The Last Snow film review by UK film critic Swati Verma. Starring NA directed by Shayan Naghibi. HOME | FILMS | REVIEWS The Last Snow Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 6, 2024 Directed by: Shayan Naghibi Written by: Shayan Naghibi Starring: NA The writer-director Shayan Naghibi utilises literary devices like symbolism and connotation of snow to bring out the necessary life lessons he wants to communicate through the movie. The plot of The Last Snow revolves around the idea that everything can be lost just like snowfall and it can disappear like the fall of the last snowflake. The short film begins with a black screen along with an eerie sound in the background as the name-The Last Snow appears on the screen elevating the subject matter it deals with and also attempting to increase the degree of audience engagement with the content. The set design, a combination of black, and white as well as a blue tint colour palette, dim lighting, lamp lighting, natural lighting, sound, camera angles, old damp wallpapers, rains, snow, and props brilliantly depict time- lapse a photographic/camera technique to showcase the necessary changes people experience in life and therefore developing many skills required to combat all the challenges life throws at us. The light bulb continuously going on and off as the narrative moves forward can portray the struggle between life and death to survive another day. The continuous rains can signify sadness, melancholy or introspection, chaos, conflict, or disaster illustrating different moods people experience while adapting to various situations. The sound of the wall clock ticking indicates the precious special moments that must be cherished. In terms of performance, The Last Snow is an animation, experimental short film that introduces us to extreme weather with rain and snow and an empty house with some eerie sounds and props but no dialogue. Shayan Naghibi along with his crew has done a wonderful job with on-point animation skills making sure of maintaining factors like continuity, realism, and relatability, especially with the short running time. The Last Snow has an open ending therefore giving the audience freedom to interpret it as they want to. The Last Snow talks about life being short and unpredictable so one shouldn’t take anyone for granted. The short film teaches its viewers that change is the only constant and time well spent with people one cares about is the best way to cherish it because everything materialistic cannot find someone the happiness, as well as satisfaction one is hoping for in their journey from the mother’s womb to the graveyard. The cinematic piece reiterates that just like snow life also has happy days and sad days to create a perfect balance giving people the choice of making it beautiful as well as blissful for themselves and their families or vice versa. To conclude, I would like to appreciate Shayan Naghibi and his team for going forward with a simplistic approach breaking free from mainstream filmmaking for this project to make the audience understand the theme without diverting attention between dialogues, character arcs, costume, hair, and makeup using unconventional techniques and ideas making it interesting for those who like to experiment with their watch list. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film, Animation < All Reviews Next Film Review >

Mémoires d’un Mime film review by UK film critic Julian Gaskell. Starring Samson directed by Jamey Brown . HOME | FILMS | REVIEWS Mémoires d’un Mime Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Dec 20, 2021 Directed by: Jamey Brown Written by: Jamey Brown Starring: Samson A film by Jamey Brown, which he made whilst at film school with his brother, shows some interesting experimentation, most notably with the sound and the grading, in a short story about a down on his luck mime artist. The short is just under two and a half minutes in length and features Samson as the mime artist who's alone in his apartment. As he sits up in his full mime artist costume and make-up, his whitened face full of tears, he opens the bedside draw to get a cigarette. The foley sound effects are big and exaggerated, rattling the senses. He lights up and begins to scribble a note in his notebook with the continued heightened sound grabbing your attention, making you feel them and bringing them to the fore as acts of dramatic significance. It becomes clear he is writing a suicide note that mocks his own art form, “I can’t take this anymore I feel all alone in a silent world...” All the while the music score plays charming French café music (C’est L’Amour Classiques Francais Romantique) that conjures up images of the French joie de vivre that’s in contrast to his sad and depressed disposition, alone in his rundown room, with the tears of a clown painted on his face, wearing his hooped marinière top. He takes a knife from the kitchen and turns on the shower taking one slow knowing look to the camera before it cuts to him slumped on the shower floor his blood draining away. As the credits role the film finishes with an audio quote from philosopher Tom Watts, “A person that thinks all the time has nothing to think about except thoughts and so he loses touch with reality and lives in a world of illusion.” A profound