Return film review by UK film critic Matt Trapp. Starring Peter Faulkner, Jade Lauren, Bart Lambert directed by Sophia Carr-Gomm. HOME | FILMS | REVIEWS Return Film Review average rating is 5 out of 5 Critic: Matt Trapp | Posted on: Feb 24, 2026 Directed by: Sophia Carr-Gomm Written by: Sophia Carr-Gomm Starring: Peter Faulkner, Jade Lauren, Bart Lambert Return explores a layered cocktail of themes through its brief 10 minute runtime, leading the audience on an emotional meditation on grief, memory, and humanity’s place within the natural world. Peter Faulkner’s character carries the weight of loss deep inside, and most of Return’ s runtime is spent inside his mind. He sits alone in a dark room, apparently isolated from the world, and the image is a shockingly stark one. Carr-Gomm focuses a great deal of attention on the man’s difficulty in grasping a glass of water and bringing it to his lips to drink. Yet, when he closes his eyes, colour and light return to the picture. We see rocky clifftops adorned with birds, the power of a calm sea, a beautiful natural world rich with flora and fauna. A mysterious woman (Jade Lauren) with some connection to Faulkner’s character is always out of reach standing a part of the natural world within his mind. The vast skies and dense woodland suggest something heavenly about the Earth, and as the old man walks throughout these lush environments there’s no hint of any corporeal weakness about him. At one point, he plants his face in the grass, drinking in the physical sensation. Carr-Gomm’s depiction of literal connection with the land juxtaposes the isolation of Faulkner’s character at the start of the short - sat alone in his armchair, the only hint of a world outside his room is the sunlight softly settled on his window. Similarly to the recently Academy Award nominated Train Dreams , Carr-Gomm explores loss and the nature of grief by using the natural world as a sort of bridge between the living and the dead. The filmmaking on display in Return is spectacular and helps to sell the spiritual ideas that the film explores. The photography of the environment is breathtaking, often captured with wide shots from high above to capture the vibrant beauty of the Earth. Sunflower fields appear as a rich tapestry of colour, and a single cloud in the sky looks as though painted by a dexterous hand. Special attention is given to smaller details such as a hand running over wheat in a field, and the aforementioned face rubbing in the grass, giving a real sense of texture and presence in the world. Return ’s sensory experience is heightened by a simple piano score which guides the audience through the journey. The film is entirely without dialogue, yet Ben Rowarth’s composition speaks for itself. Peter Faulkner’s performance in the film was deeply personal to his own life experience, Carr-Gomm has stated. His character moves deliberately in every single moment, communicating feelings of love and loneliness clearly without speaking. A particularly moving sequence of Faulkner’s performance is when he dances alone in his kitchen, coming to life in a deeply vulnerable display of laboured elegance. He brilliantly embodies the heartbreak of continuing on after a loved one’s death, and the overwhelming inclination to withdraw into one’s shell. Reminiscing can be self destructive in a way, and Faulkner’s depiction of earthly liberation, to reconnect with the natural world as well as his loved one, suggests a call to be reunited with them, to return to them. Return speaks to the loneliness of life, but also the power of the natural world and the love that connects us to each other. The confident filmmaking and the tender performances support complex ideas with the short’s brief runtime, without the help of words to convey meaning. The result is a piece of cinema that will have audiences reminiscing about their lost loved ones, and maybe picking up the phone to give their older friends and relatives a call. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Snowmaniac film review by UK film critic William Hemingway. Starring H. Owen Richardson, Ryan Skates, Tom Rockell directed by H. Owen Richardson. HOME | FILMS | REVIEWS Snowmaniac Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Sep 12, 2024 Directed by: H. Owen Richardson Written by: H. Owen Richardson Starring: H. Owen Richardson, Ryan Skates, Tom Rockell From Unhinged Pictures, the team behind such films as Lurking (2022), Prowling (2023) and Stalking (2023) as well as a slew of other indie horrors, now comes the nine-minute short film, Snowmaniac . As the title suggests, there is a play on the snowman theme going on, and as such the masked serial killer for today’s offering is sporting a gruesome snowman mask, complete with intimidating pointy carrot nose. This may suggest to some that Snowmaniac could be an homage, or a nod to, or at least have taken an idea or two from Jack Frost (1997), but seeing as that was straight to video, and about as much fun as eating yellow snow, we’ll just assume that nobody actually watched that crap. Snowmaniac begins after a night out at a work’s Christmas party. Two friends are drunk and cold and need to find a way to get home. Quite why nobody has a mobile phone, or Uber on speed-dial, is anybody’s guess but anyway the two pals find a conveniently located telephone box, old-timey red for maximum authenticity, and set about phoning for a lift home. While the sensible one (Richardson; in shirt and tie) hangs out in the phone-box and does most of the communicating, the silly one (Skates; in garish Xmas jumper) complains, looks like he’s going to be sick, and takes a little wander away from the glare of the street lights to have a fag. Now, we all know heading off on your own into the dark is cardinal sin #1 in horror/slasher terms, but then to commit cardinal sin #2, by leaving yourself in a vulnerable position, is just sheer folly, yet, when we get back to our overtly jumpered party-goer, this is exactly how we find him. Stuck fast to a road sign where his tongue has frozen to the pole, our jumpered friend then becomes an easy victim for the sub-zero slasher. Sadly, there’s no pre-empting this scenario, with no lead-in, no approach to the pole, no naughty thought flickering across the idiot’s face, and no furtive licking going on – he’s just there, attached, tongue frozen fast, with no explanation, and a six-foot snowman creeping up behind him – where’s the tension? Similarly, we know that in a slasher flick with three characters there’s probably going to be a ceiling limit of two deaths, so you’d think you’d like to make them as creative and satisfying as possible. However, aside from the aforementioned tongue stuff, the Snowmaniac prefers to kill with silent stabs to the kidneys and such, leaving the viewer mostly disappointed by the gore on show. In the same vein, there’s no background to what’s going on and no explanation for the Snowmaniac – he’s just there. Without characterisation or motivation, the Snowmaniac becomes just a stock slasher in a new mask and this leaves the audience seriously wanting in terms of engagement. In terms of direction and style, Snowmaniac shows off some impressive shots and some real skill, with H. Owen Richardson proving himself to be a better director than he is actor. The cinematography from Kai Hall is spot on, with crisp and clean shots throughout as well as an impressive use of lighting, and despite there not being a lot of dialogue or audio in the film, the dark reworking of Frosty The Snowman by Myuu is the perfect outro for this pared-down indie slasher. While the technical side to Snowmaniac is all well handled it sadly doesn’t lift this standard, generic slasher flick into something more exciting. In the end all we’ve got is another twisted dude in a horror mask and a pun in the title on which to base the entire character, plot and style of the movie. There’s not enough of anything to hook the audience in, and while it may be easy to create an entire oeuvre by switching out different masks for each new killer, good films are rarely so easily made. Perhaps taking a little more time between projects, and really focusing on plot and characterisation, might help Unhinged Pictures to make their next film horrifyingly great. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Fort Tom film review by UK film critic Joe Beck. Starring Edgar Lithgow, Mark Harvey, Muireann Ní Raghallaigh directed by Arthur Johnson. HOME | FILMS | REVIEWS Fort Tom Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Nov 28, 2022 Directed by: Arthur Johnson Written by: Arthur Johnson Starring: Edgar Lithgow, Mark Harvey, Muireann Ní Raghallaigh ‘Fort Tom’ is a film which aims to be an endearing tale of childhood innocence, but is instead an immensely stupid and shallow story of neglectful parents. The child at the film’s centre is the kind of kid that would work in a Spielberg film, but is an otherwise dull centre point in the hands of another director, and lacks the invigorating energy of a charming supporting cast needed in such films. The premise is simple - creative ten-year-old Tom (Edgar Lithgow) feels neglected by his ‘preoccupied’ parents and decides to fake his own kidnapping, complete with a ransom note, in order to feel their loving eyes. His dad, Frank (Mark Harvey), has won awards for his incredible talent of lifting weights with his ears, whilst his mum, Francine (Muireann Ní Raghallaigh), is a lawn bowl champion and has launched her own clothing line. They are supposed to be the bubbly supporting cast so vital to these sorts of films, however, neither manages to entertain, lacking heart and appearing absurd for absurdity’s sake. Tom’s ploy to fake his kidnapping lacks a well-thought-out reason - all we know is that his parents are ‘preoccupied’, and have conveniently forgotten his birthday. Tom doesn’t even appear remotely frustrated when his dad brushes him off, and we aren’t given time to build up an understanding of Tom’s neglect before he undertakes his radical decision in an incredibly stupid way. A ten-year-old deciding to run away from home is nothing novel to film, but rarely has it been done in such an insipid and infuriatingly brainless manner. Tom decides to run away, not out of town, or even to the woods, but to his family’s attic. Surely even a ten-year-old could not be so silly to believe such a plan would work. Nevertheless, it does work, and his parents, as well as the police, are too stupid to give the house a proper scan, and also to believe a hastily prepared ransom note. The parents’ stupidity in this case makes you wonder whether or not they’re actually so neglectful of Tom, or whether they’re just too dumb to realise that the child living in their house is their own. Tom’s decision to frame his disappearance as a kidnapping is more alarming, especially when we see, to nobody’s surprise, the parents worried and forced to sell off their prized possessions to raise ransom money. Just his disappearance would have likely elicited the same reaction for his parents, whereas the results of the kidnapping draw out sympathies away from Tom and towards his parents - who are never quite presented as more than caricatures. Though both Arthur Johnson’s directing and writing leaves a lot to be desired, child actor Edgar Lithgow’s performance gives the film a level of quality which is otherwise lacking. Lithgow’s performance is impressive, especially given what he has to work with, and ensures that Tom is, at the very least, more than a cardboard cutout. ‘Fort Tom’ is a childishly made film, reliant on its child actor for maturity, resulting in a brainlessly bland depiction of a neglected child, which fails to even achieve the sentimentality that it should so easily create. By the time ‘Fort Tom’ crumbles we aren’t surprised, its hollow foundations were evident very early on. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Clarum Somnium film review by UK film critic James Learoyd. Starring Eva Langlet directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Clarum Somnium Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Feb 13, 2024 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet Alluring yet challenging, Clarum Somnium (2023) is an experimental short. Described, by the filmmakers, as “The purification of a mysterious girl, between dream and reality”, the piece will not be for everybody (what is?), but this cerebral experience holds plenty of original visual and auditory ideas to admire. Over the course of ten minutes, we’re shown a woman in a shower, city structures, and finally the natural world. Having these elements complement each other in unusual ways is artistically ambitious and certainly worth analysing; unfortunately, the film can risk feeling static or repetitive... but then again, it must not be viewed through linear story conventions as the filmmaker has chosen to disregard narrative. So, we must instead consider the concepts at play. Thematically, we’re working in vague but interesting territory. One hypothesises that the film’s juxtaposition of images – between the dreamlike fluidity of the streetlamps / buildings and the more strange, visceral nature of the woman washing her hair – is there to perhaps encourage the viewer to either consider any similarities, or, on the other hand, its extreme differences. The frequent use of dissolve transitions suggests that there might be a flowing, universal connection; however, it may be more stimulating to engage with the images’ contrast... for instance, what clashing textures can be identified? - from interior to exterior, should we feel the warm and cold; wet and dry? Then again, should a contrast be found between any emotions present? The singular character in the film does not appear to be in a state of ease -- more a kind of numbness has taken hold of her, appearing dazed; this is an intense, potent state of being, and there’s a vulnerability to the situation she’s in. The opposite then can be found in the other images: without any character, focus, or emotional messaging, you’re urged to allow the shapeless, indistinct beams of light to flow past you, for the spectator is placed in a vehicle – a liminal space. Interestingly, the final images are not of a person, or of the urban environment previously displayed... trees and nature are what the filmmaker chooses to conclude with. An audience may see this as symbolising hope or being indicative of a release from some form of darkness. To be candid, it’s incredibly challenging to write concisely regarding what a film like Clarum Somnium is ‘about’, but what does help any viewer along the way is the music included: it’s a great way to gage the mood of a surrealist piece if all else fails, and thankfully this film provides a pleasantly mystical ambiance to what we’re seeing. The instrumental soundscape is incredibly immersive and is of a high professional quality, allowing the spectator to merge what they’re seeing with what they’re hearing to form something ever more abstract. One could argue that this works particularly well when the shots are at their most unusual – images depicting the streets upside down, throwing the world of the short into chaos, forcing us to simply admire the shapes and respond to the meditative score. Director Alexandre David Lejuez is using film as a canvas on which to experiment and express that which is impossible to capture through linear storytelling. For an audience, it’s a puzzle they’ve been given: one can attempt to solve the enigma or, alternatively, engage with the piece via a purely subconscious plane of thought... but some may not wish to do either. The short is inventive and thoughtful, but ideally should pack a bigger punch, daring to be more provocative and less repetitive. But overall, Clarum Somnium displays enough originality and artistry to leave you wondering what else the filmmaker has up their sleeve. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Bears in Trees - Great Heights film review by UK film critic Isaac Parkinson. Starring Bears in Trees directed by Rakesh Jaitly. HOME | FILMS | REVIEWS Bears in Trees - Great Heights Film Review average rating is 3 out of 5 Critic: Isaac Parkinson | Posted on: Jul 14, 2022 Directed by: Rakesh Jaitly Written by: Iain Gillespie & Rakesh Jaitly Starring: Bears in Trees A music video that balances youthful abandon with indulgent decadence. The opening chords of Bears in Trees’ ‘Great Heights’ are percussively accompanied by fast-paced shots of a group of teen boys caught in a hangover trap of squalor. The flecks of light cast off a disco ball spin and probe the walls, hinting at the high-energy fun of the night before. As they all start to rise, the scattered objects are repositioned in an attempt to reorder their chaos. The texture of the video then changes, moving away from the dank underground space to the endless open of the outside. The boys run and jump, celebrating their freedom and chasing each other with a childlike innocence. Then we are returned back to their subterranean home, to strobing neon lights replacing the sun. One of them searches desperately through a pile of empty bottles for one that is fresh and sealed, looked upon like the holy grail. The tone of the video becomes more dissonant from the upbeat mood, as the boys knock cups to the floor, shout at each other, and desperately pull at the doors for an escape. Several of them cower on the floor as though overwhelmed by the constant loop of their vices. A kind of anxious tension can be seen in their performances, craving further corruption while still yearning for the release of the outside world. The colour grading of the external shots is odd, saturated in a sickly yellow. I think the contrast from the fluorescent basement would be better served with a naturalistic outdoor space to accentuate the joy of their possible freedom. Generally the video, and lyrics, are reflective of both the existential weight and promised expectations forced on teenagers today. The abstract ‘great heights’ are pure conjecture of living in a world with theoretically endless possibilities. Yet in reality, this pressure to achieve or grow can induce a limiting experience of the world. “If we could just make our beds in the morning,” suggests that even the lowest of bars, the simplest of daily activities, is already too high of a barrier to traverse. Buy UKFR Banner Space About the Film Critic Isaac Parkinson Music Video < All Reviews Next Film Review >

Therapy film review by UK film critic Madeleine Lavers. Starring Chris Sheen, Elle E, Matt Townsend directed by Neil Crittenden. HOME | FILMS | REVIEWS Therapy Film Review average rating is 2 out of 5 Critic: Madeleine Lavers | Posted on: Jul 5, 2026 Directed by: Neil Crittenden Written by: Neil Crittenden Starring: Chris Sheen, Elle E, Matt Townsend Therapy is a scene written as part of a comedy-drama pilot that writer and director Neil Crittenden worked as a short film. The plot follows the couple Chris and Bex as they see a counsellor and discuss Chris’ drinking problems and suicide attempt. After an emotional account of events, where Chris opens up about his mental health and the lack of attention he has been giving to his son, we realise that Bex was never there. Chris is actually discussing his grief and the impact of his loss, whilst audiences were previously able to visualise the person he misses and yearns for. The plot of this short film is easy to follow, with lots of strong dialogue throughout. Despite it being somewhat simplistic in its nature, the narrative is hard to engage with as the performances are not always strong or believable. The continuity error of the counsellor suddenly having glasses on when the shot returns to his focus may evict audiences further out of the story if noticed. Another noticeable issue is the allusion to Bex not being at this appointment; this effect seems out of place and lacking power. The twist of seeing how someone who is no longer alive may respond to what is going on currently in the present is very interesting. The shock of her absence can hook viewers in as the stripped-back short reveals deeper layers through this surprise. Despite character Bex passing, we can resonate with her warmth and affection from seeing her in the film. This allows viewers to sympathise with the protagonist, Chris, as we understand who he is missing. Despite some technical disadvantages, I applaud the filmmaker for using what was available to them and following their vision through. The scriptwriting, which promotes the emotional vulnerability of the character Chris, is powerful, with the project adding to the very vital media representation of topics like grief, addiction and mental health. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Short Film < All Reviews Next Film Review >

It's Not Goodbye - December Fades Official Music Video film review by UK film critic Chris Buick. Starring Kevin Rogers directed by Kevin Rogers, Charlie Rogers. HOME | FILMS | REVIEWS It's Not Goodbye - December Fades Official Music Video Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 5, 2026 Directed by: Kevin Rogers, Charlie Rogers Written by: Kevin Rogers, Charlie Rogers Starring: Kevin Rogers It’s Not Goodbye is the official music video from December Fades, the musical alias of filmmaker Kevin Rogers. As well as performing the track, Rogers also writes, directs, and edits the project, leading a micro-crew to shoot the whole thing guerrilla-style against the jaw-dropping backdrop of El Salvador. Music videos are, of course, a unique medium within filmmaking; however, like any long or short-form film project, they still often work best when there is a clear connection between what we are seeing and what we are hearing. Lyrically, It’s Not Goodbye seems to convey a regretful parting of ways between our protagonist and an unknown other, whereas the video itself portrays a lone Rogers traversing that aforementioned incredible landscape of El Salvador in search of some kind of divine creative inspiration. While at first glance this could be perceived as a thematic mismatch, looking deeper, one can interpret that, in fact, the “unknown other” Rogers odes to is inspiration itself, lamenting how the creative muse comes and goes so fleetingly, but also capturing that feeling where, once reconnected, such creatives do often feel that they can truly “touch the sky”. Others might beg to differ; perhaps there is an undercurrent of another story here that is left untold. Even so, this capacity for open interpretation only highlights how many more levels are at play here than in your average music video. And while interpretation is of course always going to be subjective, the sense of feeling the film evokes is hard to argue. Visually and audibly, It’s Not Goodbye is able to intertwine tones of both melancholy and hope, working not against but with each other in what is ultimately one of the film’s greatest strengths. The other lies in Rogers’ talent behind the camera. A number of the scenes are fairly low-key and uneventful, leaning occasionally towards the narrative, but more often than not simply showing Rogers walking through one beautiful vista to the next. But this minimalist approach again feels like it’s a clear choice to allow the music to be the star of the show, which was likely always Rogers’ ultimate goal here. And what’s more, it allows the viewer to really appreciate Rogers’ keen visual eye that makes full use of every single stunning backdrop without ever overcomplicating proceedings, not to mention creating a brilliant visual brochure for the El Salvador tourist board. As well as now personally considering myself a new fan of December Fades musically, Rogers has also proven to be a more-than-adept visual storyteller and creative with many, many strings to their bow. Buy UKFR Banner Space About the Film Critic Chris Buick Music Video < All Reviews Next Film Review >

Ghosts of Alderney follows the research of internationally renowned artist Piers Secunda, who recently spent five years recording stories of slave labourers sent to Alderney. When Hitler’s forces invaded the small Channel island in 1941, nobody knew just how brutal the occupation of this piece of UK Crown land would become. Secunda has worked for years to commemorate the slaves who endured random and unprovoked shootings, beatings and starvation.. Brand new film trailers. Ghosts of Alderney: Hitler's Island Slaves Ghosts of Alderney follows the research of internationally renowned artist Piers Secunda, who recently spent five years recording stories of slave labourers sent to Alderney. When Hitler’s forces invaded the small Channel island in 1941, nobody knew just how brutal the occupation of this piece of UK Crown land would become. Secunda has worked for years to commemorate the slaves who endured random and unprovoked shootings, beatings and starvation. People from all over Nazi Europe were shipped to the Channel Islands to build Hitler's “fortress” against an Allied attack. It was in Alderney however, where the treatment was harshest. Intelligence reports after the liberation reveal that bodies dumped in mass graves were compared to victims of the Belsen concentration camp. On this, the 80th anniversary of the end of the Second World War, Ghosts of Alderney serves as a testament to the bravery of these people. Through the work of the filmmakers and the research team, new evidence has come to light in this documentary, which uncovers further atrocities committed on the Nazi occupied island. These crimes include firing squads, mass graves, indiscriminate executions, and more shockingly, competitions from the officers rewarding even further brutality. Ghosts of Alderney also promises to expose how, following the Second World War, the UK government concealed the real reasons why it failed to prosecute any German officers for war crimes. “Of course there was a cover up,” said Professor Anthony Glees, a security and intelligence expert, who explores the reasons why the perpetrators of Alderney seemingly escaped justice. Madeleine Bunting, historian and author, adds: “This was the biggest mass murder on British soil. Yet so many questions remain.” A recent UK Government inquiry found that more than 1,100 people died on Alderney but acknowledged there are many more missing. Ghosts of Alderney seeks to go beyond the numbers, to bring the names and faces of those who suffered back to life. Piers Secunda adds; “The academic research deals with lists of names and adding up numbers to create a total figure of number of people who came to Alderney. But people aren't numbers. They're human beings. They have lives, they have histories, backgrounds. " Ghosts of Alderney: Hitler's Island Slaves will be released in the UK later this year 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.

Bums: A Day in the Life film review by UK film critic Jason Knight. Starring Jak Truswell, Sean Radford, Liam Dexter directed by Liam Dexter. HOME | FILMS | REVIEWS Bums: A Day in the Life Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 29, 2021 Directed by: Liam Dexter Written by: Liam Dexter Starring: Jak Truswell, Sean Radford, Liam Dexter An insight into the lives of two unemployed men as they spend the day together, wandering around and discussing their current situations and dreams for the future. Steve (Truswell) is a 25-year-old man who is unemployed and wants to become an actor. He spends every day with his best friend Rainbow (Radford), who also does not work and has a troubled past. The two of them walk through the streets of Nottingham, listening to each other's problems and goals and trying to support each other, while at the same time attempting to avoid a local bully nicknamed Dirty Pete (Dexter). This short drama was filmed like a documentary, with the idea being that a film crew follow Steve and Rainbow as they go about their business. Characters often look into the camera and address the audience. The main focus is the strong friendship between the two friends. They have known each other for many years and care deeply for each other. The story begins more or less with a lighthearted atmosphere and as the viewer learns more and more about their lives and struggles, things get rather dramatic and emotional. It should be mentioned that there is a scene involving adult humour that might be offensive to some viewers. The three protagonists deliver realistic performances. Truswell is a guy who is lacking the required confidence in order to pursue his objectives and Radford is an aimless man who behaves childishly and has a drinking problem and is sad that he has been estranged from his children but nevertheless is supportive of his friend's ambition of becoming an actor. And finally there is Dirty Pete, who (as his nickname suggests) is a despicable person who enjoys picking on people in order to make himself feel important. The characters are well-explored. Dexter directs well and creates effective long takes. There is very little music throughout, however the score that was provided by Oscar Wright-Shaw is used to good effect. Editor Thomas Daniels does a great job and develops a well-constructed montage sequence. This is an emotional story about two well-meaning individuals who are struggling to find direction in their lives. The narrative explores the value of friendship, of being there for each other and of wanting to move on to better things. It is an achievement that will most likely leave a positive impression. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

B for Blake film review by UK film critic Rob Jones. Starring Drew Sicard, Ingrid Libera, P. Lynn Johnson, Charles Du Hamel directed by Ryan Jamison. HOME | FILMS | REVIEWS B for Blake Film Review average rating is 5 out of 5 Critic: Rob Jones | Posted on: Apr 14, 2023 Directed by: Ryan Jamison Written by: Ryan Jamison Starring: Drew Sicard, Ingrid Libera, P. Lynn Johnson, Charles Du Hamel This is a sweet-centred, heartfelt tribute to a lost friend that chronicles how he was able to make a difference to those who knew him, and the community he was from, by leaving something special behind. It almost feels intrusive to watch something that’s so clearly personal to the people who’ve made it, but that’s counterbalanced by the idea that this is now part of Blake’s legacy. In hearing from his parents, friends, and classmates, we learn just how special a person he was, and we get to share the feeling of what it was to know him. The filmmakers are so candid as to show intimate details of how Blake passed, including parts of a suicide note in a scene that makes it difficult not to shed a tear. What’s beautiful, though, is that after his death they were able to find a collection of poetry that they hadn’t known about previously. It’s intensely relatable and profoundly sad that he had done so much without being able to share any of it, but that’s something that his friends remedy with the permission of his parents. By producing copies of his work and circulating it around their school, they’re able to make a real difference. Mental health services become more accessible and people are able to open up in a way that might have helped Blake himself had it happened a bit earlier. It’s as heartbreaking as it is heartwarming, and if you haven’t watched B for Blake yet then I would compel you to go and do so now before reading any further. Because what happens next is a stroke of mastery that M. Night Shyamalan would be proud of. What quite easily came across as totally real and authentic was a mockumentary of sorts all along. It’s a massive credit to the actors and the screenplay that this isn’t telegraphed in any way whatsoever, and that even after the big reveal it’s unclear as to whether any of it actually happened or not. It can only be compared to professional wrestling before the age of the internet and the smart fans, where no one was really sure what was real and what was fake, and what existed in the space in between the two. This is really something quite special that only gets more impressive once how little it was made with is taken into consideration. Everyone involved puts in a fantastic shift to create the illusion that this is something real and authentic when it’s actually all make-believe. There probably isn’t a better way to spend eighteen minutes. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

The Art of Telling Lies film review by UK film critic Patrick Foley. Starring Sara Hagno, Oris Erhuero, Syama Rayner directed by Pascal Payant. HOME | FILMS | REVIEWS The Art of Telling Lies Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 9, 2026 Directed by: Pascal Payant Written by: Pascal Payant Starring: Sara Hagno, Oris Erhuero, Syama Rayner Pascal Payant must not be able to believe his luck that The Art of Telling Lies is releasing right as a seemingly endless list of the rich and famous are being implicated in all kinds of horrors thanks to the release of the Epstein files. The film’s plot involves elite members of society being forced to partake in a sinister game through blackmail – a timely concept but one that derails as the story goes on. A group of strangers from high society receive invitations to a mysterious special event at a hidden castle. Rather than being met by Claudia Winkleman, they instead find themselves blackmailed by a faceless adversary – who uses their sordid history of murder, affairs, abuse and more to bend the hostages to their will. The group must decide how best to work against their predicament, whilst coming to terms to who they really are. The Art of Telling Lies is a ruthless and intense mystery thriller from the word ‘go’. The plot races into action as its protagonists are placed into a fateful roundtable where their darkest secrets are revealed, leading to all manner of fury before a full-blown conspiracy plot gets into gear. There does seem to be a desire from director Pascal Payant to ensure that the viewer can barely gather their senses before the next shocking twist or screaming monologue is unleashed. There is a darkly comedic element to the ‘Saw’- like manipulation at play in the film’s first act, and the early exploration of the concept is at its most interesting at this point in the film. The character’s differing responses to their secrets being revealed feels like the highpoint of the thematics. However, the plot begins to collapse under its own weight as it goes on. The conspiracy is at its most interesting when it is unexplored, and viewers will likely feel a little unfulfilled by its conclusion which fails to really land a statement about the nature of deception or criminality that has not been managed in more effective ways by films previous. It is invigorating and shocking on a first viewing, but unlikely to hold up on a second watch knowing the outcome, which fails to make the most of the setup. The film looks fantastic for its small budget, brilliantly portraying a modern European castle as a rich person’s paradise and an ominous prison concurrently. Pascal’s manipulation of camera work also benefits the tension, offering sly misdirects and clues that will keep audiences fixated on the character’s motivations. The paranoia, terror and self-hatred of the ensemble comes through clearly in pivotal scenes. The cast match the intensity and velocity of the plot, almost each of the principle getting the opportunity to unleash their inner ham to their heart’s content. Oris Erhuero’s Isaac and Syama Rayner’s Ester are particularly prominent in this, though far from alone. If not for the subject matter it would make for dark humour, though the otherwise seriousness and intensity of the scenes in which these occur suggest this would be unintentional. Pascal may be minded to advise his cast to tone things down just a little, particularly in the early stages where it is difficult to up stakes from. Yelling does not automatically make for great acting – and when the cast are meant to be portraying sinister, manipulative and successful people, a little more complexity would have gone a long way. There is something strangely endearing about The Art of Telling Lies , which has a strong concept and is not afraid to engage with dark territory. It’s a daring, convoluted, enjoyable mess with an impressive aesthetic, that will definitely find an audience despite its unrefined qualities. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Right Words film review by UK film critic Alasdair MacRae. Starring Yasser Osmani, Sanya Salhi, Aya Halal directed by Adrian Moyse Dullin. HOME | FILMS | REVIEWS The Right Words Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Nov 2, 2022 Directed by: Adrian Moyse Dullin Written by: Adrian Moyse Dullin, Emma Benestan Starring: Yasser Osmani, Sanya Salhi, Aya Halal On the school bus romantic but awkward teen Mahdi (Yasser Osmani) is peer pressured into asking out his crush, Jada (Sanya Salhi). Adrian Moyse Dullin’s short perfectly encapsulates the microcosm of high school, the awkwardness of finding one’s-self, of learning the rules of social circumstances, and of course, the perpetual threat of humiliation, exaggerated even more so by social media. Arriving on the bus to find his older sister Kenza (Aya Halal), and her friend Aïssatou, (Rama Ndongo) posting his private poems about his crush on Snapchat, Mahdi is already having a bad day. Kenza sees this as an opportunity to push him into asking Jada out, a move that seems a little too much for the socially disjointed teen as Jada does not even know who he is. Whilst Mahdi can see a level of risk in the endeavour he is still naïve enough to block out the potential downsides that we the audience can see. This is reflected in the combination of close-ups and shallow depth of field used to isolate characters within the frame despite the densely populated situe of a school bus. The intimacy is used to create both a sense of interiority and a romanticised style of looking. The core drama at the heart of the short can largely be reduced to managing the audience’s expectation of how Mahdi will fare in this significant coming-of-age moment. A moment that we know, through experience, he will carry with him forever. A timelessness and universality like that exemplified in the use of the stressful tempo of the Allegro of the Summer of Vivaldi’s Four Seasons. However, we are not the only ones who see it this way, as the possibility of a very public rejection grows near Aïssatou feels a sense of complicity in her friend’s cruelty, finding herself arriving at a crossroads in their relationship. The given English title for this short is The Right Words , but the original French title Haut Les Coeurs , is a better reflection of the film, a phrase which loosely translates to “take courage!”. An intimate yet universal drama that plays on our risk-averse sensibilities and suggests that maybe it couldn’t hurt to be a little more naïve or romantic. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film, World Cinema < All Reviews Next Film Review >