SkullHunter film review by UK film critic Holly Baker. Starring Steven Murphy, Tim Faraday, Sean Cronin, Ryan Harston directed by James Albert Solly, Charles Michael Solly. HOME | FILMS | REVIEWS SkullHunter Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Jul 6, 2026 Directed by: James Albert Solly, Charles Michael Solly Written by: Steven Murphy, James Albert Solly Starring: Steven Murphy, Tim Faraday, Sean Cronin, Ryan Harston SkullHunter (2024) is a rich British crime thriller, set mostly in London, directed by James Albert Solly. SkullHunter stands strong with a runtime of just over 2 hours and Steven Murphy (in his fourth feature film as co-producer/actor and writer) plays a man named John Transton. Transton is a cripplingly obsessed detective whose quest to find a link between a series of murder cases gradually takes its toll, tearing apart his life. Murphy masterfully plays the tragic figure; his characterisation effectively brings forth Transton’s corrupt morals and his overall drive to bring justice to the victims by whatever means necessary. Transton’s moral conundrum makes viewers question whether his actions go too far, and whether bringing justice could cause more harm than good. The film is stylised with a crisp, retro-neon look. Many scenes include Sets which are dotted with old-school technology, such as the inclusion of retro home computers, which were big hits in 1980s Britain. Added details like this give the film a distinct time stamp, immersing viewers into the world of the past that the film takes place in. As well as this, the use of neon lighting creates a moody feel, especially in the film’s darker moments, allowing the purple, blue and red tones to take stage, adding a deep sensuality to the viewing experience. Aside from colour and set design, SkullHunter is impressively experimental visually. There is a strong focus on symmetry, expressed in the mise-en-scéne in many scenes. This is particularly poignant in the artful opening and several dream sequences, where a kaleidoscope effect is enacted, creating a hypnotic feel. The heavy use of mirroring and reflection gives many scenes in the film a fantastical look, as well as linking well into the themes of the film, as John Transton must look into himself and reflect on the impact of his actions and his past. Whilst SkullHunter incorporates dream sequences, the film also gives the reality-based scenes an abstract, otherworldly feel. This is, as mentioned, through the use of neon, but is also seen in the dedication to German-expressionism, in strong use of dark shadows and an emphasis on silhouette. This obstruction of light distorts the look of the scenes, clouding key characters' faces, obscuring what viewers can see. Through emphasising visually distorted scenes which are not dream-strained, the film effectively blends fantasy and reality, highlighting Transton's decline into insanity as he struggles to distinguish between the two of them. SkullHunter’s overall look allows it to fit in with other key influential British crime dramas. Its darkness expresses similarities to the longstanding success Broadchurch (2013-2017) and the Scottish Netflix Hit, Dept Q (2025-). The film also shares similarities with Dept. Q in its incorporation of lightly comedic moments, challenging the crime genre and allowing contrast from the film’s gritty themes. Alongside its artful sequences and light comedic relief, SkullHunter is overall a grizzly watch, particularly through its portrayal of violence. Fans of thrillers such as David Fincher’s Zodiac (2007) and Seven (1995) will appreciate the film’s dedication to gore and psychological disturbance. Solly’s audience can only expect more gruesome films going forward, as he begins to establish his artfully dark aesthetic as a filmmaker. Buy UKFR Banner Space About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

The Florist film review by UK film critic Swati Verma. Starring Sushovan Dasgupta, Dipak Das, Ashmita Bhaduri directed by Priyam Chanda. HOME | FILMS | REVIEWS The Florist Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 26, 2022 Directed by: Priyam Chanda Written by: Kausani Mitra Starring: Sushovan Dasgupta, Dipak Das, Ashmita Bhaduri The title of the short film-"The Florist" suggests that the role of the florist and flowers holds utmost importance in the smooth movement of the narrative. The film falls under the genre of social drama. The director Priyam Chanda and writer Kausani Mitra together weave a screenplay to highlight the underlying subject while wrapping it up for the audience as a social drama about a dysfunctional marriage set-up. The use of close-up shots and the tracking shot is an attempt by the camera-man Arjit Sorkar to showcase various aspects of the personality of the protagonist. The camera captures the city of Kolkata so beautifully to complement the mood as well as the subject of the film. The news on the television has been effectively used to portray the tension and irreparable damage the wedding is going through. There is no dialogue in the movie yet the actors manage to display the dynamics between all the three characters effortlessly. The yellow rose symbolizes friendship and joy. This also indicates the efforts Anish is taking to safeguard his relationship with his wife. The elements like lighting, the colour palette of the set design, and background music have been incorporated into the plot elegantly to steer the audience towards an unexpected conclusion of the film. The plot of the film revolves around two strangers whose life becomes tied to each other due to a certain situation. Will this journey for both these individuals prove to be fruitful or will it become a nightmare for them is worth watching. In terms of performances in the film, Sushovan Dasgupta who plays the role of Anish works very hard on the nuances of the character so that Dasgupta can bring out the emotional turmoil within the central character while he chooses to be strong about the crumbling ties with his better half. Dipak Das who plays the title role is outstanding in the movie. Das portrays the pains, struggles the florist is going through in his life through his eyes. Though Ashmita Bhaduri has a very small role to contribute to the storyline of this short film she supports both these male characters to give the necessary boost to the structure of the film. Priyam Chanda the director of this short film asserts the point of the importance of communication, love, respect, and understanding in any relationship. The need to make efforts and express what one feels by both parties is very crucial. The filmmaker tries to give the audience very hard hitting content with a subtle treatment of the film in terms of the script. I believe Cinema is a very good medium to bring about the necessary changes we need to integrate within our surroundings. This is a good step towards the same. To conclude I would like to say that Priyam Chanda handles the sensitive subject with utmost grace and care but the film tends to lose the attention of the audience at some points in the story. The movie needs to work a little harder to increase the degree of the audience engagement with the creative piece. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Tinseltown film review by UK film critic William Hemingway. Starring Harrison Emmonds, Juliette Taylor, Craig Pearson, Brad Oliver directed by Jacob Stockton. HOME | FILMS | REVIEWS Tinseltown Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 11, 2023 Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Harrison Emmonds, Juliette Taylor, Craig Pearson, Brad Oliver Somewhere down in Tinseltown , Jake (Emmonds) wants to be an actor. He's got a part-time job in the local independent cinema and takes a drama class over at the theatre, although he doesn't really think he's a stage actor. Also in his drama class is Maddie (Taylor), a girl that Jake has got his eyes on, that is if he can lift them from his shoes where he feels it's safer to keep them when in social situations. Thankfully, Maddie has a bit more about her and gives Jake more than one chance to ask her on a date, which eventually he gets around to doing. If only now he can stay on his medication and keep the two imaginary interlopers, David (Pearson) and Teresa (Oliver) out of his mind and his life. Taking on the roles of a devil and an angel on Jake's shoulders – or his Id and his Superego depending on how deep you want to get – David keeps putting Jake down and tries to push him into bad decisions while Teresa tries to support and reassure him in order to boost his confidence. The pep-talks aren't really working though and in a moment of panic Jake/David makes a fatal error in what feels like a daft turn in the movie but which then sets the scene for the rest of the events to come. Writer, director and DoP, Jacob Stockton is showing us what he can do in his thirty-six minute short, Tinseltown . He's built this film from the ground up and has done his best to get what he envisioned on screen. There's an obviously amateur feel to the production; for example there's not much thought put into lighting, the character interactions remain basic, and the acting can be a bit ropey; but Stockton also shows us his skill through his direction and shot choice. Some of the establishing shots are excellent and show a good eye, while the feel and style of the film remain consistent throughout with a lot of the good times coming from the music choice and how the film is put together. It must be said that Stockton seems to be much better at directing shots than directing people and Tinseltown falls down at times due to its character driven scenes. There is a fun point where it feels like the film is falling into Weekend At Bernie's (1989) territory but what it definitely owes most to is The Voices (2014), where Ryan Reynolds keeps the talking heads of his ex-girlfriends in his fridge. There's quite a bit of fun to be had in Tinseltown and perhaps quite a lot more insight into the subconscious meanderings of Jacob Stockton than might be felt strictly necessary, so there's good and bad things to be taken away from it. If you can handle amateur cinema and a little bit of weirdness you might as well spend half an hour or so in Tinseltown . Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Watch Baroness at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Baroness Listen to our review on the film podcast What our film review said: READ FULL REVIEW Millar is emotional and leads the film very well as a lonely and sad person, whose only way of escape from his worries seems to be the drink. Koziol is also dramatic as a kind-hearted individual, whose appearance turns out to be significant in George's life, as he is heard speaking for the first time when he meets her and his interaction with her gives him the confidence he needs to deal with his problems. Proudly supporting MediCinema for our 2022 film festival.

Amy and I film review by UK film critic Chris Buick. Starring Sytse Faber, Eline Havenaar directed by Bastian Rook. HOME | FILMS | REVIEWS Amy and I Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jun 17, 2023 Directed by: Bastian Rook Written by: Martijn Daamen Starring: Sytse Faber, Eline Havenaar Captivating Dutch film Amy and I invites us to dinner with Amy and her ex-partner John. What starts as happily catching up with John over old times soon reveals a lot more, with Amy clearly struggling to move fully beyond the relationship, before the evening transforms into a situation that is much more serious. There is little more to want to say about the films story to be honest without ruining the experience entirely. Suffice it to say that Amy and I is a film that will surprise many when all is said and done, especially those unprepared. What must be said however, is that both director Bastian Rook and writer Martijn Daamen combine what are clearly enormous talents to present their narrative with pinpoint precision, with a tight but extremely well-thought-out script driving all other aspects of a fully accomplished film that grips from beginning to end, unafraid to explore darker themes and push buttons. To put it simply, in terms of pure filmmaking, it’s a real triumph. It’s one-take presentation might not be the newest trick in cinema these days but the way in which such a method is used here seems not only fresh but integral to the telling of this story, it’s clear to see that this piece simply wouldn’t be the same without it. The positioning of the camera angle, starting just over the shoulder of this private conversation works wonders, making us feel like we’re actually eavesdropping on our characters from the next table. The way the camera then moves perspective as it progresses emphasises the shift in tone as the tension builds, slowing edging the audience in closer until they become almost complicit in the proceedings, punished for listening in in the first place. It's simply top-drawer cinematography. Again, it shows there’s a meticulousness, an attention to detail here that elevates this entire project to a whole other level. Everything aligns here, the discordant score hits at the subconscious, working the tension into the viewer the whole way through. The light and shade from both Havenaar and Faber’s performances give the film an authenticity and an integrity that makes such simple yet elegantly characters so compelling. But ultimately, it’s the wonderfully crafted and purposefully unreliable narrative that will keep you glued to the screen to try and get any sort of handle on what is going to happen here. Amy and I delivers a punch to the gut in its final moments that you will not see coming even if you are one for guessing how a story might end up playing out. Beautifully set, beautifully shot and beautifully thought out, Amy and I is an enthralling six-and-a-half-minute watch that delivers delightfully in every way you’d want it to. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Birthday film review by UK film critic Amber Jackson. Starring Declan Curran, Lalor Roddy, Shane McCaffrey directed by Cathal J Ferris. HOME | FILMS | REVIEWS Birthday Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 2, 2023 Directed by: Cathal J Ferris Written by: Declan Curran Starring: Declan Curran, Lalor Roddy, Shane McCaffrey Ferran Media presents Birthday, a one shot short film that follows Jerry, a troubled ‘Robin Hood’ type man who seeks to change his struggling community by any means necessary. This is a man that is not shy in undertaking shady business ventures and bargaining with authority to serve his neighbours. Filmed in Belfast, Northern Ireland, and directed by Cathal J Ferris, this foreboding film has layer upon layer of desperation and despair, but also due diligence as Jerry enacts what he believes to be the right and just thing to do as the place that he calls home continues to be neglected by the authorities. This is Declan Curran’s second short film, after Shine , which is also set in Belfast. However, the tone of Birthday is arguably more bleak and does well to attest to Curran’s writing ability. Throughout the seven minute short, the camera snakes through various rooms taking the viewer through the action and makes the scene feel all the more real and frightening. In giving the impression that the camera is handheld, the intensity of the action is exacerbated to give this immersive and uncomfortable sensation. Towards the start, the camera even struggles to keep up with Jerry, which further adds to the madness. This is definitely an unsettling snapshot in time. What jumps out at the viewer during this short is the lack of score, forcing those watching to really focus on the sensory aspects of the film. Noises include scraping, walking and breathing, which all contribute to a chilling and eerie atmosphere. We are unfamiliar with where we are and yet Jerry knows exactly where he is and what he needs to do to ensure that his plan of action unfolds. This is a film that engages with very real sounds and experiences to allow its action to thrive. Birthday is a very well made low-budget film and feels like the start of something great. This could easily be incorporated into a feature-length film, or exist standalone as a slice of life action scene. With brilliant acting and storyline pacing, the viewer is truly given the sense of bitterness within a struggling community and how those within it begin to call the shots and advocate for themselves. Although not the most ethical, Jerry is just a man trying to do the best that he can. This is a truly gripping short film well worth seeing. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

We Need to Do Something film review by UK film critic Hope Madden. Starring Sierra McCormick, Pat Healy, Vinessa Shaw directed by Sean King O'Grady. HOME | FILMS | REVIEWS We Need to Do Something Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 1, 2021 Directed by: Sean King O'Grady Written by: Max Booth III Starring: Sierra McCormick, Pat Healy, Vinessa Shaw We’ve all felt a little trapped lately. But the pandemic was completely different depending on your situation. Were you trapped and utterly alone, like Bo Burnham? Because that seemed sad and reflective, funny and inspirational and wildly successful. (See Inside if you haven’t.) Or were you trapped with your family? We Need to Do Something is a parable about being stuck for a long time with the people you know best and were probably sick of in the first place. The world outside your doors offers a high possibility of death, but the world inside might be even worse. Parable is a strong word. We Need to Do Something is a nightmare. Mel (Sierra McCormick, The Vast of Night ) made it home from her friend’s house just in time to miss the tornado. Her mom (Vinessa Shaw) ushers everyone —Mel, her little brother Bobby (John James Cronin) and their dad (Pat Healy) — into the safest room in the house, the bathroom. Here they will wait out the storm. The storm damages the house, and they are pinned in. Days go by. Why hasn’t anyone come for them? Why is their dad such a dick? What are those noises outside the door? Director Sean King O’Grady, working from the screenplay Max Booth III adapted from his own novella, mixes claustrophobic dread and adolescent angst with few enough contrivances that he never loses your interest. Hints dropped early in the story come to hideous life later on (as ugly secrets sometimes do at things like family holidays and vacations or when you’re stuck for a long time in the bathroom). And though the “theater of the mind” component, piquing interest in what exactly lay outside that door, could be stronger, the performances are enough to keep your attention. Healy, in particular, delivers a characteristically unpleasant performances, feeling very much like a trapped rat. The hallucinogenic subplot about guilt and trauma and adolescent experimentation with pink goth suggests that the more time you spend with your parents, the more overwhelmed you’ll be by nameless shame and guilt. That feels right. There’s no real story here. The whole film is essentially Act 2: no catalyst, no resolution. That doesn’t make for a deeply satisfying story, but it does feel a lot like the pandemic. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

The Manager Position film review by UK film critic Alasdair MacRae. Starring Curtis Cook Jr., Jackie Hoffman, Karina Willis directed by Craig Trow. HOME | FILMS | REVIEWS The Manager Position Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Jul 20, 2022 Directed by: Craig Trow Written by: Craig Trow Starring: Curtis Cook Jr., Jackie Hoffman, Karina Willis Unemployed and afraid to tell his wife, Philip still returns every day to the abandoned office space of the company he used to work for. Most days he simply eats his lunch and passes the time, until one day he finds that he isn’t alone. As others arrive they begin to role-play an office, how long can this last? The Manager Position is a charming short that has that something special about it. On the surface, it sizzles thanks to its lively soundtrack, slick camera movement, and charismatic lead performer in Curtis Cook Jr. But just below lies an unsettling truth. It alerts us to our need to conform to the office lifestyle. What more could you want than a job in the city where there is an opportunity to move up the ladder? Files, meetings, water cooler chat, an office romance, ‘world’s best’ mugs. These are our aspirations. A ‘normal’ life. Why? There are plenty of representations in media that expressionistically exaggerate the modern workplace into a cold dystopia, see Severance , one of the more popular shows of the year. And there are others that seek to satirise it completely, like Office Space , or simply The Office . Boots Reilly’s Sorry to Bother You happens to do both. But the way in which writer-director Craig Trow seems to avoid tipping too far in either direction, and in the process create something ultimately more incisive, is merely by portraying office life as a fantasy, an ideal even. The imaginary company Philip manages is just as nameless and stereotypical in structure as those in dystopian fiction. However, when others are recruited to the company, there is joy and humour to be found in the fraternity of the staff. It plays on the dichotomy of the emptiness and unfulfilling nature of the day-to-day grind, and how, ironically, such a job can be used to define oneself. The Manager Position is an entertaining and simultaneously haunting experience. A potent and well-crafted short with a great central performance. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Lovely To Meet You film review by UK film critic Patrick Foley. Starring Alessandro Fiorucci, Carmen Hoyos, Ariadna Martin Esteve directed by Darwin Reina. HOME | FILMS | REVIEWS Lovely To Meet You Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 12, 2026 Directed by: Darwin Reina Written by: Darwin Reina, Lee Bailes Starring: Alessandro Fiorucci, Carmen Hoyos, Ariadna Martin Esteve Lovely To Meet You is Darwin Reina’s horror short that uses the manipulative tactics of pickup artists as a driver for a deceptive story filled with graphic violence and brutality. It’s a modern cautionary tale that shows you can’t always trust people you meet late at night, whose intentions may not be what they seem. Michael (Alessandro Fiorucci) is prowling the dingy bars of Barcelona to find himself a plaything to bring home for the night. He focuses on Caroline (Carmen Hoyos), and turns on the charm – weaving his way through an increasingly passionate conversation whilst dismissively ordering drinks from barmaid Maria (Ariadna Martin Esteve). But Caroline’s presence in the bar is not one of chance, and Michael is not the only one hunting in the city that night… Darwin Reina’s Lovely To Meet You is a horror short set in the dating world that gets straight to the gory stuff whilst offering a thought-provoking look at the uncertainties that come in hookup culture. It eschews a traditional narrative and framing for its central characters, twisting the expected roles for man and woman when it comes to random encounters and showing that risk is inherent when heading out alone to meet strangers. Whilst a conspiracy twist may not be a regular risk for most people, it is one that the directors and writers have fun with and use to demonstrate a darkness in human nature that can exist on both sides of an encounter. The film’s lower budget betrays it in moments. Blood effects do not convince and take away from viewer immersion, which is a shame as the film revels in its gore. Horror enthusiasts will feel a little undersold on the grisliness, which does not live up to its set-up in the bar scenes. Other action sequences similarly fail to really capture the intensity of the situations they take place in – such as a moment in which characters break down a door which looks fake and rehearsed. The bar scenes themselves are the production highlight, and where the director is able to build tension between the cast. Whilst the themes around risk purvey throughout the story, Reina never really coalesces them to focus on an overall statement or message. Instead, the final result is a mild torture fantasy with an unexpected twist, but one that doesn’t really justify its own build up. There are interesting elements here, but viewers will come away without anything that really stands out – outside of Alessandro Fiorucci’s brilliantly creepy performance and a twist that offsets the audience. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

A Balanced Breakfast film review by UK film critic Amber Jackson. Starring Vince Hobart Smith, Rhyan Hanavan, Mark Borison directed by J. W. Cox. HOME | FILMS | REVIEWS A Balanced Breakfast Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: May 5, 2022 Directed by: J. W. Cox Written by: J. W. Cox Starring: Vince Hobart Smith, Rhyan Hanavan, Mark Borison Best Picture winner at the Winterfilm Festival, A Balanced Breakfast is an eleven-minute piece centring a father in the midst of a mid-life crisis as he struggles to balance work and life. Short and sweet, it stars Vince Hobart Smith as Dennis and Rhyan Hanavan portraying Moriah, his daughter, as the two navigate the clashes between childhood and adulthood and discover what truly matters to them. Light and bright, with a clear focus on snowy weather, this short film quickly warms up in terms of its charm. A quirky and fun script provides an alternative narrative that does not typically get explored on screen: a single father parent confronted with many the everyday challenges of life and having to balance it all. We see Dennis becoming increasingly frustrated when struggling to weigh up an important day at work versus caring for his young daughter and we feel for him. This breaking point highlights a contemporary struggle of putting family first and not always getting the answers right. Moriah balances her father well as, despite his anxieties, she is cool and collected. Despite being unwell, her keenness to make her father happy keeps the film light-hearted and warm in tone. She too must balance her feelings and learns more about her father along the way. Whilst the contrast between a daughter wanting to spend him with her father, versus a father who cannot switch off from work, is apparent, the important of happiness prevails. Their sweet and relatable relationship as they both discover more about the other is portrayed with great on-screen chemistry from Rhyan Hanavan and Vince Hobart Smith. Both perform powerfully with great comedic timing as moments of relief interject into the more serious messages contained within the short. A Balanced Breakfast is a comedic film that carries a deeper meaning about maintaining balance. True to the everyday experience, writer and director J. W. Cox compares the little joys in life, like a delicious cereal, versus the larger joys of parenthood and bonding with your child. It sounds like an odd concept, but its metaphors work greatly to make an enjoyable viewing experience. Simple in execution, the performances ensure that the script conveys its powerful message where a father-daughter duo realise their true priorities. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

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.. Brand new film trailers. Spinal Tap II: The End Continues The amps are tuned, the drum risers are ready, and after four decades, the world's most enduringly hapless rock band is back. Yes, in a move that feels both long overdue and a magnificent piece of Spinal Tap-esque madness, David St. Hubbins, Nigel Tufnel, and Derek Smalls are reuniting for one last hurrah in the eagerly awaited sequel, 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. For those of us who grew up on the original, the idea of a sequel is both exciting and terrifying. The 1984 mockumentary This Is Spinal Tap was a genuine cultural landmark, a film so perfectly pitched that many viewers initially believed it was a real documentary. It defined an entire genre and provided a near-endless supply of quotable moments, from the famous amp that goes to eleven to the unceremonious demise of various drummers. So, what’s left to say? A lot, as it turns out. The premise sees the band, now estranged and in the twilight of their careers, forced to reunite for a final contractual obligation concert. This setup, of course, is a goldmine for the kind of observational, bone-dry humour that made the first film a classic. The genius of the original cast—Christopher Guest, Michael McKean, and Harry Shearer—is that they don't just reprise their roles; they truly embody them, giving us characters who are simultaneously pathetic and strangely endearing. We’ll get to see what David is up to, presumably still pontificating on the mysteries of rock 'n' roll, what Nigel is doing in his later years (a guitar-and-cheese shop, apparently), and how Derek Smalls has been getting on after his solo tour. The return of director Rob Reiner as Marty DiBergi, the long-suffering documentarian, is the perfect framing device, ready to capture every new misstep and glorious failure. The buzz around the film has been building for months, not least because of the promise of star-studded cameos. Sir Paul McCartney and Sir Elton John are among the musical legends set to make appearances, a testament to the original film’s legendary status within the music world. One can only imagine the hilarious interactions and improvised chaos these new faces will bring to the chaotic world of Spinal Tap. Ultimately, Spinal Tap II: The End Continues isn't just a sequel; it's a celebration of a cinematic institution. It’s a chance to see a legendary comedy act prove they’ve still got it, and a reminder that even after forty years, some things never change—notably, Spinal Tap’s inability to get anything quite right. The UK release this September is set to be a momentous event, and we can’t wait to see if the band finally find a stage prop that doesn’t mysteriously go missing. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Sam & Kate film review by UK film critic Hope Madden. Starring Jake Hoffman, Schuyler Fisk, Dustin Hoffman, Sissy Spacek directed by Darren Le Gallo. HOME | FILMS | REVIEWS Sam & Kate Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 11, 2022 Directed by: Darren Le Gallo Written by: Darren Le Gallo Starring: Jake Hoffman, Schuyler Fisk, Dustin Hoffman, Sissy Spacek Film right now is littered with “geezer teasers” – lowish budget action flicks with inflated cameos from aging actors who were once the world’s biggest box office draws. Bruce Willis and John Travolta have one right now. Mel Gibson has one every other week. Wouldn’t it be lovely to see a film that casts veteran actors in challenging roles that respect the actor, their age, and the audience? Yes, it would. The proof is called Kate & Sam . Dustin Hoffman and Sissy Spacek co-star in the indie dramedy about resilience, grief and family. Hoffman’s Bill, a boisterous widowed veteran, lives modestly with his good-natured son, Sam (Jake Hoffman, coincidentally Dustin Hoffman’s actual son). Father and son fall, almost simultaneously, for Spacek’s Tina and her daughter, Kate (Schuyler Fisk, coincidentally Spacek’s daughter – not that you could miss it with that pointed little nose). As much as the family ties may seem like a gimmick, the truth is that they bring unmistakable depth and rapport to the pairings. Writer/director Darren Le Gallo mines this repeatedly in large and small ways to create a believable, rich environment for pathos and love. Even small details breathe with authenticity touched lightly by nostalgia. You can imagine Bill’s recliner and afghan perhaps belonging to Le Gallo’s own father, while the stash of family photos clearly, sweetly come from the Hoffmans. Le Gallo never condescends, mercifully. His small town is possibly hipper than most, but the way the film expresses a healthy respect for vintage materials is impressive. Spacek is the adorable, natural presence she’s always been in a film that looks without mockery but with humor at the toll life takes on us all. She and Hoffman are, as expected, excellent. But they never outshine their kids. Fisk’s elegant, frustrated Kate is a solid anchor for the film’s drama, but Jake Hoffman is its heartbeat. With him in the lead, Le Gallo is able to make a lot of subtle points about fathers and sons, masculinity and acceptance. Most of all, the film balances loss and resilience beautifully. Le Gallo’s first feature delivers grace and goodwill in ways that are genuinely uncommon. It doesn’t tell a big story, but the story it tells resonates. Yes, he lucked into a dream cast, but they may have been luckier still to have him. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >