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Sea Dragon film review by UK film critic Swati Verma. Starring Kiara Holley Paliano, Harvey Dean, Michael Howe directed by James Morgan. HOME | FILMS | REVIEWS Sea Dragon Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 15, 2022 Directed by: James Morgan Written by: Lawrie Doran, James Morgan Starring: Kiara Holley Paliano, Harvey Dean, Michael Howe The black starry with the fossil remains in the background and the white font colour used for the title-Sea dragon as it appears onscreen give the audience an idea about the theme of the short film. The director James Morgan and writer Lawrie Doran work on the script of this period drama to give homage to Mary Anning (Kiara Holley Paliano) and her discoveries. The plot revolves around a young fossil hunter who attempts to find out more about the mysterious skull that she believed would be beneficial for knowing about the evolution of life on Earth. Sea Dragon is set in England in 1812. The set design transports the audience to the Era. The costume designer Emily Rose Yiaxis and the hair/makeup artist Simone Philcox dress each character of the narrative aptly thus increasing the degree of audience engagement with the film. The director of photography Clemens Majunke uses the long shot of the sea and the mountains followed by a combination of wide-mid shots to directly dive into the subject matter of the film. The change in lighting is done so efficiently without breaking the continuity of the scene at the time of the switch between the day and night scenes. The filmmaker cleverly uses the close-up shots and the voice modulation to intensify the confrontation between Mary Anning and Mr. Henley and create the required conflict for the smooth movement of the narrative. The dialogue delivery by the entire cast gives a sense of royalty which is in sync with the timeline the movie is set in. In terms of performance, Kiara Holley Paliano plays the role of Mary Anning is the perfect casting for the part. Kiara portrays the determination of discovering something substantial that would prove to be beneficial for people who have a keen interest in the field of science. The range of emotions calmness, angst, and happiness can be seen on her face. The viewers relate to the central character and enjoy the journey Mary wants to take us on through the film. Harvey Dean is Joseph Anning who is a very strong support system in Mary's life. The bond between Harvey and Kiara transcends onscreen as well. The contrast between the two siblings is an interesting element of the script and the same is enjoyed by the audience. Michael Howe as Mr. Henley is strong representation of society in this particular era. Mr. Henley puts hurdles at every step in the way of Mary who is trying to fulfill her dramatic need in the story. The short film talks about believing in one's dreams and following the heart to pursue the career of one's choice. The drive to achieve the set goal boosts up due to family support. The audience gets to learn a lot from the lead female character to not give-up easily to societal pressure and continuously thrive each day to make a difference in the lives of many. The cinematic piece gives a glimpse of the struggle the English paleontologist had to go through to prove their theories that made our present better. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Castle of Baron Finch film review by UK film critic Jason Knight. Starring Don Cunningham, Jay Pennington, Elisabeth Anne Steigelman, Brad White directed by Don Cunningham. HOME | FILMS | REVIEWS The Castle of Baron Finch Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 11, 2024 Directed by: Don Cunningham Written by: Don Cunningham Starring: Don Cunningham, Jay Pennington, Elisabeth Anne Steigelman, Brad White A short horror film written and directed by Don Cunningham and starring himself alongside Jay Pennington, Elisabeth Anne Steigelman and Brad White. The year is 1863 and Dr. Christopher Cushing (Cunningham) has travelled from England to Germany in order to rescue his wife Isobel (Steigelman), who has been abducted by Baron Janos Finch (Pennington), a vampire. Chistopher must find them, do battle with the monster and save his beloved spouse. Filmed over a period of six years in Menard, Texas, this short is clearly meant to pay tribute to the horror films of the silent era. Filming was executed in black-and-white with the image looking grainy. There is no speech, no diegetic sound at all actually and the dialogue is presented through sentences on title cards just like the old days. What is heard is the gothic music Andreu Jacob that plays throughout and creates a sinister and dramatic atmosphere. Looking at the mise-en-scene, the action takes place in the countryside and there are locations that are often associated with vampire stories such as a cemetery, a castle and it should be mentioned that there is also a coffin. As for the narrative, it pretty much alternates between Christopher trying to locate his wife and Finch spending time with Isobel, teaching her how to be a vampire. Eventually, things lead to desperate life-and-death situations. It is also worth mentioning that another famous horror film creature makes its appearance. The following is not intended to bring the film down, however, fans of the vampire genre might be disappointed by a couple of things. Firstly, there are no fangs to be seen (Finch never reveals his) and secondly, Finch appears to be walking around in broad daylight and vampires are supposed to be creatures of the night, yes, the image is black-and-white, however, the sky looks like it is daytime. Again, these two observations are not ment to damage this short but they go against the conventions that are associated with vampire films. Regarding the performances, arguably Pennington is the one who stands out, portraying a vampire. Dressed in black, with long hair and a beard, he is constantly grinning, with an evil look on his face, making it clear that he is bad. Steigelman plays his victim. Wearing a white dress, looking like a bride, she appears to be under the influence of some kind of spell as she walks alongside Finch, smiling. And then there is Cunningham, who impersonates Dr. Cushing (an obvious homage to actor Peter Wilton Cushing), a brave man, determined to get his wife back. Going to the themes now, this is a story about desperation, rescue, revenge, cruelty and tragedy. A story about Good vs Evil. This is probably not meant to be a modern horror film, but rather a tribute to Gothic Horror Silent Films. Fans of the horror genre will most likely appreciate this twenty-minute long dark story that brings the viewer back in time, showing them what horror films used to be like. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Murder Ballads: How to Make It in Rock 'n' Roll film review by UK film critic Daniel Baldwin. Starring Simon Callow, Marcus Massey, Niccy Lin directed by Mitchell Tolliday. HOME | FILMS | REVIEWS Murder Ballads: How to Make It in Rock 'n' Roll Film Review average rating is 3 out of 5 Critic: Daniel Baldwin | Posted on: Oct 25, 2023 Directed by: Mitchell Tolliday Written by: Neil Rickatson, Mitchell Tolliday Starring: Simon Callow, Marcus Massey, Niccy Lin Rock music and horror have always gone together like peanut butter and jelly. Given that both are considered outsider artforms, it’s just a natural pairing. After all, rock (and metal or punk) music tends to be aggressive and there is no genre of film more aggressive than horror. Even action cinema tends to be less brutal. Comedy is another genre that fits well with both horror and rock. Both artforms love to roll about in camp on occasion, cutting loose with over-the-top subject matter and black humor. Murder Ballads knows all of this and revels in it, while also mixing doses of British crime into the mix as well. What results is an offbeat concoction that feels like someone dumped elements of ‘90s slacker comedies, music biopics, and ‘90s crime comedies into a blender. The trappings are lo-fi due to its indie budget, but the throwback sentiments remain intact. The story follows a struggling British rock band in desperate need of a new image – including a new member – and a new hit song. If they cannot swing either one, their label is going to give them the boot. Desperate times call for desperate measures and those desperate measures end up involving theft, deception, and murder, among other things. If that weren’t enough, most of the band members also happen to be morons. Given that morons are prone to making mistakes and mistakes are the last thing one should be making when committing crimes, well, you can see why things inevitably get out of control. Writer/director Mitchell Tolliday has crafted a fun little film here about the darkly comedic and supremely chaotic rise and fall of a British rock ‘n’ roll band. The performances are pitched properly to the film’s playful tone, the faux documentary cutaways to actor Simon Callow are amusing, and the segues between sections are cute and inventive. Aside from some occasional pacing issues, this is a fun time. About the Film Critic Daniel Baldwin Indie Feature Film, Film Festival < All Reviews Next Film Review >

Cruel film review by UK film critic Patrick Foley. Starring Erin Taylor, Chris Dettone, Patrick Johnston directed by Naim David. HOME | FILMS | REVIEWS Cruel Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Apr 26, 2024 Directed by: Naim David Written by: Naim David Starring: Erin Taylor, Chris Dettone, Patrick Johnston A loud (well not so loud) and proud low budget mystery horror like Cruel is the type of film that should appeal to indie and horror film fanatics alike. Unfortunately, crippling sound problems that appear to be inherent in the film’s production make following an ambitious and depth-filled plot a considerable difficulty. Following the brutal murder of her parents Ava (Erin Taylor) lives with the burden of never knowing the identity of their killer. A devoted detective Peter Savage (Chris Dettone) suspects a deeper conspiracy as he works to put the pieces of case together, whilst Patrick (Patrick Johnston) starts to come closer to Ava who pursues her own investigations – with a much more violent fate for the perpetrator her preferred outcome. I really did want to engage with Cruel more than was possible. But unfortunately, sound production issues cripple a film that is heavily reliant on dialogue to tell its story. Numerous pivotal and establishing scenes are barely legible, even with volume turned to the max. Others blast out with these volume levels that suggest a poor job of sound mixing that is unacceptable even for a lower budget offering. Much in how the main takeaways from Christopher Nolan’s Tenet were not anything related to the film’s story or thematic devices, but its muffled, incoherent dialogue, these basic building blocks of cinema overshadow anything else in a movie if they are not in place. It’s particularly damaging to a film with a twisting and winding plot that requires an audience to be engaged fully with its set-up to feel the benefit of the payoff. The film has highs and lows outside of the sound issues. Its central mystery does offer intrigue, and keeps viewers guessing as to the identity of the culprits. Cleverly raising several possibilities, the result is a satisfying and shocking revelation that thankfully doesn’t collapse the narrative. Ava’s self-destructive quest for vengeance is an interesting contrast to Savage’s law-focused investigation, with both leading to dangerous places that neither are prepared for. The film is let down by some sub-par performances however – Erin Taylor failing to properly capture a genuine sense of grief throughout the film that is Ava’s driving force. A particularly devastating moment that occurs within the film is incredulously met with borderline indifference, which inadvertently undermines Ava’s moral justification for her entire plot. Once revealed, the killer is portrayed as a giggling, maniacal psychopath that mirrors a teenagers attempt at edginess. It's a shame as some scenes are staged beautifully in a way that feels like a loving homage to B-movies in general. Vibrant lighting is utilised well to stage carnage and chaos, and a grungy, gritty soundtrack makes for an ominous, underground dread that steadily builds until the explosive conclusion. But ultimately, it all comes back to the sound issues. Under-par performances and clunky action sequences are to be expected and hardly fatal for a lower budget production. But failure to address the volume levels make this film sadly unwatchable. With this issue fixed the film would be easier to judge on cinematic merits. But films also must be ultimately judged based on the condition they are presented in. Cruel as it may seem, Cruel is a disappointment on these terms. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Joy Uncensored film review by UK film critic Jason Knight. Starring Joy France, Damani Dennisure, Lee Dunn directed by Natasha Hawthornthwaite. HOME | FILMS | REVIEWS Joy Uncensored Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 21, 2021 Directed by: Natasha Hawthornthwaite Written by: N/A Starring: Joy France, Damani Dennisure, Lee Dunn A late-middle-aged woman decides to take part in a rap battle event. This fifteen-minute long documentary follows Joy France, who is in her early sixties, as she challenges herself by doing some rap battling. Having had experience as a performance poet and a festival performer, France does something rather unusual, which is entering an activity that is almost entirely occupied by young individuals. The documentary begins with France talking about herself, about who she is, about her past and why she does what she does. Her experiences as a poet inspire her to try a bit of rapping and she begins her preparations for the rap battle, along with the help of others. When the big day comes, she is ready and holds nothing back. Arguably, the highlight is the rap battle itself. Joy finds herself in front of a crowd and opposite her rival, who is a young man. The rapper goes first and proceeds to sing heavy insults to her, however she is undeterred and when her turn comes, she unleashes her own verbal abuse. Unsurprisingly, since a rap battle involves rappers singing lyrics that insult the opponents, there is a great deal of profanity involved during the rapping. Of course, neither Joy nor the guy mean any of it, but it is likely that some viewers will find the vocabulary offensive. The main focus here is a fish-out-of-water situation, that being a woman who is getting old appearing in a rap battle and doing a good job at it. Depending on a person's sense of humour, it is amusing watching her as she comically raps insults, while a crowd of youths cheers her on. Generally, the mood is light-hearted throughout, although there are also moving moments. As for Joy herself, she comes across as a likeable and friendly person. She is an everyday individual who decided to try something new, challenge herself and gain a memorable experience. Due to the strong language, this documentary is not for everyone, however it provides an interesting and thoughtful viewing. It is about self-discovery and it promotes the idea of exploring new ventures and the opinion that when people believe in themselves, they can achieve their goals. About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

The Long Quiet film review by UK film critic Patrick Foley. Starring Hugh McDermott directed by Lucy D'Cruz. HOME | FILMS | REVIEWS The Long Quiet Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 20, 2024 Directed by: Lucy D'Cruz Written by: Lucy D'Cruz Starring: Hugh McDermott The bond between horse and rider is one as old as human civilisation, and whilst we all like to imagine we could tap into it in our most traditionally masculine of fantasies, the closest most of us come will be an all-night session on Red Dead 2. The solo journey of Hugh McDermott across Argentina on horseback is the subject of The Long Quiet – but it is anything but traditional. McDermott’s life led him from rural Ireland to the mountains of Argentina, where he embarks on a 2- year horseback journey of self-discovery on which he confronts his past and the person he is to become. He reflects on his connection with horses through his life (including his current companion Pancho), childhood neglect, sexuality and masculinity, as the journey becomes more than one of endurance – but of formation. The Long Quiet is more character-piece than documentary. It is a spiritual deconstruction of a man most viewers will likely be unfamiliar with – but who by the end those same viewers will know as intimately as a friend in their own life. Hugh McDermott’s life is retold by those closest to him, who recount their own connections, events in his past and their own explanations for his contradictions and motivations – as Hugh himself retells the viewer of his own perspective through narration. The journey across the mountains of Argentina itself fades in an out of events – bolstering the real story about what makes the man. McDermott never shies from the intimate details – from the traumatic to the romantic – leaving everything on the table for those engaged with his story. His self-discovery and perspective on life’s real meanings mean that the story becomes as personal for the viewer as the subject, and forces one to look inwards at their own history. The titular ‘long quiet’ is described in the film as the long moments on horseback when the world fades away and the sensation of being carried becomes ethereal. In some sense, the film is a brilliant recreation of this sensation in visual form. This can lead to zoning in some moments and one may find themselves losing thread of the narrative, but as a sensation it forms part of an experience. Throw in atmospheric vista shots of the landscapes that capture the essence of the remote, and the film settles as truly spiritual at its best. It is undeniable a slow experience, and viewers ought to watch in an environment in which they are willing and able to give respect to its pace in order to get the most out of the feature. There are also times in which this becomes glacial, and revelations that seem self-explanatory have to be dragged out of the story, becoming repetitive at times. Yet for those looking and willing to immerse, they will find a nakedly human (and, I guess, equine) story of discovery. The Long Quiet is long, and it is quiet. But sometimes in those long quiets are echoes. And this one will echo with viewers for some time. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Forget About It film review by UK film critic Swati Verma . Starring Lewis Wallace, Jake Harris, Thomas Barnes directed by Christopher Hammond . HOME | FILMS | REVIEWS Forget About It Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jun 17, 2025 Directed by: Christopher Hammond Written by: Thomas Barnes Starring: Lewis Wallace, Jake Harris, Thomas Barnes Director Christopher Hammond, along with writer Thomas Barnes blends the gangster theme and comedy genre to convey many lessons in the screenplay thereby increasing the degree of audience engagement with the content. Lewis Wallace, Jack Harris, and Thomas Barnes understand Hammond’s vision and add intricate details in their performance to build realism and relatability transcending the written material onto the screen. The plot of Forget About It revolves around how films influence the way we live our lives, For Jake and Steve it takes on a whole new meaning. One evening whilst watching a mobster classic Steve takes on the persona of an Italian mobster, causing Jake to slowly unravel, leading to the demise of this odd couple. Forget About It opens with a voice-over of a movie playing on the television followed by a long shot of a couple sitting on the couch having a casual conversation to establish the subject matter picking up the pace as the narrative goes ahead. The set design, black, white, and dark blue colour pallet, lighting, camera angles, music, sound, dialogues, costume, hair, makeup, and props are kept natural complementing the storyline to provide depth. In terms of performance, Lewis Wallace plays Steve a software engineer from Essex who turns into a gangster under the influence of a movie he watched last. Wallace effortlessly switches between Steve as well as the Italian mob. The actor adopts different body language, Voice modulation, style of dialogue delivery, facial expression, and eyes for each of them. Jake Harris plays Jake who is a more delicate at-heart, caregiver and wants to get Steve out of the bandit act. Jake is an emotional anchor in the relationship. Jake effectively balances the emotions and logic always thinking of the betterment of his partner. Harris with his acting skills also steps back to support Wallace and let him shine in certain scenes elevating the story creating an emotional connection with the viewers. Thomas Barnes plays the role of Norbert Not Niro who is Steve’s partner in crime when he becomes an Italian mobster. Barnes takes on dual responsibility for Forget About It as a writer along with acting. Barnes’s writing assisted with the comic element of both Steve and Jake so that the audience does not lose interest in the film and stays gripped to the content all through the running time of fifteen minutes. Forget About It warns us that extreme exposure to anything can prove detrimental to the mental as well as physical health of people. The short film reiterates that watching something on television or in the cinema should have lessons that positively impact one’s life rather than having the opposite effect. Forget About It subtly touches upon the unpredictable nature of life and therefore the need to value the important relationships that one starts taking for granted in the long run. As an ardent viewer, I would like to appreciate the makers for providing facts just before rolling in the credits so that the audience can completely understand the topic interpret it as per their perception. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Anonymous film review by UK film critic Amber Jackson. Starring Lukas Hinch, Karenina Angelique, Parvinder Shergill directed by Alasdair Mackay. HOME | FILMS | REVIEWS Anonymous Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Jul 20, 2022 Directed by: Alasdair Mackay Written by: Alasdair Mackay Starring: Lukas Hinch, Karenina Angelique, Parvinder Shergill A solitary car journey turns into an overwhelming and unprecedented experience. We watch a man’s solo journey to better himself – but there is more to the story than meets the eye. Written and directed by Alasdair Mackay, Anonymous is an in-depth drama which considers the strength that it takes to give up the demons that come with addiction. Set in real time, this feature film is brooding and quiet at first, but goes on to tackle some hard-hitting events that change the course of a group of people’s entire night. The film feels like a play in that it takes place over the course of one evening and we get up-close-and-personal testimonies from each character. We get a solitary start as we follow an unnamed man on his journey of self-reflection. Unassuming, we see his emotions, but we do not necessarily understand them right away. In the beginning, the focus is on his eyes in the rear-view mirror of his car as he slowly drives himself to his first ‘Alcoholics Anonymous’ meeting, with minimal score to focus on his quiet and pensive breathing. It is a solitary start – The Man does not say anything throughout, but he observes and hears everything and gets insight that others do not. The village hall scene of Alcoholics Anonymous is thoughtfully filmed so as to intently capture Alcoholics Anonymous: a warmly lit space, where a group of very different people from all walks of life come together in a circle to heal and self-reflect. Mackay ensures to maximise use of long takes for the feeling of tension and vulnerability to preside over the scene. It feels real. In sharing their experiences and strengths, these are successful, well-rounded people sharing their deepest secrets. Dialogue feels incredibly real, instead of contrived, and realistic UK-based personalities shine through and provide this film with incredible flair. All the while through each emotional testimony, The Man watches on as if trying to assess if he feels comfortable enough to share himself. A group of strangers sharing and offloading deeply personal thoughts, triggering events and challenging life events is raw. We witness a very difficult side to people in their self-reflection, self-loathing and self-judgement. These individuals are powerful for surviving them and empowered by sharing them. Questions of faith, power and control are brilliantly handled and executed, above all else showing that healing is not always easy. In fact, it is very difficult at the start of the process and particularly with regards to how it affects loved ones too. Alasdair Mackay has created a really fluid and well-constructed story arc despite having to negotiate multiple character testimonies. To place the focus on the process of recovery instead of addition was a heartfelt move, as he explores how the group seek to help each other understand why they fall. Anonymous is ultimately an emotional watch but crafted beautifully. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

Civil War film review by UK film critic George Wolf. Starring Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson directed by Alex Garland. HOME | FILMS | REVIEWS Civil War Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Apr 10, 2024 Directed by: Alex Garland Written by: Alex Garland Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson Writer/director Alex Garland gets to the point quickly in Civil War, via battle-weary photographer Lee Smith (Kirsten Dunst). “Every time I’ve survived a war zone, I thought I was sending a warning home: don’t do this.” “But here we are.” Smith and her colleague Joel (Wagner Moura) are preparing for the 857-mile drive from New York to D.C. during a very active civil war in near-future America. Their press credentials may bring sympathy from some they encounter, and deadly aggression from others. The danger only intensifies when they agree to bring along elderly reporter Sammy (Stephen McKinley Henderson) and the aspiring young photojournalist Jessie (Priscilla ‘s Cailee Spaeny). The goal? A face-to-face interview with a President (Nick Offerman) who has disbanded the FBI, ordered air strikes against American citizens, and has not taken questions for over a year. Garland (Ex Machina, Annihilation, Men ) is careful not to tip his political hand. Though a couple lines of dialog give you a vague glimpse about what type of policies the President favors, we’re repeatedly told resistance is coming from the “Western Forces” led by California and Texas. The nicely subtle mix of red and blue state rebellion makes it clear the point here is not purely idealogical. “Don’t do this.” And though many a road movie has leaned on that narrative device for a flimsy connection of random ideas, Garland uses the trip to D.C. to bolster his very ambitious idea with tension-filled looks at the heartland. Through an uneasy stop for gas, the visit to a town the war forgot, a marksman’s simple rules of engagement, and a brutal citizenship test from an unforgettable Jesse Plemons, we’re immersed in a war-torn America that seems authentically terrifying. But it’s all just a prelude to the carnage ahead. Because once it settles in D.C., the film becomes a war movie that will batter your senses with a barrage of breathless execution. Dunst has never been better, particularly in the moments when Lee’s stoic rationalizing can no longer come to her rescue, or ours. Garland gives us the vulnerable Jessie as a logical entry point in the early going, but as she joins Joel in feeding off the war zone rush, moralities become more complicated. As draining as it often is, Civil War is also an exhilarating, sobering and necessary experience. Smartly written and expertly crafted, the film manages to honor the work of wartime photojournalists as it delivers a chilling vision. It’s one beyond left or right, where the slippery slope of dehumanization breeds a willingly and violently divisible America we always professed to be beneath us. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Memories of a Murderer: The Nilsen Tapes launches globally on Netflix on 18th August 2021.. Brand new film trailers. Memories of a Murderer The Nilsen Tapes Trailer Memories of a Murderer: The Nilsen Tapes launches globally on Netflix on 18th August 2021. Britain’s most notorious serial killer, Dennis Nilsen, confessed to killing 15 people in 1983. Over a five-year period, he picked up vulnerable young men, lured them back to his home and strangled them, before disposing of their bodies under the floorboards. The truth about how and why he killed has been the subject of much speculation in books and documentaries over the decades since. Now, with unique access to a wealth of personal archive left in his cell after his death, including over 250 hours of never-before-published cassette tapes of his private recordings, this film will take us into Nilsen’s world. From a young boy growing up in a quiet Scottish fishing village to a cold-blooded murderer prowling the streets of London. Set against the backdrop of 1980s Britain, when mass unemployment drew young men to London in search of their fortunes, only to find themselves destitute and easy prey, and weaving together interviews from police, journalists, survivors, bereaved families, and - for the first time - the killer’s own voice, this feature-length documentary explores how Nilsen was able to get away with multiple murders and attacks, unchallenged, for five years. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. 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.

Left Behind film review by UK film critic Jason Knight. Starring Savannah Gallo, Grace Farrell directed by Matthew R. Ford. HOME | FILMS | REVIEWS Left Behind Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 24, 2022 Directed by: Matthew R. Ford Written by: Matthew R. Ford Starring: Savannah Gallo, Grace Farrell Two young women discuss the abuse they both suffered at the hands of the same man. Kat (Gallo) is being visited by her friend Melissa (Farrell) at her home. Both have gone through terrible times after having a relationship with a violent and controlling man. Initially, that man was Cat's partner and he then moved on to Melissa. Kat openly talks about the torturous moments she went through while being with that vile individual and Melissa accuses her of allowing him to do the same to her by not warning her about the kind of person that he was. This short is quite an emotional roller-coaster. The dramatic screenplay strikingly explores the nightmare both women went through and reveals that they are deeply traumatised by their experiences. The plot also focuses on themes regarding domestic abuse, guilt and forgiveness. The atmosphere is rather sad and distressing throughout and listening to the inhuman things that man did to the two of them is heartbreaking. Things become a bit brighter when one describes happy memories involving a cabin in the countryside, although that does not last long. Generally, this story explores the aftermath of an evil man's actions, which includes emotional wounds that will never heal. And the plot twist makes things even more devastating. Both Gallo and Farrell deliver very powerful and emotional performances. They are quite convincing as victims of domestic abuse who have been scarred by their ordeals and they vividly express their emotions. The entire story takes place inside Kat's living room, and it is a rather unappealing site. The window blinds are down, there is an empty alcohol bottle, picture frames are overturned and one frame is on the floor, smashed into pieces. The state of this room reflects the kind of negative emotions that she is going through. The music includes beautiful piano and the score also becomes tense and sinister. The film opens with the song Behind the Wall by Tracy Chapman, sung wonderfully by Farrell, which is about police not doing enough to prevent domestic violence and it was a great choice as it refers to the film's subjects and helps set up an appropriate atmosphere. As the director of photography, Daniel Alexander develops outstanding cinematography and Ford does a great job with the editing, making effective use of fast cutting techniques. There are some scenes that utilise very creative filmmaking methods, which involve a shot of a window with the blinds closed. During these shots, another shot of a flashback is superimposed over the window, in a way giving the viewers the impression that they are actually looking outside, through the window. This short is not a pleasant viewing, however it is a powerful one and raises awareness of domestic violence. It focuses on the physical and mental scars that this kind of action causes and how it ruins people's lives. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Curtain Call film review by UK film critic Jason Knight. Starring Gary Samolin, Roxanne Halley, Shawn Richard, Kiara Ariza Stellato, Huw Jennings, Tom Dray, Craig Sturrock directed by Harrison Winter Altmann. HOME | FILMS | REVIEWS Curtain Call Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 21, 2025 Directed by: Harrison Winter Altmann Written by: Imogen Fennessy, Harrison Winter Altmann Starring: Gary Samolin, Roxanne Halley, Shawn Richard, Kiara Ariza Stellato, Huw Jennings, Tom Dray, Craig Sturrock A short comedy drama from Australia directed by Harrison Winter Altmann, written by Altmann and Imogen Fennessy and starring Gary Samolin, Roxanne Halley, Shawn Richard, Kiara Ariza Stellato and Huw Jennings. It is opening night at a community theatre and the cast and crew are busy getting ready for the big show. Among them is seasoned actor Grant (Samolin), who makes things difficult for others with his unkind behaviour, criticizing those around him and playing the superior. As he walks around the theatre and backstage, he encounters a variety of characters, including Bella (Halley), the stage manager, Tommy (Richard), a young actor trying to balance his work in the theatre with his coursework and Laura (Stellato) and Kyle (Jennings), two performers who are in a relationship. These poor people have to endure Grant's demands and rude comments. Perhaps the aspect that stands out the most is that this film was filmed in one continuous take lasting just under twenty minutes and the result is quite impressive, be it the strong performances or the creative camerawork that primarily involves following Grant through the theatre. Regarding the screenplay, it does a good job exploring the characters and maintaining an intriguing story. Since the plot takes place inside a theatre, with the cast and crew as protagonists who are getting ready for a play, one might think of the 2014 Academy Award-winning feature Birdman , the entirety of which was made to appear as one long take. Fans of this feature are likely to appreciate the creativity in Curtain Call , whose music also resembles that of Birdman , mostly because of the drums. If one was to state something negative regarding this short, it would probably be hard to think of one. The acting is superb, the screenplay is strong and it was filmed very skilfully. It would be difficult to imagine how this project could had been better. Samolin is the main protagonist and he plays a narcissistic and inconsiderate ageing actor, who does not think twice when it comes to saying what he is thinking, with complete disregard for how he affects other people's feelings. He values his profession and believes he is better than everyone else. Stellato and Jennings stand out as performers who are also a couple, although their relationship is unstable and they argue quite a bit. Regarding Richard, he comes across as kind of quiet and reserved, a guy for whom theatre might not be a passion. Narcissism is a major theme in this story and so is self-reflection and relationships and prospects are also involved. From a different perspective, the film provides an insight into the lives of actors and what working in a theatre is like. It could be argued that this film focuses primarily on character study rather than the plot and that works very well. The strong acting, the creative and impressive camerawork and the themes make this short a work of great standards. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >