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B.O.O.B.S: The Mockumentary film review by UK film critic Nina Romain. Starring Jazmine Cornielle, Courtney Sanello, Kohlman Thompson, Llewellyn Connolly directed by Jazmine Cornielle. HOME | FILMS | REVIEWS B.O.O.B.S: The Mockumentary Film Review average rating is 3 out of 5 Critic: Nina Romain | Posted on: Oct 21, 2025 Directed by: Jazmine Cornielle Written by: Jazmine Cornielle Starring: Jazmine Cornielle, Courtney Sanello, Kohlman Thompson, Llewellyn Connolly Cousins Mark (Kohlman Thompson) and Katrine (Courtney Sanello) are starting a restaurant marketing company, called BOOBS, in his apartment. However, their arguments seem to be tearing their company apart even before it starts operating. Like the US version of The Office, which Mark references in Episode 3 with a cheerful meta-sideways glance, it’s “shot” by a small camera crew, generally using a single-camera setup in five short episodes. The characters occasionally talk to the camera or glance at it during strained situations, as they do on The Office. In the first episode of B.O.O.B.S - The Mockumentary , Mark introduces himself as he lets the film crew in, as he points around his apartment with an enthusiastic: “Welcome to my house! This is where the meetings take place!” and raps on the kitchen table. The camera crew, who are apparently Mark’s college buddies and headed by a director called Freddie, film the disaster that home offices can involve, as the character run out of toilet paper and Katrine hits the bottle early in the day (“Mark, we need some more wine!”) Mark’s paramour, the lovably kooky Annabelle (Jazmine Cornielle, also the series writer and producer) joins from Hooters as their assistant, to Katrine’s horror. As the trio attempts to make their first sale, we find out that Katrine was barred from being a lawyer after a work-related disaster, which she refuses to talk about it, since it’s online. Mark is revealed to be the eternal 30-something teenager, mainly interested in junk food, playing video games and lolling around on his sofa, and given to weeping with fury in his dressing gown when things go wrong. Annabelle is the over-exuberant party animal, but she attempts to win Katrine around and makes their first sale, to Katrine’s annoyance. Mark and Annabelle become a couple and decide to have a baby, to Katrine’s fury, and the business disintegrates. There are some good one-liners, as when Katrine demands of Mark, who hasn’t turned up to the kitchen table on time: “How can you be late for a meeting…. in your own house?” Thompson has a nice line in physical comedy, and Sanello is convincing as a shrieking lush. However, there are slightly too many pratfalls and yelling fits, and Annabelle has a point when she snaps and shouts at the other two: “You’re both just mean…and bad people…” There’s also quite a lot of toilet humour and an ongoing injoke about the subject of death by suicide, the latter of which is pretty tasteless. It’s funny, if overblown, and unlike the understated Spinal Tap, the jokes are too signposted. It’s hard not to find it amusing, though, and when the film crew get the final shot of the mismatched trio, cheerfully reunited and cuddled up watching TV on the sofa, you can’t help finding them loveably entertaining. About the Film Critic Nina Romain < All Reviews Next Film Review >

Love + War film review by UK film critic William Hemingway. Starring Lynsey Addario, Paul de Bendern, Andriy Dubchak directed by Elizabeth Chai Vasarhelyi and Jimmy Chin. HOME | FILMS | REVIEWS Love + War Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 19, 2025 Directed by: Elizabeth Chai Vasarhelyi and Jimmy Chin Written by: N/A Starring: Lynsey Addario, Paul de Bendern, Andriy Dubchak The Oscar winning team behind adrenaline-doc, Free Solo (2018), return with a no-holds barred look into the life of Pulitzer Prize winning photojournalist and conflict photographer, Lynsey Addario, as she wrestles with decisions between her family and her life’s work, knowing that whichever one she chooses in the moment, she will always be leaving something that she loves behind. For more than two decades, Lynsey Addario has been getting herself into some tough situations; running headlong into warzones, humanitarian crises, and regions of oppression, to record and photograph it all for The New York Times and others. She never thought she would have kids, in fact so sure was she about not having a family of her own, that she asked her father to provide her with the $10,000 dowry that he afforded each of her sisters on their wedding days, so that she could go out and buy a whole bunch of camera equipment and just get her career started instead. Cut to today, however, and here Lynsey is explaining to the National Geographic crew just how difficult it is to hold down a family at home, whilst still trying to get the truth out to people about how bad it is in some of the most horrible and terrifying places on Earth. Lynsey’s passion is obvious, and that is a great hook for directors, Elizabeth Chai Vasarhelyi and Jimmy Chin, as she leads us through some of the most difficult and hostile terrain on the planet. Instantly likeable, and eminently relatable at every ‘fuck’, ‘shit’, and ‘maybe we shouldn’t be here’, that follows the spraying of bullets or the blast of a nearby mortar, Lynsey is busy getting the scoop on the frontlines of the Ukrainian War, just the latest in a long line of warzones that she has reported from in her career. This current war becomes the linchpin for Lynsey’s journey of Love + War , as we watch her document other people’s troubles and tell their stories of loss, all the while reminiscing over and taking the time to acknowledge her own. Over a long, varied, and illustrious career, Lynsey has been in just about every conflict zone imaginable, from India and Pakistan, to Iraq, Afghanistan, Sudan, Ethiopia, Palestine, and Libya, where she was abducted along with three colleagues by Colonel Gaddafi’s regime in 2011. She has won two Pulitzer Prizes for her work, had it seen the world over in some of the most reputable publications on the planet, had it presented in the Nobel Peace Center in Oslo, and has the knowledge of her photographs having directly mobilised change on the ground for those she has encountered, but yet she knows there is still work to do. And every time that she makes the decision to fly away and tell someone else’s story, she must fight with herself about the stories she’s missing at home, those she could be making with her loved ones. For a lot of the documentary we stay at home with husband, Paul de Bendern, and the kids, Lukas and Alfred, to see just the kind of Love Lynsey has while she is there, as well as what she misses out on when she’s not. This is a very candid portrait of home life, very delicately taken by cinematographer, Thorsten Thielow, that captures the essence of Lynsey’s struggle about what she leaves behind every time she gets up to go to work. The comfortable, homely, intimate, Love sections of the film then become even more emotionally relevant when we move to the horrors of War , and we see what Lynsey sees on a daily basis when she’s not at home. With an obvious mountain of footage at their disposal, Vasarhelyi and Chin do a great job of leading us through the turning points of Addario’s career, when her photographs had the most impact. To witness these events, and see these people, as she saw them, sometimes to witness them alongside her, is as visceral as it is affecting for the viewer. You have to be willing to go to some pretty difficult places with Lynsey, especially those places where women are left, dumped, or discarded by the ravages of war, but understanding her need to document the truth of these situations is very easy when you’re there with her, seeing through her lens, looking straight at what so few genuinely get to see, and what so many others would rather hide. The crux of Love + War is the pull of the two drives which exist inside of Lynsey Addario, and if there can be any reconciliation between them. As a mother, and a woman, she is persistently hounded by questions of love and loyalty to her children, while the men are let go to put themselves at risk as they see fit. There is a double-standard at play which feeds into Addario’s work, as she moves freely amongst women-only spaces and gains access to areas that no man with a camera could ever go. To ask if the pull between Love + War is more pertinent to Lynsey Addario as a woman photojournalist and conflict photographer, is to miss the point of the film, and probably a lot of her work, because it assumes a stronger pull in one direction. The quiet take-away from Lynsey’s story is that the pull of War is so strong. So strong that it pulls her away from the things that she Loves , and that she has fought to have even after she thought she’d never have them. While new stories and films of modern female journalists are becoming more prominent and more popular, whether that be dramatised in Lee (2023), or fictionalised in Civil War (2024), there’s no substitute for the real thing, and that is exactly what Love + War provides. Lynsey Addario is the very definition of what makes journalism, especially in today’s world, so important, as she throws herself headlong into the fray to show us what it’s really like on the frontlines of our Earth. To understand the sacrifices she makes in order to bring us these truths is a privilege that shouldn’t be overlooked, and as someone who lives her life through one end of a lens, she is very open and honest with us when the camera is turned on her. For that, Love + War stands as a testament to modern photojournalism, with Lynsey Addario perhaps as a reluctant, accidental poster girl for the work that is done today to bring us our news. If you want to know if it was all worth it, National Geographic is releasing Love + War in UK and Ireland theatres on Friday 24th October. About the Film Critic William Hemingway Theatrical Release, Documentary, World Cinema < All Reviews Next Film Review >

In Absence film review by UK film critic James Learoyd. Starring Christopher James Baker, Jack LaTorre, Ron Kelly directed by Paul Nevison. HOME | FILMS | REVIEWS In Absence Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Oct 20, 2025 Directed by: Paul Nevison Written by: Paul Nevison Starring: Christopher James Baker, Jack LaTorre, Ron Kelly It would honestly be quite difficult to fault Paul Nevison’s In Absence for really any aspect relating to the technical department. One might even be tempted to say that every frame of this 24-minute drama is perfect – at least from an audio-visual standpoint. We follow a young boy who has recently lost his mother. His family is Christian, and thus, this untimely death results in the father questioning his very faith in the good. Yet it’s the young boy whose perspective the audience experiences this story. His confusion and sorrow as he navigates his place within the familial-religious chaos of mourning. Conceivably, it would more be the screenplay – its plotting and its characters – which could receive any kind of scrutiny from a less favourable critic. But even that would be a case of personal preference; not as a result of any thematic or structural inconsistencies. In Absence is a masterpiece. A cinematic marvel and deeply moving. I’d like to first draw your attention to Bjorn Amundsen – the director of photography for this picture – for this is a flawlessly lit movie. Characters bathed in gold light, blue light; everything stylistically impressionistic yet somehow natural and motivated. Not only is every shot perfectly balanced in terms of light and shadow, but entire rooms are also lit up from multiple artificial sources – a mix of daylight and domestic impressions – giving the film a lived-in, exploratory aesthetic wherein the viewer can feast their eyes all about the frame. Flawless lens-work. And in collaboration, of course, with director Nevison, I – as a filmmaker myself – was quite inspired by how the film oscillates between these extremely wide-angled lenses (often placed at high angles in the corner of a room – perhaps formally symbolic of God’s omniscience) and these sharp, clean medium lenses which provide the frame so much depth and the subject’s face so much detail. This is award-worthy work from Amundsen as their work seemingly redefines just how good a short film drama can look in this age. I’m talking superior to the majority of feature-length studio products you see in your local multiplex. I’d also be remiss not to mention the effective on-location sound recording and resonant sound design, in addition to the striking set design and the fact that every performer is more than pulling their weight. To surmise, what we have here is a truly refined work of visual storytelling; one told with passion and awesome technical and aesthetic prowess. I’ll conclude by mentioning a director whose works have a lot in common with this short alone... Since the passing of one of our greatest filmmakers, Terence Davies, I’ve written many pieces about his films (particularly his early shorts) and their significance to independent film. It is a stupendous compliment, therefore, that I thought of his films constantly while watching In Absence , since it is that they share many concerns relating to broken faith, feelings of desperation and disillusionment in trying times, and how these manifest within the family setting. Not only this, but Nevison’s dedication to craft and evoking mood through imagery, evoked much of Davies’ groundbreaking style. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

I Slay On Christmas film review by UK film critic William Curzon. Starring Deborah Dutch, Sean Donohue, Debbie D directed by Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop. HOME | FILMS | REVIEWS I Slay On Christmas Film Review average rating is 1 out of 5 Critic: William Curzon | Posted on: Oct 20, 2025 Directed by: Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop Written by: Derek Braasch, Debbie D, Marcelo Fabani, Phil Herman, Nina Trader, Joel D. Wynkoop Starring: Deborah Dutch, Sean Donohue, Debbie D I Slay On Christmas is a holiday horror anthology shot on video that delves into a troubled man on Christmas Eve who escapes from his stress into a nearby forest. He then comes across four pine cones. Each cone presents a Christmas terror which eventually escalates into a real-life horror. Every tale is directed by a plethora of different filmmakers, including Phil Herman, Joel D. Wynkoop, Derek Braasch, Marcelo Fabani and finally James Panetta. The opening of the piece employs indistinct imagery that pervades the visual aesthetic as it tracks the central character through the forest, feeling heavily inspired by Sam Raimi’s signature style. It feels like a homemade piece of filmmaking with its micro-budget and inaudible dialogue that is utilised inconsistently throughout, alongside a frustrating use of ADR. The shot on video (SOV) approach successfully accompanies the creepy and atmospheric tone of the piece incredibly well. One of the major highlights of the film is the pulse-pounding musical score, which creates a significant amount of tension that the rest of the feature lacks. For example, there is a sequence involving a chase directed from the point of view of the killer's weapon and the synth-heavy score is utilised astoundingly well here. Sadly, one of the substantial faults of the technical aspects of the piece is the camerawork, which feels heavily uninspired outside of minimal displays of prowess in sequences of tension. The narrative structure and premise on paper sound intriguing and ambitious in its efforts; however, it's merely reduced to days of the week, which feel like a PowerPoint presentation rather than a Christmas terror with disturbing displays of violence and sexual desire. The narrative is unfortunately overly convoluted and confused tonally, with a plethora of clashing creative ideas which just don't stick. While the atmosphere is unsettling, the sequences of violence are ultimately ineffective thanks to how spurious they feel. Although, the practical effects are fun and utilised well with the minimal budget it has to play with. All the characters are demanding to engage with, thanks to dire performances across the board, not helped by the lacklustre screenplay and how unlikable they are. There's an absurd level of sexual desire and misogyny expressed in the central characters, which just comes off as forced into the narrative for the sake of shock value. However, the supporting characters, such as Jimmy the elf, who provide some comedic relief with their silly nature, are a joy to watch at times. There is a severe lack of tension throughout, and pacing is totally uneven outside of flashes of brilliance. The narrative, unfortunately, drags to a grinding halt in its final moments. The tonal shifts present when switching from different Christmas terrors feel jarring and ultimately like a different film entirely. While the change in tone is refreshing with how repetitive the narrative starts to become, this is almost certainly thanks to having multiple filmmakers tackle the horror anthology aspect, which is a breath of fresh air but a detriment to the experience overall. The use of dream sequences is impacted by the poor use of a green screen background, and the use of live news being integrated is entirely pointless and offers nothing to the central narrative outside of the context of the relentless virus, which has spread. Finally, there is a podcast present where the screenplay attempts to employ political discourse around the current state of the United States, which feels entirely shoehorned in for depth that the piece entirely lacks. I Slay On Christmas is a profoundly underwhelming attempt at the horror anthology sub-genre, with moments of excellence sprinkled in its formal choices; however, this sadly fizzles out quickly thanks to an unengaging narrative, unlikable characters and obnoxious levels of performative shock value. While the atmospheric aesthetic the filmmakers create is commendable, showcasing their unique voices in indie filmmaking, the result is a mixed bag of clashing creative decisions. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

As A Joke film review by UK film critic Jason Knight. Starring Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri directed by Phoebe Critchlow, Natalie Hay. HOME | FILMS | REVIEWS As A Joke Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 19, 2025 Directed by: Phoebe Critchlow, Natalie Hay Written by: Natalie Hay, Bri Power Starring: Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri A short dark comedy written by Natalie Hay, Bri Power, directed by Phoebe Critchlow and Natalie Hay and starring Ben Xiao, Ru Gupte, Estee Poichot and Thomas Tricerri. Owen (Xiao) has found himself in quite a situation: he has just murdered his best friend (Tricerri). Apparently, there had been an altercation between them in Owen's apartment and he shoved his friend roughly, causing him to fall and die on the kitchen floor. Now owen is panicking and does not know what to do. By accident, he grabs the attention of his smart home device and proceeds to ask advice regarding getting rid of the dead body. The aftermath of a terrible incident, leading to an awkward interaction between a young man and an electronic device. The story starts off as a serious thriller, before turning into a darkly comical situation involving the disposal of a corpse. Owen desperately and repeatedly asks for the device's advice on what to do and he is given it, as he has tricked the device in to believing that he wants to learn how to get rid of a body as a joke. Dark humour, gore, drama and gruesomeness dominate this film. The narrative is intriguing and amusing (as far as dark humour goes), however it ends in a sort of cliffhanger, which is OK, still though one might think that the story could had carried on beyond that point. Xiao delivers an entertaining performance. His character is a naive (and as it turns out: bad-tempered and disturbed) guy who has suddenly found himself having to cover up his crime, all while being assisted by a device with a female voice (Gupte provides the voice for the device and it is named Mimi), like a child asking their mother for help to clean up their mess. In the blink of an eye, he turns into a killer and body mutilator. This is a story about murder and consequences, desperation and it also serves as a comedic commentary about how much people rely on technology these days. Three-and-a-half minutes of dark humour. A viewing that will most likely be amusing to those who enjoy dark comedies with very dark humour. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Antithesis film review by UK film critic Patrick Foley. Starring Mackenzie Cain, Owen Correll directed by Maddie Cobb. HOME | FILMS | REVIEWS Antithesis Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 19, 2025 Directed by: Maddie Cobb Written by: Maddie Cobb Starring: Mackenzie Cain, Owen Correll Maddie Cobb’s Antithesis places a manipulative relationship at its centre, asking complex questions of its audience as it follows a young woman longing for a first love whose toxic traits threaten to derail her ambitions. Claire (Mackenzie Cain) is an aspiring writer who meets Aaron (Owen Correll) at a house party. Quiet and reserved by her nature, Claire is swept up by Aaron’s charisma and roguishness. Throwing caution to the wind and embracing the spontaneity Aaron propagates, she is quickly mesmerised by this new love who fuels her creativity. But over time, Aaron’s unpredictability and disregard for Claire’s priorities shows a different side to his character. Antithesis is an impressive and wizened examination of young relationships. Owen Correll’s Aaron is a poster boy for the type of boyfriend that teenage girls dream about. Exciting, magnetic, mysterious and boasting Chalamet-esque good looks, he is perfection on the surface for a romantic like Claire. Their love story gets off to the perfect start, but even in their early encounters there are red flags flying. The passion and unpredictability that romances her in their early encounters slowly reveals itself as selfishness and indifference for anyone’s wants but Aaron’s own. Maddie Cobb allows the viewer to unravel Aaron’s true self along with Claire – viewers will themselves sense his appeal in the film’s early stages and think that their relationship is something that can be rectified until late in the narrative. Mackenzie Cain proves a fantastic choice as Claire. Her intelligence, drive and creativity fuel her dream of authorship, yet Aaron’s force of personality convince her to make rash decisions well outside of her character. Cain captures the character dilemma between hesitancy and yearning for excitement, an essential element to show that even the smartest of us are vulnerable to emotional manipulation when the circumstances are right. Even as Aaron’s worst tendencies begin to show, she struggles with casting him aside, torn even when he shows up at her house late at night after ghosting her for hours. Owen Correll is similarly brilliant as Aaron, his attractive qualities clear to see but carrying also a vulnerability that acts as a shield even when his behaviours turn into unacceptable territory. The film is shot functionally and some scenes are allowed to stand out thanks to their staging – one in which Claire and Aaron speak in Aaron’s bed after she spends the night is a cleverly staged moment that first gives clues that this new mysterious love interest may not be all he sets out to be. A cool tint sits over the film that drains some of the life out of the short – an interesting decision that creates an overtone that events are not as pure and exciting as they initially appear to be. However as we experience the film through Claire’s eyes, it feels like a missed opportunity not to add energy and vibrancy with a bolder palette, at least in the early stages of the film. Antithesis is an accomplished short film that is destined to move audiences who know the confusion and confounding emotions of a troublesome first love. Lesser filmmakers would opt for a more straightforward presentation of its characters than Maddie Cobb opts for. But the presentation of Claire and Aaron’s complicated lives is what allows this film to thrive. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

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. Eternity Kontinental '25 Anniversary Kenny Dalglish Is This Thing On? Springsteen: Deliver Me From Nowhere The Bride A Tooth Fairy Tale Delivery Run In Your Dreams A House of Dynamite The Man in My Basement Wicked: For Good Time Travel Is Dangerous Game The Super Mario Galaxy Movie Don Q John Candy: I Like Me Spinal Tap II: The End Continues In Vitro 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 Eternity More Kontinental '25 More Anniversary More Kenny Dalglish More Is This Thing On? More Springsteen: Deliver Me From Nowhere More The Bride More A Tooth Fairy Tale More Delivery Run More In Your Dreams More A House of Dynamite More The Man in My Basement More

Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances.. Brand new film trailers. Eternity Eternity: A Bittersweet Afterlife Dilemma The trailer for David Freyne’s latest offering, Eternity , has just landed, and it promises to be a high-concept romantic comedy with a deliciously bittersweet British heart. Freyne, whose previous work on Dating Amber showcased a superb knack for balancing difficult emotional truths with sharp, affecting comedy, appears to have delivered a real corker of a premise here. The film plunges us into an afterlife governed by a most intriguing celestial bureaucracy: souls are granted a single week to determine where, and perhaps more importantly, with whom , they wish to spend eternity. At the centre of this metaphysical maelstrom is Joan, portrayed by the ever-brilliant Elizabeth Olsen. The premise itself—a romantic comedy set in the great beyond—suggests a blend of existential whimsy and emotional depth that feels utterly timely. Olsen is faced with a truly tricky proposition. On one side, she is reunited with her late husband, played by Miles Teller, who represents the familiar comfort, the shared history, and the deep, enduring love of a life well-spent. On the other, is Callum Turner as her first love, a connection tragically cut short but preserved in the amber of youthful passion, now having waited decades for her arrival. The trailer, even without specific dialogue, manages to convey the impossible weight of this choice. It’s a love triangle where the stakes are quite literally infinite. Teller, known for his intensity, and Turner, with his understated charm, look set to provide two perfectly contrasted halves of Joan’s emotional ledger. What elevates Eternity beyond mere romantic fluff is the surrounding talent. The film boasts a phenomenal supporting cast, not least of which is the current darling of the awards circuit, Academy Award winner Da’Vine Joy Randolph. Her presence alone, alongside the comedic stylings of John Early, suggests that the humour here will be as cutting as it is heartfelt. Freyne looks to be using the inherent absurdity of the afterlife setting as a perfect vehicle for exploring real-world questions about soulmates, regret, and the nature of lasting love. It’s clear from the fleeting glimpses that this film is visually sumptuous, marrying the mundane reality of the decision-making process with the ethereal possibility of the infinite. It doesn’t shy away from the heartache, but it clearly embraces the opportunity for genuine, laugh-out-loud moments. Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. It’s an enticing look at a film that might just prove to be one of the most original romantic comedies of the year. Mark your calendars; this is one not to miss when it arrives in UK cinemas on December 5th. 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. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie Don Q Don Q will be available on digital platforms in the UK on 15 September, thanks to Reel2Reel Films. John Candy: I Like Me The new documentary, John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, offers a poignant and intimate look at the man behind the memorable characters. Eschewing the typical celebratory retrospective, the film embarks on a journey to humanise an icon, exploring his personal struggles, deep-seated anxieties, and the profound impact he had on those who knew him best. Spinal Tap II: The End Continues Spinal Tap II: The End Continues. Set for a glorious return to UK cinemas this September, this film promises to be a welcome, if profoundly daft, comeback for the geriatric rockers. In Vitro Mark your calendars, UK film fans! The highly anticipated Australian sci-fi thriller, In Vitro, is set to make its digital debut across the UK on September 15th

Agent Jayne: A Woman With A Mission film review by UK film critic Holly Baker. Starring Shalini Sood, Uriel Massey, Julius John directed by Waqar Peter Gill. HOME | FILMS | REVIEWS Agent Jayne: A Woman With A Mission Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 17, 2025 Directed by: Waqar Peter Gill Written by: Waqar Peter Gill Starring: Shalini Sood, Uriel Massey, Julius John Agent Jayne: A Woman With A Mission (2024) is an hour-long action-thriller. The film has a Bollywood feel throughout, evident in its excessive repetition, over-the-top editing, and constant tonal shifts. The editing choices in Agent Jayne are often cheesy; for instance, when the phrase ‘money laundering’ is spoken, a cartoon explosion of money fills the screen. However, considering the dark themes of the film, the excessive, juvenile look of sequences like this one aptly balances out the heaviness of the film's tragedies, maintaining its fun feel. The film’s main focus is an in-depth look at the devastating impacts of drug addiction on young people. The story closely follows private detective Agent Jayne as she investigates those responsible for the dealing of harmful substances. Over the course of the film, she risks her life with the mission of preventing further deaths and punishing the criminals responsible for the teenagers’ deaths. A major point of discussion is the dark topic of children suffering from drug addiction. The film navigates these themes lightly, focusing more on maintaining a fast pace and an exciting narrative through the actions of the film’s protagonist, Jayne. The film utilises its low budget of $50,000 through incorporating cheap editing tactics, such as tacky transitions, resulting in some sequences appearing like an advert aimed at children. Whilst viewers may find this to be corny, this absurd look adds to the enjoyment of the film and, in a way, aligns with the film’s clear purpose as a staunch anti-drug campaign. The film contains several sequences with sleek cinematography, where high-quality camera equipment has been used and shots have clearly been carefully positioned. Several of these shots are well-lit and demonstrate a keenness for and strong ability in masterful filmmaking. Although these moments are infrequent, they certainly propose potential for further instalments of the Agent Jayne franchise to have a more defined, cinematic look after the filmmakers acquire a larger budget to work with. As the film studies the tragedies at play in a world corrupted by crime and where the vulnerable are dominated by evil, power-hungry individuals, its use of music and erratic editing can often feel off-putting. The score consists of loudly using fragmented melodies to build up tension; however, due to its excessive use and blaring volume, the music often overpowers what is occurring on screen. When paired with the film’s cartoonish editing, there are particularly jarring moments. For instance, a tragic depiction of an adolescent dying suddenly from a drug overdose is accompanied by an action-esque rhythm to build tension. This suddenly transitions to a clearly computerised image of a newspaper article, bluntly reporting on the death. Moments like this feel slightly tone-deaf, and this quick, blasé structure of presenting deaths is reused several times, taking away from the morbidness of the film’s overall message. As well as the film’s plot, the film’s performances do not always fit well with the erratic feel of the film. Dialogue is delivered in an unnatural, deadpan tone, feeling, unfortunately, blatantly artificial. This clunky acting style is consistent throughout the film and occasionally works for comedic value; however, when blended with fantastical action sequences as well as social realism, it feels slightly out of place and brings the film’s enjoyment down slightly. The subpar acting is particularly disappointing as the story builds to its climax, and its wild and whimsical style encourages viewers to get lost in the action. Despite its flaws, the film as a whole is, without a doubt, an exhilarating ride. Its continuous fast pace through sudden location shifts and time changes, as well as its supervillain-esque characterisations and fanciful lighting and editing choices, mean there is never a dull moment in Agent Jayne. The film’s message, whilst starkly important, does not always feel close to the filmmaker’s heart, as the action-packed plot and overall feel of the film encourage a more thrilling, immersive viewing experience than one that leaves viewers pondering the tragedies of drug use. It is only a shame that the passion and excitement of the film’s style and set design do not resonate within its performances. About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

The Whip film review by UK film critic William Curzon. Starring Shian Denovan, Gala Wesson, Tom Knight directed by Christopher Presswell. HOME | FILMS | REVIEWS The Whip Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Oct 16, 2025 Directed by: Christopher Presswell Written by: Forgács W. András, Christopher Presswell Starring: Shian Denovan, Gala Wesson, Tom Knight The Whip is a micro-budget British political heist thriller set in the post-Brexit era. Following a full-time carer, Sadie (Shian Denovan), who plots a heist from the Houses of Parliament, to thwart welfare reforms such as Independence Credit. The film is a scathing indictment of the current British political landscape and how it mistreats the lower class, particularly individuals with disabilities. The narrative employs a slow-burning approach to establish the plethora of characters which are introduced throughout. While taking its time to develop its characters is integral to the planning of the heist and myriad of themes it explores, the dialogue sadly gets bogged down in expository territory, which impacts the pace throughout the first quarter of the runtime. Forced and cringe-inducing dialogue is unfortunately also present throughout when characters are convincing others to partake in the heist, which may leave a sour taste in the audience's mouths. Thanks to the tight runtime, the piece feels less bloated, and once the titular heist comes into fruition, the investment and tension rise significantly. This is also helped by the editing, which is impressive and frenetic as it seamlessly transitions into scene changes. The chemistry-laden cast also engages you further as a viewer due to their endearing qualities, keeping the set-up compelling. Thankfully, the piece provides a profound level of empathy for lower-class individuals and is topical for audiences around the world, unaware of the political state of the United Kingdom. The piece also tackles a satirical edge by mocking the government comedically, and this ties commendably into the comedic banter of the group that participates in the heist plan. While the performances are serviceable for the plot, the main standouts are Shian Denovan and Meg Fozzard, who portrays Sadie’s sister Emily. Their relationship is astoundingly profound and heartwarming thanks to their magnetic chemistry and love for one another, which elevates the emotional resonance. Sadly, the filmmaking throughout the first half is somewhat unengaging, as the camerawork does not do anything groundbreaking outside of the aerial shots, which showcase central London as its own character. On the other hand, the construction of the heist is impressive thanks to seamless, quick cuts within the meticulous planning of pulling off the job. However, the use of shaky cam while tracking the characters is a detriment due to the lack of tension built up, and the final set piece feels rushed, with it being shoehorned in so close to the conclusion of the narrative. The musical score is low-key and amplifies the apprehension of the heist planning with its rhythmic tone constantly pervading sequences of dialogue. The culmination of the heist is satisfying and makes the steady build-up feel earned, and the overall payoff of the conclusion of the narrative is satisfying as a viewer, thanks to the central characters being provided emotional closure in their respective arcs. The Whip is a politically charged piece with its heart in the right place, tackling themes of greed within the systematic schemes of the British government while showcasing empathy for the lower class. It may suffer from sluggish pacing issues in the first quarter of the runtime; however, the tightly managed runtime helps the experience feel less bloated, and the performances from Shian Denovan and Meg Fozzard are an utter delight to behold. About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Man on the Hill film review by UK film critic Patrick Foley. Starring Michael Tait, Alexander Clark, Sue Osborn directed by Jacob Stockton. HOME | FILMS | REVIEWS Man on the Hill Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 13, 2025 Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Michael Tait, Alexander Clark, Sue Osborn The sacrifice of young men thrown into the meat grinder of World War One and the hollow differences between soldiers of both has been pondered endlessly through cinema history. World War Two is more commonly seen through an unequivocal lens – obviously due to the genocidal intent of the Nazi regime. Man on the Hill examines two soldiers from opposite sides of the conflict who end up bonded by their experience. During Operation Overlord, a British platoon stranded behind enemy lines is picked off one by one. Jim (Michael Tait) is the last man standing and is confronted by lone German soldier Oskar (Alexander Clark). After a fight breaks out, Jim takes Oskar hostage and marches him back towards British encampments. But on their journey, Jim discovers that there is more to Oskar’s story than he could have predicted, and his commitment to the German cause is not one formed by ideology alone. Perhaps contemporary international politics have conspired against Man on the Hill . ‘Just following orders’ has long been a lamentable excuse for Nazi atrocities during World War Two, but one would have thought the passage of time would allow for more nuanced approaches to the moral centre of those who served under Hitler, not less. As it is, watching masked stormtroopers on American streets, Russian troops in Ukraine and a genocide unfold in Gaza mean that understanding and sympathising with the other side feels a long way down the list of priorities for those who care about democracy and liberty – the bedrock of the ethos of the Allies in World War Two. Oskar may not care for Hitler’s racial theories, but his commitment to nationalism and willingness to look the other way permit them. And asking an audience to have empathy or consideration for him may be tough for some to swallow – even if he does invite his enemy round for dinner. The plot itself is straightforward, focusing on the unexpected bond between two men who find themselves in grave danger. Each man discovers the other’s nobility in a well-paced manner triggered by gripping enticing events that are dripping in tension. It gets a little far-fetched at times, and some of their decisions stretch credibility in what is meant to be a combat setting, but the emotional drive comes through. The ending is pure Sunday afternoon schmaltz, tear-shedding for the John Lewis crowd but vomit-inducing for others. There are other highlights, such as Michael Tait’s performance as Jim as well as impressively strong design across the film that largely convincingly recreates the Second World War despite a lower budget. Writer/director Jacob Stockton has clearly given some thought to plot holes and logical inconsistencies that, whilst still present in some areas, are addressed in others – such as why Oskar doesn’t run when German troops are present. But it is that central conundrum around the film’s moral core that prevents it from fully working. Oskar’s love of his country may be his motivator, but for most, a Nazi is a Nazi. And where reconciliation and forgiveness are essential for healing the wounds of the past, moments in which the two men feel like they are being placed on equivalent moral footing are a misfire. The holocaust, inextricably linked to the German war machine, is barely given a passing mention in the film. And where Jim may be willing to offer Oskar an olive branch, it does not feel like it is his to offer on behalf of the viewer. Those looking for a quick shot of sentimentality will leave Man on the Hill satisfied, but anyone with more than a passing interest in the war will find its narrative difficult. It is a shame, because the direction, performances and story structure are largely fine. Ultimately, it’s about the wrong war. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >