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Lonesome film review by UK film critic William Hemingway. Starring Anonymous contributors directed by Justice Khor. HOME | FILMS | REVIEWS Lonesome Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 6, 2022 Directed by: Justice Khor Written by: Various Starring: Anonymous contributors Born from the Covid-19 pandemic, Lonesome takes the isolation felt by tens of millions of people around the globe, something that had not been there previously, and transposes it to the LGBTQ+ community, particularly that of Malaysia. Film-maker Justice Khor believes that this new feeling experienced by large sections of the population is representative of the 'queer existential invisibility' that those in the LGBTQ+ community have already suffered for decades, if not centuries. With this in mind, Khor asked people to contribute their own stories and experiences of living with this isolation, segregation and oppression by calling up a phone number and leaving their own (very) personal messages. As you might imagine, a lot of the details related within these messages are disturbing, unsettling and at times harrowing, and so the film opens with trigger warning that it contains descriptions of 'homophobia and heterosexism, transphobia and trans-misogyny, mental illness and self-harm, cyberharrassment and school bullying'. The messages are indeed not easy listening, but equally are extremely important in allowing people to share their thoughts and experiences to build a true picture of their treatment by the rest of society. Khor's unique approach permits an expression through anonymity which might otherwise never have been allowed to come to the fore, and for this opportunity and gift of (relative) freedom, he should be highly commended. Through seventeen minutes several speakers tell their stories with a degree of resignation and matter-of-factness. Their words are transposed onto the screen using subtitles and are overlaid on top of differing lonely scenes caught by director of photography, Chew Boon Wai. Actual human beings figure very sparsely within the visuals, with Khor instead opting for wide establishing shots of city-scapes and other images of isolation such as empty corridors and untouched personal belongings. There is a question though, which hangs over the production of this documentary, as to whether film was in fact the correct medium for telling these stories. We know that all of the contributors called up and left their messages anonymously, which means we also know that any images on screen do not relate directly to any of the speakers that we hear. Despite Khor's best efforts some of the images don't match up to the words on screen and in essence all the audience is doing is reading anonymous testimony while non-specific visuals are relayed underneath. In a world where media is saturated by variety and choice might it have been better to use these testimonies as a launch pad for interview and discussion on a podcast? Would it have been more useful, and fair, to collect as many of these stories as possible and portray them at length through written publication? When the viewer is basically reading these accounts for themselves on screen anyway and the contributors' experiences are being truncated to fit a short film format; when the visuals don't necessarily relate to the individuals involved; are their stories really being delivered the justice they deserve? About the Film Critic William Hemingway Short Film, Documentary, LGBTQ+, World Cinema < All Reviews Next Film Review >

The Last Sacrifice film review by UK film critic Hope Madden. Starring Geraldine Beskin, Gavin Bone, Janet Farrar directed by Rupert Russell. HOME | FILMS | REVIEWS The Last Sacrifice Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 16, 2026 Directed by: Rupert Russell Written by: Rupert Russell Starring: Geraldine Beskin, Gavin Bone, Janet Farrar Documentarian Rupert Russell has a pretty wild tale to tell, one set in an isolated British community where outsiders aren’t wanted, information is hard to come by, and something sinister waits in the fields. And if that sounds like every British folk horror film from The Wicker Man in 1973 to Kill List in 2011, there’s a reason. Russell tracks the birth of British folk horror cinema to one specific moment and place in time: Cotswold District, Gloucestershire, England, Valentine’s Day, 1945. On that day in that hamlet—an isolated farming community of about 200 people—Charles Walton was found dead, a pitchfork in his face and throat, a billhook in his neck. The murder shook the nation, its description taking on wild details over the retellings: a cross carved in his chest, dead frogs all around him. The crime so enthralled England that its most prized Scotland Yard detective, Robert Fabian, came to Cotswold to investigate. What he found was a community unwilling to cooperate in the investigation, and the Rollright Stones, enormous ancient stones said to be what remains of an Iron Age King and his soldiers after a witch’s curse. This is all fascinating enough, but Russell goes on to explore