits put their plan in motion by abducting a pastor and Bell (Dane), Sofia's bodyguard, along with his daughter, Abby (Yasmeen Kelters) and her aunt, Eleanor (Catherine Lough Haggquist). They then bring these people to the mansion, where more bad things ensue. A trio of more or less lunatics execute an outrageous plan, and along the way, they commit some brutal murders and assaults. The plot is quite interesting and it is the three criminals that steal the show, with their wild and shocking behaviour and actions that result in scenes filled with dread, tension and madness. There is as much brutality as there is dark humour in this story that is born from a mentally ill man's dream. The soundtrack adds great value to the film as it consists of tracks by artists including The Cardigans, Annie Lennox, The Flaming Lips and Nicola Cruz. The screenplay is less interested in moving the plot forward, focusing instead primarily on character exploration, and the highlights are the bad guys and the chaotic scenes and a couple of weird scenes that involve a policeman singing and dancing and two women singing together. Generally, the story moves slowly, and it is the characters and drama that get the spotlight. As mentioned, it is the three kidnappers who get the most attention, especially Paul and Penny. Paul is a disillusioned person who imagines that a specific person is actually someone else. Furthermore, he is also a psychopath and capable of murder. Just like his legendary father, Ray Nicholson is terrific in portraying his character very convincingly, who in this case, is a character who constantly grins as he lives in his own world and vividly expresses his thoughts. Penny is equally dangerous and deranged, played very vividly by Baptista. Her character is a woman who enjoys violence and (like Paul) seems to live in her own world too, and both Baptista and Nicholson, unlike these two, Calhoun is quieter. As for the rest of the protagonists, they are simple people who are trying to deal with and survive the unbelievable situation that is unfolding. Through Paul and Penny, this feature explores mental health, particularly borderline personality disorder and violent tendencies. Additionally, obsession is a major theme, particularly fan obsession. Moreover, this is also a story about self-expression, finding happiness and having a soulmate. A dark comedy. A crime thriller with murder, kidnapping and home invasion. The intriguing plot is a key feature that makes this film worth seeking out, and Nicholson's and Baptista's performances are the aspect that stands out the most. Borderline will be available on Digital Download from 8th September 2025. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Quiet Ocean film review by UK film critic William Curzon. Starring Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden directed by Katie McNeice. HOME | FILMS | REVIEWS The Quiet Ocean Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 28, 2026 Directed by: Katie McNeice Written by: Barry Smyth Starring: Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden The Quiet Ocean follows Kansas (Juliette Crosbie), a receptionist at an Irish motel, in a future where individuals go to end their lives. One night, she meets a guest, Maria (Jennifer Zamparelli), and finds herself falling in love with her. The short piece is a dystopian tale of melancholy and regret, focusing on themes of queer love and gender roles. One of the most astounding aspects of The Quiet Ocean is its visually striking production design. Despite evident budget constraints that ran counter to the filmmaker's vision, the piece is a staggering achievement in production values, with all the technical aspects firing on all cylinders. The titular motel is visually stunning, with neon lighting set against a gloomy fog. While the filmmakers intentionally don't expand the worldbuilding beyond the expository voice-over explaining how the motel operates, the ambiguity is welcome, allowing the audience to piece it together themselves. The low-key lighting in the exterior of the hotel is another commendable choice, giving the motel an eerie feel. Serving as the film's cinematographer, Carol Tormey does a tremendous job of framing the titular motel and both central characters. The piece primarily consists of close-ups between Kansas and Maria to create a sense of intimacy and yearning, essentially assisting their already compelling chemistry. The shift to establishing shots of the motel is also a commendable choice, as it gives the audience a sense of the scale within the exterior sequences. These specific framing choices are complemented by the boxed-in 4:3 aspect ratio that gives the piece a sense of claustrophobia and intimacy. Seeing the grainy photography set against the gloomy fog makes the experience visually appealing throughout. Katie McNeice, serving as the film's director, executes the themes of queer love and gender roles sincerely. It takes a steady pace to establish the relationship between the two central characters without ever putting a foot wrong. Despite the film's brisk runtime and lack of worldbuilding, every dramatic beat is executed profoundly thanks to the writing and direction from Katie McNeice. The way the filmmakers tackle the themes of regret and the inevitability of death in a bleak, dystopian future is an apt topic for this narrative, and it feels wholly singular and original. While the piece could have delved more into the relationship of Kansas and Maria, the short runtime feels welcoming. Each interaction between Juliette Crosbie and Jennifer Zamparelli in their portrayals of Kansas and Maria, respectively, feels natural and nuanced. This is thanks to two committed central performances that bounce off one another to create a magnetic sense of chemistry. While the audience doesn't spend a substantial time with Kansas and Maria, both performances shine and convey the themes of longing convincingly. The conclusion to the piece lands on a quiet and meditative note that may linger on viewers’ minds. Despite how abrupt it may be to certain viewers, the execution is undoubtedly moving and may leave audiences wanting more. The Quiet Ocean is a deeply moving portrayal of queer love in a dystopian world. It's a beautiful and unique tale drenched in melancholy and longing. Despite its lack of characterisation, the piece is held together by two terrific performances, a subtle yet effective musical score and admirable editing choices. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz.. Brand new film trailers. Wicked: For Good We at UK Film Review have eagerly awaited every glimpse into Jon M. Chu’s epic two-part adaptation of Wicked . Following last year's monumental first instalment, which captivated global audiences and shattered records, the final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. And what a glimpse it is – a tantalising two minutes and fifty-five seconds that leaves us breathless, confirming that this sequel is poised to deliver on every front. The trailer opens with the charmingly naive, yet increasingly influential, Glinda, played with radiant sincerity by Ariana Grande, being told, "It's more important than ever that you lift everyone's spirits, as only you can." This immediately sets the stage for her ascent as the "glamorous symbol of Goodness," residing in the opulent Emerald City palace under the tutelage of the formidable Madame Morrible, brought to life with chilling precision by Oscar winner Michelle Yeoh. Glinda’s journey into the spotlight is juxtaposed with the stark reality of Elphaba’s exile. Cynthia Erivo, whose powerhouse performance in the first film garnered immense praise, returns as Elphaba, now demonised as The Wicked Witch of the West, hidden within the Ozian forest. The trailer hints at her continued fight for the freedom of Oz’s silenced Animals and her desperate quest to expose The Wizard’s true nature. The visual spectacle, as expected from a Jon M. Chu production, is nothing short of breathtaking. From the glittering grandeur of the Emerald City to the ominous, windswept landscapes that mirror Elphaba’s isolation, every frame is meticulously crafted. The special effects appear to have been elevated even further, promising an immersive experience that will transport audiences directly into this reimagined Oz. The iconic imagery of Elphaba soaring through the sky, wand in hand, is truly captivating, while the contrasting scenes of Glinda’s lavish Ozian wedding to Prince Fiyero (Jonathan Bailey) promise both joyous celebration and underlying tension. The emotional core of Wicked has always been the complex, enduring, and ultimately transformative friendship between Elphaba and Glinda. This trailer, more than any before it, places this relationship at the absolute forefront. We see the painful estrangement, the consequences of their divergent choices, and the palpable longing for reconciliation. Glinda’s attempt to broker peace between Elphaba and The Wizard is clearly doomed to fail, driving them "only further apart." The trailer’s snippets of dialogue, such as "I’ve heard it said that people come into our lives for a reason," resonate deeply, underscoring the profound impact they have had on each other. The stakes are visibly higher in For Good . The "angry mob" rising against the Wicked Witch creates a palpable sense of danger, hinting at the thrilling confrontation that awaits. The ominous arrival of a certain girl from Kansas, alluded to in the film details, will undoubtedly throw a further wrench into their already complicated lives, threatening Nessarose and setting in motion events that will forever transform Boq and Fiyero. The narrative promises to be a gripping exploration of good versus evil, friendship versus betrayal, and the courageous act of standing up for what is right, even when the world is against you. Stephen Schwartz’s legendary music and lyrics, which are the very heart and soul of Wicked , sound more potent than ever in this cinematic rendition. The snippets of score accompanying the visuals are stirring, building anticipation for what we know will be powerful and emotionally charged musical numbers. The blend of classic stage material with a refreshed orchestral landscape, crafted by John Powell and Schwartz himself, promises to honour the original while elevating it for the big screen. Wicked: For Good is not just a sequel; it is the culmination of a story that has resonated with millions worldwide. The final trailer reinforces that this will be an epic, emotionally charged, and visually stunning conclusion. Cynthia Erivo and Ariana Grande, supported by an incredible ensemble cast including Jeff Goldblum, Michelle Yeoh, and Jonathan Bailey, appear poised to deliver performances that will solidify their interpretations of these iconic characters in cinematic history. As the trailer eloquently states, "Who can say if I've been changed for the better, because I knew you...". This final chapter promises to explore that transformative power of friendship, ultimately challenging perceptions of what it truly means to be "good." We at UK Film Review are counting down the days until Wicked: For Good graces our screens. When is the Second Wicked Film Coming Out? 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.