Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 2 out of 5 The Heir Of Time Read Review average rating is 3 out of 5 Sunny Dancer Read Review average rating is 5 out of 5 Baby Doe Read Review average rating is 3 out of 5 Goody Goody Read Review average rating is 4 out of 5 The Weight Read Review average rating is 3 out of 5 Resident Evil Read Review average rating is 4 out of 5 Shaun the Sheep: The Beast of Mossy Bottom Read Review average rating is 2 out of 5 Knightfall Read Review average rating is 4 out of 5 Shadows of Beirut Read Review average rating is 4 out of 5 Golden Years Read Review average rating is 3 out of 5 Practical Magic 2 Read Review average rating is 3 out of 5 Runner Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Khemerican film review by UK film critic Lee Sinden. Starring David Klaut, Sam Puefua, Kevin Vann, Tiger Sheu, jason Chu and David Chlom directed by Jimmy Chhiu. HOME | FILMS | REVIEWS Khemerican Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Sep 22, 2026 Directed by: Jimmy Chhiu Written by: Dan kerry Starring: David Klaut, Sam Puefua, Kevin Vann, Tiger Sheu, jason Chu and David Chlom This is a short film looking at Cambodian Gang life in the USA. The title is an amalgamation of Khmer which is the ethnic group of Cambodia and their official language and American. The film opens up with two young Cambodian-American teenagers discussing their future while setting up for the morning shift at the family Donut shop. Soon their peace is destroyed by the very life they are both trying to escape from. This is an introduction to the world of Cambodian gangs. This is an adrenaline charged picture that really makes the audience fear what will happen next. The score starts softly and then slowly builds to a heavy beat to complement the pace of the action that Is unfolding. This is an emergency situation which is being driven by a pretty scary individual with a formidable presents. The performances throughout are outstanding. The audience will really believe what is happening and fear for those involved. The tension amongst the main characters is palpable as barriers develop , so does the fear. This appears to be a debut film for David Klaut as Sovankary the teenager trying to keep a clean life in helping his father run his Donut shop. This is a mature performance showing great skill in reacting to everything that is going on. Klaut is able to convey the stress that his character is under as the situation becomes more and more perilous. This is supported by the performance of Sam Puefua who plays the gang member Monk. Puefua shows real menace with this character, helped by his physical presence in each scene. The danger they all face feels real and there is no let up in the action. The physical aspects of each performance are choreographed well and the audience is treated to each characters viewpoint, as the camera moves around the scene. Overall this is superb casting. The director Jimmy Chhiu skilfully navigates each scene in what is a claustrophobic environment. The close up camera work adds to the tension, making the action that much bigger and elevates the threat that each character is under. The opening scene develops the background of the two teenagers. The character Bountha is striving to improve his life and Sovankary is resigned to a future at the shop because this is the only life for those born of refugees. What starts off as an everyday shift soon derails into violence. Chiuu works the script well and has a good eye for location for both internal and external sets. The choice of musical score is perfectly chosen. The writer is able to present a snapshot of what life is like for gang members in the U.S. They have developed each character and in a short time we learn their background. Even those that don’t make it on screen have an impact on the situation. The audience learns about the family dynamic and the battle Sovankary has to stay on the right side of the law and away from danger. The dialogue sounds authentic which really helps the actors deliver on their performances. This is a well polished film with some superb performances. It is a mixture of relentless action where the audience will struggle to catch their breath and calm thoughtful dialogue. It is a scene from your worst nightmare and unfortunately scenarios like this are all too common. The viewer will have plenty to contemplate when the film stops rolling. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film, World Cinema < All Reviews Next Film Review >

Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Khemerican This is a short film looking at Cambodian Gang life in the USA. The title is an amalgamation of Khmer which is the ethnic group of Cambodia and their official language and American. The film opens up with two young Cambodian-American teenagers discussing their future while setting up for the morning shift at the family Donut shop. Soon their peace is destroyed by the very life they are both trying to escape from. This is an introduction to the world of Cambodian gangs. This is an adrenaline charged picture that really makes the audience fear what will happen next. The score starts softly and then slowly builds to a heavy beat to complement the pace of the action that Is unfolding. This is an emergency situation which is being driven by a pretty scary individual with a formidable presents. The performances throughout are outstanding. The audience will really believe what is happening and fear for those involved. The tension amongst the main characters is palpable as barriers develop , so does the fear. This appears to be a debut film for David Klaut as Sovankary the teenager trying to keep a clean life in helping his father run his Donut shop. This is a mature performance showing great skill in reacting to everything that is going on. Klaut is able to convey the stress that his character is under as the situation becomes more and more perilous. This is supported by the performance of Sam Puefua who plays the gang member Monk. Puefua shows real menace with this character, helped by his physical presence in each scene. The danger they all face feels real and there is no let up in the action. The physical aspects of each performance are choreographed well and the audience is treated to each characters viewpoint, as the camera moves around the scene. Overall this is superb casting. The director Jimmy Chhiu skilfully navigates each scene in what is a claustrophobic environment. The close up camera work adds to the tension, making the action that much bigger and elevates the threat that each character is under. The opening scene develops the background of the two teenagers. The character Bountha is striving to improve his life and Sovankary is resigned to a future at the shop because this is the only life for those born of refugees. What starts off as an everyday shift soon derails into violence. Chiuu works the script well and has a good eye for location for both internal and external sets. The choice of musical score is perfectly chosen. The writer is able to present a snapshot of what life is like for gang members in the U.S. They have developed each character and in a short time we learn their background. Even those that don’t make it on screen have an impact on the situation. The audience learns about the family dynamic and the battle Sovankary has to stay on the right side of the law and away from danger. The dialogue sounds authentic which really helps the actors deliver on their performances. This is a well polished film with some superb performances. It is a mixture of relentless action where the audience will struggle to catch their breath and calm thoughtful dialogue. It is a scene from your worst nightmare and unfortunately scenarios like this are all too common. The viewer will have plenty to contemplate when the film stops rolling. VIEW REVIEW Cancer Kid Cancer Kid is a dark comedy about a schoolyard prank that keeps Elliot (Charlie Zeltzer) spiralling down into a health anxiety hole. His life seems over as he tries to understand his own mortality. Throwing us right back to our school days, we follow innocent, naive Elliot navigating school life and bullies. Without going into spoilers, the set-up of the prank is so nostalgic. This was one that went round every school and caused panic but also, upon reflection, carried a lot of weight. Adulthood and so many serious issues are touched upon in this but through a comedic sense of wonder about the world. It uses children’s innocence to open up a wider conversation whilst balancing a lightheartedness. The children’s performances are strong; they don’t really understand the gravity of the situation and how to properly comfort Elliot in such a vulnerable moment. They are, as to be expected, very childlike responses and matter-of-fact, which really pushes the comedy element. Their lives consist of going out to play and their biggest worry being what’s for tea tonight? Even his own family can’t believe what he is saying. Battling his own demons, but he doesn’t quite understand them himself. We see Elliot going through Google searches, misspelling serious terminology, reading and frightening him, all adding to the health anxiety. One scene in particular shines through when he’s going through his mum’s medication drawer and picks the option he does, completely clueless but hilarious. His solution to this life-altering prank is extreme and he doesn’t quite understand the consequences, writing out a letter to his family that’s heartfelt but naive. The quality is apparent in this film: well shot, clean audio, and sound design throughout. The sound, especially, is used as an effective device to portray Elliot’s emotions through shock, sadness, and disgust, and helps to strengthen the comedic timing during dialogue. The relationships are well established in this film: the easygoing friends, the annoying older brother, and the unaware mother. It grapples with growing up and that ever-looming thought process of self-awareness and existence. Most age ranges could watch this and take something away from it. From an adult audience, it hits so many relatable marks, having grown up with the same elements of childhood and how we learn lessons the hard way. The ending just solidifies that point, and it’s really well executed, leaving Elliot in a state of disarray and relief. It’s no wonder that Cancer Kid has won Best Short Film at the Blue Mountain Film + Media Festival, Toronto Independent Film Festival, and Vancouver Island Short Film Festival, and was an Official Selection at the Austin Film Festival. It’s an independently produced dark comedy made by brothers Vasili and Dimitri Manikas. This project alone proves the brothers’ dedication to filmmaking and creates excitement for any future endeavours. VIEW REVIEW Hindsight Directed by Remi R.M. Moses, Hindsight follows a young man called Jamal as he buys his first car. Initially an energising novelty among his group of friends, the unexpected caveats of extensive repairs, occurrences of prejudice, and an increase of mundane family errands, make Jamal’s newfound freedom more of a chore than a joyride. This entire short-film is presented through a sequence of carefully framed match cuts looking from the front of the car’s bonnet inward, a fantastic framing device that challenges the writer to convey a clear vignette of the protagonist’s life purely within the confines of a car. This is made even more impressive by the discovery that most, if not all, of this film was shot on a virtual stage. With a high potential of looking cheap or unnatural, this production manages to utilise the virtual shooting space to its highest effect, and one could easily mistake the car’s location for a tangible one. “When done correctly, virtual production not only solves logistical problems, but also provides a more liberated canvas on which to paint with light and to craft gorgeous cinematic images” remarks V Studio’s VP supervisor/ head of studio Kate Phibbs in relation to this shoot, which is clearly reflected here through the high level of preparation and precision on display from director of photography Fola Abatan. At the core of the story lies four fantastic central performances from Josh Tedeku, Jude Carmichael, Denzel Baidoo, and Joshua-Alexander Williams that all feel effortlessly relatable, each bringing their own unique energy and humour to their respective roles. This is testament not only to the spot-on casting, but also Moses’ ability to direct actors with such ease and freedom that it plays to the audience as if each moment were entirely candid. What could easily stick to being a comical tale about four friends and their first car is also laced with deeper themes as Jamal experiences viscerally true-to-life trials such as being racially profiled by police officers, drifting from friends over time, and being suffocated by financial burdens. All of this culminates in a surprisingly hard hitting coming-of-age story that any adult, no matter what demographic, sex or religion they belong to, can sympathise with. Hindsight is a wild ride and drives the thin road between humour and sincerity to outstanding success, all the while showcasing originality, innovation and talent from all the creatives involved. I have no doubt we will be seeing a lot more exciting work from this team in future. Hindsight premieres at the BFI London Film Festival in October. VIEW REVIEW Homeless Homeless is a short film released in 2025, directed and written by Rikhiil V Bahadur. Throughout it’s 18 minute runtime, the short follows Roufus (Rocco the Adorabull) as he leaves his current life behind and bonds with Fred (Blakely David), a homeless man he encounters outside of a coffee shop. The heartwarming relationship formed between these two protagonists allows for a deeper, feel good approach towards the content. Exploring such topics is cleverly enhanced through the use of this canine star, shifting focus onto their raw connection rather than dialogue which provides unnecessary exposition as to how the pair feels. Theory of mind between our deuteragonist Fred and those viewers with pets will not come difficultly, as it is very easy to place yourself in his human perspective of the camaraderie. We begin with an insight into Roufus’ home life, in which he is practically shunned away for simply seeking positive affirmations from his owners, Katie (Sam van Goph) and Linda (Evelyn Tran). This instantly informs the audience that Roufus is a sympathetic and endearing character, rather than an outright disobedient dog. His home life difficulties are shown to lead to some destructive behaviour, however his owners clearly fail to see how this can be traced back to their own argumentative and dismissive behaviour. Upon partnering with Fred as he is left by his disengaged carers, Roufus instantly receives food, water, and friendly remarks - these are all rarities within his own home and is even later repaid by the dog as he find food for him and his new friend to eat. It is very clear that the duo see reflections of themselves within the other, strengthening their bond and helping them both through their trauma together. In the latter half of the short film, this teamwork is demonstrated beautifully as Fred even puts his life on the line during a robbery to ensure our main characters safety (once more, this is later reciprocated as Roufus refuses to leave Fred’s side upon his previous owner’s return). The juxtaposition between his newfound life in contrast to his previous neglect is able to subvert expectations and stereotypes for those with versus without stable housing, displaying how a truly formed attachment will prevail throughout adversity. The story ends peacefully, open-ended as to where Roufus and his mankind counterpart will be taken in the future. Only one thing is for certain: they have each other. A large portion of the production of the short was largely under the influence of Rikhiil V Bahadur, however other notable figures include co-producer and Shahchi Sharma and cinematographer Dan Barham. The visual style largely takes inspiration from the wondrous city of Vancouver, Canada and the film itself was made possible by the Vancouver Indie Film Community. One specific quote from Bahadur himself tells how the creation of Fred and Roufus were directly encouraged by a homeless man and his “beautiful dog”, alongside a comfy duvet outside the director’s apartment in the very same city. A noticeably warm colour palette mirrors the flourishing affection these two characters form throughout, whilst some scenes depict a harsher grey-ish scale to display brief moments of despair. Choosing to close up toward Roufus’ eyes in various shots, assist in humanising the character and translate his emotions as this is sometimes a simpler guide to gaze upon rather than body language. The acting of this talented pooch cannot be understated, hitting each mark and remaining eloquent throughout some tough to watch scenes as to retain Homeless’ comforting nature. Cleverly placed and quirky sound design also ensures the tone of the film remains light-hearted rather than strictly mean spirited, as that could dampen the overarching message. The short dedicates itself to animals without a permanent home with a written message after the narrative, a smart chronological choice following the engaging hypothetical viewers are met with. The zero budget short movie made a DirecTV network debut on 31st May 2025, followed by international streaming release to Amazon Prime on 1st June 2025. Overall, the serious message of Homeless is wrapped neatly and delivered carefully under layers of optimism which shine throughout. It is recommended to those who may need to reignite a feeling of deep connection within their own life as it lends out it’s positive nature. A small budget could have assisted in displaying some of the adventures our loving pair engage in following these events, perhaps in a follow up short or extended version of the original. This may have meant minor issues could have been avoided also, such as slight continuity errors and a lack of severity when dealing with Roufus’ abandonment which in turn would reinforce the relief of unity between him and Fred; these hardly hinder the message of the film, however, as it remains impactful within it’s own right. Those behind the scenes and on camera were able to come together and share an important anecdote relating to animal and human welfare alike in the absence of a true home. Even through troubling times, everybody deserves someone to form a deep-rooted and loving connection to, and this short ensures you do not leave unaware of this fact. VIEW REVIEW Head of a Camel Shannon Lee’s Head of a Camel is an experimental, circuitous animated film about a Korean-American woman who tries to reconnect with her cultural roots by conjuring a mystical creature from an ancient Daoist recipe. Head of a Camel is closer to a visual poem than a conventional film: it has no on-screen actors, little narrative, and a minimal score. The sounds mainly consist of a narrated recipe describing the anatomy of an Asian dragon. The film’s greatest strength is its visual style. It opens with poem-like text, each line appearing on screen as though thoughts are being set down on a page. These words describe the physical distance between the narrator’s mother and sister, as well as the difficulty the narrator and her father have communicating. To reconcile her Western identity with her cultural heritage, the narrator turns to an ancient recipe. As she recites it, images of its animal ingredients flash rapidly across the screen, which include a frog’s belly, a hawk’s claws, a carp’s scales, and, of course, a camel’s head. I particularly liked how the parts appear to be cut from the animals in a papier-mâché-like style. The rapid sequence of photographs also recalled the opening of Gaspar Noé’s Enter the Void, though Lee’s imagery is more ethereal and dreamlike. She created the effect by placing photographs directly beneath the camera. When the recipe reaches the camel’s head, the narration slows, deepening the dreamlike mood. Despite the strange imagery and measured delivery, the sequence is engaging and almost hypnotic, as if something is truly being conjured. Sounds resembling stones grinding together further enrich the atmosphere. This short film will not appeal to everyone, and some viewers may struggle to follow its narrative. Its abstract ideas and four-minute runtime leave its theme, reconnecting with one’s culture from halfway across the world, feeling underdeveloped. Those who prefer conventional storytelling may also find its unconventional approach off-putting. Overall, Head of a Camel is an abstract, cryptic film whose striking visuals and Foley effects create a dreamy, hypnotic experience. Its lack of a cohesive plot and dialogue may leave some viewers confused, but it remains an engaging four-minute watch. VIEW REVIEW Silence SILENCE is a Ukrainian short film written and directed by Pavlo Shpegun. The film stars young, fresh-faced actors, with Hryhoriy Naumov as Luka and Iolanta Bohdiun as ‘Mia’. Set in the war-torn country of Ukraine, SILENCE poses intriguing questions about identity and time, using almost exclusively indoor, intimate shooting styles to create a dreamlike array of sequences with surreal characters. The film incorporates political dark humour and relies on the impeccable chemistry between Naumov and Bohdiun to carry most of the narrative. It all begins when Luka’s stand-up comedy act has a very disappointing reception, enjoyed only, and wholeheartedly, by a mysterious nameless woman, who requests to stay over at his place. Shpegun’s short had a tremendous run at the 83rd International Venice Film Festival, receiving the newly established prize of the Airone della Laguna- International Collateral Award. One of its many achievements is in the film’s ingenious title; a play on words, as the writers parallel the significance of silence in a comedian’s terms- a marker of their death- to the indefinite silence of the tragic lives lost to the conflict in Ukraine. Whilst bringing avid awareness to the monstrosities occurring in the current political world, SILENCE is mostly a lighthearted film, and fits, though atypically, within the romance genre. Luka and Mia’s first interactions do not present an immediate spark the way viewers may expect within a meet-cute. Their conversations are slightly awkward and Luka even seems uncomfortable with the forwardness of Mia’s intrusion. However, as the film goes on, the two characters are brought together by an emotional connection, more specifically a shared understanding of the devastating world they are living in. This acknowledgement seems to bring them both some comfort, as they both recognise that their hopelessness brings them a sense of freedom. Mia is characterised very similarly to Kate Winslet’s Clementine Kruczynski as seen in Eternal Sunshine of the Spotless Mind, fitting into the manic pixie dream girl trope with her mysterious and unpredictable personality. Similarly to Charlie Kaufman’s 2004 sci-fi romance, there is intrigue in the clear temporality of Luka and Mia's relationship, and in the way the characters seem not to fully understand one another, or the world around them, but still have a distinct and unique connection which audiences feel transfixed by. Along with its surreal feel and alluring characters, SILENCE contains important commentary about modern relationships, particularly in concordance with the patriarchy and the way that women are taken advantage of. Some nuances of this are seen in the subtle shot choices during Luka and Mia’s sexual exchange, as there is no attention drawn to intimacy or pleasure; it is a purely loveless act, posing the way that sex is seen as an expectation in dating nowadays, rather than an act of passionate connection. With many strong ideas about the political state of the world, touching characters, and incredibly artful uses of lighting and handheld camera work, SILENCE is an excellent example of genre-blending filmmaking, with an incredibly memorable finish to fully bring the film’s message home. VIEW REVIEW A Few Moments of Happiness A Few Moments of Happiness is a stark work of filmmaking. As unusual as it is uncompromising, the film takes the form of a series of screen-recordings, phone calls, audio clips and phone camera footage, all of which either capture or refer to the horrific, and continuing attacks on Lebanon by the Israeli military. All of these glimpses of footage are edited together with enough thought and patience that a purposeful cinematic approach reveals itself (though not one of sequencing or cinematography in any regular sense). As well as obviously being about the indisputable, genocidal evils Israel is currently committing – and just one example of a people and a place currently suffering genuine horrors, it manages to also be a meditation on how one processes these horrors, or distances oneself from them, through the context of our digitally connected world. I find it slightly dispiriting that the top Letterboxd review of this film argues that what we’re watching here cannot be considered filmmaking. And as valid as it is to criticise the form this piece takes, the fact is that a film can be anything. There’s also no better way to experiment with an idea like this than in the form of a short film – because, no, this would not be effective or interesting as a feature. But a short allows it to be an exercise in something; a unique abstraction of real life without being bound by the grander expectations of an entertainment-based medium. Whilst I’m uninterested in the idea of continuing to use screen recordings on smartphones to constitute a ‘film’, one must concede that when there’s a deliberate point to doing so – whether it be spectatorial or information-based – we don’t have to like it, but we should be open to the creative vision. I’ve used the term ‘documentary’ broadly; however, this is a short film which is using its form to document reality – and so despite the lack of scenes, shots or conventional form, the fact that the medium of cinema has been selected is a significant and deliberate decision to consider. For instance, the filmmaker is well aware of the fact that during the recorded phone calls, the audience will be staring at a black screen. Here, the absence of an image is just as relevant as if there were images to look over; it leads the viewer – or in this case, listener – to isolate these crackled voices, place yourself in the frightened, focused perspective of our documentarian, and observe the truth in the words. It’s also helped that the use of sound design and editing in this 17-minute piece is incredibly immersive. A Few Moments of Happiness is a revealing work about the ways in which social media can connect you with the suffering in the world or in your home, or – on the flip side – numb you to it. This is illustrated in the high point of the short film. The pace of the editing increases dramatically as we cut back and forth between phone footage of people dancing and partying as a form of escapism, and the visceral truth of the continuing bombings and chaos ensuing in Lebanon. There’s some powerful messaging taking place here, even when it’s simply drawing a line between one thing to another – but to me, that’s called editing, and therefore filmmaking. VIEW REVIEW The Heir Of Time In the middle of an intergalactic war, a princess struggles with a dark power that she cannot control which propels her through time, offering her insights into a brutal and terrible future that has yet to come to pass. In The Heir Of Time , we are dropped slap-bang into the middle of a war between a dynasty of space elves and a human federation of colonisers. The Armelion (space elves) are led by King Thallan (Mark), Queen Fiorella (Cameron-Mowat), and their daughter Sel’van (Eddleston), who are arguing amongst themselves about whether to continue the war or to sue for peace. The humans are represented by a young soldier called Zac (Marciano), from a planet called Xalgoria, where the peace treaties can be ratified, but no other real mention of how or why the humans are spread throughout space is ever offered to us. Much like a lot of the dreadful Star Wars prequels (1999 – 2005), plenty of this space opera focuses on the politics and bureaucracies that go on behind the scenes to propel the theatre of war. This keeps everything very wordy and grand, as we enter into the chambers and halls of the space elves, but it also keeps things very boring and bland as we’re forced to listen to garbled exposition of arguments and beliefs which underpin the reasoning behind the war, which mostly takes place somewhere else. In amongst all of this supposed intrigue and machination, along with the stock star-crossed lovers side story between elf and human, is Sel’van and her gift. Every so often she is dragged across time into some pretty hairy situations, and only barely makes it back each time to report on what she has seen, remaining vulnerable and mortal as she drifts from one point to another. All of this rests in the centre of some other over-arching plot which is yet to be expanded upon, as what we have in this pilot episode of The Heir Of Time , is just the first instalment of what is to be a full-blown web-series. The far-reaching narrative that is attempted here from writers, Trent Meacham and Marco Jonathan, should definitely be afforded the credit that is due, as it sprawls across the galaxy and through time to deliver a sci-fi fantasy epic that could, if done right, rival some of the most ambitious space flops of cinema history, such as John Carter (2012) and Jupiter Ascending (2015). The problem with these vast stories, which is also something that is being seen in the drop off in interest and quality in the Dune sequels (2024-2026), is that past a certain point people begin not to care anymore. Ancient space dynasties that mean nothing to the regular viewer, along with fantasy characters and places that have a litany of silly names, just become too esoteric for most audiences, as they offer no hope of being identified with and feel too disconnected from anything that is real. Coupling that with the fact that the animation in The Heir Of Time is clunky and stiff, with an ill-advised dance segment and a laughably bad fight sequence where no-one touches each other really showing off the limitations of the Blender generated 3D models, means that what we’re offered at the end of it all is an amateurish cartoon, with Y2K CGI visuals, masquerading as something that is grand and spectacular, when in reality it’s just quite poor. Thankfully though, The Heir Of Time is a passion project led by a group of over seventy creative volunteers who have surrendered their time and expertise over the space of six years to create this first episode. This means that the quality is not so much of a priority as the actual creation of the vision, and that the real success of the project is the fact that it exists in the first place. For those who are invested in the story of The Heir Of Time there should be a deserved sense of pride in accomplishing this first half-hour of footage, especially considering the workload and timeframe that it has taken to get to this point, but the hard part is then getting anybody else to be interested in that vision, especially when it’s something that is going to take a long time to tell. What is offered in The Heir of Time is the first part of a lengthy epic, which in all reality may never see its conclusion. The introductions to the characters and scenarios in this first act are fairly impenetrable without further knowledge of what’s going on, or what has already happened to get us to this point, and there’s no guarantee that the threads that are left for us to follow will ever get the opportunity to be tied up. This makes jumping into The Heir Of Time a tricky and perhaps unsatisfying prospect, as at this rate, for a regular eight episode series, any audience member will have to be willing to wait another forty years to see it through. VIEW REVIEW Leaving Ealing Saba Ghasemi's superb LEAVING EALING is brimming with both passion and frustration. It follows the journey of Sima, an Iranian film student currently working towards her graduation piece. She wishes to film in Iran, but must navigate the potentially life-threatening nature of her venture, in addition to the creatively oppressive pushback from her tutors, whilst also staying utterly true to her vision. The screening I attended at BFI Stephen Street was a truly lovely experience; a gathering of people who clearly had invested a lot of love into the project. There was certainly a sense of catharsis that the film was finally getting its moment to shine. To touch on the technical briefly, this is a precisely shot and edited work, demonstrating a consistently impressive balance of lighting and a sturdy, confident approach to composition and focus. The sound recording is also as sharp as anything. This is a high-level production. I already love reflexive filmmaking -- movies that deconstruct the struggles and processes that went into the work of art you're consuming. But for that struggle to be centred around one's culture and family makes this piece feel more substantial than most 'films about filmmaking' student or low-budget works. It's our protagonist's determination to produce her own art without social or creative compromise that makes this an important and moving story. No matter the dangers posed by the unrest in her home -- and despite her tutors' dispiriting, by-the-books response to filming in the place she is most emotionally connected to -- Sima knows that this journey is not just that of one filmmaker's... Her narrative has wider-reaching implications outside of personal fulfilment. And the wave of warm support LEAVING EALING received at the screening is illustrative of this. Our character of Sima is compelled to create something honest, and she succeeds. VIEW REVIEW FarEye FarEye follows a young Jamaican boy, Khalil (Djamari Roberts), as he finds refuge in a Rastafarian community guided by music, spirit and faith. This spiritual connection awakens something deep within him that will change the course of his life forever. FarEye is a short film from writer/director Hayden Mclean, known for his work on The Last Dance (2025), which also explored themes of identity and community. The film was shot entirely on location, giving its production design an incredibly raw, authentic quality in its rural spaces, largely because so much of what the viewer sees is captured in-camera. Writer/director Hayden Mclean is clearly more concerned with the protagonist's present-day growth than his traumatic past, and he conveys this through Khalil exploring the vast environment, captured through his point of view. The film tackles so many different themes of identity, abuse and transformation in such a short span of time, and it's impressive how it never feels rushed despite its brisk runtime. That said, the runtime hurts certain aspects of the narrative, such as leaving much of the Rastafarian community’s involvement in Khalil’s life open to interpretation. While the film visualises Khalil’s growth through surrealism and hypnotic visuals, the opening overexplains its themes through voiceover. The narrative becomes far more engaging once it lets Khalil take in the world and community through its visuals. These aspects are heightened through its effective coming-of-age elements that never shy away from the central character’s journey of healing and trauma. While a longer runtime would undoubtedly help flesh out these themes, it's incredibly impressive how confident the filmmakers are in their depiction of community. Joel Honeywell, the film's cinematographer, captures Khalil’s innocence by consistently placing him at the centre of each frame. The camerawork consists of extreme close-ups to convey Khalil’s journey through the music, spirit, and faith of the Rastafarian community. The film also employs hypnotic visuals to convey the spiritual journey Khalil goes on as he realises the impact living in fear had on his upbringing, and how integral a feeling of safety could be in a place of fear. Music is also a potent part of the central characters’ arc and the narrative itself through its conveying of the Rastafarian idea of faith. The filmmakers never hold the viewer's hand, and this is particularly effective during a standout musical sequence, allowing the imagery to remain more provocative and open to interpretation. Djamari Roberts’ lead performance as Khalil ranks among the best child performances in recent memory. Much of the central performance is built around stillness, and the writer/director clearly has faith in Djamari Roberts to convey both the fear and curiosity the performance requires to be compelling to the viewer. It's an incredible performance that conveys both the childlike innocence of Khalil and his growing maturity as he becomes acquainted with the Rastafarian community. The supporting players are also a memorable addition to the cast, assisting Khalil’s journey of self-discovery. FarEye is a visually stunning piece of indie filmmaking that reinforces our belief in Hayden Mclean as a raw, compelling talent, whose work offers a bold exploration of identity, community and belonging. Held together by its inspired casting choices and mesmerising camerawork, FarEye is an unforgettable journey of self-discovery. FarEye will screen at the BFI London Film Festival (October 7-18) in the Altered States programme - premiering on Tuesday 13th October at Vue West End at 17:50. VIEW REVIEW

Film Feature by Callum Ewing, James Learoyd and Tom Manning Best Film Callum For me, Hayao Miyazaki’s masterpiece is Princess Mononoke, a film that combines spectacle with a morally complex story. It delivers a nuanced environmental message without dividing its characters into simple categories of good and evil. Lady Eboshi seeks to destroy the forest to mine iron, yet she provides sanctuary for society’s outcasts, while the forest spirits become enraged and vengeful in their defence of the natural world. This moral ambiguity creates a tragic cycle of violence in which both sides have compelling motivations. The film is among Miyazaki’s most visually stunning works, as well as his most visceral and violent. Joe Hisaishi’s beautiful, haunting score elevates it into a tragic epic. Its fragile, bittersweet ending acknowledges that conflict will continue. With its uncompromising stakes, powerful themes, flawless pacing, and immense scale, Princess Mononoke represents the peak of Miyazaki’s work and demonstrates how hand-drawn animation can transcend the medium. No wonder James Cameron took inspiration for Avatar! Honourable Mention: My Neighbour Totoro James James’ favourite Miyazaki is his 1989 family classic Kiki’s Delivery Service. It is also, for him: the best movie of the 1980s, the best movie about growing up, the best movie to contain aspects of fantasy, and (the big one) the best animated movie of all time. Kiki's Delivery Service - Official English Trailer There is no protagonist more lovable, and whose journey more relatable, than that of Kiki – a witch who, on her thirteenth birthday, must leave home and find a town to occupy (all with the companionship of her black cat Jiji). There she is also to find work of some kind, and she does in the form of her own delivery service for a quaint bakery where she resides. As Callum said so eloquently on our episode of the podcast, “it’s about burnout”. Specifically, it’s about your first encounters with disappointment, self-doubt, and depression – and yet it might be the most life-affirming of all Hayao Miyazaki’s movies. It’s the children’s film that teaches the most complex and emotionally mature lessons (about accepting your ups and downs, moving on from failure, learning that you won’t be loved or understood by everyone); and yet it does so in the most whimsical, optimistic terms. One of those rare movies I would be okay with watching once a day for the rest of my life. Tom The film that stands out as being the best Hayao Miyazaki film to me is also one of my favourite films of all time, Spirited Away. The only word that can really describe this film is magical. It epitomises everything that makes Studio Ghibli great with its fantastical world seen through the eyes of a child and some of the greatest side characters you’ll ever see. There’s No Face that represents the greed of humanity and the pitfalls of capitalism; Haku the dragon, and, of course, Kamaji in the boiler room. Spirited Away Official Trailer Spirited Away was the first Ghibli film that I watched, and immediately I fell in love with this magical world. There are few films that are able to create a world as rich and creative as this, and it’s no surprise this is one of Ghibli’s biggest films. I never get tired of watching this film, and there’s so much to take out of it from each viewing. It shows just how powerful animation can be as a medium in film too. Most disappointing/Least favourite film Callum One of my more controversial opinions after watching most of Miyazaki’s films is that I prefer his work from the 1980s and 1990s to his films from the 2000s. Although Spirited Away and Howl’s Moving Castle are classics and fan favourites, they do not engage me as much as something like Princess Mononoke, My Neighbour Totoro, or Kiki’s Delivery Service. Despite their magnificent themes and craftsmanship, I find Spirited Away and especially Howl’s Moving Castle a little too strange. Howl's Moving Castle Official Trailer Howl’s Moving Castle is the film I connected with least because its narrative struggles under the weight of too many abstract ideas. The film is based on Diana Wynne Jones’s book, but it also serves as Miyazaki’s creative response to the outbreak of the Iraq War. For me, this makes it feel disjointed as it tries to balance dreamlike fantasy with an anti-war message. The rules of its dream world are also difficult to follow, and it features some of the weakest antagonists in a Miyazaki film. Although it remains enjoyable, particularly for its visuals, the narrative does not work for me as well as those of his other films. James This is the first director covered on the podcast who, in James’ eyes, does not have a ‘worst’ film in the conventional sense. Howl’s Moving Castle is his least favourite – or, let’s say, the one that lacks the emotional connection of all the rest. The humour is slightly clunky and, out of all his large-scale fantasy epics, this is the work that lacks propulsion. This was a project Miyazaki entered as director only later in the pre-production process, perhaps explaining why it lacks the personal, self-reflective edge of all his other movies. AND YET: Howl’s Moving Castle remains a masterclass in modern technical animation, demonstrating a level of craftsmanship that – were it not helmed by Miyazaki – would surely stand as any other director’s crowning achievement. But in terms of this man’s body of work, Spirited Away is the masterpiece that will always scratch the itch that this doesn’t quite manage to. Tom As we discussed in the podcast, there really isn’t a bad Miyazaki film, and my least favourite is still a film that I enjoy. But, something has to be here and I’ve chosen Porco Rosso for my least favourite of Miyazaki’s films. Porco Rosso official film trailer With Ghibli films, in general, the connection you have with them is one of the most important things and I just felt that I struggled to properly connect to this one. I’m probably due a rewatch and, of course, this has one of the best lines in any Ghibli film, ‘I’d rather be a pig than a fascist’. Where this film falters for me, is with the romance arc surrounding Fio and how the pilots fawn over her. It’s just a little bit uncomfortable and reduces an interesting character to this one-dimensional situation. The score is still great and it’s always fascinating to see Miyazaki’s love of aviation on the screen with fantastic sound effects and beautifully crafted planes. It’s a film that I wish I liked more which I think is why it’s fitting to be my least favourite. Most overlooked Callum Nausicaä of the Valley of the Wind is my choice for Miyazaki’s most overlooked film. His second feature predates Studio Ghibli, so it is often absent from box sets and missed by casual audiences. Nausicaä of the Valley of the Wind official trailer Based on Miyazaki’s own manga, the film is a science-fiction epic influenced by novels such as Frank Herbert’s Dune and J. R. R. Tolkien’s The Lord of the Rings. Its post-apocalyptic setting may deter viewers seeking something more whimsical, and its dense world-building can sometimes overwhelm, but its ambition remains impressive. The film also establishes the blueprint for Miyazaki’s later work: Nausicaä is a fierce, independent heroine who inspires characters such as San; its environmental themes explore conflict between humanity and nature without reducing it to good versus evil; and it marks Miyazaki’s first collaboration with Joe Hisaishi, whose magnificent synthesiser score enhances the film. Nausicaä’s success gave Miyazaki, Isao Takahata, and Toshio Suzuki the resources to found Studio Ghibli, while its artistic vision shaped the studio’s future and proved that Miyazaki could become a major animation director. Honourable Mention: Castle in the Sky James The Wind Rises is James’ pick for Most Underrated. Despite its critical acclaim, it’s simply not discussed enough in movie circles – especially considering that until The Boy and The Heron was announced, there may have been a sad reality in which this ended up being his final film. The Wind Rises official film trailer The Wind Rises is Miyazaki’s most personal work in so many ways, crystallising his love of aeronautical engineering, his fascination with the conflicted father figure, and – perhaps most importantly – it's about the act of creation, and all the pains and doubts that come with it. It’s one of the most beautiful films about the creative process as I’ve ever seen; but here, it’s a process placed in a historically and personally destructive context. His only animation that doesn’t contain any elements of the fantastical is, in fact, one of his most imaginative and free-flowing. There are maybe just one or two movies in my lifetime that I consider more moving than this one. Tom The most overlooked Miyazaki film has to be Nausicaa of the Valley of the Wind, which is one of Miyazaki’s earliest works and is one of his best. I only watched this film for the first time recently but it immediately struck me as being one of the most interesting looks into what a post-environmental collapse world would look like. It begins with this sci-fi western-style opening, which immediately hooked me and then Miyazaki introduces the Ohms which I think are my favourite parts of this film. They are these misunderstood creatures that the characters are scared of, apart from Nausicaa who is the only one to understand them. This follows quite a familiar trope in Miyazaki’s work where the child main character is the only one to understand either the villain or a force that everybody else dislikes. It’s an incredible film that has a lot to say about the damage we have inflicted on the planet through war and climate change. It also explores aviation in a way that Miyazaki hasn’t done since with the gliders that Nausicaa uses being fantastic to see too. It’s a brilliant film that deserves a lot more love especially when being talked about amongst the best of Studio Ghibli. Listen to both episodes of The Films of Hayao Miyazaki below:

★★★ Directed by: Martin Darondeau, Bertrand Usclat Written by: Bertrand Usclat, Martin Darondeau, Pauline Clement, Clemence Dargent Starring: Pauline Clement, Julien Frison, Laurent Stocker, Marina Hands Film Review by: Jason Knight A comedy drama feature directed by Martin Darondeau and Bertrand Usclat, written by Usclat, Darondeau, Clemence Dargent and Pauline Clement and starring Clement, Julien Frison, Marina Hands and Laurent Stocker. Things are not going smoothly at a Parisian theatre. It is the day that stage actress Nina (Clement) will have her directorial debut and the Culture Minister will be attending. The play is William Shakespeare's Macbeth, and the lead actress has just informed the crew that she will be unable to be there in time. So poor Nina finds herself having no choice but to take her place and play the part. As if this were not enough, Nina has to deal with other issues that include actress Emilie (Hands) cheating on her partner, actor Philippe (Stocker), with another actor, named Antoine (Frison), stage equipment malfunctioning, and her former partner (Nicolas Chupin) bringing their baby at the theatre and making her look after him. The narrative is a sort of race-against-the clock plot, with the story beginning at 6pm and Nina trying to resolve all sorts of problems in order to save the show, which starts at 9pm (every half an hour, the time is shown on-screen). The whole thing is reminiscent of the 2014 Oscar-winning film Birdman, with the entire story taking place inside the theatre, multiple characters being explored, some well-executed tracking shots, and music by Clement Ducol that includes drumming. A variety of issues arise as things move on and Nina has to deal with them (she is the director after all), and what ensues is drama, awkward situations, disputes, and thoughtful moments. Comedie Française Official Film Trailer As the main character, Nina is a likeable individual, a caring mother with a passion for her profession. Now she has found herself in a challenging position, having to overcome obstacles while also discovering herself. Stocker stands out as an obnoxious man, a disrespectful actor, unaware that his partner is having an affair. Nadine (Daniele Lebrun) is another interesting character, a veteran actress who is also a drug user. An intriguing subplot is the one involving Issa (Sefa Yeboah), a friendly young usher who evidently should be performing on stage. This feature explores the world of theatre, what it is like working in this industry, be it as a performer or another position, including director, stage manager or make-up artist (the latter being approached via Sephora Pondi's character). From a different perspective, this is a story about self-esteem, self-discovery, self-reflection, family values and working towards a goal. A somewhat short film (one hour and ten minutes) that manages to be funny and dramatic. The appearance of a certain famous French playwright adds significant quality, and so do the costumes by Chloe de Nombel. Comedie Francaise will be in UK Cinemas from 9th October.

★★★ Directed by: Joscha Bongard Written by: Joscha Bongard, Nicole Rüthers Starring: Maja Bons, Bea Brocks, Liliom Lewald Film Review by: Thomas Manning Babystar is a German film directed by Joscha Bongard that feels eerily familiar in 2026. It’s a film that strips back the pretence and façade of a social media influencer family and examines the alienation caused by late-stage capitalism. It follows the teenage daughter, Nunki (Maja Bons) with her mother, Stella (Bea Brocks) being a make-up influencer and father, Chris (Liliom Lewald) being a fitness influencer. It’s a family dynamic that anyone who has spent an evening doomscrolling social media will immediately recognise and relate to. But what happens to those who are born into this type of family, where every moment of their life, from the very birth to their daily yoga session, is filmed and recorded on Instagram or TikTok? This is a question that Bongard asks in Babystar, and he ends up giving an interesting study into this life. The film opens with a selection of security camera footage that immediately sets the tone to the surveillance and image-focused world this is set in. This is a technique that recurs as Nunki attempts to stay connected to their family even when she leaves it. The score from this opening scene is beautiful, with an orchestral choir creating an atmosphere that is unsettling enough to keep viewers on the edge of their seats. As the film progresses, it becomes clearer that the façade of their perfect family is hollow and Nunki becomes increasingly depressed and isolated. This accelerates with the announcement that Stella and Chris are looking to have another child, which causes Nunki to spiral into feelings of abandonment. This reaches a climax with a particularly disturbing scene in a restaurant that causes Nunki to move into a hotel away from her parents. Babystar Official Film Trailer This character development is where the film slightly falters, narratively. Maja Bons plays the character of Nunki fantastically, but the writing of her character feels rushed at points and hypocritical at others. After witnessing the damage this influencer life is causing her, she still continues to participate in it and take advantage of others. This perhaps speaks to Nunki’s inability to form genuine human connections through the isolation this social media life has caused her. One of the most interesting parts of this film is the relationship Nunki has with her AI avatar that her social media team had been developing. Nunki continues to use this avatar as a form of therapy, but it always remains hollow and highlights Nunki’s inability to connect with people on a personal level. This is seen when mirroring this relationship with her relationship with Julie (Joy Ewulu). In early scenes, it appears that there is a connection between the two for a genuine friendship yet as the film progresses, this friendship ends up centring around her brand and becoming about her social media. In many ways, this film is about Nunki trying to break from the cycle of being a brand and, instead, try to find herself as a person. The ending gives an indication that this can be possible, but at points Babystar only scratches the surface of its critique on this influencer world. It is, however, a thought-provoking and poignant film for today’s society. Babystar will be in UK Cinemas from 25th September 2026.