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Monkey Drum film review by UK film critic Holly Baker. Starring Tadashi Mitsui, Taiju Nakane, Akira Simoneau directed by Jeremy Lu. HOME | FILMS | REVIEWS Monkey Drum Film Review average rating is 5 out of 5 Critic: Holly Baker | Posted on: Jan 19, 2026 Directed by: Jeremy Lu Written by: Jeremy Lu Starring: Tadashi Mitsui, Taiju Nakane, Akira Simoneau Rooted within Japanese culture, Monkey Drum is a beautifully shot (cinematography by Tian Pei) folk-horror short film about the most horrific kind of tragedy. The young, award-winning director Jeremy Lu, amongst a small team of Asian filmmakers, poured their experiences and identities into this project (Lu's NYU thesis film) to create an authentic masterpiece. Crowdfunded through donations and the filmmakers' own pockets, these artists were inspired by the Japanese way of treating friends, neighbours, and, significantly, strangers, centring the story around the Japanese term “お邪魔します”, literally meaning “I am disturbing”, a phrase used in Japan when entering someone’s home, thus disturbing their peace. Minato is an elderly, broken man. He is a hermit who has lived alone for many years and is content with a simple life of solitude, one that is fulfilled purely by the fact that he is still breathing. Isseki is a devoted young father of Jun. The two of them have mysteriously found themselves lost and helpless and persuade Minato to take them under his wing, feeding and sheltering them, even gifting Jun with a fun new toy – a hit-hit drum (でんでん太鼓). Isseki and Jun’s entry is immediately unsettling to Minato’s space. The sound design enhances this powerfully, focusing on their bellowing knocks on the door, the gross sounds of their slurping and chewing, and most notably, Jun’s constant rattling of the monkey drum, which eerily plays through the night, causing Minato significant unease. There is a clear generational detachment between Jun and Minato. This divide is cleverly highlighted through Jun’s inability to understand cues of politeness within traditional Japanese culture, immediately brought to attention in Jun’s refusal to introduce himself and further demonstrated in his reluctance to stop playing the drum despite irritating both his father and Minato. Similar to Mother!, directed by Darren Aronofsky, Monkey Drum excellently creates a tone of unease from the outset through the scenario of an unwelcome intrusion. As is customary in American culture, Jennifer Lawrence’s character is vocal about her discomfort from the immediate disruption of an unwelcome guest residing in their home. However, whilst Minato’s unease is clear to viewers, it is only following the fallout of a sudden tragedy which has come to haunt Minato’s space that he is ever direct about his desire for Isseki to leave his home. Monkey Drum masterfully depicts a shocking accidental tragedy. As the film is only 16 minutes long, there is little space for buildup or foreshadowing. Despite this, the film minimally brews tensions, drawing attention to spaces and objects which viewers can sense carry a heavy weight before the incident occurs. The actual tragedy itself is conveyed chillingly. Through bone-cutting sound effects, its use of silence and selective camera choices in what is shown and when, the gradual realisation towards what has happened is experienced in real time through the eyes of Isseki and Minato. Here, viewers are forced to endure the most horrific moments following such a tragic event, engaging in an authentic journey of the most mortifying grief. As the film comes to its climax, the tragedy becomes a mere background character adding to the brewing tension between Isseki and Minato, his unwelcome presence and the turmoil he has brought into Minato’s home spiralling into a dramatic culmination. The performances here, and indeed throughout, from Tadashi Mitsui (Minato) and Taiju Nakane (Isseki) are harrowingly powerful. Viewers are utterly convinced by their disturbance, particularly Isseki’s grief. So many aspects of Monkey Drum are notable in their excellence and importance. One final dedication must be made to the love that permeates this film, despite its belonging to the horror genre, and heavy leaning on psychological discomfort, a heartfelt dedication of Isseki to his son Jun resonates throughout. After all, what is grief if not love preserving? About the Film Critic Holly Baker Short Film, World Cinema < All Reviews Next Film Review >

A Gangster's Life film review by UK film critic Jason Knight. Starring Tony Cook, Jonny Weldon, Christina Gkioka, Tomi May directed by Zak Fenning. HOME | FILMS | REVIEWS A Gangster's Life Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 21, 2026 Directed by: Zak Fenning Written by: Zak Fenning Starring: Tony Cook, Jonny Weldon, Christina Gkioka, Tomi May A dark comedy crime feature written and directed by Zak Fenning and starring Tony Cook, Jonny Weldon, Christina Gkioka and Tomi May. This film is based on a story by Roy Rivett. Ant (Cook) and Dick (Weldon), two small-time crooks in London find themselves in deep trouble when they are caught using a software program of their on creation to scam Emery (May), a ruthless crime lord. Although enraged, Emery decides to take advantage of their illicit computer system for his own illegal activities. However, Ant and Dick, along with the discreet help of Scarlett (Rina Lipa), an ambitious criminal who is part of Emery's crew, decide to double-cross him again to flee to Greece, where they take shelter in a villa where Ant's welcoming partner, Thea (Gkioka) lives. The first half or so of this amusing crime-comedy takes place in England, with Ant, Dick and Scarlett cautiously working on turning the tables on Emery, while trying not to get killed by his henchmen, particularly Clarkey (Bradley Turner), a rather nasty guy. The rest takes place in Greece, particularly at the villa, situated near Athens, where a fish-out-of-water situation takes place, as Ant and Dick attempt to adjust to a new life and leave their troubled past behind. Unsurprisingly, the atmosphere much more light-hearted while they are in that Mediterranean country, away from thugs and the two guys adjust to their new surroundings and try to learn the language. Also unsurprisingly, since this is a story that involves dangerous criminals, there is plenty of nastiness occurring, with people being beaten and shot dead, but there is also a great deal of dark humour. Recognition is to be addressed to the directing during the scenes that take place in Greece, as it contains terrific shots that reveal the beauty of the areas. The addition of Greek music was a great idea, as it creates a sense of being in Greece. Cook and Weldon are entertaining as two outlaws looking for a fresh start, Dick perhaps being the naive and insecure one. There are plenty of nasty guys, with Turner and Yannis Aivazis standing out, the former playing a talkative and homicidal crook and the latter oozing menace by being calm and saying less. However, when it comes to being menacing, May takes the gold, portraying a crime boss who has a vertical scar across his eye, like Tony in Scarface and has people tortured and executed on a regural basis. Obviously, this is a story about the underworld, particularly scamming, cybercrime, betrayal, retaliation and murder. From another perspective, it is also about starting a new life, self-reflection, finding romance and experiencing another culture. The film also offers a simple but appealing image about life in Greece. Two minor wrongdoers attempting to start over. Funny moments, tense moments and meaningful moments make this feature a viewing worth experiencing. A Gangster's Life is on digital 19 January from Miracle Media. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

In Cold Light film review by UK film critic Hope Madden. Starring Maika Monroe, Jesse Irving, Troy Kotsur directed by Maxim GIroux. HOME | FILMS | REVIEWS In Cold Light Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jan 20, 2026 Directed by: Maxim GIroux Written by: Patrick Whistler Starring: Maika Monroe, Jesse Irving, Troy Kotsur Maxime Giroux’s gritty thriller In Cold Light keeps you off kilter, moving from dreamy confusion to full-on sprint and back again. Maika Monroe is Ava, and our first sprint with Ava ends in a violent drug bust. But after her two-year sentence, she finds herself back in Ponoka, Alberta. No fresh start, she’s clean but she’s otherwise ready to return to leading the smalltime drug operation she left behind. But they’ve moved on. Her twin brother (Jesse Irving) tries to reason with her, tries to convince her to take the 40k he’s been setting aside for her while she did her time, but Ava can see that her once small operation has bitten off more than it can chew and is now dealing with real big, real bad guys. She’s right, and those bad guys are the reason for more sprinting. The story itself is somewhat simple, but Giroux, working from Patrick Whistler’s script, keeps your attention by revealing information as necessary, and by situating Ava’s world inside something lived-in but not ordinary. The context gives the story roots, authenticity, and opportunity for some pretty wonderful, dreamlike sequences. Monroe’s sharp. The character of Ava is interior, speaking only as necessary, always thinking, weighting options. The performance feels caged, desperate but simultaneously controlled. Monroe’s long been a master of using stillness to manipulate a scene and an audience. She did it with precision in Watcher , among other films. Once again, Monroe uses an electric silence to say more than dialog could properly manage. Giroux surrounds her with a game supporting cast. Troy Kotsur delivers a particularly layered performance, and a cameo from Helen Hunt is chilling. There’s not a weak link in the ensemble, and barely a stray or needless phrase in the script. If anything, the film could have used maybe a few more sentences of exposition, especially as it closes. To leave so much up to interpretation invites the suggestion of plot holes, which In Cold Light doesn’t have, but it does leave more to the imagination than it probably should. Regardless, it’s a more than solid thriller and another impressive turn from Monroe. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

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.. Brand new film trailers. Undertone The landscape of contemporary horror is about to be reshaped once again as A24 unveils the first look at their latest nightmare, Undertone . Directed by the visionary Ian Tuason, whose previous works have redefined atmospheric dread, this upcoming thriller promises to be a nerve-shredding exploration of sound, obsession, and the supernatural. While we at UK Film Review have yet to see the full feature, the newly released trailer suggests a diabolically terrifying experience that demands to be heard as much as seen. The premise is deceptively modern, centring on two podcast hosts, Eevee Babbidge and her co-host, who specialise in the macabre and the unexplained. Their search for content leads them to a series of ten mysterious audio recordings sent from an anonymous source. What begins as a quest for digital engagement quickly descends into a literal fight for their souls as they discover hidden messages within the audio. The trailer masterfully builds tension through its sonic landscape, suggesting that by merely listening to these files, the protagonists have unleashed a dark, ancient force that was never meant to be disturbed. Visually, the trailer is a masterclass in shadow and light. It hints at a "red-faced" entity that lurks in the periphery of the frame, tied inextricably to the audio recordings. The taglines interspersed throughout the footage—"It wants to be heard"—suggest a meta-narrative where the audience’s own participation in watching and listening to the film makes them part of the haunting. It is a bold, audio-driven approach that feels fresh in a genre often over-reliant on jump scares. The trailer instead leans into primal fears, using the medium of a podcast to bridge the gap between our everyday digital lives and the unfathomable terrors of the unknown. As the trailer reaches its crescendo, the sense of panic is palpable. The sceptic and the believer are forced to confront a reality where logic no longer applies, and the dark is no longer empty. With A24’s pedigree for supporting uncompromising directorial visions, Undertone looks set to be one of the most talked-about releases of the year. The wait for the full reveal will not be long, but it will certainly be anxious. 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. This is a diabolically terrifying horror experience that refuses to let go. 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. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed.

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. 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 Is This Thing On? Springsteen: Deliver Me From Nowhere 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.

Film Trailers 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 Doctor Plague More Wake Up Dead Man: A Knives Out Mystery More

$13 film review by UK film critic Patrick Foley. Starring Melissa Skirboll, Meghan Martin directed by Melissa Skirboll. HOME | FILMS | REVIEWS $13 Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 18, 2026 Directed by: Melissa Skirboll Written by: Penny B. Jackson, Melissa Skirboll Starring: Melissa Skirboll, Meghan Martin Melissa Skirboll’s short $13 is a bite-sized emotional gut punch – a seemingly innocuous character piece at first that takes a shocking turn, taking viewers on an unexpected journey within its short narrative. 2 women take a stroll alongside the Hudson River in New York City. The older of the pair (Skirboll) reminisces about frustrations with her former boss Bernie. The younger of the pair (Meghan Martin) can relate – having her own frustrations with her lot. But as the story develops, we realise that the location is of utmost relevance – the presence of One World Trade Centre suddenly looming large. The younger woman realises that the story she is being told is not a typical one, and the trauma of 9/11 is felt by both parties. The twist at the heart of $13 will be most people’s lasting memory. And while the sudden revelation of the story’s true nature will shock, it is impressive that Melissa Skirboll makes it work. Delivered with a less capable hand, it may have come across as trite or inauthentic. However, Skriboll is careful not to over-egg the introduction of a historic tragedy in her short film’s narrative. Landing with an initial, earth-quaking shock, the moment is given chance to breath and dissolve into the film in a manner that feels genuine. This is accomplished through the musical cues, the use of silence and the impressive performances of Skirbol herself and Meghan Martin. The film is shot beautifully, making full use of the New York skyline at sunset. The setting is obviously plot-relevant, but the ambience created is also critical for the story’s success. Taking place at sunset feels like no coincidence, as Skirboll’s character yearns to come to terms with a pivotal moment in her life even 25 years on. The contrast with the unforgettable images of 9/11, which took place in the daytime, to the film’s evening glow gives a quiet appreciation of time passed. There are some moments where the dialogue becomes a little clunky. It feels a little forced at first for the character of Bernie to be introduced, and there are a few other instances of exposition that grate. But once the film finds its momentum, the writing is impeccable. Once Skirboll’s character recounts the people she knew who worked in the towers, audiences will be silently gripped and moved. The women’s bond also convinces, and the chemistry between Skirboll and Martin flourishes with defined dialogue that successfully creates the idea of an age-gap friendship. $13 accomplishes so much with just a conversation. It is destined to move audiences, not just thanks to its shocking twist, but because of fantastic dialogue and performances that make for an engrossing rollercoaster of a film. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Without Kelly film review by UK film critic William Curzon. Starring Medea Strid, Truls Carlberg, Ida Broddlinder directed by Lovisa Sirén. HOME | FILMS | REVIEWS Without Kelly Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jan 19, 2026 Directed by: Lovisa Sirén Written by: Lovisa Sirén Starring: Medea Strid, Truls Carlberg, Ida Broddlinder Without Kelly follows a young mother, Esther (Medea Strid), as she is forced to leave her baby daughter with the child's father. Caught in a wake of longing and desperation, through the night she chases comfort and purpose and seeks ways to hold onto what she cares for the most. The piece is an uncompromising and raw tale of motherhood, told in a rather simplistic narrative approach, entirely from the female perspective. One of the most impressive feats of the piece is how immediately the viewer is swept into the sheer intimacy of the filmmaking on display. The visually stunning photography from DP Christine Leuhusen is commendable and eases you into Esther's experience as a mother. The camerawork at times is frenetic and urgent as it tracks Esther in a state of distress and discomfort, utilising extreme close-ups. Lisa Rydberg’s musical score is evocative and emotionally resonant, and anchors the lack of context through Esther’s characterisation. The filmmakers also strip away the score from specific scenes and rely entirely on the actors’ performances, which is a risky formal decision that pays off beautifully. Its tight pace at times is a detriment and a positive to the experience, as the lack of context for Esther makes it demanding to resonate with her struggles. An extended runtime could have perhaps fleshed out her characterisation more profoundly and enhanced its staying power after the credits roll. That being said, the “show, don't tell” approach is commendable and a remarkable way to convey her inner turmoil. The central performance from Medea Strid in her raw portrayal of Esther is phenomenal. Her screen presence is essential as the narrative relies entirely on her character and performance to convey her longing to be with her child. While the supporting players are given less material to chew on, their performances are serviceable to the plot, and their chemistry is magnetic with Strid’s leading screen presence. The unpredictability of the narrative is astounding at times and entirely conveyed profoundly through Esther’s choices as she uses her body and physical need for desire to numb the pain of isolation. Writer/director Lovisa Sirén clearly set out to express the emotional devastation of a young mother grappling with the life-changing decision she has made after being forced to leave her child, and they succeeded with flying colours in that regard. While the experience is tightly paced and never overstays its welcome, the conclusion to the narrative amounts to fairly minor, with a lack of resolution for Esther’s character growth. On the other hand, the complexity of Esther’s motivations is remarkable and evocative, leaving the viewer with much to ponder on regarding the female perspective when separated from their child. Without Kelly is a stunning piece of filmmaking that sheds a harsh light on a woman’s longing for connection after being forced away from her child. Resting entirely on a masterful lead performance from Medea Strid and Lovisa Sirén’s formalism, the simplistic narrative approach may detract from the experience at times; however, this is a heart-stirring exploration of motherhood. WITHOUT KELLY will screen at the 2026 Sundance Film Festival in Short Film Program 3 — premiering on January 24 at 9:15pm MST. About the Film Critic William Curzon Short Film, Film Festival < All Reviews Next Film Review >

To Die Alone film review by UK film critic Jason Knight. Starring Lisa Starrett, James Tang directed by Austin Smagalski. HOME | FILMS | REVIEWS To Die Alone Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 18, 2026 Directed by: Austin Smagalski Written by: Austin Smagalski Starring: Lisa Starrett, James Tang A psychological drama thriller written and directed by Austin Smagalski and starring Lisa Starrett and James Tang. Following a terrible tragedy, Irving (Starrett) goes hiking in the Pacific Crest Trail in the hope of finding solace. Soon , she encounters Ford (Tang), another hiker who is a paramedic and the two of them end up continuing their journey together. Things go smoothly until Inrving suffers a nasty and potentially life-threatening leg injury. Alone in the wilderness and unable to call for help, Irving and Ford must find a way to get medical attention, before her wound worsens. A tough and emotional journey that takes place deep in the mountains. The screenplay focuses on the rapport that builds between the two hikers as they desperately try to reach civilization, which begins amiably and turns unstable as their ordeal starts taking its toll on them. The film also explores their personal struggles, particularly traumatic past experiences. A lot of drama and arguing ensues and things move towards horror territory as the troubled travellers come across a variety of sinister things including a dead animal and blood on trees. Massive praise goes to Smagalski's superb directing and Shelby Lee's terrific cinematography, both of which effectively capture the magnificent beauty of the landscapes. And the ominous, mesmerising and tense music by Tared Newman greatly enhances the atmosphere. Redarding the plot twist at the end, it is dramatic and unexpected and it does work well. However, one might wonder if it was essential. Without this revelation, the story would still be effective. Some might approve of the former and others might prefer the latter. Both Starrett and Tang deliver strong performances. Starrett's character is a young woman who has been through very tough times, having escaped from an abusive relationship and suffered a loss. She is plagued by nightmares and is unable to come to terms with everything. Tang portrays a sympathetic, understanding and helpful man who has his own personal struggles. As much as this is a story about survival and desperation, it expands to other dark places that involve painful memories, loss, domestic violence and remorse. On a more positive note, this is also a film about support, self-reflection, nature and hiking. This could be classified as a road movie, an outdoors drama, a psychological thriller or a survival in the wild or maybe all of these. It centainly is an emotional and tense story, with great acting and directing and efficacious character development. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Parasocial film review by UK film critic James Learoyd. Starring Joseph Jeavons, Sam Teague, Jordan Mook directed by Joseph Jeavons. HOME | FILMS | REVIEWS Parasocial Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 22, 2025 Directed by: Joseph Jeavons Written by: Joseph Jeavons, Owen Swift, Bala Brown Starring: Joseph Jeavons, Sam Teague, Jordan Mook Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot. The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout. Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique. Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance. Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Mary film review by UK film critic Joe Beck. Starring Juliette Regnier, Logan Cutler-Smith directed by Jo Rou, Dan Riordan. HOME | FILMS | REVIEWS Mary Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 25, 2022 Directed by: Jo Rou, Dan Riordan Written by: Justin Lazor Starring: Juliette Regnier, Logan Cutler-Smith Loss is difficult for everyone, especially the loss of a parent. They are the people who we always, whether consciously or subconsciously look towards for help and guidance, who helped to shape our being. As we ourselves grow older and forge our own lives, separate from those of our parents, we often come to appreciate them all the more, making their death, though we understand it to be inevitable, all the more profound. Most of us grieve for a short period of time, carrying that burden on our shoulders, making our lives just a little bit heavier. However, we still mourn the loss each day, merely in different ways - there is a wonderful quote from Keanu Reeves: “Grief changes shape, but it never ends” - and occasionally it’ll come to the surface, whether that be in tears, anger, or even terror. ‘Mary’ details the last of those three, as Rich (an impressive Logan Cutler Smith), a by-the-books insurance salesman, makes a house call on an elderly woman, Mary (Juliette Regnier), a year after his mother’s passing. What begins as an ordinary visit becomes an exercise in coming to terms with his sense of responsibility for his mother’s death, and the wide range of emotions that in itself ensues. Rich begins to see parallels between Mary and his deceased mother - their tastes in ornaments and the way in which they bake their brownies, not to mention the mannerisms inherent in any sweet, old lady. The parallels are unnerving, amplified by the continued confusion by both characters in referencing each other as ‘mother’ and ‘son’, but the film doesn’t become terrifying until Mary lists, in excruciatingly long fashion, the ways in which Rich feels responsible for his mother’s death, and tensions reach their boiling point. Elderly women have long had the ability to terrify us. Think of Mrs Bates in Psycho, or the rotting old woman in the bathtub in ‘The Shining’ - both of those women are terrifying not through words but through actions, however. Mary is more like the Blind Medium in ‘The Others’, save for the fact that she possesses the sweet voice of a woman her age rather than the uncanny voice of a child. She is hidden in the shadows for the first half of the short, as directors Jo Rou and Dan Riordan build up suspense through words and darkness alone. Juliette Regnier is excellent as the unsettling title character, each word manifests terror the second it leaves her lips, and her eyes have that air of decrepitude about them, which just suggests that something is off. In fact, were it not for the fact that the script, penned by Justin Lazor, is a little too obvious, then Regnier’s performance would be all the more convincing. Unfortunately, the script fails to cajole the viewer into falling for Mary’s initial charm - lines like ‘difficult to find…difficult to leave’ make it plain that there’s something off about her - and similarly weakens the suspense created through Rou and Riordan’s crafty direction. The film is shot with an artistic flourish and feels like an 80s B-Movie with modern-day editing, as the directors insert deeper layers into a film which is, at times, and particularly towards the end, a bit of fun. Whereas normally you would deem that to be out of touch with the otherwise serious tone of the film, throughout ‘Mary’ is embedded with an undercurrent of the absurd, and that is briefly let loose in its climax. As such, ‘Mary’ is an amalgamation of three words which don’t usually go together - ‘loss’, ‘terror’, and ‘fun’. Make of that what you will, but if nothing else, after watching ‘Mary’ maybe you’ll think twice before accepting the next brownie you’re offered. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

See all the films officially selected for the 2022 UK Film Review Festival. The 2022 UK Film Review Festival Supporting Toby Jones in A Moral Man Enjoy... Here are all of the officially selections films being showcased at the 2022 UK Film Review Festival. A Manchester Story Best Documentary A Moral Man Best Short Film Anonymous Best Feature Film Another Day Best Drama Baroness Best Short Film Boomslang 2: The Dinner Best Comedy Brother Troll Best Short Film Cha Best Short Film Chapel of Rest Best Short Film Clout Best Feature Film Coast Road Best Crime/Thriller Community Service Best Short Film / Best Drama, Best Drama, Best Short Film Doll Best Horror Film Fat Boy Best Short Film File Not Found Best Horror Film Finding Wilson Best Short Film For I Am Dead Best Short Film, Best LGBTQ+ Film, Best Drama Garage Best Short Film Green Lanes Best Drama Film, Best Drama Holestepper (Pisahueco) Best Short Film Hollow Best Short Film HoneyDough Best Short Film Jumpers for Goalposts Best Short Film Kowalsky Best Short Film Lactown Best Short Film