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ANIMALS film review by UK film critic Finn O'Toole. Starring Serine Sianosian, Rachel Alig directed by Maya Gray. HOME | FILMS | REVIEWS ANIMALS Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: Jun 8, 2026 Directed by: Maya Gray Written by: Maya Gray Starring: Serine Sianosian, Rachel Alig Following her mother’s passing, Zoya invites a stranger, Amelia, to stay in her family home after an Airbnb mixup. What begins as an innocent-seeming mistake gradually transforms into a hostile takeover. ‘Animals ’, by filmmaker Maya Gray, will take audiences on a wild, unpredictable and disturbing ride that will have you hanging on every word. The highlight of the film by far is the excellent central performances. Serine Sianosian brings Zoya to life with a deeply complex performance – limiting her grief and turmoil to subtle micro-expressions. This adds a striking sense of naturalism which ensures viewers’ suspension of disbelief. Rachel Alig, as Amelia, brings an entirely different energy to the piece. At first seeming harmless and naive, Alig crafts a performance that slowly peels back layers over the film’s runtime to eventually reveal a character that is hostile and cunning to the most malevolent extent. The shifting power dynamics between these two characters, who mask so much of their true emotions and intentions, lies emphatically at the heart of the narrative. Despite the spectacle of the central performances, praise should also be given to Gray’s expert direction and understated cinematography by Olugbenga Osikomaiya. The cold colour grading that makes the house feel barren, high visual contrast, tight frames, and cluttered set design all help to provide a palpable feeling of claustrophobia. These things may go unnoticed to the untrained eye, but these choices are essential to the uneasy atmosphere of the piece – whether audiences pick up on it or not. A key reading that one may take away from this story is the very striking parallels to colonialism. This is expressed nowhere better than in the sequence titles throughout the film: Preparation | This is where Amelia lays her foundations. She uses pity and coercive tactics to convince Zoya to let her stay overnight, before gently pushing boundaries and converging on her personal space by sleeping in her bed – much like colonial incursions where access is gained gradually under the guise of cooperation or necessity. Persecution | Echoing how colonial powers often frame expansion as benevolent while extracting further concessions, Amelia then manipulates Zoya by performing a “kind” act (making breakfast). At the moment of delivering this “gift”, she then springs the unreasonable question of moving in permanently, leveraging the breakfast against Zoya and portraying her as the unreasonable party. Hunger | This is where the key mechanism of control comes in, becoming the gatekeeper of Zoya’s sustenance, therefore making herself essential while maintaining all the power in the dynamic. Execution | Taking the first sign of resistance as an excuse, Amelia then brutalises Zoya and disposes of her – a feature of colonial campaigns throughout history which is even present in current world events. Denial | The final step; denying anything ever happened and offering trivial compensation, such as naming the new dog after Zoya, to anyone who speaks out about it. These factors, and the motif of Amelia grotesquely guzzling down water with an unquenchable thirst for more, perfectly portray this theme in a unique and eye opening manner – paralleling procedures used to enter, replace and colonise various cultures throughout history. ‘Animals’ is a slowly unravelling farce of power and control. Gray outlines pertinent themes of colonialism on a scale more easily digestible for viewers by localising it in the conflict between two characters, resulting in a visceral drama that doesn’t waste a single beat. With such a high level of artistry on display, I eagerly await what Maya Gray and company decide to create next… Animals is screening at the 2026 Raindance Film Festival. About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

The Dew Before Dawn film review by UK film critic William Hemingway. Starring Estelle Hartford, Texas Cloete directed by Alexis Scholtz. HOME | FILMS | REVIEWS The Dew Before Dawn Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 8, 2026 Directed by: Alexis Scholtz Written by: Alexis Scholtz Starring: Estelle Hartford, Texas Cloete A photographer struggles to find the direction or the meaning behind her art. From writer/director, Alexis Scholtz, The Dew Before Dawn is a short arthouse piece musing upon the relationship between the artist and their art. At only six-and-a-half minutes long and shot entirely in black-and-white, it is pulling no punches in settling itself firmly within the arthouse genre. Minimal dialogue and an elusive message also feed into this categorisation of the film, as we ponder