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Song of the Selkie film review by UK film critic William Curzon. Starring Layla Burns, James Robinson, Kerry Browne directed by Kerry Browne . HOME | FILMS | REVIEWS Song of the Selkie Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 22, 2026 Directed by: Kerry Browne Written by: Kerry Browne Starring: Layla Burns, James Robinson, Kerry Browne Song of the Selkie follows Isla (Layla Burns), a young girl who returns to the Scottish Highlands with her father, Craig (James Robinson). Their return leads her to the mystery of the mythical and legendary being, the Selkie. Set over two time periods, the narrative is a mix of two languages (Scottish English and Scottish Gaelic) and an exploration of grief and forgiveness. The piece is ultimately paced as a slow burn, with a meandering depiction of a father and daughter reconnecting as they return to the Scottish Highlands. As the film spans two time periods, the transition between these sequences can feel jarring and difficult to comprehend; however, as the narrative progresses, it ties together wonderfully. While it may take multiple viewings to appreciate its subtlety on a deeper level, this approach is a welcome one that genuinely trusts its audience to follow along. It's a quietly meditative and haunting experience as Isla begins to unravel the truth about her mother’s disappearance, and both central performances from Layla Burns and James Robinson convey their characters' struggles profoundly. The chemistry between both performers is endearing and feels like a raw father-daughter relationship as the two characters grapple with grief over the loss of their beloved wife and mother. Both Jon Burton and Ryan Gibson, serving as the cinematographers, do an incredible job of showcasing the landscapes of the Scottish Highlands while making the experience intimate and thought-provoking. The camera is often positioned close to the actors during scenes of self-discovery or discomfort, allowing the performances to shine in each frame. David Julyan, serving as the film's composer, delivers an evocative musical score that is quietly haunting and striking in its motifs. It's a haunting portrayal of loss and acceptance, deeply rooted in its technical prowess. One of the most surprisingly memorable aspects of the narrative is a wonderfully choreographed dance sequence that feels thematically rich in its purpose during the story and deeply enriches Isla’s character arc. While it may take its time to find its footing, the film is a rewarding and emotionally resonant experience with plot points that piece together wonderfully. The mix of a contemporary setting with the old folklore is constructed perfectly and becomes less jarring as the story delves deeper into the two time periods colliding. The over-reliance on visual storytelling is both a positive and a detriment to the experience; despite the lack of exposition being refreshing, the limited context provided for certain elements of the narrative can become frustrating for the viewer to piece together. Its meandering pace at times can also hinder some of the engagement within the story; that being said, as a directorial effort from Kerry Browne, it's a stunning achievement with splendid direction that may entice viewers to seek out her upcoming projects. Song of the Selkie is an absorbing experience that blends two time periods and explores profound themes of grief and forgiveness. The importance of family and understanding one's grief is a prevalent theme at the centre of the story, and the film never shies away from this. Despite some hiccups in its pacing and some jarring tonal elements, the film is an affecting and gripping piece of filmmaking that ties together superbly in its emotionally resonant conclusion. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Vamos Carajo film review by UK film critic Jason Knight. Starring Bella Kouds, Amit Barnathan, Dhwani Shah, Harsh Gupta directed by Harsh Gupta. HOME | FILMS | REVIEWS Vamos Carajo Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 29, 2023 Directed by: Harsh Gupta Written by: Bella Kouds, Harsh Gupta, Juan Teisaire, Dhwani Shah, Isa Ebrahim Starring: Bella Kouds, Amit Barnathan, Dhwani Shah, Harsh Gupta A short film about the lives of several different individuals and the things that unite them. Over the course of less than three minutes and operating like a montage, this film introduces the characters one after the other with brief scenes that provide an insight into their lives, reaveling the highs and lows. It begins with a young woman performing an audition, tap-dancing in front of a judge and things do not seem to go well. Then a young couple enter an elevator and have a quarrel. An online celebrity struggles to get his work done. A woman trains hard in a gym, eager to lose weight. Two guys play football in a park. A guy is in an undergound train. Rather different activities involving people who appear to be unrelated to each other. 