statement ironically linked to this mime artist's story who has had enough of his own acts of illusion. There is plenty to like here including the sole performer, the mime artist played by Samson, who has some wonderful looks to the camera at the beginning and at the end that speak volumes. The grading uses a worn grainy effect that matches the run down state of the apartment, which looks like it has been patched up with masking tape, that all add to the overall gloomy outlook. The dramatization is forewarned and concluded with the ominous sounds of a woodblock used to great effect in traditional Asian theatre and there are some nice camera touches like the pan between the facial expression and the knife, which says it all before the final conclusive frame. It’s a thoughtful and thought provoking short that packs plenty of creative elements in it combining the French sound and look with the melancholic struggle of the mime artist and, although it doesn’t end well for him, leaves you with plenty to think on. Buy UKFR Banner Space About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

A 75% Carnage film review by UK film critic Jason Knight. Starring Andrea Pellizzoni, Roberta Nicosia, Valentina Cherchi, Paolo Riva, Ruth Morandini directed by Ivan Brusa. HOME | FILMS | REVIEWS A 75% Carnage Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 15, 2024 Directed by: Ivan Brusa Written by: Ivan Brusa, Pierpaolo Provetti Starring: Andrea Pellizzoni, Roberta Nicosia, Valentina Cherchi, Paolo Riva, Ruth Morandini A troubled youngster gets involved with a woman who tries to lure him into a vile plan. Mattia (Pellizzoni) is not happy. He is a young guy who lives alone in an apartment in Italy and has a customer service job that he despises and he does not feel much better about his boss either. To make things worse, his relationship with his girlfriend is deteriorating, his friends annoy him and he is not getting along with his cousin, Isabella. He believes that today's society is flawed and does not know how to handle it. Then he meets Federica (Cherchi) a confident young woman who shares his negative point of view regarding the world. It turns out that Federica is part of a sinister group and she convinces him to resort to rather extreme methods in order to deal with what they consider to be the world's problems. A feature-length dark comedy from Italy that involves social alienation, social media, political corruption and murder. The narrative begins by introducing Mattia's dead-end lifestyle and his no-good views towards the world. Once he begins his collaboration with Federica, her associates enter the picture and the screenplay alternates between two storylines, one being Federica preparing Mattia for his big moment and the other involving a ruthless businessman named Radaelli (Riva), the group of dangerous women around him and a plot to assassinate a politician. The plot is intriguing, there are some references to famous films and Mattia makes an interesting character, an angry loner who believes that everything is wrong with today's world, particularly youths who are influenced by social media. However, the pace eventually becomes too slow, making the film feel overlong. The low production value is evident, there are often awkward camera angles and the filmmakers make frequent use of slow motion and fast motion. Brusa, Nicola Crucinio and Nicolo Tagliabue worked on the editing and utilise split screen, fast cutting, wipe transition and dissolve techniques. Regarding the audio, Francesco Tresca's score is dramatic and ominous and there are some interesting sound effects. This is a feature with eccentric characters and opinions regarding the world's flaws. The duration is arguably too long, however it can still be amusing thanks to the funny moments and it can also be a thoughtful viewing because of the theories that it contains regarding certain issues with today's world. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Makyo film review by UK film critic Corey Bulloch. Starring Alden Doyle, Abigail Markowitz, Bijan Karim directed by Bijan Karim. HOME | FILMS | REVIEWS Makyo Film Review average rating is 3 out of 5 Critic: Corey Bulloch | Posted on: Apr 1, 2022 Directed by: Bijan Karim Written by: Bijan Karim, Alden Doyle Starring: Alden Doyle, Abigail Markowitz, Bijan Karim “Silence calling out to me” There is a captivating serenity with Makyo , Bijan Karim’s film about a man named Abner seeking purpose in the world. As said above, Abner feels an invisible pull, a call to an action he is not entirely sure of. That detachment Abner has to the world around him is reflected through the filmmaking as Karim’s direction, editing along with Daniel Wester’s cinematography draws the audience to its relaxing and reflective vistas. We gather bits and pieces of Abner’s history, his relationships with old friends and idiosyncratic strangers while at the same time Karim always keeps us at a distance. Insights through narration give the character a poetic voice with Alden Doyle’s performance staying grounded in realism. While some scenes were clearly performed with other actors in the narrative, other moments felt that Karim and Doyle had gone documentarian and filmed real people’s reactions to Abner’s character interacting with