Bloody Tennis film review by UK film critic Hope Madden. Starring Sandra Guldberg Kampp, Elina Löwensohn directed by Nikias Chryssos. HOME | FILMS | REVIEWS Bloody Tennis Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2026 Directed by: Nikias Chryssos Written by: Nikias Chryssos Starring: Sandra Guldberg Kampp, Elina Löwensohn German filmmaker Nikias Chryssos does not hide his influences. After witnessing the brutal slaying of a beautiful girl, we watch a young American student being driven to an exotic if spooky European academy where she will be trained among the elite in her field. Bloody Tennis is Suspiria for athletes. Sophie (Sandra Guldberg Kampp) is the athlete newly arrived at the Mary Tyrone Tennis Academy. She’s welcomed, in a way, by Ms. Tyrone (Elina Löwensohn, Nadja ) herself. It isn’t a warm welcome. “I’m your daddy now.” The class is small: six players (minutes the girl we watched die in the opening moments, whose absence makes room for Sophie). Aside from Ms. Tyrone, head mistress and team doctor, there’s one coach (Zlatko Buric) and one handyman/chauffeur/cook/weirdo (Vincent Romeo). Though the title suggests a campy comedy, the dark, creepy humor that runs through Bloody Tennis is anything but camp. And while his underlying structure is reminiscent of Suspiria , Chryssos leans just as heavily toward slasher. (Also an Italian genre, owing to Mario Bava’s 1971 originator, A Bay of Blood ). That’s not to suggest the film is somehow untrue to its title. There’s a lot of blood (some of it pretty inspired) and a lot of tennis. Though Guldberg Kampp is not entirely convincing as an American (she’s Danish), her performance otherwise compellingly anchors the film. Sophie is curious and observant, her personality mainly interior. Guldberg Kampp navigates Sophie’s arc with a quietly animalistic nature that suits the film and the character. The rest of the athletes are offered little opportunity to really craft characters, but each is solid. Löwensohn’s gleefully committed and Romeo is unsettlingly odd. The film’s themes are as unhidden as its influences. Training to be an elite athlete is a soul and body ruining exercise, as punishing as it is bloodthirsty. There is perhaps less depth and less mystery to Bloody Tennis than it needed to be genuinely memorable, but it’s an intriguing, gory reminder that women’s sports is where it’s at. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Visceral Images film review by UK film critic Chris Olson. Starring Imogen King, Jemma Carlton, Adam Long directed by Edward A. Palmer. HOME | FILMS | REVIEWS Visceral Images Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Sep 23, 2026 Directed by: Edward A. Palmer Written by: Edward A. Palmer Starring: Imogen King, Jemma Carlton, Adam Long From the director of Hippopotamus (2018) comes the feature thriller Visceral Images . A claustrophobic probe into the modern psyche of Millennials, whose entanglement with technology, the environment, and derelict social interaction has left them vulnerable to manipulation and anxiety. Imogen King plays Freya, a nervous twenty-something whose days are mostly spent appeasing others and worrying about her suicidal sister Clem (Cathy Sole). One evening, Freya fails to override her reckless colleague Violet’s (Jemma Carlton) insistence on coming over with her new fella Zach (Paddy Stafford), only to be surprised with more visitors than she bargained for. After learning that Zach and his friends are part of a secret organisation (reminiscent of 2013's Night Moves ), Freya’s anxiety sprints into overdrive as she panics about her and Clem’s safety, the latter of whom is also missing. Visceral Images taps into a deeply disconcerting trend amongst young adults who are hopelessly searching for their place in a world that is constantly changing. It’s no secret that mental health issues have compounded since the arrival of smartphones and social media, causing widespread issues for a typically vulnerable demographic of our society. Writer and director Edward A. Palmer channels the tension of this situation masterfully into a dramatic ensemble piece that thrums with suspense. Imogen King’s understated performance takes the audience on a poignant journey through manipulation, trauma, and anxiety. Freya’s fraught relationships (suicidal sister, reckless colleague, gaslighting boyfriend) overwhelm her, and King’s ability to convey this “suicidal empathy” (a term thrown at Freya by her boyfriend Paddy) for a nearly 90-minute run is nothing short of outstanding. Jemma Carlton shines too as the rebellious and fun Violet, bringing a much-needed energy to the living room of Freya’s house, where most of the action takes place. The remaining cast members support the drama brilliantly, including Adam Long as the aggressive boyfriend, Vishnu Krishnan as the soft nerd, Cathy Sole as the insolent Clem, and Beca Barton as the stoic tattooist Brick. There are numerous smart filmmaking techniques employed to ensure Visceral Images is still cinematic, even as an indie film taking place mostly in a nondescript house. The camera often clings to Freya, like an unwanted leech, exposing her lack of visibility on the goings-on amongst the other characters and heightening her sense of dread. The close-up framing of characters reveals their intensity, as people of this age are often beings of fierce emotions, where many times their behaviour is dictated by passion rather than calm experience. Some of the dialogue is mumbled, making it hard to clearly understand what’s being discussed. This may have been purposeful to parallel Freya’s discomfort, or perhaps a sound editing issue yet to be resolved, but it is a minor quibble. The slow-burn is well worth the wait, if not for the immersive character development, then for the charged final sequence. Edward A. Palmer has not only delivered another affecting feature thriller but perhaps revealed one of 2026’s best indie casts. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Crooked Miles film review by UK film critic Lee Sinden. Starring Sarah-Doe, Osborne, Johnny Cicco, Ethan Boucher, Bill Galatis and Claire Kennedy directed by Rob Rotondo. HOME | FILMS | REVIEWS Crooked Miles Film Review average rating is 3 out of 5 Critic: Lee Sinden | Posted on: Sep 20, 2026 Directed by: Rob Rotondo Written by: Rob Rotondo Starring: Sarah-Doe, Osborne, Johnny Cicco, Ethan Boucher, Bill Galatis and Claire Kennedy Crooked Miles is a very creepy horror that builds suspense throughout every scene. The amazing thing about this film is that it was produced over 10 years. It is the result of multiple stories being put together, each one linked by an old spell book. This is a story of humans putting their wants and desires first, even if sometimes the effects are catastrophic for those pushed aside. The building of suspense is particularly good in the first few scenes, and the audience will be on the edge of their seats anticipating the worst-case scenario. I like the way that, as a viewer, you are left with a cliffhanger right at the beginning and have to wait for answers. This really helps with the intrigue and sparks the imagination. The music score is incredibly effective at building the tension as everything comes into place. The sound is amplified throughout to give each scene an outer worldly feeling. The sounds are there to disturb and make the audience feel as uncomfortable as possible. This book travels through the centuries, and the audience is brought along for the ride. We are taken back to 1812 as the viewer sees the results of war. We see acts of revenge against a man's heartless friend, which lead to heartbreaking events. Before we know it, it is the 1960’s and then onto the 1980’s and 1990’s. Each wish brings about death and destruction. We see past events repeating themselves as evil passes from one generation to the next. The stories link together really well and are edited seamlessly, so you wouldn’t know that they are a number of short films pulled together. We see each character cross paths; some are victims, and some are the beneficiaries of the book. It appears that the location is the same throughout, just brought forward to the decade in which the story is occurring. Blind Date can be seen as a separate short film but works well here. Sarah-Doe Osbourne as Nichole is the stand out performer as she is able to portray a blind woman who is so desperate to see. She is able to play the many emotions of this character, from the beautiful and elegant lady to someone of pure evil, who in some way you can empathise with. This takes great skill, and the writers should take great credit for writing the script for this story. There are not many characters on show that really hit as hard as Nichole. Ethan Boucher also deserves a mention as the young boy Daniel whose life is mixed up with the events of the past. The director, Rob Rotondo, has a history of making films within the horror genre, and this is clearly a work of passion made over a considerable time. There is great skill here in pulling the whole production together. He clearly knows how to set the scene, and audiences will love the use of colour and black and white to distinguish between the darker moments and the more lighthearted. He helps the viewer understand the reasoning for the wish but shocks the audience when the wish comes true. There were times that the viewing became increasingly uncomfortable, and this was mainly due to the use of sound and some eerie camera work. The filmmakers clearly grasped the saying “be careful what you wish for”, they have given each character great depth, providing the audience with a great deal to discuss. The acts of right and wrong are clearly brought into question. There is also an element of “would you be prepared to push the boundaries of morality to get everything you desired?". There is a good mix of euphoria and terror along with the reality of "what have I done?". Crooked Miles is an example of great storytelling and a good look at human nature. The director is very skilful at making the audience fear the things they do not see. This is often what horror is about; it is about what the human imagination can create. You won’t look at a musical figurine in the same way again. Make sure you view the end credits, as you are in for more surprises. Buy UKFR Banner Space About the Film Critic Lee Sinden Indie Feature Film < All Reviews Next Film Review >

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 presence. 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 character's 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 who 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 >

Midnight Bloom film review by UK film critic William Curzon. Starring Raphael Santiago, Tyler Astley, Alice De Boise directed by Adam Fergler. HOME | FILMS | REVIEWS Midnight Bloom Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Sep 22, 2026 Directed by: Adam Fergler Written by: Jake Williams Starring: Raphael Santiago, Tyler Astley, Alice De Boise Midnight Bloom follows the friendship between two young fathers, Aaron (Raphael Santiago) and Jamie (Tyler Astley), as it deepens into a powerful, fragile romance. The two men meet in an isolated car park night after night, and by day, the love for their families calls them back. As Aaron grapples with split loyalties, he wonders if he can maintain his relationship with Jamie before he loses everything. What is perhaps most compelling about Midnight Bloom is how the filmmakers delicately pull the audience into the lives of Aaron and Jamie. Despite the lack of characterisation and context surrounding the central characters' encounters, the dialogue is incredibly compelling, profoundly capturing the growing sense of yearning and guilt between them. It's an uplifting depiction of queer love, as Aaron and Jamie’s relationship is heartwarming while also tragic, as they are forced to hide their feelings for each other in an isolated car park. The script, wonderfully written by Jake Williams, explores the deeply intriguing themes of desire, guilt and queer love, weaving them seamlessly into the personalities and experiences of its central characters. While these themes and ideas could have been more fleshed out in an extended runtime, the film leaves the viewer wanting more without overstaying its welcome. Despite the film's brisk runtime, you can easily root for Aaron as the narrative delves into his struggles with fatherhood. The dialogue compellingly explores themes of melancholy and love, and its dramatic beats resonate throughout. While the film could have explored more of Jamie’s personal life beyond his relationship with Aaron, his performance subtly conveys the depth of his feelings. The narrative also briefly explores Aaron’s relationship with his child, which is one of the most compelling aspects of the script and the emotional crux of the conclusion (without venturing into spoiler territory). The technical aspects of Midnight Bloom are incredibly impactful, thanks to its incredible cinematography and tight editing. Joshua Ighodaro serves as the film's cinematographer and does a wonderful job framing each scene. The piece primarily utilises extreme close-ups in the more intimate scenes as the characters grapple with the isolation and guilt of their relationship. The camera also shifts to wide framing within the confines of the car park to convey the desolation of the location. Hector Miller serves as the film's editor and does a tremendous job seamlessly cutting between the central characters' meet-ups and personal lives, intertwining them throughout with some incredible dissolves. The two central performances from Raphael Santiago and Tyler Astley, portraying Aaron and Jamie respectively, are incredibly compelling. They both convey their characters' guilt-stricken personalities with remarkable depth while simultaneously preserving the tenderness and warmth that develops between them in isolation. Their magnetic chemistry makes for an incredibly thrilling experience. It's also difficult to watch as Jamie desperately craves more reciprocation from Aaron, longing to take their relationship beyond the confines of the car park. Midnight Bloom is an emotionally resonant short film steeped in melancholy and desire, anchored by two remarkable central performances. While its brisk runtime may come at the expense of deeper characterisation, it remains a worthwhile effort, elevated by exceptional editing and striking cinematography. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Cancer Kid film review by UK film critic Nina Rawlingson. Starring Charlie Zeltzer, Callum Shoniker, Devon MacDonald directed by Vasili Manikas. HOME | FILMS | REVIEWS Cancer Kid Film Review average rating is 4 out of 5 Critic: Nina Rawlingson | Posted on: Sep 21, 2026 Directed by: Vasili Manikas Written by: Vasili Manikas Starring: Charlie Zeltzer, Callum Shoniker, Devon MacDonald 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. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Hindsight film review by UK film critic Finn O'Toole. Starring Josh Tedeku, Jude Carmichael, Denzel Baidoo, and Joshua-Alexander Williams. directed by Remi R.M. Moses. HOME | FILMS | REVIEWS Hindsight Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: Sep 21, 2026 Directed by: Remi R.M. Moses Written by: Benjamin Sarprong-Broni Starring: Josh Tedeku, Jude Carmichael, Denzel Baidoo, and Joshua-Alexander Williams. 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. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

The film critics behind some of your favourite movie reviews. Meet the UK Film Review team. UK Film Review Movie Critics The people behind your favourite movie reviews . Lewis Mcleod Read More Thomas Manning Read More Nina Rawlingson Read More Lee Sinden Read More Madeleine Lavers Read More Callum Ewing Read More Charlotte Spark Read More Finn O'Toole Read More India Gwyn-Williams Read More Holly Baker Read More William Curzon Read More Nina Romain Read More Matt Trapp Read More Rohan Kaushal Read More Jack Salvadori Read More James Learoyd Read More Joyce Cowan Read More Rob Jones Read More Tori Hanes Read More Daniel Baldwin Read More John McKeown Read More Ahmed Abbas Read More Oliver Weir Read More Michael Brennan Read More Isaac Parkinson Read More Joshua Boulton Read More Joe Beck Read More Graham Blair Read More Megan Deacon Read More Sophie Price Read More Alasdair MacRae Read More Kieran Freemantle Read More Amelia Eilertsen Read More William Baines Read More Evie Brudenall Read More Alex Crisp Read More Tallulah Denyer Read More Helen Samuels Read More Julian Gaskell Read More Swati Verma Read More Sam Quarton Read More Isabelle Ryan Read More Patrick Foley Read More William Hemingway Read More Chris Olson Read More Corey Bulloch Read More Chris Rose Read More Alfie Kaye Read More Albert Sowerby-Davies Read More Kirsty Asher Read More Ieuan Walker Read More Bruna Foletto Lucas Read More Amber Jackson Read More Will Girling Read More Nathanial Eker Read More Brady Clark Read More Brandon Thomas Read More Jasmine Holly Bullock Read More Charlotte Little Read More Sarah Smeaton Read More Alexandra James Read More Shrubaboti Bose Read More Christie Robb Read More Cat McAlpine Read More Matt Weiner Read More Rachel Willis Read More George Wolf Read More Hope Madden Read More Hannah Sayer Read More Brian Penn Read More Rachel P Read More Taryll Baker Read More Benjamin Schofield Read More Andrew Young Read More Jack Bottomley Read More Darren Tilby Read More Chris Buick Read More Connor Slatkoff Sharpe Read More Seth Troyer Read More Joshua Calladine Read More Robert Stayte Read More Rochelle McLaren Read More Lucy Clarke Read More Tom Wilmot Read More Jason Knight Read More Lisa Ogunmayin Read More Ian Lunny Read More Lawrence Bennie Read More Tom Jay Read More Alexander Erting-Haynes Read More Alicia Moore Read More Christopher Hart Read More Aaron Gillingham Read More

Lewis Mcleod writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Lewis Mcleod I am currently studying Psychology at the University of Liverpool, so as you can imagine, all psychological adjacent genres are my favourite, particularly horror. I'm new to film criticism so all feedback is welcomed! My top 3 films of all time consist of: Scream, Donnie Darko and Whiplash. Read Latest Film Reviews

Meet the film critics at UK Film Review. The people behind some of your favourite film reviews. About UK Film Review Founded in 2012 by Chris Olson, UK Film Review found its niche amongst the indie filmmaking community by providing reviews of independent cinema, as well as promoting crowdfunding and kickstarters for movie projects. In 2015, Olson took on several new UK film critics in order to expand the scope and reach of the film website, covering theatrical releases, DVD & Blu-ray films, short films, animation and documentaries. The site also conducts interviews with filmmakers, providing an even greater insight into the movie industry from the perspective of those making movies. The team of film critics then grew to over 20 contributors mostly in the UK, as well as the U.S. and Europe. UK Film Review Podcast In 2016, UK Film Review launched the UK Film Review Podcast. Guest movie critic Andy Furlong was the main producer of episodes, along with Chris Olson and Alfie Shaw providing numerous episodes along the way. The Podcast achieved a position in the top 10 of the iTunes Film & TV category. The Film Podcast was then reborn in March 2021 with a new team of film critics at the helm and was launched on Spotify - making it easier for fans to listen to the episodes, which are themed around a different film topic or filmmaker. UK Film Festivals In 2017, UK Film Review began partnering with several notable UK film festivals, becoming their official Media Partner. These included the London Independent Film Festival (LIFF), High Peak Indie, and Grimmfest. By 2019, UK Film Review had become the official Media Sponsor for over 10 film festivals in the UK and internationally. UK Film Review Awards In 2018, UK Film Review launched its very first UK Film Review Awards. The categories included: Best Film Best Short Film Best Indie Film Best Documentary Best World Cinema Best Animated Film Best Superhero Film Best LGBTQ Film Best Director Best Performance The winners of the first UK Film Review Awards included Avengers: Infinity War, Roma, indie film Pledge, short film Cotton Wool, female director Stella Velon, and actor Friederike Hammer. UK Film Channel Originally a section of the website where films were embedded to watch online, UK Film Review launched in 2019 a dedicated sister site for UK Film Channel. This VOD platform for short films and indie features combined the love for independent cinema that makes UK Film Review so popular amongst the filmmaking community plus the desire amongst the readership to have a dedicated place to see some of these rare gems. Chris Olson Editor-in-Chief Chris Olson Jack Bottomley Hannah Sayer Darren Tilby Rachel Pullen Andrew Young Brady Clark Hope Madden George Wolf Rachel Willis Matt Weiner Cat McAlpine Brandon Thomas Christie Robb Chris Buick Shrubaboti Bose Alexandra James Sarah Smeaton Brian Penn Charlotte Little Benjamin Schofield Jasmine Holly Bullock Nathanial Eker Will Girling Amber Jackson Ieuan Walker Bruna Foletto Lucas Corey Bulloch Kirsty Asher Taryll Baker Owen Herman Alfie Kaye Albert Sowerby-Davies Chris Rose Aaron Gillingham

Homeless film review by UK film critic Lewis McLeod. Starring Rocco the Adorabull, Blakely David, Sam van Goph, Evelyn Tran directed by Rikhiil V Bahadur. HOME | FILMS | REVIEWS Homeless Film Review average rating is 3 out of 5 Critic: Lewis Mcleod | Posted on: Sep 21, 2026 Directed by: Rikhiil V Bahadur Written by: Rikhiil V Bahadur Starring: Rocco the Adorabull, Blakely David, Sam van Goph, Evelyn Tran 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. Buy UKFR Banner Space About the Film Critic Lewis Mcleod Amazon Prime, Short Film < All Reviews Next Film Review >

Head of a Camel film review by UK film critic Callum Ewing. Starring NA directed by Shannon Lee. HOME | FILMS | REVIEWS Head of a Camel Film Review average rating is 3 out of 5 Critic: Callum Ewing | Posted on: Sep 21, 2026 Directed by: Shannon Lee Written by: NA Starring: NA 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. Buy UKFR Banner Space About the Film Critic Callum Ewing Animation, Film Festival, Short Film < All Reviews Next Film Review >