'Vamos Carajo' translates into 'Come On Damnit' and that appears to be significant towards the end. All the people mentioned above come from various walks of life, yet they all end up in the same bar, watching a football match, socialising, laughing and cheering. All the sequences that deal witheach one's circumstances are rather different from one another, with every person having their own problems and goals. And then, things become similar for all of them, as they find themselves at the same location and experiencing similar uplifting emotions and to make things even better, it is Christmas and there are Christmas trees to cheer everyone up. Hence, the title could suggest that people should be joyful because life is wonderful. Director Gupta also worked on the editing and does a great job, cleverly utilising match cut techniques. Composer Anuraj Bhagat makes a substantial contribution with the score, which includes jazz and uplifting piano melodies. And the addition of a well-known Christmas song is a significant plus. The main message of this short appears to be that no matter how different people's lives are, they can still be united by common things, and in this case, that thing seems to be joy, as (as the end reveals) it is joy that brings them together and helps them forget their troubles. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Horror returns to the big screen on May 17th with THE UNHOLY, starring Jeffrey Dean Morgan, Katie Aselton, William Sadler, Cricket Brown, with Diogo Morgado and Cary Elwes. . Brand new film trailers. The Unholy Trailer THE UNHOLY TRAILER AT CINEMAS MONDAY MAY 17 Horror returns to the big screen on May 17th with THE UNHOLY , starring Jeffrey Dean Morgan , Katie Aselton , William Sadler, Cricket Brown , with Diogo Morgado and Cary Elwes . To help prepare for the experience, Sony Pictures UK is pleased to make available the trailer , poster , and a set of stills from the film. Gerry Fenn (Jeffrey Dean Morgan), a disgraced journalist turned stringer-for-hire, of supernatural tabloid fodder, is sent to investigate a strange occurrence in a small farming community. A born skeptic, Fenn quickly dismisses the incident as just another benign story. But, before he writes it off as a hoax; Fenn witnesses a deaf, teenaged girl, Alice (Cricket Brown), whispering next to a petrified oak tree in the middle of a field. What follows, to his disbelief, is a series of inexplicable events that has the locals convinced Alice can perform miracles. When word spreads that Alice’s power to heal is attributed to the Virgin Mary, it fans the flames of curiosity from those near and far to witness the miraculous occur firsthand. As the hopeful masses descend upon this off-the-beaten-path town, Fenn sees this as an opportunity to redeem his reputation and resurrect his career. However, when a mysterious death befalls the church’s priest, Fenn believes that something more sinister is afoot. With the help of a local doctor, Natalie Gates (Katie Aselton), Fenn rushes to unlock the secrets of long ago to determine if Alice’s gift is divine or evil. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. 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.

Nathanial Eker writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Nathanial Eker Nathanial Eker is a film critic, filmmaker, and journalist based in Liverpool while working to gain his BA in Film and Creative Writing. His passion for film isn't restricted to one genre, though he has a soft spot for the black and white chillers of early Hollywood, as well as the entire filmography of Hitchcock. His analytical interest lies in the study of music in film, as well as the representation of minorities; he recently published a paper on the portrayal of disabled people in mainstream blockbusters. His personal favourite film is Ed Wood (1994, Tim Burton), though his geekier side hides a love for all things Marvel! Visit my personal website here: https://hollywoodandpixels.com/ Read Latest Film Reviews

Another day in Buenoseres film review by UK film critic Jason Knight. Starring Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere directed by Cameron Medford-Hawkins, Benjamin Scrase. HOME | FILMS | REVIEWS Another day in Buenoseres Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 23, 2023 Directed by: Cameron Medford-Hawkins, Benjamin Scrase Written by: Cameron Medford-Hawkins Starring: Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere A Wild West bounty hunter is assigned to go after a dangerous criminal. A man named Bishop (Riviere) has hired Iron Gus (Bailey), the fastest shooter around, to locate and eliminate Texas Red (McGillan), a loose cannon, murderous outlaw. Gus arrives at Buenoseres, where Red is believed to be, and enters a bar. After asking people for information and having a conversation with Widow (Shoniwa), a singer, Gus comes face-to-face with the wanted man and the fateful confrontation begins. This intriguing short has various elements that are associated with the Western genre. To begin, the scenery resembles the one that often serves as the background of such films, dry, desert-like landscapes and much of the narrative takes place inside a bar, an obvious replacement for the typical saloon. The costumes include cowboy hats and similar clothing and the plot involves the hero, a loner and gunslinger, pursuing the bad guy. Science fiction is also present, with a spaceship being used for travelling instead of a horse and several characters have supernatural powers that prevent people from moving and cause vein-like lines to appear on their skin. The mise-en-scene is a great aspect of the film and so are the characters. Iron Gus makes an interesting hero, a no-nonsense bounty hunter who does not fancy a conversation and Iron Gus is quite a character, the bad guy, a menacing, hatchet-wielding killer. Other supporting characters include a woman bouncer (Chloe Kelloway) and a bartender (Emile J. Clarke). The story itself is rather simple: the hero going after the bad guy, which is not a negative thing as it is a plot that creates suspense. Instead, the screenplay has more depth when it comes to the dialogue, especially the cat-and-mouse interaction between Gus and Red. The montage during the opening credits certainly succeeds in catching the viewer's attention. With superb editing by Scrase, it introduces the protagonists via title cards with stylised letters and it is accompanied by the wonderful song Railroad Tracks by Rob Crooks and Riviere. The whole thing is a joy to watch and it effectively sets up the atmosphere. Big commendations go to Scrase for the fantastic cinematography and visual effects, particularly during the scenes where characters utilise their powers. A lot of praise also goes to Imogen Bennett for the terrific costumes. The music is another plus, which sounds electronic and tense and the song Too Bold by Shoniwa was a good choice to end the film with. This is a Wild West story about the hunt for a criminal, murder and betrayal. The mise-en-scene stands out and so do the characters and the strong performances. The impressive creativity that was put into this project is evident throughout and the result is an entertaining and visually stunning viewing that effectively mixes the Western genre with sci-fi. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Watch The Night Out at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. The Night Out Listen to our review on the film podcast What our film review said: READ FULL REVIEW Fun and yet foreboding, The Night Out is a true example of excellent filmmaking within the short film genre. With the importance of young women being made to confront the dangers of the real world as they reach adulthood, this directorial debut by Jordan Burbank is sure to strike a chord with anyone who watches it. Proudly supporting MediCinema for our 2022 film festival.

VHSVID film review by UK film critic Chris Buick. Starring Alex Russi directed by Alex Russi. HOME | FILMS | REVIEWS VHSVID Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Oct 15, 2023 Directed by: Alex Russi Written by: Alex Russi Starring: Alex Russi After his last film school is unexpectedly left bankrupt from its own president’s embezzlement, a young student filmmaker determines to go it alone and create his own submission, both self-funded and self-made for the prestigious University of North Texas film program. VHSVID presents itself as a satirical look at the trials and tribulations of the filmmaking process, especially for new filmmakers with almost no resources and even less money. Getting actors to be in your movie, sourcing music, or even writing the damn thing, filmmaking is no mean feat. One must start by saying that writer/director Alex Russi is an aspiring filmmaker positively brimming with undeniable passion for his craft, which is evident with this project and should absolutely be applauded. Filmmaking isn’t easy, but Russi has the desire and enthusiasm to make it work. However, as this film stands, there’s a way to go yet. If VHSVID accomplishes anything, it does indeed prove just how painstakingly difficult the filmmaking process is, although it's unfortunate that the film itself, rather than its story, shows us that. VHSVID suffers from a severe lack of focus. Of course, one can forgive rough camera-work and poor lighting due to budget constraints all day long, but a decent, coherent and well-told story is essential. The film is littered with grating voice overs, quite often disturbing dialogue with a mishmash of silly voices and non-sequiturs very, very loosely connecting what are not so much scenes but more random streams of consciousness assembling something that could tenuously be considered a plot, and any of the more promising moments that could have shone or the jokes that could have actually been quite funny are weighed down by the rest and just don’t get off the ground. Unfortunately, it seems like a case of throwing mud at a wall and seeing what sticks. Apart from the steak gag, that was good. However, despite all that, there is somehow an undeniable charm that flows through the film, and despite everything, one might just find themselves rooting for Alex all the way to the end. The fact that the film references Stand By Me (one of the greatest films ever made) might be a factor for me, but despite a lot of rough misses in this eccentric twelve-minute scramble, Russi, it has to be said, undoubtedly has a distinct voice, a clear sense of humour and a unique and unabashed way of storytelling meaning that with time and experience and FOCUS, they could probably make themselves a half decent filmmaker one day. While VHSVID doesn’t hit the mark here, Russi clearly has a passion for filmmaking which one hopes can and will be honed with time. With a more focused and contained approach to storytelling, as well as executing fewer ideas with greater attention, it could be sooner rather than later. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

DIG film review by UK film critic Jason Knight. Starring Susan Sims, Sophie Clifton directed by Gary J Hewitt. HOME | FILMS | REVIEWS DIG Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Dec 1, 2022 Directed by: Gary J Hewitt Written by: Gary J Hewitt Starring: Susan Sims, Sophie Clifton A woman is digging at a beach, searching for something very special. A woman (Sims) arrives by car at a desserted seashore and proceeds to walk towards the sea. She has brought a spade with her, with which she begins digging in the sand. She is obviously looking for something, as she ends up digging multiple holes because she cannot remember where exactly what she wants is buried. Eventually, it becomes apparent that she is there due to a devastating event. This short drama begins with the protagonist arriving at the beach, without providing explanations ragarding what she is up to. As the story progresses, more and more clues come to light through a series of flashbacks that alternate with the present scenes of the woman digging. These flashbacks show the woman happily spending time on the same beach with her daughter (Clifton) and burying a metal box, before filling it with belongings of sentimental value. The woman has decided to retrieve that box and her reasons are heartbreaking. This is a very sad story that is basically the aftermath of a tragedy. It centers on a person whose life has been deeply affected by a terrible event and wants to do something in order to make things better. From the beginning, it is indicated that something is not right, as she parks illegally then a few drink cans fall out of her car and she does not seem to care. She is focused on finding the box and she appears to be upset. The ending, where all questions are answered, will most likely touch the viewer's heart. Hewitt directs superbly and creates some fantastic establishing shots and the addition of David Donaldson's terrific cinematography makes them look even better. Liam MacLean makes a great contribution with the dramatic score that develops a melancholic atmosphere. With limited dialogue and a strong performance by Sims, this film tells an emotional story about loss and grief and raises awareness of hate crimes. It is a memorable viewing due to the plot and the messages that it carries and it ends up having quite a sentimental effect on the audience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Q&A film review by UK film critic James Learoyd. Starring Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey directed by Jack McLoughlin. HOME | FILMS | REVIEWS Q&A Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 19, 2025 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey Jack McLoughlin’s acidic new comedy Q&A is a force to be reckoned with. Shot with a multi-camera setup to replicate the scenario of, perhaps, a live broadcast, the audience bears witness to a question-and-answer presentation with a celebrated actor which will soon take a disastrous turn. When one aspiring actor wishes to ask the famous attendee a question, this aspiring performer reveals – rather dramatically, though slightly predictably based on the size of his coat – a bomb strapped to his chest. He proceeds to break down and confront the casting director about his lack of success in the industry despite seemingly empty promises. It’s tense stuff, well observed and, through its ridiculousness, occasionally quite amusing in a perceptive, uncomfortable sort of way. But the piece is made not only watchable but engaging through its execution (over its base concept). It may have a provocative screenplay, but the film’s ideas and conflicts are held together completely by the superb performances across the board. To its strength, this very much feels like a piece of drama made through collaboration, despite only having a single writer/director credit. I commend director McLoughlin on making it feel as creatively multifaceted as it does, since they clearly constructed a space in which each and every performer can bring a lot of individuality to the dialogue and acting styles. And yet it all remains utterly consistent and never goes off the rails. Every individual featured in this film knows precisely where to pitch their performance at – how big or small to go; how absurd or grounded. Much of the joy of this film comes from focusing in on the nuances of their behaviour since there's strong realism to it all. Quite an unusual quality for a short film. The fact that Q&A is shot as if simply to document this live event really lends this one extended scene a unique feel. One advantage of this is that we get to view the actors’ unbroken interactions. It’s much more like theatre in that manner – reliant less on aesthetic or cinematic devices and more on our engagement with character. However, if you don’t find this scenario engaging, one can imagine critics going to blame the form for any shortcomings. After all, without conventional visual storytelling, we’re not given emotional cues by the camerawork. Decidedly, this is meant to be a much more Brechtian exercise – and even if it is a comedy of sorts, it’s a smartly objective one. Q&A strikes the perfect balance of tone. Were the tone to be completely outrageous and satirical in its comedy, the audience wouldn’t buy into the threat, intensity and quite scathing indictment of both the entertainment industry as well as the fragile, shallow egos of many who attempt to break into it. And on the flip side, if the piece were completely self-serious, audiences may risk finding the narrative to be more unpleasant than it is conceptually interesting. Overall, you can expect both enrapturing drama and subtle humour from this well-observed deconstruction of stardom. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Rickshaw film review by UK film critic Joe Beck. Starring Charles Patel, Vidisha Khandelwal directed by Shourya Kumar Lal. HOME | FILMS | REVIEWS Rickshaw Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 3, 2023 Directed by: Shourya Kumar Lal Written by: Shourya Kumar Lal, Rachit Verma Starring: Charles Patel, Vidisha Khandelwal Love is often found where we least expect it. Be it the girl you once sat next to in history class, or the person you see everyday filing paper in the office, or maybe it’s simply a chance encounter as you both make your way to school, college, or work. Such is the case with ‘Rickshaw’, a short film, which focuses more on the construct, the idea of love, rather than love itself, and how this can differ between different people. This should provide firm grounds for a strong, potentially heartbreaking story, however, instead the film is poorly written and melodramatic in its romance, leaving much to be desired. ‘Rickshaw’ follows Kartik (Charles Patel), as he reminisces on a spell of unrequited love for Meera (Vidisha Khandewal). Kartik, sat on a storage container on a lonely evening with his friend as they look over the city of New Delhi, lays out what he believes to be love, and the reason why he was unable to pursue his love for Meera. The majority of the film takes place one year prior, as Kartik and Meera develop their bond frothier first meeting, which, as the title would suggest, takes place as they jostle for a rickshaw en route to their respective colleges. Ultimately agreeing to share the rickshaw, this is a painful scene to watch. The writing is so obviously scripted that nothing is surprising, whilst the slow motion, beam of light that shines on Meera is almost sickening in the lack of creativity involved in creating this meet cute. It is a shame because following the meet cute, Shourya Kumar Lal’s directing only grows in strength. Filming on an iPhone 14 Pro, as Kartik and Meera wander around parts of New Delhi - though crucially only those roads surrounding their respective colleges, Kumar Lal’s skill behind the camera means that you cannot tell this fact. The film is generally well framed throughout and at times aesthetically beautiful, particularly in one awe-inspiring shot towards the end. However, consistently throughout the strength of his directing ability is undermined by the weakness in the film’s writing. Also written by Shourya Kumar Lal, the script is at first all too obvious, particularly during Kartik’s reminisces and the early moments between Kartik and Meera - including those involving Kartik hanging around the rickshaw stand in the hope of seeing Meera again (whether this is creepy or romantic is open to the viewer’s interpretation). Later, however, it becomes too pedantic in explaining the reasons why they could not work out together, although through such pedantic, melodramatic writing, a mountain is made of a molehill and Kartik comes across as a fool rather than the noble stoic that you feel Kumar Lal was trying to paint him as. The overall lingering sense of melodrama isn’t helped by the soundtrack, consisting of cringe-inducing stock music, which further undermines the talent involved in the directing and only further emphasises the weaknesses in the writing, ultimately leading to a disappointing story of ill-fated love. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph.. Brand new film trailers. The Debut At UK Film Review , we are perpetually drawn to cinema that takes a seemingly mundane slice of life and peels back the layers to reveal something raw, intense, and psychologically gripping. When A24 released the official trailer for The Debut , it instantly catapulted to the very top of our most-anticipated list. Setting a psychological drama within the pressure-cooker environment of New Jersey community theatre is an inspired choice. Based on this magnificent first look, the film promises to be a masterclass in tension, identity, and the intoxicating, sometimes destructive nature of artistic ambition. The narrative introduces us to Mona Friedman, a seemingly unassuming woman whose family views her as someone who "doesn't do anything anymore." But Mona is full of surprises. Looking for a spark, she auditions for a musical show, stepping onto a stage for the first time since her church choir days. The catalyst for the film's unfolding drama is Jerry, described as the biggest name in regional amateur dramatics. Jerry is brilliant, demanding, and explicitly "not here to be your friend." When Mona unexpectedly lands the role of Miss Danielle, she enters a theatrical boot camp designed to test, push, and drag her through the mud. What makes The Debut look so utterly compelling is its exploration of the actor’s psyche. We watch as Jerry subjects Mona to intense, almost adversarial directing methods—demanding she deliver lines without blinking, clearing the room to isolate her, and breaking down her emotional defenses. The trailer brilliantly captures the toxic yet seductive dynamic between an uncompromising mentor and a desperate student. Jerry's goal is to knock Mona off her wall, shatter her baggage, and put her back together as something extraordinary. It’s a classic thematic battleground, reminiscent of Whiplash , but transposed to the unique, insular world of local stage productions. A24’s signature atmospheric dread is all over this preview. The cinematography shifts beautifully from the flat, domestic beige of Mona's home life to the stark, shadow-drenched geometry of the rehearsal stage. As Mona sinks deeper into the role, the boundaries between the actress and the character begin to blur. When asked what wearing the mask of Miss Danielle feels like, Mona answers with a chilling sense of liberation: "I could do anything. I could say anything." It’s a line that hints at a profound and potentially dangerous psychological transformation. Ultimately, The Debut looks to be a thrilling exploration of the lengths to which ordinary people will go to feel extraordinary. Mona’s final declaration—that when the lights are on her for opening night, she is going to shine—leaves us with goosebumps. It is a declaration of self-actualisation that feels equal parts triumphant and terrifying. UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. 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.

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