them. Wester’s cinematography has a POV/documentary style to it at times, with sequences feeling voyeuristic as the camera follows or at times chases Abner. It doesn’t break the tranquillity of the film but does make the long static shots more striking. Scenes of the film will just take place in one wide shot, the breadth of the image be it under a bridge or a beachfront washes over the audience, wonderfully ensnaring them to the beauty. My favourite shot is two walls framed in a doorway that Abner and Abigail Markowitz’s Jazz were painting, the scene ending with both characters sitting on the floor. The two characters speak in the lower thirds of the frame, yet Wester's use of negative space and framing allows the scene to keep its emotion. The imagery made lively in silence as well as the use of music, using both licensed music or original score by Evan Hardenburger all have the same serene effect. Makyo creates a feeling of zen for the audience, and with that title, one can only guess that it is Karim’s desired effect for his film. Makyo is a term used in Zen Buddhism that has some different interpretations; referred to as the realm of devils or “illusory experiences” that can happen during meditation. Though in a broad sense, Makyo can also refer to attachments to experiences in everyday life. That latter description is more in line with Karim and Doyle’s screenplay as Abner questions his attachments to the places and people around him. Though with the character’s inner struggles and experiences in the film, the other two descriptions are applicable as well though not in a literal sense. A film like Makyo would usually struggle to hold my attention, with its slow disconnected narrative but Karim’s direction and editing are fascinating and feel akin to meditation. The distance can be a detriment at times but Makyo has its ways to quietly draw you back in. Overall a soothing spiritual journey of reconnection that is brought forth through strong cinematography and vision. Buy UKFR Banner Space About the Film Critic Corey Bulloch Indie Feature Film < All Reviews Next Film Review >

Bad Man stars Sean William Scott (American Pie), Rob Riggle (21 Jump Street), Johnny Simmons (The Perks of Being a Wallflower), Lovi Poe (Chelsea Cowboy), Andre Hyland (Barry), and marks the final film of the late Chance Perdomo (Chilling Adventures of Sabrina). . Brand new film trailers. Bad Man Bad Man stars Sean William Scott (American Pie), Rob Riggle (21 Jump Street), Johnny Simmons (The Perks of Being a Wallflower), Lovi Poe (Chelsea Cowboy), Andre Hyland (Barry), and marks the final film of the late Chance Perdomo (Chilling Adventures of Sabrina). Bad Man is the debut feature from director Michael Diliberti, which he also co-wrote with JJ Nelson. The small town of Colt Lake, Tennessee, has a big meth problem. When murder strikes, Deputy Sam Evans is assigned the case. A former local sports star, Evans has fallen from grace in the eyes of the community he still holds dearly. No one takes him seriously or thinks he can get the job done. Then, hotshot Bobby Gaines arrives. An undercover agent with the state's Special Narcotics Task Force. He is immediately welcomed like a hero. Evans is forced to work the case with the new top dog in town. But as they dig deeper, all may not be what it seems with this strange new saviour. 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.

Wrath film review by UK film critic Jason Knight. Starring Thomas Burke, Mick Westerman, Matthew Clifton McClure directed by C.A. Mack. HOME | FILMS | REVIEWS Wrath Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 17, 2021 Directed by: C.A. Mack Written by: C.A. Mack Starring: Thomas Burke, Mick Westerman, Matthew Clifton McClure A man seeks to get even with the person who caused the deaths of his wife and child in a car accident. Jim (Burke) is devastated by his terrible loss and is angered to learn that Stephen Richard (McClure), the man responsible for his suffering, has been released fom prison due to errors made by the authorities during their investigation. Wanting justice for his departed loved ones, he decides to take matters into his own hands and drives to Richard's household during the night, armed with a handgun. While he sits in his car, he struggles with his emotions, particularly the feeling of wrath, which takes the form of a man (Westerman), who Jim imagines is sitting in the passenger's seat. Wrath attempts to convince Jim to take his revenge, while Jim tries hard to decide what to do. This short is a revenge thriller that centers around a damaged man's need to find a way out of the emotional pain he is going through. Will killing Richard bring closure to what Jim is going through? Will he do it? Should he do it? Can he do it? These are the dilemmas he talks about and argues over with Wrath. The film begins with Jim driving and hearing from the radio about Richard's vindication. It then cuts to him sitting in his car outside Richard's home. The main focus is the intense conversation he has with Wrath, which is really his inner thoughts. Wrath believes that Richard should die, while Jim attempts to convince himself otherwise. There are strong elements of character study here. Burke is terrific in his portrayal of a broken man, whose loss prompts him to develop killer instincts. Westerman's role is the personification of wrath and he plays him as cool and having a bad temper. There are flashbacks throughout that consist of Jim's memories of his wife and son and by seeing them, the viewer learns about Jim's happy past and gets an idea regarding what he is going through. The music by Thomas Sage is dramatic and tense and assists significantly in creating the right atmosphere. The main thing in this dark story is the 'an eye for an eye' idea. It is about person who mainly believes that someone who has wronged him must pay, however part of them sees things another way. The plot is intriguing, the dialogue is interesting and the performances are great. This is an achievement that deserves a lot of praise. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

La Bola Negra film review by UK film critic Jack Salvadori. Starring Guitarricadelafuente, Carlos González, Penélope Cruz directed by Javier Calvo, Javier Ambrossi. HOME | FILMS | REVIEWS La Bola Negra Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: May 29, 2026 Directed by: Javier Calvo, Javier Ambrossi Written by: Javier Calvo, Javier Ambrossi, Alberto Conejero Starring: Guitarricadelafuente, Carlos González, Penélope Cruz This has arguably been the queerest Cannes in the festival’s history. Queer desire, identity, repression, and liberation echoed through nearly every section of the lineup, and a motif in most films. Yet speaking too concretely about La Bola Negra , one of the strongest films in Official Competition, almost feels like a disservice. Not because the film lacks substance, quite the opposite, but because Los Javis, the popular Spanish directing duo, unravel its story with such patience, poetry, and narrative confidence that revealing too much would mean robbing the audience of the experience itself. Every revelation arrives at precisely the right moment. La Bola Negra is the kind of film that trusts its audience completely, allowing meaning to accumulate gradually through glances, ellipses, fragments of songs, and emotional echoes travelling across time and generations. If the title sounds familiar, it may be because of its roots in Spanish literary history. And if it doesn’t, that hardly matters, the film itself becomes an invitation into that cultural lineage. But make no mistake: this is far from a dusty literary adaptation. Los Javis take the spectre of the Spanish Civil War and fuse it with the present day, intertwining three parallel narratives across different time periods, until history itself begins to feel so close. Over the course of its sprawling two-and-a-half hours, La Bola Negra reveals itself as something unexpectedly monumental: an epic of desire, memory, and inherited trauma. Dense and alive with detail, the film moves fluidly between intimacy and spectacle, tenderness and violence. What makes the film so remarkable is that its queerness never feels like its sole defining feature, a trap many Cannes titles this year struggled to avoid. Rather than simply existing as “a queer film,” La Bola Negra builds something far more ambitious upon that foundation. It becomes a story about cyclical struggles for freedom itself: sexual, political, personal, artistic. The repression of one generation bleeds directly into the next, desire transforming into both inheritance and resistance. And perhaps that is where the film feels most radical. For all its sweeping melodrama and visual richness, La Bola Negra is almost subversive in its conventionalism. Los Javis embrace classical storytelling, emotional sincerity, even overt melodrama and weaponise them into something deeply contemporary and poetic. The duo are fully aware they are entering a cinematic tradition long shaped by filmmakers like Pedro Almodóvar, who also produces the film and is openly referenced within it. But La Bola Negra never feels trapped in reverence. If anything, Los Javis push beyond their influences, crafting something more emotionally expansive and politically urgent than their master Almodovar, the leviathan of Spanish cinema whose new film, also incompetition, is a cinematic abomination. And in a Cannes Competition strangely lacking truly transcendent works, La Bola Negra was one of the rare films that genuinely felt alive. Buy UKFR Banner Space About the Film Critic Jack Salvadori LGBTQ+, World Cinema, Netflix, Film Festival, Theatrical Release < All Reviews Next Film Review >

Galician at Midnight film review by UK film critic William Baines. Starring Pedro Brandariz, Lorena Yang directed by Martin Cainzos Sanmartin. HOME | FILMS | REVIEWS Galician at Midnight Film Review average rating is 2 out of 5 Critic: William Baines | Posted on: Sep 8, 2021 Directed by: Martin Cainzos Sanmartin Written by: Martin Cainzos Sanmartin Starring: Pedro Brandariz, Lorena Yang An intriguing, strange and surreal short film with a message. Galicia at Midnight is kind of a mess in a unique and almost endearing way. It tells the story of a strange TV broadcast in a different language that seems to warn of catastrophic events in the world. Naturally, the viewer is intrigued and attempts to learn more with the help of a friend. Sounds like a relatively simple idea? Yeah… not so much. The acting performances are generally believable throughout the film. It is certainly not an acting-focused movie with the cinematography and general message as the main stars. However, their performances were solid enough to serve the films complex storyline. And, the idea could be quite brilliant when looked at a certain way. However, this is not what impacts the most. The amount of camera techniques Director Martin Cainzos Sanmartin crams into the 12 minute 16 second running time is highly impressive. It is admirable for a filmmaker to go against the grain and create with a uniqueness and a true passion for their ideas. However, it left the movie feeling unsure of itself and of what it was trying to show the audience. This was a shame as a truthful and fascinating message may lie at the heart of the story, however, it is easily hidden behind these unnecessary and judicious camera tricks. Sanmartin is clearly talented and enthusiastic about this film. Occasionally, the cinematography is tasteful and perfect for the moment with excellent, restrained camera techniques that serve the scene instead of taking it. In parts of the film, the sudden, cinematic madness is fantastic and effective. After all, crazy cinematic techniques are not an indicator of a bad film or filmmaker, in fact, far from it. However, the skill of the surreal in film must be worked on and Director Sanmartin is certainly the student, not the master. Galician at Midnight is strange. I still cannot tell if it is wonderful in this way or a missed opportunity from an intriguing idea. There is a love for the camera and the process of making films embedded in the short. The playful camera techniques often have a kid-in-a-candy-store vibe. A love for this creation by the filmmaker is almost infectious and the way it is filmed forgiven (maybe even loved) as just a talented filmmaker having some fun. So, as a fan of many different film ideas, it is an interesting creation. Conside giving it a watch and try to make sense of it. Buy UKFR Banner Space About the Film Critic William Baines Short Film < All Reviews Next Film Review >

Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory.. Brand new film trailers. Greenland 2: Migration When the original Greenland arrived in 2020, it defied the expectations of the standard disaster flick. Rather than focusing solely on the spectacle of global destruction, it grounded itself in the harrowing, intimate struggle of one family trying to find safety amidst the chaos. It was a grounded, emotionally resonant piece of cinema that resonated with audiences during a time of global uncertainty. Now, the first official trailer for the sequel, Greenland 2: Migration , has landed, promising to take that survivalist tension into even more treacherous territory. The trailer opens with a sobering reminder of the stakes: "Five years since the end of the world." We find Gerard Butler’s John Garrity and Morena Baccarin’s Allison five years after the cataclysmic comet impact that decimated the planet. The family has survived in their Greenland bunker, but as the trailer makes clear, surviving is not the same as living. The "new normal" of their underground existence is reaching its breaking point. John tells Allison that there is no life for their son, Nathan, in the confines of the bunker, sparking a desperate journey across a transformed, hostile landscape. The central mystery of this sequel is "The Crater." Described as humanity’s last chance, it is a mythical-sounding destination that Denis, a new character, claims is where the world will be reborn. However, the path to this sanctuary is deemed impossible. The trailer shifts gears from the claustrophobia of the bunker to the vast, desolate expanses of a frozen, ash-covered world. We see glimpses of recognizable landmarks in ruin—including a haunting shot of the Sydney Opera House—reinforcing the scale of the devastation. Visually, Greenland 2: Migration looks to maintain the gritty, tactile aesthetic of its predecessor. There are plenty of high-stakes action sequences, involving gas masks, treacherous climbs, and what appears to be a massive tsunami or environmental surge. Yet, the core of the film remains the Garrity family. The chemistry between Butler and Baccarin was the engine of the first film, and here it seems to have deepened into a weary, battle-hardened resolve. Their promise to Nathan—to get him to the crater—provides the emotional anchor for what looks to be a relentless odyssey. As a sequel, Migration seems to be asking a compelling question: once you have survived the end of the world, how do you go about building a new one? It moves the story from the immediate panic of a disaster to the long-term struggle of reconstruction and hope. The inclusion of the word "Migration" in the title suggests a journey of epic proportions, moving away from a static hideout towards an uncertain future. For fans of the first film, this trailer offers everything one could hope for: higher stakes, a more expansive world, and the return of the characters we grew to care for. It looks set to be a harrowing, high-octane exploration of the human spirit’s refusal to extinguish. Greenland 2: Migration is scheduled for US release in January, and based on this first look, it is likely to be a standout cinematic event for the new 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.

Gouge Away film review by UK film critic Joe Beck. Starring Matthew Ritocco, Jack Wheeler, Zack Spicehandler, Jeremy Spicehandler directed by Jeff Frumess. HOME | FILMS | REVIEWS Gouge Away Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: May 4, 2025 Directed by: Jeff Frumess Written by: Jeff Frumess Starring: Matthew Ritocco, Jack Wheeler, Zack Spicehandler, Jeremy Spicehandler Sometimes it feels as though films these days are increasingly trying too hard to be one thing, and that, in turn, causes them to lack any sense of authenticity. We’ve seen it with Marvel films recently, trying too hard to force the classic wit of Marvel films of old with corny one liners, and so too with a number of horror films, all determined to outdo one another with both their false pretension and their over the top insistence on extreme gore. ‘Gouge Away’ reflects both these things, and becomes a long slog of a film as a result, with each line ingratiatingly trying to please the audience rather than working on a basic fundamental level as a film. From the moment ‘Gouge Away’ begins it’s easy to get a feel for the type of film it is - offbeat, edgy and violent. The only question is whether it’ll have anything more to it than those three qualities. Unfortunately, the answer is a simple no, with perhaps the funniest and most inspired moment coming from the production logos at the beginning, with a genuinely humorous, cheeky parody of the legendary Georges Méliès film ‘A Trip To The Moon’. From there on in, it devolves into poorly written humour lacking any sense of wit, or even the slightest hint of brains. The film follows Tony the Stamper (played by Matthew Ritacco) as he searches for answers following the disappearance of his mentor Stanley (Jacob Trussell). All the while a hazardous narcotic gas - named the Hehe gas, with a named reference to Michael Jackson - flooding the city’s streets. Tony the Stamper is not a bad name for a character, especially one so embroiled in a life of crime, however, other names in this film are cringeworthy. With names like ‘The Bone Daddy’, ‘The White Hotdog’, ‘Bad Nana’, and ‘Uncle Greggy’, the film begins in a difficult place already, but the screenplay itself only makes matters worse. Lines of dialogue are unbelievably poorly written. There’s simply too much exposition and no subtext to anything. Beyond that there’s an insistence on humour which has humour of the lowest common denominator. There is zero depth to ‘Gouge Away’ , just senseless, overexaggerated violence, crass poorly written jokes, and a weird insistence on recurring poorly directed drug infused scenes. The drug scenes are indicative of the level of directing throughout, with writer-director Jeff Frumess delivering one poorly lit scene after another, with no sense of colour gradients or visual depths. In fairness to Frumess, who is involved in virtually every aspect of production, his commitment is admirable, and it is clear that he had a vision for the film he wanted to create on a tight budget. However, that doesn’t make ‘Gouge Away’ an any more enjoyable experience. ‘Gouge Away’ is a testing experience, one in which the audience suffers almost as much as the characters on screen. There is definite passion here, but it is lacking in any sense of quality and any sense of depth. It’s vapid violence porn for those that purport to being edgy and off the beaten track, but fail to understand that films and art in that vein should have an ounce of depth to them as well. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Voice Activated film review by UK film critic Joe Beck. Starring Aleks Mikic directed by Steve Anthopoulos. HOME | FILMS | REVIEWS Voice Activated Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Nov 13, 2023 Directed by: Steve Anthopoulos Written by: Steve Anthopoulos Starring: Aleks Mikic Speech is something that we consider fundamental to everyday life. Indeed, it is fundamental to everyday life and is used in practically every facet of our days - from work, to going to the shops, to hanging out with friends. Although technologies - i.e. laptops, self-checkout machines, and social media messaging services - have made it easier to live in a world without speech, it is nonetheless critical, and will forever be critical, to human existence. It is, as demonstrated by ‘Planet of the Apes’, what separates humans from other animals that we consider inferior. However, for some people speech comes with greater difficulty, as shown by ‘Voice Activated’, which portrays the issues faced by a man with a stammer in an endearing, if not wholly engaging, way. The man in question is Trent, who is played by Aleks Mikic in a lively performance, a florist who has a stammer and suffers from stuttering. Trent is en route to deliver some lovely flowers that are in the back of his car to a wedding reception when his car comes to a halt and breaks down. Having already encountered issues with his stammer on the phone to a client, who believes that he’s breaking up and suffering from a poor line whilst he is stuttering, Trent’s issues are amplified when an exploitative woman at the car hire, who takes advantage of his stutter by jumping in and pressuring him into agreeing to the ‘platinum option’, gives him a voice activated car. Already running behind schedule to deliver the flowers for the wedding, Trent must make do, though the car comes with a number of issues. The car, and its gps car assistant ‘aviv’ immediately wants him to speak, not listening to his order of ‘stop’, and proceeding to ask for simple voice commands of where to go. Unable to understand Trent’s stammer, the car directs him on a twelve day trip to Portugal - a long way away from his native New Zealand. This causes Trent’s anger to go, further amplified by the incessant playing of an audiobook on the first five hundred years of the Nordic aristocracy voiced by a famous Kiwi actor. Trent’s anger, rather predictably, brings out his voice, and in his rage he remarkably does not stutter, opening a new avenue of possibilities for the young man. Written and directed adeptly by Steve Anthopoulos, ‘Voice Activated’ saunters along at a nice pace, never truly wowing or creating moments of wonder, but always creating a positive impression. Though Anthopoulos’ writing is largely predictable - and you have to suspend your belief to think that Trent has only now realised that when angry he does not stutter - it is nonetheless potent in outlining the difficulties created by living with a stammer. Nevertheless, this is made all the more believable and interesting by the impressive lead performance of Aleks Mikic, who is at first subtle as Trent, but then explodes into life in the final act, delivering solid performances of both sorts. Therefore, whilst at times ‘Voice Activated’ is predictable and very by the books, it is nonetheless a heartfelt film with an excellent lead performance that helps understand the struggles of life with a stammer. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Daylight Saving Time film review by UK film critic William Curzon. Starring Zara Flynn directed by David Vail. HOME | FILMS | REVIEWS Daylight Saving Time Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 15, 2025 Directed by: David Vail Written by: David Vail Starring: Zara Flynn Daylight Saving Time is a self-reflection on grief, depression and self-loathing through the lens of a broken individual grappling with the sudden loss of her partner. Presented through surrealism, the narrative features a drug-fueled protagonist and a moody atmosphere that pervades the story. The film deals with the repercussions of the damage grief can cause to ourselves and to others, and the exploration of addiction as a coping mechanism for pain. The piece opens with a high pulse and energetic energy stylistically, utilising music within a party sequence as the central character drowns out her self-pity through excess and loudness while partying. The camera chooses to focus on her body through visual storytelling to convey the profound pain she is putting herself through to numb the pain of her inner turmoil. The focus then slowly transitions into self-reflection as the central character tries to piece together her grief and why her partner chose to commit suicide. The use of voice-over is another effective narrative device that feels unsettling due to its placement within dream-like sequences. While the narrative can feel stagnant due to the piece being presented through a surrealist angle, the central performance does keep the story engaging, even if it is demanding to experience frequently due to the sombre subject matter. At times, the story can also feel confused, due to the character’s state of mind vastly changing through her drug and alcohol addiction. While this does a solid job of conveying the visceral point of view of its central protagonist, it would have been beneficial to give more leeway to the viewer due to how challenging and ambiguous it can feel. One of the substantial standouts of the piece is the musical score. Wonderfully composed by Ryan Vail, the score is melancholic and haunting to reflect the film's themes and potentially aid the overall level of emotional resonance to leave a lasting impact on the viewer long after the credits roll. Another stylistic choice that stands out formally is the use of black and white cinematography to potentially convey the protagonist letting go of her grief and falling into the depths of her destructive release. The direction is truly splendid due to how it cuts from scenes of excess to more calm and reflective scenes; a heavy use of close-ups tracks the protagonist to express urgency and changing states of mind. Tonally, these themes can be tough to grasp as a viewer due to how uncompromising this feels while exploring themes of suicide, depression and grief. However, filmmakers need to shine a light on heavy themes such as this to let others know they're not alone in this, and cinema can be a mirror of reality for some to escape into. Even with a condensed runtime, the piece does an incredible job of expressing its themes and giving the audience a sense of what the central character is going through. The conclusion to the narrative is ambiguous and haunting in what is suggested for the character’s fate. Daylight Saving Time is a compelling depiction of the destruction grief can cause to individuals and a visceral sensory experience due to how painstakingly raw it is. Led tremendously by a terrific central performance from Zara Flynn, and wonderfully written and directed by David Vail. While the piece can feel exhausting to endure by the end of the runtime, it still manages to feel astoundingly powerful and haunting in its presentation, even with its faults along the way. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >