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I Want Your Sex film review by UK film critic George Wolf. Starring Olivia Wilde, Cooper Hoffman, Mason Gooding directed by Gregg Araki. HOME | FILMS | REVIEWS I Want Your Sex Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 30, 2026 Directed by: Gregg Araki Written by: Gregg Araki, Karley Sciortino Starring: Olivia Wilde, Cooper Hoffman, Mason Gooding Even when a Gregg Araki film does not work for me at all (hello, Kaboom ), I’m interested in his next move. Whatever he’s up to, you can make a safe bet it will be audacious, horny and pretty damn fearless. I Want Your Sex is all that and a bag of charming. Cooper Hoffman is a damn delight as Elliot, an affable, mop-headed goofball who’s thrilled to get a job working for Neo-pop artist Erika Tracy (Olivia Wilde, fantastically self-absorbed smoke show). Erika deals in frank sexuality, and waits a full week before giving her new assistant a no-nonsense, carnal proposition. What’s Elliot to do? Yes, the studious Minerva (Charli XCX) is his girlfriend, but to her sex is an uninteresting chore, so….it’s DTF time! Erika gets a new sexual muse, and Elliot gets to broaden his, ahem, horizons in various kinky ways. Though co-workers Vikktor and Zap (Daveed Diggs and Mason Gooding, respectively letter perfect) consistently roll their eyes at Elliot’s naïveté, he’s pretty okay with Erika’s benefits package. That is, until there’s blood, a body, and two detectives (Margaret Cho, Johnny Knoxville) wanting answers. Araki, who also co-writes with Karley Sciortino, crafts much of the film as a mystery told via shifting timelines. But each step in the Elliot/Erika relationship is so engaging you forget there are two cops ready to pop in with more questions. They can wait a hot minute, because Araki and company are having too much fun with this neon-colored tapestry of sexual mores, hipster sweat shops, Harold Robbins novels and penis rugs, all wrapped around frisky exclamations and hilariously droll asides. Hoffman and Wilde are a down and dirty joy together, and their natural, committed chemistry give the film a sweet, dare I say even sentimental layer I wasn’t expecting. I was expecting the sexcapades, and all the usual Araki flourishes. But even while pushing all of these fetish boundaries, I Want Your Sex may be his most accessible film. And most thoroughly enjoyable. About the Film Critic George Wolf Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Nightborn film review by UK film critic Hope Madden. Starring Seidi Haarla, Rupert Grint directed by Hanna Bergholm . HOME | FILMS | REVIEWS Nightborn Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 29, 2026 Directed by: Hanna Bergholm Written by: Hanna Bergholm, Ilja Rautsi Starring: Seidi Haarla, Rupert Grint Finnish filmmaker Hanna Bergholm (Hatching ) once again explores horrific maternal themes with Nightborn . Don’t confuse it with Neil Blomkamp’s soulless AI short film. This is not that. Bergholm’s film stumbles into a classic Finnish folktale. Saga (Seidi Haarla) and her husband Jon (Rupert Grint) move to her grandmother’s old, long vacant home deep in the forest. Gran was a bit of an eccentric. She kept old junk—tractors, machinery, wire—around the property because the creatures in the woods hated cold iron. What a nut! Saga and Jon settle in to reclaim the cabin from the encroaching woods and to start their family. Jon is immediately besotted with little Christian regardless of how hairy he is. Saga can’t seem to bond with him, although she does try to find her place as a mother, first by asserting that his name is Kuura. Bergholm’s film, co-written with Hatching writing partner Ilja Rautsi, takes us deep into a post-partum nightmare. While the film is far less original than Hatching , examining maternal horror from the mother’s perspective gives the film dimension. Haarla looks and acts the part perfectly. Bergholm and Haarla work together to bend your expectations and sympathies. There is something wrong with this child and we’re as frustrated as Saga with the way she’s dismissed as being depressed and exhausted. The next minute, we see Saga as a narcissist whose personality disorder is now on display because she can’t find love in her heart for her baby. Then, clearly Saga is just delirious and exhausted and suffering from post-partum, all issues exacerbated by society’s demand that motherhood is precious and perfect. Nightborn weaves these likelihoods without asking us to turn against anyone. The film empathizes with Saga, even when her behavior does seem too prickly. Likewise, we’re never asked to hate Jon—a good thing because Grint is endlessly sympathetic as a man who wants desperately to be a good dad and husband. Though Nightborn is not perfect—the creature and baby effects leave a bit to be desired—its exploration is fascinating. Never tidy, never patronizing, but not quickly forgiving, the film embraces what’s monstrous in us. It’s not the complete success of Hatching , but it’s a vivid nightmare worth your time. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Dead Air film review by UK film critic William Curzon. Starring MarLee Candell, Douglas Leal, Tony Mazur directed by Brad Etter. HOME | FILMS | REVIEWS Dead Air Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jul 30, 2026 Directed by: Brad Etter Written by: Ashleigh Marie Thornton Starring: MarLee Candell, Douglas Leal, Tony Mazur Dead Air follows Julie (MarLee Candell), who has recently received a vintage radio as a birthday gift from her husband, Roger (Douglas Leal). She begins to hear mysterious coded messages on the radio and struggles to decipher their meaning, while her dismissive husband refuses to heed the ominous warnings. The short piece is an atmospheric experience as Julie attempts to reckon with the implications of the mysterious messages. Perhaps the most impressive aspect of the piece is how the director, Brad Etter, clearly has a unique talent for building tension throughout the remainder of the runtime. Despite evident budget constraints, the one-location setting complements the experience with the narrative resting on the two central performances and technical aspects. While the brisk runtime unfortunately doesn't allow the script to flesh out Julie and Roger’s relationship, the filmmakers make the most of the limited material by delivering on the atmospheric experience. The screenplay balances the tonal shifts incredibly well and instantly thrusts the viewer into the lives of Julie and Roger. It consistently prompts the audience to question the purpose of the mysterious messages, while Roger’s dismissive attitude towards Julie heightens the growing tension between them. One of the piece’s greatest strengths is its unique camerawork and editing choices. Brad Etter, serving as both the cinematographer and editor, seamlessly blends each sequence, creating a smooth and engaging flow throughout the film. Each editing choice feels precise, and the pacing flows wonderfully despite its brisk runtime. The piece opens with a jarring extreme close-up of the central character, Julie, and it instantly makes the experience incredibly unsettling throughout. The cinematography primarily relies on close-up shots of each character, occasionally shifting to wider framing to preserve the scene’s intimacy while gradually building tension. While the use of music is incredibly understated throughout, the eerie motifs complement the tone exceptionally well. Although the suspense becomes somewhat repetitive during the first half of the narrative, the final third ultimately rewards the slow build-up despite its flaws. The mix of dramatic and brief joyful moments between Julie and Roger is memorable, keeping the narrative gripping throughout. Despite its lack of thematic depth, the film offers a unique experience, driven by the filmmakers’ inventive use of a confined setting and their skilful build-up of tension. The performances collectively are compelling throughout, particularly MarLee Candell’s portrayal of Julie. She conveys the sheer isolation and struggle to decipher the coded messages while dealing with Roger’s dismissive attitude towards her. Douglas Leal delivers a memorable performance as Roger, convincingly portraying the character’s smugness while effectively conveying the escalating tension. Both performances are the driving force of the narrative, holding the experience together. Despite the piece wrapping up somewhat abruptly, the ambiguity is welcome, making the experience rewarding to endure. While its lack of emotional resonance and heavy reliance on suspense may prevent it from leaving a lasting impression, the film concludes on a satisfying note. Dead Air is a solid piece of indie filmmaking that excels at preserving its unsettling tone throughout. Assisted by two memorable central performances and an enticing narrative that keeps the audience guessing, Dead Air is a worthwhile ride despite its issues. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Noblestone film review by UK film critic Chris Olson. Starring Lucia Goya-Betts directed by Albert Goya. HOME | FILMS | REVIEWS Noblestone Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jul 29, 2026 Directed by: Albert Goya Written by: Albert Goya Starring: Lucia Goya-Betts The quirky caretaker is back in this somewhat sequel to Lady Governess , a humble indie feature from Tito Wiley, now penning and directing as Albert Goya. The sibling dynamic is back, with the filmmaker’s sister Lucia Goya-Betts playing both onscreen roles (albeit with some cinematic sleight-of-hand to keep us guessing). In Noblestone, Karen (Goya-Betts) takes another job helping a lonely woman as a housemaid. Her new employer (also Goya-Betts) is a frustrated artist whose anxiety over her lack of drive and being able to finish paintings makes her the perfect companion to our otherworldly Karen - who sports her signature brightly coloured wig and shrieking voice. As the pair engage in a fairly affable initial friendship, the atmosphere in the house becomes increasingly tense as the relationship develops. There is something offbeat and unsettling about Goya’s latest film that is oddly compelling, as well as having a whimsical charm during its moments of comedy. A particular highlight of Noblestone is how comically bad the woman’s paintings are; imagine toddler attempts, and you are somewhere in the right ballpark. But Goya and Goya-Betts are not content in simply delivering slapstick gags and outlandish antics (of which there are many); there are tender moments of character connection, as well as a few sparkling moments of poignancy. A scene whereby Karen plays an artistic composition of her own on the piano whilst the camera stays on her employer is absolutely breathtaking and totally unexpected. Cinematically, Noblestone peppers its zero-budget aesthetic with some cracking shots (such as the image above). Filmed in both London and Spain, the wonderful landscape of the latter utterly soaks the screen in natural beauty, whereas the interior shots are laden with warm beauty. The opening sequence of the film felt downright Hitchcockian in its tonal splendour, a perfectly entrancing way of pulling the audience into this strange story. The music is brilliantly used to enhance the piece, often capturing a classic cinema aura that transcends the period it’s been made in. Where Noblestone struggles is its languishing pace at times and the dialogue that often tries to be too profound for its own good. Overlong scenes of the pair waxing lyrical about everything from art to the human condition become repetitive and threaten the tension being built between the two characters. It also feels all too familiar for anyone who has seen Lady Governess, a spiritual twin in almost every aspect. That being said, much like critic Joe Beck’s previous praise for Lady Governess, the fact that Goya is still a teenager makes Noblestone an incredible feat. Very few indie filmmakers (of any age) can produce a feature-length film as unique and curiously compelling as this. Noblestone takes some important steps into the horror/thriller genre for Goya, this being a fractionally darker and more sinister tale that belies its humble budget, sustaining and executing a worthy piece of original cinema (albeit not original if you have seen its predecessor). About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Spider-Man: Brand New Day film review by UK film critic George Wolf. Starring Tom Holland, Zendaya, Sadie Sink directed by Destin Daniel Cretton. HOME | FILMS | REVIEWS Spider-Man: Brand New Day Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 29, 2026 Directed by: Destin Daniel Cretton Written by: Chris McKenna, Erik Sommers Starring: Tom Holland, Zendaya, Sadie Sink Looks like our boy has gone and grown up. It happens. When Tom Holland stepped into the Spider-Man suit nearly a decade ago now (!), he was 21 but looked 15, which was perfect. Peter Parker was a kid again, and that fact alone grounded the new franchise with a freshness and naïveté that was utterly charming. It also gave the young man and his super alter ego plenty of room to grow. Spider-Man: Brand New Day raises the stakes with both familiarity and surprise, delivering a more adult-themed adventure that will thrill , satisfy and occasionally frustrate. Peter has settled into his life as a friendly neighborhood hero, helping Detective DeWolff (Liza Colon-Zayas) bust bad guys even as she advises him to take some time off and quit being married to his job as a super friend. But, of course, the work takes his mind off of the fact that girlfriend MJ (Zendaya) and BFF Ned (Jacob Batalon) don’t even know him anymore. And much like plenty of Superheroes before him, Peter begins to show sides of himself that even he doesn’t recognize. Severe headaches grow more frequent, and parts of his high-tech spider suit begin to malfunction as a very dangerous, and very elusive new villain emerges. And just when Peter needs to know who he can trust, everyone from Frank Castle/Punisher (Jon Bernthal) to Bruce Banner/Hulk (Mark Ruffalo) to a couple other recognizable names I won’t mention may have conflicting loyalties. Director Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings , Short Term 12, Just Mercy ) takes the franchise helm from Jon Watts, providing a winning pace and engaging visual style. After some well-placed nods to the youthful Spider-Verse aesthetic early on, Cretton buoys the maturation of the character with a more streamlined, focused approached to some really terrific action sequences. And while plenty of the CGI is appropriately super, Hulk’s facial features seem to have taken a curious step back. Franchise screenwriters Chris McKenna and Erik Sommers return, giving credible weight to the introduction of themes that should be plenty familiar to superhero fans. Yes, some of the dialog banter lands as a bit forced and the humor is understandably downplayed this time out, but a few good moments of laughter find their mark – including a turn of the phrase “meager potatoes” which I now plan to work into daily conversation. Holland still provides the heroic anchor, and he’s just so good with this character appears effortless. His chemistry with Zendaya (duh) and Batalon is warm and real, and he makes Peter’s journey to becoming his own hero an organic and rewarding one. He’s still friendly, but now there’s a sense of loss and inner turmoil that makes the victories more sweet and well-earned. With Brand New Day , calling him Spider-Man doesn’t feel like a kid playing dress up anymore. And those are good-sized potatoes. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Beau Ideal film review by UK film critic Jason Knight. Starring Patrick D. Green, Michele Tredger, Eric Martin Reid, Kelly Godell directed by Patrick D. Green, Edd Blott. HOME | FILMS | REVIEWS Beau Ideal Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 29, 2026 Directed by: Patrick D. Green, Edd Blott Written by: Patrick D. Green, Starring: Patrick D. Green, Michele Tredger, Eric Martin Reid, Kelly Godell A dramatic psychological thriller feature film written by Patrick D. Green, directed by Green and Edd Blott and starring Green, Michele Tredger, Eric Martin Reid and Kelly Godell. Jake (Green) and Rebecca (Tredger) are a couple in the United States who move to a small countryside town, in search of a better lifestyle. There, they soon meet their new neighbours, including well-meaning Marjorie (Betty Moyer) and Dave (Reid) and his partner, Michelle (Godell). It is not long before Jake notices that something seems to be wrong as he keeps seeing Cole (Rylan Andrews), Dave and Michelle's son, with cuts and bruises on his face. The suspense and mystery work well in making the viewing engaging, with Jake being concerned regarding Cole's safety and trying to find out what is going on with the family living next door. The story is told through Jake's perspective and the screenplay examines how his attempts to resolve the situation is affecting his mental state and his relationship with Rebecca. There is a subplot that concentrates on family drama and it involves Jake's personal life, particularly his relationship with his sister, Lori (Lindsae Klein), his ill mother (Maggie McOmie) and his father (Blaine Palmer), the latter being the one with whom he is not on good terms. The plot is interesting, however, during the last thirty minutes or so, the film loses momentum. Even though the pace is slow from the beginning, during the final half hour it takes too long to get to the conclusion, making the viewing feel overlong, especially since the story's most dramatic event has already taken place. The author of this review would like to focus on title. Just explaining that ''Beau Ideal'' generally refers to something that is perfect. Although, after watching this film, one could comprehend why this title was chosen, however, taking under consideration that the plot involves a man attempting to save a boy he believes is in danger, Beau Ideal does not really prepare the viewer for what they are about to experience. Perhaps another title would had been more intriguing, maybe ''The House Next Door'' or ''The People Next Door''? Several years ago, the writer of this review had the privilege of analysing Green's acting in Escaping Freedom and it is great to see him deliver another strong performance, this time portraying a software developer and aspiring writer who finds himself being torn apart by his efforts to protect Cole and family issues. Reid's character seems to be the antagonist, a guy who drinks a lot, a family man who might have a dark side, that being a violent parent, while Michelle (super to see her doing another fantastic job too after her work in Escaping Freedom ) appears to be a vulnerable woman who is evidently also a victim to her partner's apparent aggressive behaviour. Even though Andrews makes brief appearances throughout the film, he is quite dramatic as a quiet troubled child who is homeschooled and his character is crucial to the story. This feature has a plot that relies heavily on domestic violence, particularly violence against children. In addition to these dark themes, suspicions, loss, family values, guilt, self-reflection and the significance of reaching out to help are also explored. A decent viewing with mystery, heavy drama, pensive and emotive music by Alejandro Villanueva Medina and great acting that unfortunately loses its grip during the final half hour. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Remember Us film review by UK film critic Patrick Foley. Starring Feisal Bizimana, Rob Trend, Frank Harper directed by Kaitlyn Boxall. HOME | FILMS | REVIEWS Remember Us Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jul 28, 2026 Directed by: Kaitlyn Boxall Written by: Kaitlyn Boxall Starring: Feisal Bizimana, Rob Trend, Frank Harper Kaitlyn Boxall’s debut feature Remember Us portrays a moving, life-changing friendship that spans generations and defies illness. It’s an impressively shot and emotional film that is at its best during patient and downplayed moments that hone in on the heart of its layered characters, and where it contemplates what responsibility, masculinity and respect really mean. Tearaway youth Lucas (Feisal Bizimana) is caught up in petty crime and receives a community service order that sees him deliver food parcels with his supervisor Steve (Frank Harper). Disillusioned with his friends who drag him into trouble, Lucas finds purpose in his community work, especially when it puts him into contact with Arthur Miller (Rob Trend), a dementia sufferer who was once a football player. Lucas builds a friendship with Arthur, going beyond his mandated responsibilities to make the old man’s life a little fuller. But when his old life endangers his new one, Lucas is presented with a decision that tests what kind of man he wants to be. The biggest success of Remember Us is the convincing and touching central relationship between Lucas and Arthur. The film takes its time first unravelling Lucas’ character – building the young man as someone with a conscience and who strives for a better life than the one he has drawn, albeit one who has also made bad decisions. His first interactions with Arthur are spiky, but his sensitivity takes over when he finds Arthur in distress. The bond between the two grows as Lucas recognises Arthur as another isolated, lonely soul, and he takes it upon himself to act as both a carer and a friend. Arthur in turn is lucid enough to recognise the same yearning in Lucas, and provides him with fatherly advice that Lucas has never had in his home life. It becomes clear throughout the film that Lucas’ life is being torn in two, and that a conflict between the warring halves is inevitable. Lucas is an amiable enough character that viewers enjoy exploring these two sides of him – the wannabe gangster who emanates a hard shell, and the caring young man who proactively helps out a man forgotten by the rest of the world. We see complexity in both these worlds – his friendly, cheery mate George (Micheal John-Day) is a likeable and positive personality who Lucas cares for, but he circles unsavoury characters at the same time. Meanwhile supervisor Steve is a gruff, hardass who takes joy at times in speaking down to Lucas – yet tries to steer him on the right path. These complex personalities help create a believable dilemma for Lucas, and the audience can empathise with his conundrum over whether to abandon his friends. Unfortunately, the narrative crumbles under its own weight in the final third of the film. The aforementioned choice presented with Lucas leads to a brutal consequence. However the actions of the police, Arthur’s family and Lucas himself make little sense in the aftermath. It’s difficult to reconcile Lucas’ actions when dealing with the police, or the fact that he is able to present himself to Arthur afterwards. We get little proper conclusion beyond a hint at redemption for Lucas and a possible reunion between the pair. However the level of brutality inflicted on Arthur means viewers will struggle to really be convinced that the story has the happy ending the filmmakers commit to. It's a shame that the story comes off the rails, as prior to this the film had been built carefully and patiently with the promise of developed conflict and conclusion. The viewer may feel short-changed coming away. Yet viewed as a whole, there is still a lot to admire in this film – especially for a feature-length debut. The relationship at its heart, and the lessons that come from it are the prime accomplishment, and should be what the audience remembers. About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Apocalypse Box film review by UK film critic Madeleine Lavers. Starring Eva Best, Russell Biles, Lori Brett directed by James Eaves. HOME | FILMS | REVIEWS The Apocalypse Box Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Jul 27, 2026 Directed by: James Eaves Written by: James Eaves Starring: Eva Best, Russell Biles, Lori Brett The Apocalypse Box (2024) is a political horror story written and directed by James Eaves. It follows right-wing politician Piers Stonesmith, who is running for prime minister in the election. With his wife struggling to gain the public's likes and their shot of winning becoming slim, she and their public relations advisor, Ella, head to a focus group with members of the public on the eve of the election. Upon entering the focus group, six strangers are introduced to the apocalypse box, where they have the opportunity to try to fit the right key into the right keyhole. When they do, they are granted a wish with no limits; only those who make it to midnight will win a cash prize. As the night unfolds, the wishes of those in the room backfire, leading to death and murder as the box controls the beings and unleashes complete chaos and trauma. Outside of the locked room, it becomes clear that Stonesmith, along with his MPs, has curated this game in the hopes that his wife will wish for his win in the upcoming election. The story of this film was very engaging; it is fascinating to see the box's unexpected workings and to witness the interactions among the six strangers, who disagree with each other's game plans and political views yet try to save one another during the disasters that occur. Although it was no secret that the game was set up by Stonesmith himself, his motives may seem confusing. Without a thorough character backstory, it may be hard to understand his character, his thirst for power or why he would try to win the election through such a gruesome game that did not seem to have any relevance. The horrifying scenes that unfold in the so-called ‘focus group’ also raise the question of why he would want his wife in a scenario like that. Despite this criticism, the well-considered plan of his began to make sense as the narrative developed. The special effects makeup and gory details were strong and convincing; I am not sure the same can be said about all the performances, however. Considering the members of the game were witnesses to such extreme and morbid consequences, their performances never entirely reflected the deeply haunting nature of the box and its effects. The acting of the cast felt implausible when up against such a dark storyline. Technical aspects like cinematography and sound were to an incredibly high standard. Music and sound effects play such a vital role in ensuring horror aspects pay off and this was most definitely fulfilled within this film. Overall, this film follows a unique and captivating story, making note of current and relevant political issues. I think the apocalypse box has the capacity to be used in an array of additional narratives due to its strong premise. The method of failing the wishes of those in the room was cleverly scripted and the dystopian feel to the narrative was thrilling throughout. About the Film Critic Madeleine Lavers Indie Feature Film < All Reviews Next Film Review >

The Quiet Ocean film review by UK film critic William Curzon. Starring Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden directed by Katie McNeice. HOME | FILMS | REVIEWS The Quiet Ocean Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 28, 2026 Directed by: Katie McNeice Written by: Barry Smyth Starring: Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden The Quiet Ocean follows Kansas (Juliette Crosbie), a receptionist at an Irish motel, in a future where individuals go to end their lives. One night, she meets a guest, Maria (Jennifer Zamparelli), and finds herself falling in love with her. The short piece is a dystopian tale of melancholy and regret, focusing on themes of queer love and gender roles. One of the most astounding aspects of The Quiet Ocean is its visually striking production design. Despite evident budget constraints that ran counter to the filmmaker's vision, the piece is a staggering achievement in production values, with all the technical aspects firing on all cylinders. The titular motel is visually stunning, with neon lighting set against a gloomy fog. While the filmmakers intentionally don't expand the worldbuilding beyond the expository voice-over explaining how the motel operates, the ambiguity is welcome, allowing the audience to piece it together themselves. The low-key lighting in the exterior of the hotel is another commendable choice, giving the motel an eerie feel. Serving as the film's cinematographer, Carol Tormey does a tremendous job of framing the titular motel and both central characters. The piece primarily consists of close-ups between Kansas and Maria to create a sense of intimacy and yearning, essentially assisting their already compelling chemistry. The shift to establishing shots of the motel is also a commendable choice, as it gives the audience a sense of the scale within the exterior sequences. These specific framing choices are complemented by the boxed-in 4:3 aspect ratio that gives the piece a sense of claustrophobia and intimacy. Seeing the grainy photography set against the gloomy fog makes the experience visually appealing throughout. Katie McNeice, serving as the film's director, executes the themes of queer love and gender roles sincerely. It takes a steady pace to establish the relationship between the two central characters without ever putting a foot wrong. Despite the film's brisk runtime and lack of worldbuilding, every dramatic beat is executed profoundly thanks to the writing and direction from Katie McNeice. The way the filmmakers tackle the themes of regret and the inevitability of death in a bleak, dystopian future is an apt topic for this narrative, and it feels wholly singular and original. While the piece could have delved more into the relationship of Kansas and Maria, the short runtime feels welcoming. Each interaction between Juliette Crosbie and Jennifer Zamparelli in their portrayals of Kansas and Maria, respectively, feels natural and nuanced. This is thanks to two committed central performances that bounce off one another to create a magnetic sense of chemistry. While the audience doesn't spend a substantial time with Kansas and Maria, both performances shine and convey the themes of longing convincingly. The conclusion to the piece lands on a quiet and meditative note that may linger on viewers’ minds. Despite how abrupt it may be to certain viewers, the execution is undoubtedly moving and may leave audiences wanting more. The Quiet Ocean is a deeply moving portrayal of queer love in a dystopian world. It's a beautiful and unique tale drenched in melancholy and longing. Despite its lack of characterisation, the piece is held together by two terrific performances, a subtle yet effective musical score and admirable editing choices. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Swiped film review by UK film critic James Learoyd. Starring Nina Tarr, Courtney Maginnis, Jenny Gorelick, Johnny Gaffney directed by Daniel Florio. HOME | FILMS | REVIEWS Swiped Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 27, 2026 Directed by: Daniel Florio Written by: Daniel Florio Starring: Nina Tarr, Courtney Maginnis, Jenny Gorelick, Johnny Gaffney The new short film by Daniel Florio, Swiped is very much a comedy told in two distinctive parts – each with its own style of heightened comedic tone. In the first, we witness a girls’ night transpiring with all its amusing social politics, one-upmanship and general awkwardness of a gathering of old friends. It’s an increasingly hilarious game of Whose life is better and Who has the biggest news to share, with the escalation of “new job” to “I’m pregnant” serving as some of the short’s funniest moments. The second half takes a turn into the crime genre with a development so unexpected, ridiculous yet spectatorially stimulating that you can’t help but admire the audacity of Florio’s screenplay. This latter section is more focussed on our protagonist’s boyfriend whom she’s been showing off during her girls’ night via social media pics, with the suggestion being that her Italian tinder-match is seemingly the only thing she has to brag about (I should note that characters’ superficial tendencies all play into the purposefully heightened tone of the piece). Despite the general sense of absurdism present throughout the film, perhaps its most admirable characteristic is that it is utterly relatable. Maybe not the mafia stuff; but the simple idea of exaggerating one’s life so as to impress a group of snobby old acquaintances is such a clear yet potent dramatic weapon that can so easily lead to interesting places. You may argue that it’s a concept that’s been done before, and for the film’s first half, that would be true. However, my retort is twofold: firstly, the execution of this gathering is so snappy and well-performed that there’s nothing to complain about in the watching of it; and secondly, by the time you reach the halfway mark (at around six minutes), you understand that this is someone who wants to experiment with structure – and to effectively do that in an entertaining manner, and without alienating the audience, the filmmaker needs to deliver some conventional laughs and dramatic beats in this opening section. To touch on the formal for a moment, the cinematography and sound are effective for their simplicity. Our two primary sequences are made up of very direct, central, tripod compositions which tend to place actors within an amusingly detached context – much like a Wes Anderson shot or even a shot from a Coen Brothers movie. The impact of this is subtle, especially since these are never the kinds of shots that deliver the wow-factor. But what’s intelligent about the direction and photography here is the awareness of that kind of stripped-down clarity suiting the form of an absurdist comedy perfectly. Arguably easier to praise is the practical use of lighting as well as the pointedly jazzy, sporadic nature of the music-track – implemented with great intentionality at points to match the playfulness of the filmmaking. Swiped is a hilarious, inventively structured piece by Daniel Florio. Arguably indulgent, yet makes for a short film with a fresh tone and outrageous conceit. This is punchy work, and certainly entertaining to the casual viewer. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Love Loaded film review by UK film critic Chris Buick. Starring Monica Young, Adam Huss, Erin Chambers, Emily Goss, Tim Heurlin directed by Jan Miller Corran. HOME | FILMS | REVIEWS Love Loaded Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 27, 2026 Directed by: Jan Miller Corran Written by: Jan Miller Corran Starring: Monica Young, Adam Huss, Erin Chambers, Emily Goss, Tim Heurlin October 1958. Downtown Los Angeles. At Club Figaro, songstress Didi Scanlon (Young), a knockout torch singer with an even more devastating voice, sings a sultry number by the piano. Amongst the patrons sits husband Jack (Huss), club owner and legendary surgeon, trying his best to become a legendary alcoholic as well, while around him, friends, admirers and even past lovers watch on in awe. But as the night begins to wind down, with everyone now making their way into the crisp LA night, suddenly, a gunshot rings out. Lying there, on the cold, hard ground outside his own club, is Jack. Not dead, but someone clearly meant him to be. So, with Jack now in hiding, Didi is left alone to doubt everyone around her, as she looks to find answers to the troubling questions. Who fired the shot? And why? From the very start, Love Loaded swaggers into the joint, rests its hat on the bar while ordering a scotch neat, and invites us to pull up a chair, ready to spin us a tale about all the crazy reasons people might do just about anything for love; the good, the bad, and the downright deadly. It's a delectable journey of meticulous noir homage, getting almost everything spot on; sights, sounds, speech and expected skullduggery in a story filled with complex and suspicious characters, all with their own reasons for being the one who held the gun. But writer/director Jan Miller Corran isn't content to settle for any old whodunit; the film aspires to be so much more, weaving in themes of prejudice, gender and social status, guilt, and revenge for good measure. It's the sheer love and devotion to getting every look and feel just right that is Love Loaded 's biggest strength. Key locations like Club Figaro are like actually stepping back in time, although they do leave a couple of the perhaps more budget-constrained settings feeling a bit sparse by comparison. But it's always a maximum-effort endeavour, with the impeccable hair and costume design along with the tight, era-authentic script also making sure everyone always looks and sounds the part. And finally, it's all wonderfully played out by a cast full of more than capable actors. At the centre of it all, of course, are Didi and Jack, who have to be and unequivocally are the strongest parts on show. Young and Huss's is a dynamic with so many layers that makes them perfect to watch and root for despite being completely wrong and right for each other all at the same time. There are, however, question marks over the mafioso-type element that plays as another subplot here. It seems neither Katsis's Mario Ponzetti, nor his fixer Alex (Bucci) ever have enough menace in them to be taken seriously as a threat, and thus never truly believable to turn out as such. Outside of that though, it's a supporting tour-de-force. Whether its broken-hearted April (Davis), still devastated by Didi's desertion out of fear of revealing her true self, to the other admirer on Jack's side Molly (Goss), the devoted nurse whose feelings for Jack cause deep seated resentment in her husband Gary (Bennett), same of which can be said for fellow-doctor Richard (Heurlin), the creepy devotee besotted with Didi himself. These, and indeed the rest, are all roles that feel fully defined; their circumstances and motivations both relatable and clear, and ultimately true to the era they live in. Love Loaded is teeming with pretty much everything that aficionados of the genre would want and expect, while also undoubtedly impressing those that simply appreciate astute technical filmmaking, compelling characters and simply great storytelling. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

We Bury The Dead film review by UK film critic Kieran Freemantle. Starring Daisy Ridley, Brenton Thwaites, Mark Coles Smith directed by Zak Hilditch. HOME | FILMS | REVIEWS We Bury The Dead Film Review average rating is 3 out of 5 Critic: Kieran Freemantle | Posted on: Jul 27, 2026 Directed by: Zak Hilditch Written by: Zak Hilditch Starring: Daisy Ridley, Brenton Thwaites, Mark Coles Smith We Bury the Dead is an Australian horror film that takes a sombre approach to the zombie apocalypse. The island of Tasmania is decimated after an experimental American weapon accidentally detonates off the East Coast. It kills every living thing, but some people come back to life with aggressive tendencies. Ava (Daisy Ridley) is an American who volunteers for the relief effort in the hope that she can find her husband. She sneaks away from her unit with Clay (Brenton Thwaites) and travels to Woodbridge, where the Australian military is still operating. Zombie fiction has been ever-present in pop culture, especially during the 2010s. There was so much zombie fiction that the world could have ended, and the remnants of society would have still made zombie stories to cope. We Bury the Dead aimed to have a more scientific explanation of why people turned into the living dead. The event was localised, and it was portrayed as a humanitarian mission after a disaster. The job of the volunteers was to find bodies and identify them, which some people found overwhelming. The first act was impactful as the characters explore the suburbs in a standstill while bodies pile up. This exploration of people’s homes made We Bury the Dead feel a bit like The Last of Us when Josh and Ellie visit houses and learn about their lives before the apocalypse. We Bury the Dead was a slower-paced film that explored the impact of the incident. There were questions about why certain people came back and desperate people searching for their loved ones to come back, even if it meant they came as a mindless husk. This idea has been explored in other zombie stories (i.e. Dawn of the Dead, The Walking Dead). We Bury the Dead did dig a little deeper as it showed Tasmania suffered from collective grief. There was also the question about how much of a person’s mind remained in a resurrected person, or whether they would always be a mindless monster. One of the most powerful scenes in the film was when Ava caught a resurrected person doing more human actions. The issue with most zombie fiction is that most ideas have already been explored. We Bury the Dead struggles to overcome this issue since it was exploring well-trodden territory. It aimed to be more of a character piece as Ava travels, thinking about her husband and seeing the devastation that ravaged Tasmania. It did require an excellent performance from its lead actress, and Daisy Ridley was a strong anchor for the film. She was strong-willed and determined, which contrasted with the cynical Clay or the desperate Riley (Mark Coles Smith). It is great to see Ridley do smaller movies after her Star Wars success, similar to what Robert Pattinson and Kristen Stewart did after Twilight. We Bury the Dead was more like the zombie apocalypse version of Monsters. It was about two people having to travel into a quarantine zone and philosophise about life. Like Monsters, We Bury the Dead takes place in the aftermath of an event that changes the world. In We Bury the Dead, the event was more recent. We Bury the Dead was more of a drama than a traditional zombie film. It doesn’t have the thrills or tension of films in the 28 Days Later series or the social commentary of the Living Dead films. Because of the oppressive grimness and slow pace, We Bury the Dead will be a Marmite film. The scores on Rotten Tomatoes were proof of this. We Bury the Dead is an acquired taste of a film. It was a slow and thoughtful film that used a simple story to ask big questions. However, the slow and thoughtful approach will be a turn-off for some audiences since they would see it as boring. About the Film Critic Kieran Freemantle Digital Release, Horror, Throwback Thursday < All Reviews Next Film Review >