the genuine British witchcraft phenomenon of the Sixties and Seventies, and even brings in a Teletubby. What’s wildest about this documentary is the way that the old films—including the campiest Hammer greats The Devil Rides Out , The Witches, and Dracula A.D. 1972 —are based directly from documentary footage of official witch rituals of the time. The campier and more ridiculous the scene, the more exactly it recreates rituals celebrated by Alex Sanders, the era’s self-proclaimed King of the Witches. Except that, of course, Sanders and his followers were harmless, and Hammer’s witches rarely were. But Sanders’s incredible popularity sparked new interest in the Cotswold murder and a whole, very British film genre was born. The Last Sacrifice is sometimes clunky in its true crime format. It’s trying too hard to be scary. The approach doesn’t always suit the material, because the wild cinematic crossover with nonfiction is exponentially more interesting, and no crime was committed there. The information is revelatory for horror film fanatics, jaw-dropping, even. And certain details are downright funny. Russell’s sometimes wobbly approach to the doc is hardly a reason to skip it. If you have any interest in British folk horror, The Last Sacrifice is a fascinating must-watch. (Give yourself the gift of a double feature, with Kier-La Janisse’s 2021 doc Woodlands Dark and Days Bewitched , also on Shudder.) About the Film Critic Hope Madden Documentary, Digital / DVD Release < All Reviews Next Film Review >

Sideworld: Terrors of the Sea film review by UK film critic Hope Madden. Starring George Popov directed by George Popov. HOME | FILMS | REVIEWS Sideworld: Terrors of the Sea Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 1, 2022 Directed by: George Popov Written by: Jonathan Russell Starring: George Popov Inspired by the British folklore they’ve explored in two features, Hex and The Droving , director George Popov and writer Jonathan Russell turn away from fiction, delivering spectral dread in truer tales. Their second documentary in less than a year, Sideworld: Terrors of the Sea swims dark waters alongside ghost ships and sea monsters. Popov’s voiceover establishes a Twilight Zone quality: Truth and lies do not relate in such a simple equation when the line between fact and fiction is enshrouded in mist and shadow. Beyond that threshold is a place that can change our perspective on everything we think we know. I call this place the Sideworld. Earlier this year, Popov and Russell led us into this mist and shadow with the first installment of their doc series, Haunted Forests of England . Their second effort opens with more of their characteristically haunting cinematography. The film breaks into four chapters: Ghost Ships, Sea Monsters, Spectral Sailors and Mermaids. Each chapter consists of a number of tails, always highlighting one in particular with some primary or secondary source material to mine. Though the Flying Dutchman has its fame, the majority of the stories spilled on these shores are little known legends with historical documents for basis. The Wildman of Orford and other tales offer fascinating historical curiosities, while outright ghost stories delight in their sad, scary way. Popov’s voiceover remains somber throughout, avoiding the campfire fright style of storytelling and instead rendering his tales with reverence. In fact, Popov and Russell’s sympathetic point of view continually asks whether the monsters in these tales are not actually the humans. Brisk, informative, creepy fun, Sideworld: Terrors of the Sea uncovers welcome treasures of haunted folklore. About the Film Critic Hope Madden Amazon Prime < All Reviews Next Film Review >

Not all answers are found in Google film review by UK film critic Jason Knight. Starring Evalynn Li, Li Jian Feng, Ziyan Li directed by Triden V Balasingam. HOME | FILMS | REVIEWS Not all answers are found in Google Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 10, 2021 Directed by: Triden V Balasingam Written by: John Mahendran Starring: Evalynn Li, Li Jian Feng, Ziyan Li During COVID-19 lockdown, a child and her grandfather are forced to stay at home, where they spend quality time together. An elderly Chinese man (Feng) is visiting his granddaughter Sera (Li) in Toronto. Sera's mother is due to return soon after spending time abroad, shortly after which her grandfather will go back to China. Then the coronavirus pandemic takes place and the two of them end up spending a great deal of time inside the house, where they cook together, engage in entertaining activities and talk about the values of life. This short is a heartwarming drama that explores the things that matter the most in life and that happiness can be found in the most simple things. It also points out that even terrible events such as pandemics must not prevent people from being positive. The film also spreads the message that technology influences individuals heavily these days, however it cannot replace the significance of memories, which are unique in ways no technological products are. The main focus is the relationship between Sera and her grandfather, which is a very strong one. The two of them care deeply for each other and the grandad is keen to teach his granddaughter how to live a happy life and that creating wonderful memories will play a key part in that. He refuses to let the virus outbreak bring him or Sera down. The acting is rather good, with Feng convincing as an optimistic person, who treasures the most valuable things that life has to offer. Li is the well-behaved child who listens to her grandfather. Her character is growing up in a world that relies on technology for many things, while Feng's character believes that memories can only be created by people. The score is one of the strongest aspects here. Composer Nathaniel Wolkstein creates music that develops an emotional atmosphere, with effective sounds of violin and piano. The score also becomes sinister when the protagonists find out from the news that COVID-19 is occurring. Balasingam does an amazing job as director and creates wonderful establishing shots of nature. This is a moving story about an individual teaching someone else important life lessons, that one must always try to see the good things and that technology is not everything, especially when it comes to memories. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

My Open Heart film review by UK film critic Julian Gaskell. Starring Cedar Rose Johnson, Carmelo Viviani directed by Steven A. Johnson. HOME | FILMS | REVIEWS My Open Heart Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Jun 14, 2022 Directed by: Steven A. Johnson Written by: Cedar Rose Johnson, Steven A. Johnson, Julian Marc Stringle, Starring: Cedar Rose Johnson, Carmelo Viviani As a folk pop singer, Cedar Rose Johnson has recently written some songs for a BFI accredited feature film. Developing her style with a range of material, she is not totally unlike K T Tunstall in both sound and appearance, someone she has actually met on a zoom call – although she doesn’t like to mention it. Collaborators on this song My Open Heart are composer Rob Clydesdale and fellow song writers Steven A. Johnson and musician Julian Marc Stringle. The video to this summer love song shows a young couple’s summer affair frolicking in the countryside with happy home movie memories of them having fun in the sunshine. We see them walking, picnicking and punting along the river to the nostalgic melody of My Open Heart . The sweet images of a couple's young love eventually turn to sadness at the end of their love affair as the loving gazes turn to blank stares across the table. As the happy faces change to tears there are some alarming signs of domestic violence making for a complete turnaround in mood as the sweet melancholic lyrics chime away in the foreground. Directed by Steven A. Johnson the music video was shot in a day in a friend's backyard mostly using a POV style camcorder / home video effect (or whatever today’s mobile phone equivalent would be), with a slightly over exposed summer sunshine retro look. These amateurish looking home video shots of the couple having fun in the countryside are mixed with some more cinematic ones, which differentiate between the contrasting moments from the carefree summer joy to the more sombre expressions in the end. The music video is a good example of what can be done in a short time and on a low budget. The one location is able to provide multiple shots on a grand scale, combined with a few props like a picnic basket, a small lake boat and a few wardrobe changes; it all makes for a romantic love affair. Cedar Rose Johnson herself plays the girl wearing the summer dresses playing to the camera with a natural charm and she also manages a dramatic transformation in emotions as the tears flow in the shower. The handheld POV shots are by far and away the best part of the video put together by cinematographer Joe Acraman, whilst the switch in the story’s narration comes quite unexpectedly without skipping a beat. It's a sweet summer love song even if the video's turn of events do come as a bit of a shocker adding great drama to the song which continues to play on in the same vein regardless. It’s a self-titled ‘low budget, no budget’ production, which could easily make a summer hit given a little more time. About the Film Critic Julian Gaskell Music Video < All Reviews Next Film Review >

I Wish film review by UK film critic Sam Quarton. Starring Haider Rifaat directed by Haider Rifaat. HOME | FILMS | REVIEWS I Wish Film Review average rating is 1 out of 5 Critic: Sam Quarton | Posted on: Jan 13, 2022 Directed by: Haider Rifaat Written by: Haider Rifaat Starring: Haider Rifaat Maladroit and ill-informed, I Wish attempts to illustrate the ostensible character of depression All too often young filmmakers flock to the subject of mental illness without fully grasping the social responsibility they have undertaken; Pakistani writer/director Haider Rifaat woefully falls into this camp with I Wish – a maladroit study of depression mired in misrepresentations and stereotypes. Rifaat plays Ali Danyal, a twenty-something post-graduate – also suffering from a victim complex - engaged in listing all who have wronged him over the course of his life. There is plenty of room in the short’s nine-minute running time to discuss Pakistan’s mental health crisis within the context of its post-colonial identity – mental illness is criminalised to the point where attempted suicide is punished by a year’s imprisonment, a fine, or both. But this is drowned out by Danyal’s condemnation of unhelpful teachers and high school bullies, without homing in on any specific trauma. As Danyal, Rifaat demonstrates scant understanding of depression: a cacophony of hair pulling and screaming at the mirror constitutes depressive behaviour which feels more like caricature, rather than a deft study of internal agony. It’s as if all the undergraduate misrepresentations of depression have combined forces in one big attempt to describe what this suffering looks like. These errors of judgement could perhaps be forgiven if it wasn’t for Rifaat’s irresponsible and, quite frankly, dangerous exhibition of suicide as some form of means to an end. While Rifaat’s heart is firmly in the right place, his graceless and ham-fisted portrayal shows much work is yet to be done in the de-stigmatisation of mental illness. Too much time is spent attempting to elucidate the character of depression and how it is manifested, rather than illuminating the lived experiences of those who suffer from it. But I Wish would be lucky if poor writing and problematic performance were its only problems. Each set piece is underpinned by tinny audio and blurry, uninspired cinematography which refuses to contribute anything meaningful to the narrative; there is an exiguous inclination to shoot Danyal in focus and a near-experimental tendency to frame him off-centre. This effort is admirable – considering it has been achieved without an auxiliary crew – but not enough to save I Wish from complete despair. There is a lesson to be learned here: a filmmaker should always consider the responsibility they bear when opting to represent the lived, traumatic experiences of those who cannot represent themselves. About the Film Critic Sam Quarton Short Film < All Reviews Next Film Review >

Gon Bauer film review by UK film critic Chris Buick. Starring Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili directed by Gary Teperman. HOME | FILMS | REVIEWS Gon Bauer Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: May 10, 2025 Directed by: Gary Teperman Written by: Gary Teperman Starring: Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili Gon Bauer from Canadian filmmaker Gary Teperman starts big. Kicking off with some 80s synth and a graphic sex scene (not to be the last), the film throws us straight into the crazy world of its eponymous protagonist, Gon Bauer (Oppel). By day, Gon (pronounced John) is a surgical technician, real name Michael. By night however, he assumes his podcast persona of the “loud-mouthed, misogynistic asshole” Gon Bauer, where he and his team air their interesting views on women, monogamy, misogyny and other controversial topics that get all the likes and clicks these days. But Gon, it is soon revealed, is also in a spot of trouble, owing some increasingly impatient bad guys quite a bit of money. But if Gon can help them entertain an acquaintance of theirs by getting them into the local swinging scene, something Gon used to be well acquainted with, they might be a bit more understanding. Despite an intriguing premise and promise to explore this colourful, seedy underworld, Gon Bauer instead very quickly loses momentum, losing any real sense of urgency, drama or purpose as the two narratives of Gon’s entanglement with these gangsters alongside the podcast sub-plot distract from one another rather than gel together as intended. It feels like two separate stories fighting for attention, with some of the more interesting parts seemingly sacrificed for the podcast thread that is perhaps looking to make some point about internet culture or misogyny or both, but never really gets there. Its lack of a focused and engaging storyline also means there is no distraction from some of the film's other flaws. While technically the film can’t be faulted, it sounds great, looks better with Teperman and their team showing they definitely have the filmmaking chops, it’s excessive content, middling script, and serviceable-at-best performances far outweigh those positives. Gon is a man with edge, strong opinions and zero Fs given, which in theory makes for a compelling lead to follow, but Gon never actually becomes someone you want to like, win, understand or even follow by the end, something in fact that can be said for most of the characters. And while Gon Bauer 's unforgiving edge and challenging nature is acceptable in theory, it all feels ridiculously gratuitous here, the films excessive language and plot-irrelevant sex scenes never in service in something bigger and instead highlighting the fact that all the female characters lack any sort of agency, instead being reduced to a sex objects or someone to be talked down to. The world of Gon Bauer could be an interesting one, but unfortunately, this film doesn’t show that. There is a sequel in the works, but while Gon Bauer does show off some very impressive technical filmmaking, the lacklustre performances and script don’t quite cut it this time around. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The Wolf and the Lion film review by UK film critic Christie Robb. Starring Molly Kunz, Graham Greene directed by Gilles de Maistre. HOME | FILMS | REVIEWS The Wolf and the Lion Film Review average rating is 2 out of 5 Critic: Christie Robb | Posted on: Feb 1, 2022 Directed by: Gilles de Maistre Written by: Gilles de Maistre, Prune de Maistre Starring: Molly Kunz, Graham Greene Gilles de Maistre’s Mia and the White Lion is a stunt. According to RivieraBuzz , it was born out of a conversation between the director and two animal wranglers in which the three realized that there had never been a film featuring a wolf and a lion. So they raised some pups and cubs in front of a camera and developed a script. The story revolves around Alma, who returns to her family’s private island in rural northern Canada following the death of her only living relative, the grandfather who raised her. After the funeral, a plane carrying a circus-bound lion cub crashes on her property. Luckily for the lion, the grandfather had befriended a mother wolf who is happy to nurse the cub as well as her own pup. Once the mother wolf is captured by a group of scientists looking to start a breeding program geared toward releasing more wolves into the wild, the fate of the young wolf and lion is debated. Where do they belong? To provide a well-rounded perspective of this film, I’ve asked my 8-year-old daughter and animal enthusiast, Emmy, to contribute her thoughts. Mom says… I respect the guts of lead actor Molly Kunz. There are many scenes in which she had to get up close and personal with the animals, in some instances picking them up or lying down between them. It’s nuts. Somehow she manages work with the animals while radiating confidence and serenity and looking like a cover model for Faerie Magazine. Props also need to go to animal coordinator Andrew Simpson and his team for keeping everyone safe. Serge Desrosiers’s cinematography is glorious. He captures the four seasons of the forest in such sweeping, breathtaking shots that they made me long to book a vacation. The set design for Alma’s lakeside home is peak cottagecore—cozy, romantic, and nostalgic. The movie, however, seems to suffer from a lack of self-reflection. It explicitly ponders the question of where these animals belong and celebrates the animals’ unlikely friendship amid the wacky circumstances in which it developed (as these two species do not naturally coexist). The use of animals as entertainment in the circus is clearly coded as monstrous. Alma even gives a big speech to this effect at the end to sum up the film. Although they love each other like brothers, it’s only because as babies they were deprived of their liberty by human beings…They managed to be happy in spite of us. Yet… The filmmakers here deliberately manufactured a situation in which the cubs and pups were raised artificially and made to interact with each other for the entrainment of an audience. How is this functionally different than the circus the movie vilifies? Pure cognitive dissonance. The humans really are the weak link in this film. The acting isn’t great and the story is a bit random with logical inconsistencies, stakes that evaporate, and character traits that are dropped suddenly in dialogue because the plot demands it (apparently the lion is afraid of water because…reasons). Some of this was no doubt caused by script revisions necessitated by what the developing animals were willing to do on camera as well as production delays caused by COVID. Ultimately, to me, the film was kind of a beautiful mess. Kid says… I think it was good, but it was kind of confusing cause some of the timeline of events was unclear. I liked the fact that it was really realistic and adorable. Watching a wolf and a lion interact was really cute. The wolf reminded me of one of my favorite kinds of dogs—a husky—and the lion reminded me of my cats Tormund and Pumpkin. Some parts are scary, like when the lion didn’t go into the water and there were guns. But the ending wasn’t devastating. About the Film Critic Christie Robb Theatrical Release < All Reviews Next Film Review >

Shifting Tides film review by UK film critic Patrick Foley. Starring Yuri Angelov, Yoan Popov, Hristo Borisov directed by Yoan Petrov. HOME | FILMS | REVIEWS Shifting Tides Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 15, 2024 Directed by: Yoan Petrov Written by: Yoan Petrov Starring: Yuri Angelov, Yoan Popov, Hristo Borisov Generational divides and family trauma are explored in Shifting Tides, Yoan Petrov’s moving short set on a coast that acts as a dividing line between a bereaved uncle and nephew. Having recently lost his mother, Kristian (Yoan Popov) heads to a remote fishing village to find his reclusive uncle Mitio (Yuri Angelov). The pair couldn’t be much more unlike each other – with Kristian’s upbringing in the city putting him at odds with the harbour life, and the two struggle to find common ground even with their shared loss. But the time they spend together thaw’s their issues, and a hidden history helps Mitio rekindle a familial sense. Shifting Tides has a powerful sense of empathy and heart. Yoan Petrov’s intelligent writing style gives definition to both uncle and nephew – critical to the film’s success given that their differences are the driver of the plot. Kristian’s modern sensibilities come through authentically and naturally, as do his clashes with Mitio (who makes his disdain of vegans particularly known). The slower pace of the film fits their awkwardness with each other, and allows the pain each share to emanate during quieter moments of the story. Director of photography Giorgos Tsamis stages events beautifully – particularly during the closing scenes of the film on the lake. The palette of the film seems to match the relationship dynamic – natural darks taking precedence during moments of tension or difficulty when the divide between Kristian and Mitio feels insurmountable, and lighter and more vibrant when they are finding common ground or confronting long neglected thoughts and feelings. The imagery is sometimes a little standard during slower moments and doesn’t always compliment the quieter scenes. Yuri Angelov’s Uncle Mitio dominates his environment throughout most of the film – never feeling ruffled by his nephew’s presence or stopping to question his way of life. He quietly carries his sorrow at both his sister’s death and the resentment at her abandonment with him, and Angelov’s nuanced performance allows his inner turmoil to slowly bubble through. Yoan Popov’s performance as nephew Kristian is a world away from his uncle, echoing so many young people who return to familial homes to find little in common with the places of their heritage. Popov instils an uncertain drive in Kristian – a young person who knows where he has to be and what he has to do, but who doesn’t quite understand why. Whilst it drags at times and doesn’t always maintain visual engagement, Shifting Tides succeeds on the back of strong, committed performances and a relatable central relationship between engaging characters. The generational divide at the films’ centre is one that audiences will recognise in different locales and languages, and shows that even those with nothing in common can find a bond. Watch of Video Film Review of Shifting Tides . About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

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.. Brand new film trailers. Undertone The landscape of contemporary horror is about to be reshaped once again as A24 unveils the first look at their latest nightmare, Undertone . Directed by the visionary Ian Tuason, whose previous works have redefined atmospheric dread, this upcoming thriller promises to be a nerve-shredding exploration of sound, obsession, and the supernatural. While we at UK Film Review have yet to see the full feature, the newly released trailer suggests a diabolically terrifying experience that demands to be heard as much as seen. The premise is deceptively modern, centring on two podcast hosts, Eevee Babbidge and her co-host, who specialise in the macabre and the unexplained. Their search for content leads them to a series of ten mysterious audio recordings sent from an anonymous source. What begins as a quest for digital engagement quickly descends into a literal fight for their souls as they discover hidden messages within the audio. The trailer masterfully builds tension through its sonic landscape, suggesting that by merely listening to these files, the protagonists have unleashed a dark, ancient force that was never meant to be disturbed. Visually, the trailer is a masterclass in shadow and light. It hints at a "red-faced" entity that lurks in the periphery of the frame, tied inextricably to the audio recordings. The taglines interspersed throughout the footage—"It wants to be heard"—suggest a meta-narrative where the audience’s own participation in watching and listening to the film makes them part of the haunting. It is a bold, audio-driven approach that feels fresh in a genre often over-reliant on jump scares. The trailer instead leans into primal fears, using the medium of a podcast to bridge the gap between our everyday digital lives and the unfathomable terrors of the unknown. As the trailer reaches its crescendo, the sense of panic is palpable. The sceptic and the believer are forced to confront a reality where logic no longer applies, and the dark is no longer empty. With A24’s pedigree for supporting uncompromising directorial visions, Undertone looks set to be one of the most talked-about releases of the year. The wait for the full reveal will not be long, but it will certainly be anxious. 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. This is a diabolically terrifying horror experience that refuses to let go. 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. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. 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.

UK Release Date Announced. Brand new film trailers. Promising Young Woman PROMISING YOUNG WOMAN - UK Release Date Starring Carey Mulligan, Promising Young Woman gets its UK release date on April 16th via Sky. The film will be available on their movie platform for UK viewers. What did we make of the film? You can read our Promising Young Woman review here. But here's a little snippet: "Carey Mulligan is flawless—when is she not?—as Cassandra. By day the one-time med student ignores customers from behind a coffee house counter. By night, she pretends to be obliterated in local clubs and dive bars." Hope Madden, UK Film Review CHECK OUT MORE FILM TRAILERS BELOW 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. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. 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.

Desires and Delusions film review by UK film critic Jason Knight. Starring Yasmine Meaden, Lottie Saul-Paterson, Nicole Sarah Fry, David Stokes, Emily Dickson directed by Nicole Sarah Fry. HOME | FILMS | REVIEWS Desires and Delusions Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 31, 2023 Directed by: Nicole Sarah Fry Written by: Anita Fry, Jasmine Fry, Nicole Sarah Fry Starring: Yasmine Meaden, Lottie Saul-Paterson, Nicole Sarah Fry, David Stokes, Emily Dickson An early 19th century woman hopes to find her perfect spouse by using an unconventional matchmaking service. Georgiana (Meaden) is a wealthy young woman, living in Regency England and she wants to find a partner. She decides to use the services of a business that utilises her criteria in order to gather information and place small, hand-sized portraits of men who fit her criteria inside a small chest, along with written information about each potential husband. The chest is delivered to her large mansion, as she is having a picnic in her garden, along with her friends Clara (Paterson) and Amelia (Fry). Excited, she proceeds to look through the portraits, hoping to find that special man. Will her wish come true? This period comedy focuses on the idea of someone attempting to find a partner by looking at a picture of their physical appearance and by reading limited information about them, only to discover that meeting them in person can be quite different. Basically, the first half of this short film consists of the three friends sitting together around the picnic and going through the details of the men. The second half is about Georgiana meeting the one she chose and getting to know him. There are some rather amusing moments that include the three women trying to analyse each person, one of which seems to be after her wealth and another states that he is married. All protagonists deliver strong performances and are convincing as people living in Regency England. Georgiana is the main character, one who is determined to find a partner and appears a bit naive when it comes to making decisions. Clara comes across as the most cheerful one of the trio and she supports her friend's dream of finding a husband via a matchmaking service, while Amelia is more reasonable and disapproves of Georgina's method of finding a man. Stokes steals the show with his entertaining performance as an awkward and sensitive individual. Regarding the mise-en-scene, the furniture looks great and huge commendations go to the costumes, which are the work of the director and Anita Fry. A lot of praise also goes to the music by Dan Whitlock, which matches the atmosphere. This short is an entertaining experience with well-written dialogue and interesting characters. The plot revolves around the idea of finding romance and points out the idea that one should not judge a book by its cover. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >