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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

I Am The Prize film review by UK film critic Holly Baker. Starring Russell Tovey, Faith Alabi, Jane Fowler directed by Sai Karan Talwar. HOME | FILMS | REVIEWS I Am The Prize Film Review average rating is 5 out of 5 Critic: Holly Baker | Posted on: Jun 15, 2026 Directed by: Sai Karan Talwar Written by: Sai Karan Talwar Starring: Russell Tovey, Faith Alabi, Jane Fowler Russell Tovey stars as British influencer Anthony Selvon in Sai Karan Talwar’s short film I AM THE PRIZE. Selvon is a polarising public figure, famous for his work on helping young men become more confident in difficult areas of their lives, such as relationships. His ideas, however, stem from a hate towards women, and encourage male-centrism and sexual violence. Selvon’s corruption is gradually revealed through insights into his life, through the use of several intense, long, uninterrupted takes making up this powerful short. In an era where the manosphere is having an increasingly dangerous impact on young men, taking over areas of the internet, and influencing hateful crimes, short films like this are critical in bringing to light just how many holes are in harmful ‘red pill’ ideologies. The film excellently replicates the methods used by manosphere creators to lure in young, desperate men. Its opening shot perfectly encapsulates how men end up in these harmful spaces, often without even realising how they got there. Viewers are held in a nondescript room, behind several rows of anonymous heads who have also found themselves there. There is then a slow zoom into Anthony, and so deeper into the room, mirroring the way men are gradually groomed into listening to misogynistic ideas. On the surface, Anthony’s ideas might not seem harmful at all. He brings up topics of building men’s confidence and acknowledges the male loneliness epidemic. He even encourages a man to face his emotions, though his own demeanour is cold throughout. This gradual luring is often how men are drawn into the manosphere, viewing influencers’ advice as a form of self-help to reshape their perspective and improve on aspects of themselves they are unhappy with. But as the camera moves closer to Anthony, viewers see him more clearly, becoming aware of the aggressiveness towards women that comes through in his language. He refers to women as things rather than people, categorises women’s thoughts using simplified, male-centric ideas, and uses misogynistic language, indicating his view that women only exist within the context of male ownership. After a painstaking opening scene that quickly establishes Selvon’s character as a hateful public figure, starkly comparable to the real-life manosphere influencers interviewed in Louis Theroux’s documentary Inside the Manosphere, viewers are confronted with an ironic revelation. Selvon is a closeted homosexual; his views towards women are likely a result of internalised homophobia, and his expert advice to men's romantic pursuits of women is therefore utterly fraudulent. Whilst there is no real-life specific evidence that the spread of red-pill content is a result of closeted sexuality, Theroux's documentary provides a useful perspective that buried traumas and emotions contributed to men choosing the path of harmful content creation. The ideas at play here, therefore, fulfil the ironic truth of the manosphere, as they only make men lonelier as they become radicalised away from who they truly are, blaming external factors such as women for their problems, rather than ever taking the time to reflect and work on themselves. The use of long takes gruellingly captivates viewers into every scene. Viewers are forced to be close to Anthony throughout his journey, as he suffers on his journey like a true tragic figure; his downfall a result of his own actions and rejection of his true self. There are times that he is almost pitiful, as Russell Tovey excellently conveys a deep sadness in Anthony which is driving his mental and physical state into oblivion. Faith Alibi’s performance as a journalist and interviewer of Anthony is brilliantly satisfying. After viewers were agonisingly trapped in Anthony’s world, the interviewer’s intellect and well-spokenness provided a moment of relief. The ingenious casting choice of a strong, influential black, disabled woman playing a self-assured character who stands up to Anthony works excellently as a direct contrast to everything that he is. Alibi’s presence here is also an important contradiction, to show how opinionated women, particularly black women, are never welcome in the manosphere due to the sexist and racist beliefs that they hold. Having Alibi here as the only other major character creates an imaginary world where a discussion can take place; however, as the film demonstrates, a productive conversation is impossible. The echo-chamber of the manosphere will always aggressively object to any discussion of the flaws in its logic or the violence that it so blatantly encourages. I Am The Prize is screening at the 2026 Raindance Film Festival. About the Film Critic Holly Baker Film Festival, Short Film < All Reviews Next Film Review >

Signal film review by UK film critic Jason Knight. Starring Jack Rowan, Christopher Eccleston directed by Zak Jarvis. HOME | FILMS | REVIEWS Signal Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jun 14, 2026 Directed by: Zak Jarvis Written by: Zak Jarvis Starring: Jack Rowan, Christopher Eccleston Set to start its festival run in July, this powerful short drama was written and directed by Zak Jarvis and it stars acclaimed actors Jack Rowan and Chrsitopher Eccleston. Quite a dramatic plot: A young man (Rowan) is not doing well. He is at a train station and his intention it to lie down on the tracks and wait for the train to arrive and put him out of his misery. After phoning support services and failing to pick up the courage to talk to them about his issues, he proceeds to carry on with his plan to end it all. Ray (Eccleston) a railway signalman spots the youngster via the CCTV monitors and rushes to save him, thankfully succeeding at the very last second. Ray then brings the unfortunate man inside the office and does not contact the police but tries instead to comfort him. The main concept is a meaningful and life-changing encounter under drastic circumstances and the screenplay focuces significantly on the rapport that develops between these two strangers. Although initially the distressed man is unresponsive, says nothing, Ray constantly attempts to get through to him, to comprehend the situation that led him to believe that his life has no meaning. Eventually, the poor young man breaks down and lets it all out. Twelve minutes filled with very heavy drama. This short would not have this level of impact without the work of composer Michael Llewelyn Barker, who proves his creative skills with dramatic music that creates strong emotions. Two stangers end up in each other's life. One is broken and the other believes in hope and overcoming bad times. Rowan portrays a person who has reached the conclusion that his life has led to a dead end and there is nothing he can do about it. Eccleston plays his savior, a middle-aged supportive and understanding man who is determined that suicide is never the answer. In this story, the suicidal man represents desperation and Ray respresents support. Crucially, the reasons why the youth has resorted to ending his life are not revealed and that is probably because the factors are not the focus here. What this short concentrates on is to communicate the message that people must find the courage to seek help when they are going through tough times. Heavy drama, strong performances and very serious themes. A short film that has quite an impact. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Man Baby film review by UK film critic Finn O'Toole. Starring Divian Ladwa, Kerry Fitzgerald, Aakash Shukal. directed by Philip Hardy. HOME | FILMS | REVIEWS Man Baby Film Review average rating is 4 out of 5 Critic: Finn O'Toole | Posted on: Jun 14, 2026 Directed by: Philip Hardy Written by: Philip Hardy Starring: Divian Ladwa, Kerry Fitzgerald, Aakash Shukal. Written and Directed by Philip Hardy, nothing can quite prepare you for the ridiculous (positively) and deranged (complimentary) ride that is ‘Man Baby’. The film follows David whose penis falls off upon learning that his partner is pregnant. But even that is just the tip (pun fully intended) of the iceberg as he embarks on a journey, as prescribed by his doctor, to “grow up” in order to get it reattached. This feature gets off to a racing start, immediately showing us the inciting incident within the first minute, making the central mission statement crystal clear – David needs to mature. This gets the piece off to a high paced and riotous start that is deeply entertaining. However with the goal having been established so early on, the rest of the film sometimes struggles to justify its 1 hour 20 minute runtime. There are a couple of specific sequences that audiences may feel a slight drag in, including a scene in which David and Graham repeatedly say goodnight to each other, and another where David looks at the camera and begins to list off cheeses. These aren’t bad scenes by any means, not in concept, but they seem to halt the pacing of the film and could have used some tightening. This piece wouldn’t be half as funny as it is however, if it wasn’t for Divian Ladwa’s hilarious work in the lead role. With a performance that plays the surreal and ludicrous drama straight, Ladwa provides so many humorous moments throughout the film – so much so that it makes you forget that for the most part he is acting alone opposite a talking penis. He is also supported by the talented Kerry Fitzgerald who plays multiple contrasting characters throughout the film in a testament to her range as a performer. The sheer creativity on display is by far one of the strongest elements. This unique creative style is first apparent through hand-drawn text and animated sequences which break up the drama and add very nicely to the eccentric tone of the film. The artistic choices and select camera movements also heighten the comedy, with a particularly nice choice not to show us Martha’s face until David has made an effort to mature – showing us that, due to his character growth, he is now able to see her properly. There are also parts of this comedy that are shot and feel as if they belong in a horror, particularly the scenes with the Man-Baby that lend a very uneasy feeling. All this, and the distinct soundtrack by Christopher Schlechte-Bond which uses throat singing and acapella elements, results in a funny yet surreal atmosphere. Despite its predictability and minor pacing issues, it will be hard for viewers not to have a good time with this film – which will perhaps be best experienced having a good laugh with a group of mates. Audiences will find ‘Man Baby’, not unlike the phallus at the core of this story, growing on them. About the Film Critic Finn O'Toole Indie Feature Film < All Reviews Next Film Review >

The Killing Moon film review by UK film critic Charlotte Spark. Starring Ryan Caraway , Victoria Diamond , Matthew Leone directed by Daniel Bogran. HOME | FILMS | REVIEWS The Killing Moon Film Review average rating is 4 out of 5 Critic: Charlotte Spark | Posted on: Jun 12, 2026 Directed by: Daniel Bogran Written by: Daniel Bogran Starring: Ryan Caraway , Victoria Diamond , Matthew Leone Indulge yourself into the thrilling and suspenseful world of The Killing Moon (2025) from young Director, Writer and Editor Daniel Bogran as his first feature film debut. With its international premiere held at Raindance Film Festival this year. Gaining traction in its circuit with award nominations and outstanding performances. The Killing Moon is definitely one to add to your watchlist. A wealthy couple escapes the chaos of the city to a remote getaway when an injured stranger knocks at the door. Leading to a wild, tense and seductive power play. Whiplashing you into second guessing true intentions. With clean Cinematography that feels like fresh air transporting you into the centre of nature, holding hands with a tense score which has you white knuckle. The Killing Moon is truly an immersive experience. We meet our protagonists Elliot (Ryan Caraway) and Olivia (Victoria Diamond) and immediately the audience gains an understanding that this marriage is teetering on the edge. When they quickly begin a sharp back and forth of taking snippy jabs at each other. You begin to almost itch in your own seat feeling uncomfortable, which is an absolute credit to both actors. By the time Rory (Matthew Leone) , our injured stranger, enters the mix, the tone changes when jealousy truly manifests, as a fight of masculinity between the two males begin. It is very evident Elliot is keeping Rory around to push Olivia to give in to her own imperfect desires. When Rory seems to be sticking around for an awkward amount of time, you really have no idea of who is the villain of this story. Where is it all going to lead? A thunderous amount of tension tells your gut something is just around the corner. With an ending that has you questioning your own morals, coming full circle I was totally taken by surprise. My own criticism was as we entered the third act we introduced broad backstories which are only really drip fed to us. With a longer runtime things could have been fleshed out a bit more, although taking away from the tension. More context to how we get to the ending would have been helpful to understanding characters' reasonings and decisions. With it being such an intimate film with only having our main three actors on screen for most of the film, it is already a challenge where you need to really hold the viewers attention. That is a lot to carry on your back as an actor. But nevertheless our lead actors make the almost 90 minute runtime fly by as I was totally engrossed. Personally My stand out performance came from Rory (Matthew Leone) who is someone to definitely keep an eye on. On screen he captivates with a compelling performance and an interesting character arc. You won't be disappointed with Director Daniel Bogran’s The Killing Moon making waves in the festival circuit, it is definitely well earnt. A seductive thriller that leaves you wanting more at its core it really is the breakdown of a not so perfect marriage. About the Film Critic Charlotte Spark Film Festival < All Reviews Next Film Review >

Charlotte Spark writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Charlotte Spark Charlotte Spark is a film critic for UK Film Review. Read Latest Film Reviews

Serena film review by UK film critic Chris Olson. Starring Steven Strait, Andi Matichak directed by Rob Alicea. HOME | FILMS | REVIEWS Serena Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Jun 12, 2026 Directed by: Rob Alicea Written by: Jonathan Benecke, P.T. Hylton Starring: Steven Strait, Andi Matichak Whilst battle commences to keep AI out of the creative industries, writers Jonathan Benecke and P.T. Hylton pen an unnerving horror/thriller that deep-dives into the subject matter. Directed by Rob Alicea, Serena is a compulsive and unsettling piece that grips the audience by their digital gonads. Steven Strait plays Chris, a father-to-be and struggling musician, who takes part in a Beta Test for his friend’s company’s chatbot to make a bit of money. His remit is initially to look for ways in which the Chatbot can’t tell fact from fiction. The chatbot testing initially appeals to Chris, helping him make money on betting, which he desperately needs to pay rent. They become “friends” and he even lets her choose her own name, Serena (Andi Matichak). However, things take a darker turn during the testing period, once the AI gets to know Chris a little better, abusing his digital footprint in ways we have never seen before. Similar to Searching and Unfriended, Serena takes place all within Chris’s computer screen. And whilst this gimmick could be a recipe for a dull disaster, nothing could be further from reality here. Alicea keeps us compelled to watch, and the use of camera footage, video calls, YouTube clips, etc. keeps things interesting and even cinematic. There are some particularly funny moments involving Stu the delivery guy (played by Alicia) that keep it light. Strait and Matichak prove to be a fabulous digital pairing, with their video frames oozing emotion and drama from the former, and a cold, calculated cunning from the latter. The supporting cast is also great, in particular María Gabriela González as Chris’s girlfriend Vicki, but this is Strait and Matichak’s show for the majority of the movie. The film is clearly tapping into AI anxiety, but also the fear of becoming a parent. We see Chris’s world surge and implode all within the time he’s allocated to test this chatbot, perfectly reflecting the rapid pace of change we all feel in the modern world, and this gets no less heightened than when we sire a child. His desperation to provide for his soon-to-expand homestead becomes the emotional driving force behind his questionable decisions, which the AI attempts to exploit. If HAL 9000 could DeepFake, then 2001: A Space Odyssey would have been even more unsettling, and with Serena, the filmmakers have coded something truly worthy to enter the category of cinematic computer cruelties. Essential viewing and laptop preferred, just maybe clear your internet history first. About the Film Critic Chris Olson Indie Feature Film, Film Festival < All Reviews Next Film Review >

Four Days Left film review by UK film critic Patrick Foley. Starring Ahamed Abdulkhader, Karem Bucknall, Surj Kumar directed by Hariprasath Ventakesan . HOME | FILMS | REVIEWS Four Days Left Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 12, 2026 Directed by: Hariprasath Ventakesan Written by: Hariprasath Ventakesan Starring: Ahamed Abdulkhader, Karem Bucknall, Surj Kumar Four Days Left is a microbudget short from director and writer Hariprasath Ventakesan that looks to act as a reminder that there each immigration story is a human one. Following a student facing a visa expiration, it demonstrates the reverberating impact of losing a community member as well as the labyrinthine and perilous web that immigrants face when navigating the UK’s visa system. Illa (Ahamed Abdulkhader) is a resident in the UK on a student visa that has only 4 days until it expires. Faced with deportation to his native India, he seeks out official routes to remain in his newly adopted home, but exorbitant fees or complex legal pathways mean the chance of extending his stay is borderline impossible. Less reputable routes open up to him, such as through the ‘services’ of smooth-talking Maran (Surj Kumar) – and Illa is faced with a life-changing decision. It's harder to think of an issue more sensitive than immigration – with virtually every major political party in the UK swept up in a firestorm of zealotry on the subject that usually forgets the human cost of its reduction. Four Days Left is a reminder that whatever your stance, there is a human at the end of every statistic. The ending of Illa’s stay in the UK is not just heartbreaking for himself, but also to his friend Ravi (Shamas Khan) and landlady Karen (Karen Bucknall), who are desperate for their friend to find a way to stay. It is these pressures that threaten to push Illa into unwise choices – ones which blur the lines of legality and create more problems for both the individual and authorities down the line. It is hard not to watch the short and come to a conclusion that an overhaul of the system is needed – given the brick walls Illa runs into when trying to do the right thing. Although it should be said that despite the sadness of his departure, the film doesn’t necessarily convince that student visas in particular are a problem, given that Illa’s pre-agreed timing in the country is concluding and that he has a loving homelife to return to in India. The attached messaging at the end of the film doesn’t really work given this. The film was made on a small budget, and some of the imaginative framing is impressive given these limitations. The opening Zoom call between Illa and an immigration lawyer is a great way to frame Illa’s dilemma – demonstrating how disparate assistance is for him. The film elsewhere is cleanly shot and the director includes some interesting use of light – in which some of the more vibrant settings are where some of the shadier offers are made to Illa, whereas darkly lit scenes offer comfort. It is an interesting way to show the hostility of the official system, and why so many people in desperate situations turn to the shadows. The smaller scale of the film means some imperfections are inevitable. The main cast don’t really enliven their characters and the performances of Ahamed Abdulkhader and Karen Bucknall in particular are quite stiff. Viewers will have empathy with Illa because of his situation, but not particularly through the performance. The film’s ending also feels underwhelming and lessens the objective of the filmmakers in shining a light on the flaws in the system – as it feels there is more of a desire to give Illa a happy ending than to commit to the film’s purpose. Four Days Left is an admirable short made on a shoestring that uses some interesting story framing to examine an immigrant’s dilemma when dealing with the UK system. It is imperfect, but given the political climate, welcome – as it shows an important aspect of a national debate that is too often ignored: that being the people involved in it. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

the quiet between us film review by UK film critic William Curzon. Starring N/A directed by etop. HOME | FILMS | REVIEWS the quiet between us Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jun 10, 2026 Directed by: etop Written by: etop Starring: N/A the quiet between us is an atmospheric short piece centred on silence, memory, and emotional distance, with an intentionally bare-bones presentation. The short piece is meant to feel like a memory fragment, and this is an incredibly unique narrative device. Set in New Jersey, the piece is part of a larger trilogy that chronicles the city’s nighttime landscape, with a heavy focus on the neon-drenched nightlights. What is perhaps most astounding and frustrating about the piece is its primary focus on the silhouettes, silence and lighting of New Jersey, which not only feels beautiful but also alienating to the viewer. The deliberate repetition of the protagonist roaming the city is stunning yet frustrating to witness as a viewer, given how vague the piece’s intention feels. It frames itself as a short-form music film, and the sensory experience is what ultimately anchors the viewing experience. The visual language is, however, astounding and uniquely evocative, presenting a world steeped in isolation that echoes the themes of stillness and separation. While the silence is isolating to witness at times, the themes and presentation are incredibly nuanced despite its ambiguous visual language. The complete lack of dialogue is also commendable, as the piece entirely rests on what’s not said. Perhaps the most impressive aspect of the piece is its camerawork, which ultimately makes the experience worthwhile despite its vagueness. The piece primarily consists of slow tracking shots that move through the streets of New Jersey or follow the protagonist as they wander through the city. While the use of handheld camerawork is commendable, lending the film a visceral sense of intimacy, the repeated reliance on tracking shots becomes somewhat frustrating given the runtime. Despite never overstaying its welcome, the piece feels somewhat rushed, as its repetitive structure limits the sense of progression within the runtime. That said, the editing is astoundingly fluid throughout, making the piece fly by owing to its dynamic pace. The emphasis on silence and the space between two individuals is largely effective, with the sparse presentation reinforcing these themes. However, the material occasionally feels repetitive and stilted, which is unfortunate given how quickly the piece reaches its conclusion. While the ambiguous approach and focus on memory are impactful, a prolonged runtime to flesh out its ideas would've been a better compromise, as the experience can feel alienating at times. Despite these issues, it still manages to feel stunning to experience the neon-drenched streets of New Jersey. It's difficult to fully assess the central performance, as the viewer is rarely given insight into the characters' expressions or inner turmoil beyond their visual isolation as they wander the streets. While the silhouettes, controlled lighting, and emotional tension are merely hinted at through the protagonist's exploration of the city, the piece fails to fully engage the viewer, as the experience ultimately amounts to little. Despite the sensory experience being incredibly nuanced, given that's what the filmmakers intended, it's too ambiguous to a fault and may struggle to linger on viewers' minds. the quiet between us is ultimately a visually stunning yet isolating sensory experience due to its intentionally vague presentation. While its ideas of stillness and the space between two individuals are commendable, the piece struggles to foster an emotional connection, as its emphasis on repetition ultimately distances the viewer. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Pescador film review by UK film critic Jason Knight. Starring Alex Wanebo, Spencer Bang, Mario Chacon directed by Harry Domenico Rossi. HOME | FILMS | REVIEWS Pescador Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 10, 2026 Directed by: Harry Domenico Rossi Written by: Harry Domenico Rossi Starring: Alex Wanebo, Spencer Bang, Mario Chacon To begin with, just explaining that ''Pescador'' is a Spanish and Portuguese that means ''fisherman'' or ''angler''. This feature drama will be making its European premiere at Raindance on the 18th of June and is written and directed by Harry Domenico Rossi and it stars Alex Wanebo, Spencer Bang and Mario Chacon. The screenplay has an interesting structure. The film is separated into three chapters and the plot involves two young American siblings (Wanebo and Bang) who are in Costa Rica. The film begins with the sister, Katie, a marine biologist, as she travels through the country via a variety of ways, in search of a unique kind of fish. Approximately halfway through, things change completely (and turn towards the supernatural) as the film moves to another story with new characters, one being a solitary fisherman (Chacon) who encounters a magical lobster who grants his wish of having a son, who is delivered to him in a bad state while he is fishing in the ocean. The young man is actually Katie's brother, who she has not seen in years. This film basically consists of two stories, each with its own characters and themes and combining them makes this slow-paced feature a road movie and a father-and-son relationship story. The road movie definition applies to the section involving the sister as she navigates Costa Rica and has meaningful encounters with a variety of people, including drivers, a group of travellers, the owner of a restaurant and a married couple. Some of her encounters go well, others end in confrontation. In the father-and-son part, (which has significantly less dialogue) the fisherman brings the youth to his home, helps him recover from his injuries and repeatedly tries to make him stay with him and let him teach him the art of fishing. Although initially resistant, the rescued youngster gradually warms up to his ''father'' and the two of them build a positive rapport between them, which is the main focus of this story. Rossi directs terrifically, choosing to develop several well-executed long takes and creating many wonderful shots that reveal beautiful landscapes, all of which have the privilege of being supported by Isaac Banks's cinematography. Composer Dylan Marx makes a great contribution with music that sounds tropical. As the central character of the first story (or perhaps the first chapter), Katie is a woman on a mission. Highly knowledgeable in her field and often writing her thoughts in a notebook, she embarks on an adventure to find a kind of fish that is apparently undiscovered yet, like something out of a fairy tale. As for Bang and Chacon, since there are almost no spoken words between these two, they interact with each other in other ways, which end up being gentle or tense. Chacon comes across as peaceful and quiet as a seasoned fisherman who longs for a son who he can teach the ways of his profession. Bang's character pretty much appears out of nowhere, a broken man who turns from an aggressive man repeatedly trying to escape into a loving son. This film goes through a great deal of themes. Taking under consideration the events in the story about the sister, themes involving travelling, marine biology, meeting people and pursuing a goal are examined. In the part about the brother and the fisherman, it is the desire to have a child, the complications involing father-and-son issues, the life of a fisherman, support and regrets that are explored. A feature with two different but related stories. Strong performances, methodical directing and interesting music are the main strengths. Overall, the pace is slow and the focus is directed primarily on character exploration instead of storytelling. A viewing that more than anything aims to be philosophical. About the Film Critic Jason Knight Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Disclosure Day film review by UK film critic Hope Madden. Starring Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo directed by Steven Spielberg. HOME | FILMS | REVIEWS Disclosure Day Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 9, 2026 Directed by: Steven Spielberg Written by: David Koepp, Steven Spielberg Starring: Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo For about fifty years, Steven Spielberg has been indulging his wonder. By sheer force of will and undeniable talent, the filmmaker turned the direction of Hollywood’s alien fascination, not from “they’re coming to get us” to “maybe they love us.” But he pushed hard enough, beguiled intensely enough, to create that space. He isn’t done. Disclosure Day returns our eyes to the skies and asks us to examine why our natural inclination is to believe the worst in each other and blame the “other” for it. Josh O’Connor is Daniel Kellner, math nerd (you knew there’d be a nerd). He’s employed by Wardex, an intelligence and security paramilitary firm that works alongside, not for, the US government. But Spielberg, working from a script by longtime collaborator David Koepp (Jurassic Park, War of the Worlds) for which he gets story credit, wastes no time on this set up. From the opening smackdown, we are on the run with Daniel and girlfriend Jane (Eve Hewson) from Wardex and its head, Scanlon (Colin Firth). Cut to the charmingly unserious Kansas City meteorologist, Margaret Fairchild (Emily Blunt). Quite suddenly, over the objections of Margaret’s equally unserious boyfriend (Wyatt Russell), she’s on a collision course with Daniel while Scanlon’s high tech, black clad operatives use all intel on hand to close in. The shot making is Spielberg at his most reflectively, thrillingly Spielbergian. Disorienting, gorgeous, and often recalling his own work in nod after ingenious nod. Plus, John Williams came out of retirement, pairing music to scene to reliably engrossing effect. Colman Domingo offers his support as the father figure whose let wonder and optimism override knee jerk fear and cynicism. Everybody’s great, Blunt in particular. And there’s a lovely sentiment fueling the tale as Spielberg uses his familiar themes to point to the weaponization of religion and society’s bottomed-out belief in humanity. But the world is not the same place it was when Richard Dreyfuss wasted a good plate of mashed potatoes. As well made and engaging as Disclosure Day is, the third act reveals what the first two suggested. For a comment on the state of the world, or an extra-terrestrial thriller, the film’s sweet, quaint, and somewhat irrelevant. A few questionable details would be easier to overlook thanks to the film’s admirable momentum had it all led somewhere less telegraphed and less wide-eyed. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Finn O'Toole writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Finn O'Toole Having worked across almost every corner of filmmaking – writing, directing, acting, producing, editing, and even making the sandwiches on occasion – I have a deep love and appreciation for the craft. As an award-winning filmmaker myself, I understand just how much time, passion, and perseverance goes into bringing a project to life, and I firmly believe that every completed film is it's own miracle. As a critic, I aim to be the filmmaker's equal rather than a judge. I approach every film with empathy, curiosity, and goodwill, while remaining honest and constructive. I'm particularly passionate about genre cinema, especially science fiction, with a soft spot for stories that use fantastical concepts to explore contemporary social and political themes. When I'm not making or writing about films, you'll usually find me in the cinema with a bucket of popcorn and a coke, or pretending I'm seeing to important business at the BFI. Read Latest Film Reviews ANIMALS Finn O'Toole Read Film Reviews New Lives Finn O'Toole Read Film Reviews The Applecalypse Finn O'Toole Read Film Reviews Over The Board Finn O'Toole Read Film Reviews Aberration: Deja Reve Finn O'Toole Read Film Reviews