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Phase film review by UK film critic Patrick Foley. Starring Rhiannon Bell, Joe Bolland, Nick Cornwall directed by Jessica Vogt. HOME | FILMS | REVIEWS Phase Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Mar 6, 2026 Directed by: Jessica Vogt Written by: T.A. Ransom, Jessica Vogt Starring: Rhiannon Bell, Joe Bolland, Nick Cornwall Jessica Vogt’s debut feature Phase is a claustrophobic, mind-bending and discomforting sci-fi that tells a perishingly human story in a retro-futuristic setting. It will keep viewers on strings throughout and impress with fantastic use of practical effects. Set in a future where life on Earth has become unviable, pregnant Ursula (Rhiannon Bell) finds herself banished from her space station home of Alexandria and in search of the runaway father of her child Liam (Joe Bolland). In the hostility of deep space, she comes across Noah (Nick Cornwall) – an older fellow exile who explains her antiquated ship means they can operate outside of normally permitted routes. The pair work together to survive, but secrets in Noah’s past begin to threaten both of their futures. Phase is a stylish sci-fi packed with mystery, brilliantly crafted and coherent characters and a great sense of the message which it wants to convey. The theme of parenthood weaves through the script – powering Ursula’s mission to find Liam, her desperation for survival, the influence of her mother’s death, the callousness of the mega-corp that ejects her from her home, and eventually Noah’s own exile and cause for operating outside of the law. In the paranoid world of the film, the only ones you can truly trust are family, and it not until Ursula and Noah understand this part of one another and begin to build their own familial bond that they are able to truly work in tandem. The story eschews traditional narrative structures and is ambiguous in both its beginning and ending. Vogt and co-wroter T.A Ransom pick up Ursula’s story after an indeterminate series of life events that have seen her become pregnant whilst at the limit of exile from the Alexandria. Her background is opaque, and her role in the larger story of humanity even more so. Yet this pales in comparison to the background of Noah, whose past we begin to unravel as the story develops. The unsettling darkness Ursula is threatened by is one of the film’s best elements, and audiences will be gripped by the mystery. Impressively, Ransom and Vogt take the story down certain avenues that will undoubtedly misdirect audiences before veering into twists and turns that never come across as gimmicky or done for the sake of catching the viewer out. The vision of the script comfortably keeps the human side of the story at the front and the story on track. Some viewers may feel a little disappointed by the vagueness of the ending, however this is undeniably on point from a tonal perspective. Rhiannon Bell gives a great leading performance, acting as a conduit to the audience in capturing feelings of isolation. Her quiet survivalist instincts serve her until coming into collision with the faceless bureaucratic layers of the Alexandria who are happy to jettison human life the second it becomes a burden. Her steeliness helps her withstand this, but Bell’s real chance to show her acting chops come when she meets Nick Cornwall’s Noah. The uncertainty of whether he is friend or foe continues past their initially fraught meeting, and the danger of the unknown exile she has invited into the ship in which she dwells makes the tension in the film thrillingly unbearable. Cornwall himself holds his own. His Noah is fatherly and mentorlike – but the pensiveness Cornwall plays him with matches the character’s inconsistent story, making the viewer and Ursula alike wonder whether this tenderness is all for show. Throw in fantastic practical visuals that brilliantly capture the isolated, vulnerable feel of a lone spacecraft, and an atmospheric soundscape (courtesy of Blacklit Canopy, the original band of Sleep Token frontman Vessel), you come away with an accomplished thriller that makes fantastic use of its sci-fi setting and relatable human story. About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

One of the Good Ones film review by UK film critic Jason Knight. Starring Tom Paolino, Roderick Garr, Amy Zubieta, Jacob A. Ware directed by Julie O'Hara. HOME | FILMS | REVIEWS One of the Good Ones Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 6, 2026 Directed by: Julie O'Hara Written by: Vincent L. Scarsella, Julie O'Hara Starring: Tom Paolino, Roderick Garr, Amy Zubieta, Jacob A. Ware An indie crime comedy legal drama directed by Julie O'Hara, written by O'Hara and Vincent L. Scarsella (based on his novel Lawyers Gone Bad ) and starring Tom Paolino, Roderick Garr, Amy Zubieta and Jacob A. Ware. Dean (Paolino) is an honest prosecutor in Buffalo who works at the Lawyer Disciplinary Office. He is dedicated to his profession, however his personal life is going through challenging times. When he finds out that an attorney ostensibly committed suicide, he and his investigator, Stu (Garr) set out to uncover the truth that they suspect is related to the deceased's partner, Susie (Rosanna Pfeifer) and the District Attorney, Sam (Ware). The narrative begins as a comedy about the legal industry, before entering more dramatic territories. The main concept is Dean and Stu playing detective, trying to solve the mystery of the dead lawyer. Simultaneously, Dean is struggling with the loss of his child, does his best to support his troubled wife and attends meetings for alcoholics. Oh, and he is also trying to start a relationship with one of his colleagues, Kat (Zubieta). Overall, the story is intriguing and the screenplay can be humorous one moment and the next it can turn serious and Ludek Drizhal's light-hearted music contributes well to the atmosphere. The amusement reaches high points when Dean breaks the fourth wall and says some rather unflattering comments and with the appearances of an awkward man named Perry (Bill Kennedy), who hangs around at a bar frequented by Dean and Stu. As the main protagonist, Dean is a determined, clever and wisecracking guy who is willing to fight for justice. In his working life he is a prosecutor and in his personal life he is torn apart. Sam could be described as the antagonist, a corrupted D.A. who is cheating on his wife. Kat is a very nice woman, who serves as Dean's love interest. Although his on-screen time is brief, Kennedy manages to make his character a memorable one, wearing a camo jacket and saying outrageous theories. With a plot that concentrates mainly on murder and suspense, this film explores the legal industry, including corruption and justice. From a different perspective, it is also a story about loss, alcoholism, self-reflection and romance. This feature succeeds in being humorous, however, it would be more accurate to describe it as a crime thriller and a drama about personal struggles. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Heel film review by UK film critic Hope Madden. Starring Stephen Graham, Anson Boon, Andrea Riseborough directed by Jan Komasa. HOME | FILMS | REVIEWS Heel Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 5, 2026 Directed by: Jan Komasa Written by: Bartek Bartosik, Naqqash Khalid Starring: Stephen Graham, Anson Boon, Andrea Riseborough Few people who watched the Netflix series Adolescence would describe it as darkly comical. And yet, Adolescence co-creator and co-star Stephen Graham lends his considerable talent to another look at the troubling behavior of young white men in Jan Komasa’s Heel. Graham plays Chris, a well-intentioned family man. Anson Boon is Tommy. One morning, after a night of hard debauchery, Tommy wakes up in chains in Chris’s basement. From there, Komasa’s film, written by Bartek Bartosik and Naqqash Khalid, could become something truly horrifying. Instead, it reimagines The Clockwork Orange by way of My Fair Lady . There’s obviously something terribly wrong with Chris, his wife Kathryn (Andrea Riseborough), and probably their young son Jonathan (Kit Rakusen). But they don’t think so. Indeed, they’re so convinced of their benign purposes that the family hires a part time maid (Monika Frajczyk), even though there’s a human being chained up just off the laundry room. Of course, during the interview, Chris does ask if Katrina has any distinguishing marks. That could be a red flag. The performances across the board are marvelous. Certainly, we’ve come to expect nuanced, even surprising turns from both Grahan and Riseborough. But it’s Boon who really impresses. His Eliza Doolittle arc is fantastic and frustratingly believable. Komasa plays with your expectations and manipulates your emotions. It’s really hard to root for the kid in the cellar, and it’s often a little tough to dislike this broken family, although there is clearly something very cracked and likely dangerous about them. The sharp script never overplays its themes. Heel keeps you guessing, keeps you fascinated, and sometimes has you almost breathless. It’s also quite funny and touching. The longer you watch, the more provocative Heel becomes. Even if you’re furious by film’s end, it’s hard to deny its power. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Bride! film review by UK film critic Hope Madden. Starring Jessie Buckley, Christian Bale, Annette Bening directed by Maggie Gyllenhaal. HOME | FILMS | REVIEWS The Bride! Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 4, 2026 Directed by: Maggie Gyllenhaal Written by: Maggie Gyllenhaal Starring: Jessie Buckley, Christian Bale, Annette Bening One part Metropolis , one part Bonnie & Clyde, just a touch of Bride of Frankenstein and yet somehow entirely writer/director Maggie Gyllenhaal’s own, The Bride! deserves that exclamation point. Jessie Buckley is a force of nature in a dual role—sort of a triple role, really: an unhappy Chicago gangster’s moll; Mary Shelley, silenced far too soon; and a monster, chaotic, unruly, unburdened by memory and guided by peculiar fury. The likeliest lock for Oscar in the 2026 race for her breathtaking turn in Hamnet , Buckley is perfectly paired with Christian Bale (that hack!), a unique image of Frankenstein’s monster. He is tender, lonesome, adoring, and very anxious. Frank has a serious anxiety issue, which is mainly calmed by watching his favorite movie star, the song and dance man Ronnie Reed (Jake Gyllenhaal). To watch Buckley and Bale, two masters of their craft, work off each other is a treat, each of them tearing through Gyllenhaal’s inspired and intelligent script with dark joy. The leads are surrounded with memorable, noir-esque characters: Annette Bening as our mad scientist, Peter Sarsgaard as the gumshoe with some secrets, Penélope Cruz as the brains behind the investigation, John Magaro as the spineless gangster. Great as they are, and they all are, the star here is Maggie Gyllenhaal. Her tale is hyperliterate with surreal flourishes, dazzlingly filmed, constantly surprising and yet charmingly inevitable, and fueled by a glorious, contagious rage. There are dance sequences (an absolute blast) and shoot outs, a deep vein of dark humor, opportunities for redemption, and delightful easter eggs. (Ida’s nemesis is a gangster named Lupino; silver screen star Ida Lupino turned to directing, and one of her most cynical and impressive efforts was a 1963 episode of the TV show Thriller called “The Bride Who Died Twice.”) The Bride! delights with an anarchic energy, but its underlying plot is tight, its characters clearly drawn and beautifully performed, and its aesthetic wondrous. In just her second feature, after 2021’s sublime The Lost Daughter , Gyllenhaal’s cemented her spot as one of the most exciting filmmakers working. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Film Trailers Scary Movie 6 More Empire of Lies More Undertone More The Moment More The Land of Sometimes More Avengers: Doomsday More Greenland 2: Migration More Looney Tunes: The Day the Earth Blew Up More Mother Mary More Ready Or Not 2: Here I Come More Shelter More People We Meet On Vacation More

The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema.. Brand new film trailers. Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. In a move that has sent shockwaves through social media, the new film reunites the original creative powerhouses: Marlon Wayans, Shawn Wayans, Anna Faris, and Regina Hall. After years of spin-offs and sequels that moved away from the core cast, this "legacy sequel" looks to recapture the lightning-in-a-bottle chemistry that made the first two films global sensations. The trailer opens with a high-energy nod to the franchise's roots, set to Eminem’s "Without Me," signaling that the "OG" crew is indeed back to reclaim their throne. From the first few frames, it is clear that no modern horror trend or cultural shift is safe from their brand of irreverent, boundary-pushing humor. The teaser immediately dives into a parody of the recent "Legacy Sequel" trend in horror, mocking the very nature of its own existence while simultaneously lampooning modern hits like Scream VI, Smile, and Barbarian. One of the standout moments features the long-awaited reunion of Cindy Campbell (Anna Faris) and Brenda Meeks (Regina Hall). Their dynamic remains as hilariously chaotic as ever. In a sharp-witted exchange that highlights the film’s willingness to tackle modern political and social discourse, Cindy hesitates to hug Brenda, claiming she’s "a Republican now," to which Brenda classicly retorts that she thinks all white people are racist anyway before the two share a warm, bizarre embrace. This scene perfectly encapsulates the Scary Movie ethos: taking uncomfortable social topics and turning them into slapstick, rapid-fire comedy. The Wayans brothers also make their presence felt immediately, bringing back the high-energy physical comedy and absurd dialogue that defined the early 2000s. The trailer showcases a series of frantic sequences, including a nod to the "Entity" from Smile—where characters are told to "stop smiling"—and a chaotic, gore-filled Christmas parody where a child receives a severed arm from Santa, only for his mother to remind him to say "thank you". Regina Hall’s Brenda continues to be the heart of the franchise's most relatable humor. In a highlight from the trailer’s climax, she refuses to help a victim in distress because she is "on break," choosing instead to enjoy her "falafel and pork rinds" while the chaos unfolds in the background. It is this mix of utter indifference to horror tropes and over-the-top reactions that fans have missed most. Scary Movie 6 seems poised to be a massive box office draw, bridging the gap between nostalgic fans of the original trilogy and a new generation raised on a decade’s worth of "elevated horror" ripe for parody. With the Wayans brothers back in the writer's room and the iconic duo of Faris and Hall leading the charge, the trailer promises a film that is as offensive, ridiculous, and undeniably funny as its predecessors. The message is clear: the masters of the spoof are back, and horror will never be the same. Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures.

Film trailers and movie reviews from some of the best cinema releases in the UK. Watch film trailers and movie clips here. Film Trailers Watch the Latest Movie Trailers Here! Alongside our passionate Film Reviews , we also like to promote the biggest and best film trailers from this year's upcoming theatrical releases. Here you will find some of the most exciting clips of films, from your dramas and romantic comedies, to superhero films and biopics. Fair warning, these movie trailers may contain spoilers or give you unreasonable expectations as to the quality of the full film. UK Film Review take no responsibility as to whether these trailers are appropriate to your sensibilities. If you are looking for movies off the beaten track, check out our other movie trailers pages for short and indie films. You can find these by looking under the Film Trailers drop-down in the main navigation. There you will find some of our favourite movie trailers from filmmakers in the UK and worldwide, doing our best to support indie films. If you would like to submit your trailer, there is an option at the bottom of those pages. Don't forget to FOLLOW us on Facebook and Twitter, where we promote the latest film trailers and film reviews. Also use the YouTube button below to SUBSCRIBE to our channel, which has tons of movie trailers, vlog film reviews, and clips. All that's left to say is enjoy these trailers, share with your friends (and enemies), and come back regularly for more. Scary Movie 6 Empire of Lies Undertone The Moment The Land of Sometimes Avengers: Doomsday Greenland 2: Migration Looney Tunes: The Day the Earth Blew Up Mother Mary Ready Or Not 2: Here I Come Shelter People We Meet On Vacation Doctor Plague Wake Up Dead Man: A Knives Out Mystery Michael The Carpenter's Son Eternity Kontinental '25 Anniversary Kenny Dalglish Movie Trailers to Come Looking for a reason to check back? Well, this page will promote movies for the rest of the year and we will continue to unleash them as the months progress. Many film studios release their best movie trailers near the final stages of a film's release to tie in with their marketing which builds to a crescendo, like the final third of a Marvel superhero movie! If you would like to submit a trailer for our consideration, please do so to info@ukfilmreview.co.uk . If we like what we see we may put it on one of our pages. We may also promote it on social media, because that is where people love to engage with vids and clips...but mostly of pugs. Who doesn't love pugs? Spoilers in Movie Trailers Many film lovers get in touch with us to express their outrage at firstly studios who include way too many spoilers in their marketing material, and then at us for sharing such spoilerific clips. A totally understandable and reasonable feeling, especially given the recent popularity amongst trailer makers to show footage from the final third of a film! If you think one of the movie trailers on our website contains too many spoilers, please let us know (using the usual social media platforms) and we will investigate. It may be that we grab the pitchforks and turn up at the doors of Warner Bros demanding satisfaction. It may be that we take to Twitter and bombard the film's stars with the most aggressive emojis and hashtags we can muster. Or it may be that we do absolutely nothing. Either way, you can be sure that you did your darndest to effect massive change in the world for a genuinely important cause. What is a movie trailer? A movie trailer is a promotional piece of footage compiled using scenes or sequences from a film. The movie trailer may also include additional material or music to enhance the effec for the viewer. What is the purpose of a movie trailer? Movie trailers are used to build anticipation and excitement leading up to a film's release. Often they contain elements that will particularly appeal to fans of the genre they are targeting. How long should a movie trailer be? Typical movie trailers are around 2 minutes in length. Sometimes teaser trailers are used and these can be anything from 10 seconds to 1 minute plus. How do I make a movie trailer? You will need to have the footage material from the film you are planning to make a trailer for. You should also have video editing software, music (including the licence to use it), as well as any graphics you plan to use such as intro or outro sequences.

Billy Idol Should Be Dead film review by UK film critic George Wolf. Starring Billy Idol, Perri Lister, Steve Stevens directed by Jonas Åkerlund. HOME | FILMS | REVIEWS Billy Idol Should Be Dead Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 4, 2026 Directed by: Jonas Åkerlund Written by: Jonas Åkerlund Starring: Billy Idol, Perri Lister, Steve Stevens As great as Robert Patrick was in Terminator 2 , Billy Idol would have made a pretty rad T-1000. Billy was indeed up for the part, and a glimpse of his screen test with James Cameron is just one of the archival delights in Billy Idol Should Be Dead, a new doc that traces his life of curled lips, spiked hair and legendary rock god excess. Adding plenty of never-before-seen footage to many of the sentiments from Billy’s 2014 memoir, director Jonas Åkerlund does a great job taking us inside young William Broad’s English upbringing and the Seventies punk scene that launched the Billy Idol persona and his early bands, Chelsea and Generation X. Billy is refreshingly honest and self-reflective in the new interview footage, as Åkerlund often layers it with classic clips from the Eighties that accentuate how committed Idol was to the “sex, drugs and rock-n-roll” lifestyle. But once the two-hour doc hits the halfway point, the career overview starts to suffer from a drifting focus. Billy’s longtime personal relationship with girlfriend Perri Lister gets plenty of scrutiny, while musical partner Steve Stevens is barely mentioned. Åkerlund (Lords of Chaos, Metallica Saved My Life) juggles a shifting timeline, animated segments, a black and white aesthetic and celebrity commentary (Miley Cyrus, Pete Townshend, etc.) with an approach that seems random. The film’s vision never feels fully formed, especially up against the heels of Morgan Neville’s expertly crafted Paul McCartney doc, Man on the Run. And strangely, despite Åkerlund’s extensive experience in music videos, Idol’s catalog isn’t mined as deeply as it could be, and several chances to anchor some passages with more Idol hits are left unexplored. The film might not reach the raw emotional honesty of docs such as Steve! (Martin ) or Pee Wee as Himself, but for Billy Idol fans, there is plenty here to satisfy. From early clubs to MTV glory, from the gnarly scars of a motorcycle wreck to embracing family and moments as a doting grandfather, Billy Idol Should Be Dead does make you feel like you know a rock legend just a little bit better. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Belonging and the Scene film review by UK film critic Jason Knight. Starring Pup Momo, Jack Thrasher directed by Monica Dhaka. HOME | FILMS | REVIEWS Belonging and the Scene Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 1, 2026 Directed by: Monica Dhaka Written by: N/A Starring: Pup Momo, Jack Thrasher With her film debut, director Monica Dhaka explores the world of kink community by utilising the story of Pup Momo. Momo is part of this community, a homosexual who enjoys rubber puppy play, meaning that he dresses in fetish clothing that includes a rubber mask that resembles a dog's head for fun and sexual satisfaction. When he enters role play, he calls himself ''Momo''. Via this short documentary, viewers will get to know him and learn about the world of fetish. Momo is the centre of this film and he is interviewed, with his voice-over covering his childhood, how he currently lives his life and the kinky community. Attracted to role-playing fetishes, Pup Momo grew up in the United States, with parents from the Netherlands. He won the title of Mr. Rubber Netherlands 2022, proving his strong dedication to this group of people. With the use of home video footage, viewers get to see him as a playful child. Through Pup Momo's words and archival footage, people will get an idea of what the kink community is, how big it is, with competitions like the one won by Momo, magazines such as the Mr B Wings (a BDSM magazine to which Bohnen is a contributor) and parades like the Amsterdam Pride Canal Parade proving how widely established it has become. All this is accompanied by Dhaka's emotional music. One of the purposes of this documentary is to shed light on the world of kinky people and defend them, to reveal that they are not disturbed or antisocial as some think they are, but individuals who are united because they share particular desires and activities and that their world is a group where everyone is accepted. This fifteen-minute-long short provides a brief but thoughtful insight into the world of kink communities and shows that it is a place where people can find happiness and acceptance, where they can be who they want to be and be comfortable with self-expression. It also communicates the message that just because someone is unusual does not mean they are no good. Some viewers might find the subject matter uncomfortable, however, this documentary deserves recognition because ultimately, it points out that people who are part of this network do so in order to be happy and (as the title suggests) to belong. About the Film Critic Jason Knight Short Film, Documentary, LGBTQ+ < All Reviews Next Film Review >

Hoppers film review by UK film critic Hope Madden. Starring Piper Curda, John Hamm, Bobby Moynihan directed by Daniel Chong. HOME | FILMS | REVIEWS Hoppers Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 3, 2026 Directed by: Daniel Chong Written by: Daniel Chong, Jesse Andrews Starring: Piper Curda, John Hamm, Bobby Moynihan Funny, relevant, overstuffed and a little too busy, Pixar’s latest, Hoppers , throws a lot at you. Mabel (Piper Curda) has always been a handful. In the film’s opening act, after she gets caught trying to break every elementary school classroom animal out of captivity, her frustrated mother drops her off with her grandmother. Grandma Tanaka (Karen Huie) introduces Mabel to the calming effect of nature. As they age together, the two sit on a rock by the glade behind Granny’s, learning to be silent and feel a part of something bigger. Then the mayor, Jerry (Jon Hamm), decides to bulldoze the glade to extend the city’s beltway, shortening commutes by 4 minutes! Through a series of events both clever and complicated, Mabel hijacks a research experiment, avatars her way into the robotic body of a beaver, infiltrates the local wildlife community, learns more than any human has ever learned about their hierarchy, and just about gets Jerry squished. Hamm is perfect as Mabel’s foil, but the entire cast is excellent. From smaller supporting turns (Meryl Streep, Vanessa Bayer, and Isiah Whitlock, Jr. in one of his final roles) to larger roles (Bobby Moynihan, Dave Franco, Kathy Najimy), each voice brings life and wit to Pixar’s characteristically enthralling animation. Co-writer/director Daniel Chong’s script, co-written with Jesse Andrews (Elio , Luca , Me and Earl and the Dying Girl ), is warm, forgiving and quite funny. Pixar has a knack with movies about a world unknown, even forbidden, to humans. Hoppers plays with that idea, and the thrill of being part of the animal world offers contagious joy. It’s also an honestly emotional film, and Curda makes an excellent anchor for that emotion. The film’s one big drawback is that it simply tries to do too much. At an hour and 45 minutes, it feels slightly longer than necessary, but more than anything, it is very complicated. Had Chong pruned some of the human world complexities, favoring instead the merry time spent in the surprising world of the animals, his film might find broader appeal. As is, it will delight older children and adults, although the littlest viewers may struggle to keep up. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Gloria’s Cut film review by UK film critic James Learoyd. Starring Olivia Gropp, Raleigh Tabora directed by Olivia Gropp. HOME | FILMS | REVIEWS Gloria’s Cut Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 2, 2026 Directed by: Olivia Gropp Written by: Olivia Gropp Starring: Olivia Gropp, Raleigh Tabora Gloria’s Cut is a bloody and satirical short film about a struggling actress working at a diner. One night, she ends up confronting a seemingly more successful (and infinitely more pretentious) actress who finds her way into said diner. The two of them begin by discussing pages of a script for an audition which both characters wish to pursue. What progresses is an increasingly volatile, revealing and ultimately – as established in its cyclical opening – murderous encounter. There is so much to enjoy about the narrative of this picture as well as its superbly flashy and slick production. Whilst this is a chamber-piece for the most part, all of the structural skill is placed clearly on display; yet furthermore, within its 15-minute runtime, the filmmakers manage to also probe some deep and perceptive areas of interest... Thematically speaking, what Gloria’s Cut presents is an engaging take on favouritism in the entertainment industry and encouraged pursuit/obsession with stardom – but through the lens of reflexive 90s nostalgia. This is a high-level screenplay, and one which I should mention is being used as a proof-of-concept for a feature-length project titled No Doubt . Personally, I find this fact to be a bit of a two-edged sword. For if there is any complaint I have of the film (though not so much of the work itself but the context provided) it’s that the heightened, to-the-point tone suits a short-form piece so well that one can’t necessarily envision it being as impactful as a long-form piece. However, having seen how incredibly well the filmmakers can get a handle on tone, setting and message, I’m confident that the feature will share this same level of artistic care and genre-based passion. My only worry is that it would feel similar to The Substance (also better as a short) whose tone becomes tiresome and repetitive. But like many short films, what we witness is effectively a single extended conversation, and what allows the audience to engage with these ideas in the first place is the terrific style and mood being constructed through the sound and visuals. There’s an irresistible neon aesthetic at play here, with both lighting and colour producing a simultaneously grimy yet comforting atmosphere. Because of this specificity of style and place, I was sold on the film within the first few shots. If anything, the fact that the film takes place in the 90s is more a satisfyingly convenient aesthetic tool rather than a story-trait – although it never feels like a gimmick. Written, directed and starring Olivia Gropp, this is a movie with a unique, personal vision. I’m also happy to report that Gropp manages all three of her creative roles with great success – this is not an indulgent or unbalanced work; it is, instead, carefully directed, effectively written and entertainingly performed. And the fact that this is a self-directed work may only add to the cohesion of the vision. To surmise, Gloria’s Cut demonstrates some truly impeccable storytelling and cinematic flair – a fun talky work of drama as well as an appropriately exaggerated gore-fest. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Eructation film review by UK film critic William Curzon. Starring Kaylee Kotkins, Eric Stalker directed by Victoria Trow. HOME | FILMS | REVIEWS Eructation Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Mar 1, 2026 Directed by: Victoria Trow Written by: NA Starring: Kaylee Kotkins, Eric Stalker Eructation is a short documentary that follows Kaylee Kotkins, a young woman with incredible burping abilities, as she aims to break the world record for the loudest burp, currently set at 107.3 decibels. Her loudest belch to date is 110 decibels in practice, and she uses a decibel reader app on her phone to calculate her burps. This documentary follows her as she prepares to break that record, while also briefly exploring her relationship with her partner, Eric, as he endures Kaylee’s absurd challenge. One of the most unique aspects of the documentary is not only its original and absurd concept but also the use of decibel numbers as a central narrative device for Kaylee as she utilises other sounds around their home. She finds a plethora of objects, such as a hair dryer, to measure the loudness of her burps. While there isn't much material to sustain a feature-length runtime, its tight runtime works in its favour, as the passionate personality of Kaylee shines through, and the filmmakers get straight to the point without ever stretching the material out. Max Henderson, serving as the film's cinematographer, primarily shoots the documentary with close-ups of Kaylee and overhead shots around her home as she prepares for the challenge. Most of the dialogue is delivered through a litany of exposition, so the audience rarely gets to know Kaylee as a person, but only her intention for the documentary. Thankfully, many of the comedic elements of the piece land surprisingly well and the inclusion of Kaylee’s partner, Eric, offers a unique perspective on her challenge. The piece is paced incredibly well with some commendable editing choices, making the film feel frenetic in its attempt to match Kaylee’s efforts to beat her record. The brisk pace at which the expository dialogue is delivered can be overwhelming at times; however, it's ultimately a necessary choice to keep the piece utterly engaging throughout. As a viewer, it's hard not to root for Kaylee to achieve her goal, and that's a testament to how instantly the filmmakers draw the audience in, despite its incredibly minimal runtime. The piece also provides some education about the human body and the mechanisms by which we burp to relieve pressure after swallowing air while eating and drinking. The lengths to which she goes to achieve this record are mostly entertaining to endure, and it's not something that has ever really been explored within cinema. Despite the documentary offering fairly minor context to Kaylee and Eric outside of what is depicted on camera, the direction from Victoria Trow elevates the material by giving the piece some needed propulsive nature. While the conclusion to the piece ends abruptly, Kaylee’s challenge is profoundly executed by the filmmakers, consistently finding evocative ways to frame each scene. Eructation is a fascinating experimentation held together by Kaylee Kotkin's sheer ambition and some commendable direction and editing choices. While the piece offers fairly minor material outside of the central challenge Kaylee sets for herself, it's an aptly made piece of filmmaking, presenting an absurd concept that is both wildly entertaining and surprisingly educational. Eructation will celebrate its world premiere at the 2026 SXSW Film Festival About the Film Critic William Curzon Documentary, Short Film < All Reviews Next Film Review >