over the images presented to us and try to decipher their meaning. A young black photographer tries to capture the feeling and mood of her subject, an older white woman, as she rests within the spaces of her palatial home. A striking main foyer surrounded by a circular mezzanine is used as the main location for the photoshoot, and the photographer grapples with the idea of shooting her subject within different aspects of this space, from different angles, while getting her to play different roles. We see the older woman move into and between these spaces, and also feel her personality shift as she does so. There is a tension between the artist and the subject, with the photographer feeling that she is not quite capturing the authentic nature of what is in front of her camera, while her subject becomes involved and somewhat overbearing in her direction of what she thinks the photoshoot should produce. This smacks loudly of the entire history of patronage within art, where the artist must bow down and concede in certain areas to the perhaps uneducated, uncreative, and philistine nature of the person providing the money. We see this all the time in big-budget creations in film, where producers and studios ruin the director’s vision simply for the reason of appeasing censors, raising the bottom line, or the stroking of their own ego. Here, the photographer is more than ready to stand up for herself, and berates her subject for getting in the way. While there may be some kind of mentorship or expertise on offer, this is dismissed by the artist, and she is left to find her own path through the mire of finding meaning within her art. Director and cinematographer, Alexis Scholtz highlights the themes of light and dark within the photography, expressed also by the decision to shoot in black-and-white, while expanding this idea into the ‘rights and wrongs’ of artistic expression as the photographer tries to find her way. When, eventually, she begins to cut up the photographs and piece them back together with different halves, she perhaps finds the missing piece of her expression that she could not find in the initial frames, allowing her to see more than what was there in the first place. With each section of the film and transference into a new frame or idea punctuated by the ringing of a Tibetan singing bowl, and the main subject of the film moving around, changing colour of dress, and changing her personality, we are invited to make what we can of the themes and images that we are exposed to as a viewer. These ephemeral aspects are left to float in the air as spectres of something real yet untouchable, and we must give of ourselves to feel what must be felt by the characters and scenario we are witness to. There is plenty to hold onto in The Dew Before Dawn , if not enough for a structured narrative, and as an art piece for the artists it works very well in presenting what it wants to achieve. There is a lot to think about and discuss from what we see, and the images are beautiful and striking enough to keep us captured in the frame with them. About the Film Critic William Hemingway Short Film, Digital / DVD Release, Film Festival, World Cinema < All Reviews Next Film Review >

Cage Rage film review by UK film critic Jason Knight. Starring Matt Newton, Chloe Rann, Connor Horrigan, Kim Michelle directed by Matt Newton, Lucy Yong. HOME | FILMS | REVIEWS Cage Rage Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 22, 2026 Directed by: Matt Newton, Lucy Yong Written by: Matt Newton Starring: Matt Newton, Chloe Rann, Connor Horrigan, Kim Michelle A sports drama crime thriller written by Matt Newton, directed by Newton and Lucy Yong and starring Newton, Chloe Rann, Connor Horrigan and Kim Michelle. Joey (Newton) has recently separated from his partner, Ellie (Michelle) and is currently competing in Mixed Martial Arts, in the hope of becoming pro. However, his trainer, Mike (Bryan Lawrence) demands that he attends sessions more regularly, so Joey quits his job and what does he do? He collaborates with his cousin, Liam (Horrigan), a drug dealer and gets involved in his illegal activites: selling drugs for crime boss and nightclub owner, Mr Suarez (Silvio Simiac). Joey tries hard to make ends meet and succeed in his sport, unfortunately things go out of control in the drug business, threatening not only his career, but his life too. The world of combat sports and the underworld are combined in order to tell a dramatic story about the struggles of a guy trying to pursue his goals and win back the woman he loves. The narrative could be split-up into two alternating storylines: MMA training and competition and crime. The script follows Joey and he trains hard to improve his fighting skills and wins fights, hopin to eventually face-off with cocky champion, Nico (Nathaniel Wood), while simultaneously making money by dealing drugs for Suarez and his daughter, Sacha (Rann). Eventually, tensions rise in both parts, with plenty of martial arts training, fighting in a cage, dangerous men, guns and life-threatening situations. As well as having an intriguing plot, this feature has a fair number of interesting people. As the main character, Joey has a tragic past and he is hardly a likeable guy. He is short-tempered, aggressive, disrespectful and involved in drug dealing. Although he means well, he could be classified as an anti-hero. As a ruthless, feared gangster and an abusive parent, Suarez serves as the main antagonist and so does his son, Nico, who is a character who is the equivalent of Johnny in the first The Karate Kid film. As for Sacha, she ends up being Joey's romantic interest. Special mention goes to Brazilian Jiu Jitsu expert Valmyr Neto whose role turns into that of Joey's mentor and co-director, Yong adds her own quality as a deadly assassin. Combat sports and crime aside, this is a story about pursuing goals, about embracing the will to have a better life, about redemption, regrets, relationships and parenting. A feature with cage fighting, criminals and meaningful drama. Fans of crime films and martial arts are arguably the target audience. And the soundtrack is pretty cool. About the Film Critic Jason Knight Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Surfing film review by UK film critic James Learoyd. Starring Harry Clarke, Louis Hill, Charlotte Fishwick directed by Duane Adamoli. HOME | FILMS | REVIEWS Surfing Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 8, 2026 Directed by: Duane Adamoli Written by: Harry Clarke Starring: Harry Clarke, Louis Hill, Charlotte Fishwick Surfing is a superb, tightly constructed drama. Set in Birmingham in 1969 (effectively the vague backdrop to our story since the action only takes place in one room), a down-on-his-luck musician finds himself sleeping on a friend’s sofa when he receives a phone call about a potential gig. This gig isn’t for him, however, but meant for the person whose sofa he’s crashing on. Our protagonist Pete, played by Harry Clarke in a performance which the whole film hinges on, feels like a British reimagining of the similarly ill-fated, self-sabotaging character of Llewyn Davis in the 2013 Coen Brothers masterpiece. Clarke (who is also the film’s writer-producer) delivers a great performance which is both effectively comedic and holds pathos. And in terms of the technical side of the production, director Duane Adamoli is also the film’s cinematographer and editor. Whilst this is a small-scale production, Adamoli and Clarke have formed a strong collaborative team – with one in charge of story and performance, the other in charge of aesthetics and assembly. Both demonstrate an impressive level of craft in their respective areas, making Surfing a near-faultless cinematic expression. It’s not easy to find anything of note to complain about with regards to this short. The only possible flaw I can find has more to do with the very nature of current short-filmmaking than it does with the movie itself... By deciding to tell a story based around a series of phone calls – set, as I’ve mentioned, in one room – you’re bound to have a critic or two say that the filmmakers have limited themselves in terms of creative scope. While watching, I personally do not find this to be the case. And yet, you can’t help but be reminded that this is what a great proportion of short films are these days. It makes sense since it saves time and money; and out of all the shorts this critic has seen recently that fall into said category, this resides in the very top tier in terms of quality. The cinematography and design of this project appeals to me greatly on a personal and artistic level. What follows is a quote provided in the submission notes for Surfing : “Our aim was to create a character study reminiscent of early 1970s cinema and, through unorthodox methods, such as placing a pair of tights over the lens and make the film feel as though it had genuinely been shot in that period.” For those who maybe aren’t filmmakers or who have little interest in low-budget cinematography techniques, this may even sound gimmicky. But when you see just how well these shots work, and how authentic the grain and the haze feels, it’s incredibly exciting for a fanatic like myself. The very specific period of low-light, low-contrast, murky and desaturated image-making – exemplified through Vilmos Zsigmond’s collaborations with Altman on The Long Goodbye and McCabe & Mrs. Miller (the greatest cinematographer-director combo there ever was or will be) – is the most fun aesthetic to be inspired by and attempt to recreate, even digitally. And why it works is because Surfing is not just trying to resemble film stock, but evoking the messy, textural, rebellious visual experiments of that era. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Backrooms film review by UK film critic Kieran Freemantle. Starring Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, Krista Kosonen directed by Kane Parsons. HOME | FILMS | REVIEWS Backrooms Film Review average rating is 3 out of 5 Critic: Kieran Freemantle | Posted on: Jun 8, 2026 Directed by: Kane Parsons Written by: Will Soodik Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, Krista Kosonen Backrooms is the debut feature from YouTuber Kane Parsons, teaming up with A24 to adapt his popular web series. Clark (Chiwetel Ejiofor) is the owner of a discount furniture store that’s experiencing electrical issues. One night, Clark discovers a portal in the store to a maze of rooms and decides he needs to document this phenomenon with his employees. Backrooms is arguably one of the biggest films of 2026. It has already made over $125 million at the box office from a $10 million budget and has been well-received by critics. Backrooms was distributed by A24, which gives the film a lot of prestige, and the company has been rewarded with one of its highest-grossing films. Atomic Monster, Oddfellows Entertainment, and 21 Laps Entertainment served as production companies, with James Wan, Osgood Perkins, and Shawn Levy credited as producers. Parsons is only 20-years-old, which makes him one of the youngest directors of a successful feature film. He joins a growing list of YouTubers turned filmmakers, a list that includes the Philippou Twins, Mark “Markiplier” Fischbach, and Curry Barker. Parsons made a film with a lot of confidence, as he shows technical and narrative ambition. The film opened with a fantastic found footage sequence where a growling monster was chasing someone. It was genuinely scary because of the monstrous sounds, the confusing surroundings, and the creature remained unseen. Parsons knew how to create an unsettling atmosphere: Backrooms could have made a great found footage film if it had stuck to that style. Parsons seemed to be inspired by David Lynch. Lynch was known for making surreal films, and Backrooms had a surreal quality. The backrooms were an ungodly maze that resembled being in an M.C. Escher painting. However, the surrealism and confusion extended to the story. Backrooms seemed straightforward at first. Clark finds the backrooms, decides to explore them to gather evidence of their existence, and his therapist, Mary (Renate Reinsve), attempts to find him when he doesn’t show up. Both of them had traumatic experiences. Clark was a recently divorced man and a recovering alcoholic who was resentful towards his ex-wife. He was a character who was filled with bitterness. Mary's trauma involved her mother, who had mental health issues and kept her trapped in a house when she was young. Parsons stated that Backrooms was influenced by video games, and the Silent Hill games did feel like an inspiration. The backrooms projected Clark and Mary’s traumas and forced them to confront them. It made Backrooms for two-thirds of the runtime. Backrooms has a twist that changed the story and genre. It wasn’t as clever as the filmmakers thought it was. There was some set-up because there were hints that something bigger was going on, but the conclusion just raised a load of questions. It was an unsatisfying ending. Parsons is clearly a talented young man who shows a lot of ambition. Filmmakers twice his age wouldn’t dare make. Whilst frustrating at times, Parsons has made a mark. About the Film Critic Kieran Freemantle Horror, Theatrical Release < All Reviews Next Film Review >

A Boy Who Dreamt of Electricity film review by UK film critic Holly Baker. Starring Anil Dadheech, Rakhi Mansha, Kunal Mehta directed by Jigar Nagda. HOME | FILMS | REVIEWS A Boy Who Dreamt of Electricity Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Jun 8, 2026 Directed by: Jigar Nagda Written by: Shubham Ameta, Jigar Nagda Starring: Anil Dadheech, Rakhi Mansha, Kunal Mehta A Boy Who Dreamt Of Electricity (2024) is an Indian spoken feature-length debut film by director Jigar Nagda. Set in the remote village of Udaipar, Rajasthan, the story unfolds around a young boy named Bheru, eager for a solution to his family’s struggle with a lack of electricity. When a marriage proposal falls through, the family can no longer take how literally disconnected they are from the rest of the world. This sends Bheru on an adventurous mission, full of obstacles, to bring electricity to their family and in so doing, connect them with the rest of the world. Many of us are used to relying on electricity in daily life. For instance, you are likely reading this review on an electronic device, just as I am writing it. The lights are likely turned on in whatever building you are reading this in, and you might have your mobile phone to hand. This reliance on electricity is one that a large amount of the population often take for granted. Many people are unable to imagine living without it, with the thought of going on a camping trip sounding like an utter nightmare. Nagda, along with co-writer Shubham Ameta brings an important humbling perspective to viewers, highlighting how much of what we do is made possible because of electricity. The film forces audiences to simply imagine themselves in the film’s scenario, living in a tribal village where you are viewed at the bottom of a social hierarchy, largely due to this lack of electricity. Such a setting provides an important moment of reflection, where viewers will find themselves more appreciative of what they have. Rather than the commodity that electricity is treated as in the Western world, in A Boy Who Dreamt of Electricity, electricity is portrayed as magical. In one scene taking place along a road at night time, the glow of neon lights in the darkness is captured with such beauty, giving this buzzing electric presence a dreamlike feel. Through such an adoring use of cinematography, viewers share this admiration for the occurrence of electricity just as the characters are continuously expressing throughout the film. Not only is this effective as a touching personification of electricity in the film, but the emotional response for viewers seeing electricity in this light is one which importantly conveys the vitality and often magical impact that electricity can have on people’s lives. In another moment, the film effectively compares electricity with the sublime by picturing Bheru gazing into the distance over a mountainous view, the landscape speckled with lights. Bheru is longing to be a part of this out-of-reach world, its beauty and significance on the same level to him as nature’s most incredible structures. The film’s original score, along with the use of unprofessional actors, gives the world of A Boy Who Dreamt Of Electricity a unique and authentic feel. Much of the film appears shot like a documentary, with a lingering focus on objects and use of real locations, including outdoor streets and communal areas. The viewer therefore feels as if they are peering into a real world, which is a significant creative choice as the struggle of living without electricity is one that many face, and yet many of us do not often consider this without it being shown to us. Though the cast is largely unknown, the performances are brilliantly convincing. This realism is enhanced through great costuming and set design. Several scenes, such as one that takes place on a local bus, are vibrant and full of dedication, with extras of all ages costumed in a variety of colours, all true to Rajasthan's tribal dress culture. It is exciting to see a developing nation displayed on screen with a dedication to capturing the country’s beauty, as well as the beauty of the lives of those who reside there. Overall, the film has a strong sentiment for togetherness, both within the context of the electricity theme which permeates the film, and in the focus on human connection, which viewers will find to be deeply touching. About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Fabric film review by UK film critic Jason Knight. Starring Maya Persaud, Sylvain Amic, Suad Ahmed Ziad, Cynthia Molasso directed by Anabelle Marshall. HOME | FILMS | REVIEWS Fabric Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 7, 2026 Directed by: Anabelle Marshall Written by: N/A Starring: Maya Persaud, Sylvain Amic, Suad Ahmed Ziad, Cynthia Molasso A short documentary about immigrants and refugees working in the French tailoring industry, directed by Anabelle Marshall. The main focus is an atelier in Paris. Just taking the opportunity to explain that an ''atelier'' is a French term for an artist's studio or workshop. This one in particular is named Espero and it serves as a workplace for a number of refugees who are given the opportunity to train as tailors and create clothing and accessories for well-known brands. On the eve of haute couture week (''haute couture'' meaning high dressmaking or high sewing in French and refers to the development of exceptional high-fashion garments), the fashion world of Paris gathers at the Musee D'Orsay for a special show which is a unique collection created by the staff of Espero and viewers get to see some of their creations in this documentary. So who is associated to Espero? First, there is Maya Persaud, the co-founder and director of Espero. Then, there is Catherine Brickhill, a mentor at Espero and Cynthia Molasso, a pattern teacher. These supportive individuals, along with others, teach the refugees and immigrants how to be creative and achieve their goals. Through the introduction to several of the refugees, this film not only acknowledges their work at Espero, but it also examines their dramatic stories, how they left their home countries in the hope of finding better lives. Some of these dynamic individuals include Suad Ahmed Ziad from Eritrea, Sumaiya Ahmadi from Afghanistan and Ibrahim Barry from Guinea. Viewers also get the privilege of becoming familiar with Sylvain Amic, the President of the Musee D'Orsay. This film provides an insight into the Parisian fashion industry and also serves as a commentary about immigration and refugeeism. In its centre though, it proves the power of determination, it shows people's great efforts to pursue a promising future and what can be accomplished with unity, support and creativity. By viewing this documentary, people will be introduced to a group of inspiring and creative individuals working towards their goals. Simultaneously, they will be accompanied by Johnny Yates's beautiful music. Fabric will screen at the 2026 Raindance Film Festival. About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Woken film review by UK film critic James Learoyd. Starring Erin Kellyman, Maxine Peake, Ivanno Jeremiah directed by Alan Friel. HOME | FILMS | REVIEWS Woken Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 7, 2026 Directed by: Alan Friel Written by: Alan Friel Starring: Erin Kellyman, Maxine Peake, Ivanno Jeremiah Alan Friel’s Woken is a post-apocalyptic psychological thriller which, in many ways, delivers everything you could want for that exceedingly niche subgenre (if you can call it such). The setup is an engaging one, but territory we’re familiar with. Following a bewitching opening sequence wherein our main character is seen jumping off a cliff, the scenario we then find is one of forgotten memory and domestic suspicion. Anna (played brilliantly by Erin Kellyman) wakes up and finds herself being cared for by people she does not know and who reveal very little about the state of the world she’s woken up to. The film carefully unravels a multilayered mystery which delves into varying genres that the viewer may not see coming. This is a nicely crafted, expertly performed horror which manages to maintain a high level of suspense and intrigue – even offering some genuine frights. There’s something critically conflicting about this plot and how it evolves, and it’s something I’ve encountered in other popular contemporary horror film (namely the very good Barbarian ). I’m referring to the specific phenomenon of the movie’s first act being the strongest and most engaging – despite it also, simultaneously being the most predictable in terms of its plotting. The opening movement of Woken is wonderfully paced and truly immersive for its folk influences, its textural capturing of an island setting, and its overarching sense of doubt. Two of the best horror movies – The Wicker Man and Rosemary’s Baby – are evoked in these outstanding opening sequences. Best of all is the subjective way in which the audience is placed in the unknowing perspective of Anna. Due to the gradual impartment of clues and signs, the viewer only ever knows as much as our vulnerable hero, making the viewing experience an even more exciting one. Outside of the script and mise-en-scene, another significant detail that contributes toward our engagement is the quality of the performance at the centre of this tale. Despite being surrounded by stylistic developments that veer towards more exaggerated genre territory, Kellyman remains steadfast in her naturalism and believability; but, additionally, in such a way that doesn’t tonally undercut that more stylised type of filmmaking that the writer-director wishes to explore. The latter acts occasionally struggle to maintain the steady hand that was demonstrated in the first half-hour. However, despite the lessening of atmosphere and gentle craft, it’s undeniably invigorating to see the narrative be utterly flipped on its own head and morph into a different film altogether. The film’s multitude of story focuses and aesthetic concerns could prove overwhelming to the casual cinemagoer. To explain, consider how the film fluctuates between all the following modes: thriller, folk-horror, mystery, hot-house drama, creature-feature, high-minded science-fiction and even government conspiracy. For some, like myself, this broad scope is appealing – even when the film itself slightly buckles under the changing tonal weight of its own screenplay. Yet outside the narrative, this is also a beautifully shot and designed picture, built around anamorphic cinematography, real locations and perfectly balanced lighting. Woken is a curious object, and quite often an exceptional technical accomplishment. About the Film Critic James Learoyd Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

English Beasts film review by UK film critic Patrick Foley. Starring Paul Dewdney, Edmund Fargher directed by Nikolas Harris. HOME | FILMS | REVIEWS English Beasts Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 5, 2026 Directed by: Nikolas Harris Written by: Nikolas Harris Starring: Paul Dewdney, Edmund Fargher The North American gold-rush of the 1860s is catnip to filmmakers due to lawlessness, anarchy and a free-for-all scramble for power and riches that lends itself to tales of morality and betrayal. English Beasts is a more unconventional take on the period, a haunting and eery short that contemplates the nature of man over money. Deep in the Canadian wilderness in 1862, two Englishmen have committed to a quest to find the fabled Cariboo gold fields. But rather than a Road to El Dorado, they are pushed to their limits by an unforgiving mountain tundra that stands in their way of glory. As nature holds its ground, ruthless and ambitious Arthur (Paul Dewdney) begins to turn on his partner Thomas (Edmund Fargher) as man’s own nature emerges. Atmospheric short thriller English Beasts identifies a darkness in the soul of its protagonists and summons it with a combination of a classic desire for power and the brutality of nature. Director Nikolas Harris has a great sense of the atmosphere he wants to conjure, and crafts this by reducing the film’s vibrant light to the bare minimum – isolating his subjects and freezing both them and the viewer to the core with an overlay of fog effects on the screen. Filmed in Snowdonia, it is impressive how unearthly the film feels – the landscape of the mountain transformed into borderline-alien terrain that conspires against its inhabitants. The idea that these men could go crazy seems less like a possibility, and more like an inevitability. The characters make for an intriguing pair of co-leads, with enough mystery surrounding them to leave viewers intrigued as to how their natures have been formed. Paul Dewdney’s Arthur’s turn won’t come as an enormous surprise given his ruthless disposition from the outset, and Edmund Fargher’s Thomas feels like an inevitable foil given the wisdom he seems to possess that flies in the face of Arthur’s ambition. The pair’s journey throughout the film doesn’t take the predictable path, and the tension that begins to grow on the mountain allows Dewdney and Fargher to explore their characters visceral nature in opposition to one another. However, given that the story told is one that has been explored on screen before in films like The Grey , the conclusion feels a little underwhelming and leaves some of the film’s themes incomplete. English Beasts is a visual spectacle that brilliantly recognises man’s helplessness against nature. You’d be forgiven for believing that Nikolas Harris had managed to open a portal to the 1860s and shoot his short in the year itself such is the authenticity, and given the smaller budget (and requirement for Wales to stand in for the majestic Canadian wilderness) it is a really impressive triumph. The story and exploration of ambition and greed is strong if a little imitative, but audiences will embrace the ambience and atmosphere. The filmmakers mention that this film is both its own story as well as a blueprint for their next feature, and if they can capture the same magical combination of atmosphere and theme, it will share in English Beasts’ success. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Zombucha film review by UK film critic Chris Olson. Starring Emma Leonard, Ryan O'Kane, Stephen Madsen directed by Claudia Dzienny. HOME | FILMS | REVIEWS Zombucha Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jun 5, 2026 Directed by: Claudia Dzienny Written by: Emma Leonard Starring: Emma Leonard, Ryan O'Kane, Stephen Madsen Move over Edgar Wright, there’s a new voice in prodigious sci-fi comedies, and her name is Emma Leonard, writer and star of Zombucha! . As the name suggests, it’s a combination of the drink and zombies, but this film packs way more punch than just a play on words. Its flavour profile is bold, refreshing, and bonkers . Leonard plays Maddie, a makeup artist who, early on in the film, loses her job for upsetting a film star. Her husband, Leo (Ryan O’Kane), also loses his lucrative marketing job at the same time, and the couple experiences the immense pressure of a zero-dollar household, especially with their plans to have a baby looming over their heads. Through random acts of fate, they stumble upon a sentient scoby (I didn’t know much about Kombucha beforehand, so some of the references were lost on me, but I get this now), and this Mother allows them to crank out a particularly popular batch of Kombucha, which they dub Thirsty Virgin. As with all successful startups, however, things get out of hand, and soon everyone is terrified, not least because this Scoby has plans of its own. The bonkers storyline and characters feel like a fever dream at times, as if the writers were hopped up on fizzy drinks. But I was here for the chaos. Fans of films like Shaun of the Dead, Mars Attacks, and Batteries Not Included are likely to get a (health) kick out of this, and the incredible direction from Claudia Dzienny creates a palpably zany environment that will likely appeal to a more mainstream audience who are willing to try and keep up. Because the pace is frenetic! And yet, whilst the events unfold at a million miles an hour and the script is packed full of jokes and gags, there is an emotional core between the characters of Maddie and Leo that provides the right amount of depth to prevent this movie from feeling flat. The trials and tribulations the pair face are not just effortlessly squashed in the name of comedy; instead, we get real pathos and emotional connection that make for a more rounded experience. The crux of the story is the pair’s anxiety about becoming parents, which has universal appeal. And if they can’t look after a Sentient Scoby, then what would they do with human children? The camerawork is excellent, as is the sound design and score. Zombucha! feels more like a studio comedy than an indie feature, and when you are delivering lines as good as “Would you like some carrot? It’s like chocolate with less evil”, the audience needs that to land rather than being distracted by a misplaced boom mic, which it totally does here. Building to a terrific finale (which I won’t spoil) and unlike any other comedy you will see for a while, these Aussie filmmakers have popped the lid on something special here. More please. About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Matt Trapp writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Matt Trapp Matt Trapp is a film critic for UK Film Review. Read Latest Film Reviews Daisy's Amygdala Matt Trapp Read Film Reviews Fyre Rises Matt Trapp Read Film Reviews The Liars of Black Mountain Road Matt Trapp Read Film Reviews Spirit Juice Matt Trapp Read Film Reviews SCRUTINY Matt Trapp Read Film Reviews RAUNCHADELIC Matt Trapp Read Film Reviews Raindog Matt Trapp Read Film Reviews The Last Joke Matt Trapp Read Film Reviews Suseteer: The Movie Matt Trapp Read Film Reviews Lost Hills, Ca. Matt Trapp Read Film Reviews Big Stack Matt Trapp Read Film Reviews Ashes Matt Trapp Read Film Reviews Feet of Death Matt Trapp Read Film Reviews Return Matt Trapp Read Film Reviews Alien Love Matt Trapp Read Film Reviews The Apocalypse Box Matt Trapp Read Film Reviews The Whispers Matt Trapp Read Film Reviews The Dog Matt Trapp Read Film Reviews The Wanderer Matt Trapp Read Film Reviews Ethereal Matt Trapp Read Film Reviews Spoon-Man Matt Trapp Read Film Reviews Everything I Hate About You Matt Trapp Read Film Reviews Big Jay's Day Out Matt Trapp Read Film Reviews Blood in the Snow Matt Trapp Read Film Reviews STUDS Matt Trapp Read Film Reviews The Young Mozart Matt Trapp Read Film Reviews Gaza: A Story of Love and War Matt Trapp Read Film Reviews Something Wicked Dwells Matt Trapp Read Film Reviews

Cliff Edge. Dr Ashkan the man behind the smiles film review by UK film critic Jason Knight. Starring Ashkan Pitchforth, Garima Garg, Ali Ostovan, Rachel Pithie directed by Diego Barraza. HOME | FILMS | REVIEWS Cliff Edge. Dr Ashkan the man behind the smiles Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 5, 2026 Directed by: Diego Barraza Written by: Clive Martin Starring: Ashkan Pitchforth, Garima Garg, Ali Ostovan, Rachel Pithie A feature-length documentary about an unconventional dentist and entrepreneur, directed by Diego Barraza and written by Clive Martin. Meet Ashkan Pitchforth. Born in Bexhill, England, Ashkan is a dentist who founded the South Cliff Dental Group in 2015, which is a group of practices that provide NHS and private dental care services to people in counties across Southern England. They are open seven days a week and also offer late evening appointments. The docunemtary begins at a time where Ashkan is dealing with challenging times: constructions are taking place for the company's new headquarters and training facilities and the General Dental Council has filed a case against him. The film follows him as he pursues the former and struggles with the latter and also talks a great deal about himself, his background and his career. Apart from dentistry, viewers will learn a great deal about Ashkan's life. Born to an English father and an Iranian mother, Ashkan had his ups and downs. An intelligent, ambitious and hardworking individual, he is a parent, he is quite slender, has a unique taste regarding clothing, has plenty of tattoos and earrings, used to be a bodybuilder and has suffered from steroid abuse and body dysmorphic disorder. Despite all this, he has managed to create an organisation that aims to make dental healthcare accessible to as many patients as possible. As well as having Ashkan sharing his experiences, several of his associates also get the chance to be interviewed, including Operational Director, Garima Garg, Clinical Lead Ali Ostovan and HR Director, Rachel Pithie. The documentary also contains many photographs of Ashkan's younger days and childhood and they are all brought together efficiently thanks to Julien Pinault's methodical editing. This film is as much about dentistry in the UK, particularly NHS dentistry as it is about mental health, especially body dysmorphic disorder and it aims to raise awareness of this condition. Additionally, this feature acknowledges self-reflection, aspirations, the world of bodybuilding, the significance of support and the challenges of running a business. An informative and dramatic documentary that explores the field of dentistry and introduces viewers to Dr Ashkan Pitchforth and his intriguing story. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >