Tropical Night film review by UK film critic Jason Knight. Starring Kate Chan, Sebastian Law, Lucia Tong, Annie Long directed by Sebastian Li. HOME | FILMS | REVIEWS Tropical Night Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 3, 2022 Directed by: Sebastian Li Written by: Yuan Xu, Noemi Korn, Sebastian Li Starring: Kate Chan, Sebastian Law, Lucia Tong, Annie Long A short film about the world of webcam girls. Jo (Chan) is an Asian student who lives with her mother (Tong). After her friend Alvin (Law) informs her about a website where women offer services as cam-girls in return for financial rewards, she decides to have a look and find out more about it. This interesting drama offers an insight into life as a webcam girl and investigates online socialising in general and it is also a coming-of-age story. The film begins with a computer screen containing an online conversation between Jo and Alvin, with browser windows that contain their characters as they are being filmed by webcams. The narrative then moves on to a conversation that Jo has with her mother while sitting at a table and eating. After that, Jo looks into the adult website, curious to see what camming is all about, which takes up approximately half of the film's duration. The screenplay focuses a great deal on the cam-girl universe and social media and the majority of the image is set on a computer screen. Jo spends a lot of time observing a webcam girl named Stacie (Long) and asks her questions regarding why she does that type of work and generally what it is like making a living as a cam-girl, while other users just flirt with her. Stacie is friendly and appears content with her decisions. The story does not focuse solely on how people utilise social networking services, as it explores Jo's family life, which is experiencing difficulties due to her father's absence and her mother is eager for her to find someone and be settled for life. The plot also involves an Asian King whose concubine has just been released from prison. The acting is good and Chan is convincing as a schoolgirl who is reaching a point in her life where she has to make decisions for herself. Tong is emotional as a mother who wants her daughter to live a comfortable life. The filmmakers effectively use webcams and social networking services in order to tell a story and the romantic song that is heard during the webcam girl part was a good choice. This short explores family values and looks into the world of camming. Focusing on interesting themes and utilising creative filmmaking techniques, this achievement offers a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

No Distinction In You And Me film review by UK film critic William Hemingway. Starring Madelon Schoenmaker, Anwar Lachman directed by Roman and Florian de Rijk. HOME | FILMS | REVIEWS No Distinction In You And Me Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 21, 2023 Directed by: Roman and Florian de Rijk Written by: Roman and Florian de Rijk Starring: Madelon Schoenmaker, Anwar Lachman Just to avoid any confusion or conflation with current events it’s probably best to say from the start that short film, No Distinction In You And Me from Dutch brothers and co-filmmakers, Roman and Florian de Rijk was shot in 2017 and completed in 2020. The fact that the film has suddenly become a whole lot more relevant, as well as seemingly prescient, will hopefully allow it to now reach a far larger audience and take with it its positive message of humanity, acceptance and understanding to the wider world. Beginning with a short poem and a long title inspired by the words of Rumi, No Distinction In You And Me is selling us on the idea that we are all the same, that there is no difference in our ethereal identity, and any pain done unto others is merely pain done unto ourselves. The illustration of this presented by the de Rijk brothers is that of a war zone, of rubble strewn rooms and blasted in windows. An unnamed female soldier enters the scene clad in bomb-proof gear which bears no insignia, symbol or flag. She surveys the devastation and loses herself to thought, arranging fallen shards of glass into memories, believing herself to be alone until a Muslim man emerges from the surrounding debris. The man only wishes to lay out his mat and pray but he is immediately met with distrust, hostility and a gun in his face. There are obvious parallels to be made with what is happening in the world right now, but it was a smart decision from the filmmakers to keep the allegiances of the soldier nameless, so that any false parallels could not be drawn to serve one cause or another. It is the overarching idea of No Distinction In You And Me that unity should conquer all and the feeling of the whole production is geared towards bringing this across to the audience. A beautiful score from Xander Slikker and violinist Kirsten Timmerman guides us through the tragedy towards hope and humanity with its light and beautiful tones, while the photography from Ruben de Boer keeps things personal and real up front yet expansive and ethereal outwith the scene. The silent performances from Madelon Schoenmaker and Anwar Lachman are understated yet powerful and everything is brought together solidly by the de Rijk brothers, who seem to have achieved what they set out to create. At only six-minutes long, No Distinction In You And Me is a glimmer of light in a chasm of darkness. Its themes, ethos and energy revolve around a desire for togetherness and it looks to share a commonality of all peoples with its audience. With all that’s taking place in the world at the moment it’s nice to hear a voice of hope and unity, one which isn’t preachy or judgemental, but which treats its audience with the same care and attention as it gives to its themes and its characters. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release, 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. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Mother, May I? film review by UK film critic Hope Madden. Starring Kyle Gallner, Holland Roden, Chris Mulkey directed by Laurence Vannicelli. HOME | FILMS | REVIEWS Mother, May I? Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 20, 2023 Directed by: Laurence Vannicelli Written by: Laurence Vannicelli Starring: Kyle Gallner, Holland Roden, Chris Mulkey I’m a Kyle Gallner fan. I’ve always appreciated his work, but Dinner in America sealed the deal. Always on board for a new Gallner-led horror flick, I was cautiously optimistic about Mother, May I? Gallner is Emmett. Having just inherited a gorgeous old farmhouse from his estranged mother, Emmett and his fiancé Anya (Holland Roden) face some demons and a lot of packing if they’re going to have the house ready for the realtor. And even if the film seems familiar on its surface, there’s something so weird going on underneath. Writer/director Laurence Bannicelli’s thriller feels like a premise born of either a therapy session or a bad relationship – or, more likely, a bad relationship born of group counseling. The film swims in the vulnerability those in therapy contend with as they have faith in their therapists, or those wielding the same tricks and terminology, while they try to overcome their issues and/or childhood trauma. Emmett, you see, barely even remembers this house because his mother abandoned him. Or did she? Because Anya – who transforms from bohemian poet to pristine, controlling matron overnight – keeps suggesting he doesn’t know everything he thinks he knows. But how could she know? Bannicelli introduces a parlor trick/therapy game early in the film where Emmett and Anya role play each other. It’s Anya’s way of forcing Emmett not to close her out, although it immediately reads as needy, smothering and controlling. But Emmett doesn’t even know what he’s in for. Often in these possession/haunting films you can’t help but wonder why so much time lags, why so few questions are raised, why everyone is so willing to quietly accept the weird behavior. Bannicelli and sets us up to believe while Gallner and Roden keep our faith alive. She creates to distinct and recognizable characters, and his reactions to each is unnerving and raw. There’s a grand total of 5 people in the cast, which suggests a Covid production (or at least a production very savvy about its budget), but you don’t feel it. It’s a gorgeous film, the exteriors the kind of “middle of nowhere” that does not feel foreboding. It feels like an invitation to peace, which is in keeping with the tension just below the surface for these two characters who cannot truly face their own reality. Not everything works as well, though. However welcome veteran character Chris Mulkey may be – and he’s just as solid as ever – the character itself is the cliché stranger who can explain it all. And though the climax is powerful, the resolution feels a bit like a cynical joke. It’s not enough to ruin this clever, odd duck of a thriller, though. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Road Back film review by UK film critic Patrick Foley. Starring Tyler Joseph Cricchi directed by Daniel Castillo. HOME | FILMS | REVIEWS The Road Back Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Mar 18, 2025 Directed by: Daniel Castillo Written by: Tyler Joseph Cricchi Starring: Tyler Joseph Cricchi In The Road Back , rapper Cricchi paints an emotional story of a man trying to rebuild his life after being sent to prison. A simple but well-delivered music video accompanies personal, moving lyrics to a song inspired by its creator’s real experiences. The video features Cricchi performing his song on a vibrant rooftop overlooking a city backline – sacred ground for heartfelt, rags-to-riches rap. Interspersed with the performance is footage of Cricchi’s story of homelessness, prison and drug addiction – before a recovery to the man he is today. The tone of both video and song is optimistic, even with the heavy subject matter, with a stated aim to help those who are in a similar boat. Truthfully there isn’t anything revolutionary in the production of The Road Back . The video covers ground personal to the performer, though it must be said that it is a (sadly) common enough journey to have been addressed in rap videos before. The settings of prison cell, suburban streets and sunset-rooftop also feature in more music videos than mid-2000s Ludacris, so genre fans will feel cosy in their surroundings. But no envelopes are at risk of being pushed. Whilst originality is in short supply, quality is not. The video is crafted and considered. The streets Cricchi walks bursting with life and authenticity to deliver a real sense of background to his story. The rooftop sequences allow for some experimentation with lighting – a jump between day and night shots in this setting acting as an interesting visualisation of the dark and light sides of his personality. The prison scenes are a little less inspired and lack the same dynamism as the rest of the video, unintentionally echoing the impact prison itself can have on an individual’s life. Cricchi’s performance throughout is natural, emotive and raw. The rapper has spoken about his aim to act as an inspiration through art and to act as a voice for the broken, and that aim is successfully achieved through both words and performance here. It takes courage to lay out ones’ failings and retrace old missteps, and Cricchi does so without feeling the requirement to implant false bravado or toughness. The Road Back is an effective if not outstanding music video, ticking all the boxes required of it and making sure its message lands with impact. The real boldness is in its accompanying song and the personal lyrics of its artist, with the video a vehicle for their delivery. In this it succeeds in allowing the artistry to shine. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release, Music Video < All Reviews Next Film Review >

The Woman In The Window: Coming to Netflix 14 May 2021. Watch The Woman in the Window Trailer.. Brand new film trailers. The Woman in the Window Trailer The Woman In The Window: Coming to Netflix 14 May 2021 Anna Fox (Amy Adams) is an agoraphobic child psychologist who finds herself keeping tabs on the picture-perfect family across the street through the windows of her New York City brownstone. Her life is turned upside down when she inadvertently witnesses a brutal crime. Based on the gripping, best-selling novel and adapted by Tracy Letts, shocking secrets are revealed and nothing and no one are what they seem in this suspenseful psychological thriller starring Amy Adams, Gary Oldman, Anthony Mackie, Fred Hechinger, Wyatt Russell, Brian Tyree Henry, Tracy Letts, Jennifer Jason Leigh, and Julianne Moore. Find out more here - http://www.netflix.com/TheWomanintheWindow Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Being the Ricardos film review by UK film critic Hope Madden. Starring Nicole Kidman, Javier Bardem, JK Simmons directed by Aaron Sorkin. HOME | FILMS | REVIEWS Being the Ricardos Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Dec 7, 2021 Directed by: Aaron Sorkin Written by: Aaron Sorkin Starring: Nicole Kidman, Javier Bardem, JK Simmons Nicole Kidman does not look like Lucille Ball. Javier Bardem does not look like Desi Arnaz. You’ll forget that not long into Being the Ricardos , a change of pace for writer/director Aaron Sorkin. Sorkin’s biopic shadows the couple through one particularly tumultuous week in their lives as a married couple as well as TV superstars. Kidman has the voice, the attitude, and the wearied wit to bring Lucille Ball to life. Her brittle, believable turn grapples with the pressures of being Hollywood’s most bankable comic genius. Lucille Ball was the biggest TV star on earth, a massive moneymaking machine whose eye for physical comedy and ear for lazy comic riffs elevated content and deflated co-stars and co-workers. Kidman plays a boss pretending not to be the boss and bristling at the compromise. Those populating the soundstage and writers room around her — Nina Arianda, Tony Hale, Alia Shawkat and a bland Jake Lacy — create a fractured work dynamic looking to collapse under this particular week’s unprecedented pressure due to a leaked news story about Lucy. Besides Kidman, the two big standouts are not surprising. JK Simmons, who’s never turned in an unremarkable performance in his life, wrestles with a character who would be easy to dismiss or despise. In the veteran’s hands, though, William Frawley (I Love Lucy ’s Fred Mertz) is the tender, well-meaning if wrong-headed voice of the times. Bardem oozes charm, charisma and aptitude as Ball’s under-regarded husband. Vanity and vulnerability roil quietly, almost out of sight, and Bardem’s chemistry with Kidman sparkles. Being the Ricardos is not funny, and it’s hard to fathom a film about Ball that isn’t at least incidentally funny. But let’s be honest, comedy is not really Sorkin’s bag. The way he looks at success, particularly for a woman at this time period, is as smart as anything he’s done. Sorkin reins in his characteristic rat-a-tat-tat hyper-intellectual dialog just enough to let characters be human. Their on-screen personas meet their off-screen realities in a way that allows a firmly remarkable cast to deliver twice the goods. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Hannah Sayer writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Hannah Sayer I am in my second year of studying English Literature at Royal Holloway University of London and I’m passionate about all aspects of film, television, theatre and art. I am still trying to figure out what I want to do when I graduate, but writing for UK Film Review has been great for improving my writing style and I’ve been able to see some really good and interesting independent films I otherwise wouldn’t have got the chance to see. I’ve always been interested in all different genres of film and how they are made, so being a film reviewer has been perfect in getting some of my own knowledge out there from reading countless editions of Empire and Little White Lies. Some of my favourite films are Blue Valentine (2010), Rebecca (1940), American Beauty (1999), The Piano (1993) and anything directed by Christopher Nolan, David Fincher and Nicolas Winding Refn. Read Latest Film Reviews

The Whip film review by UK film critic William Curzon. Starring Shian Denovan, Gala Wesson, Tom Knight directed by Christopher Presswell. HOME | FILMS | REVIEWS The Whip Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Oct 16, 2025 Directed by: Christopher Presswell Written by: Forgács W. András, Christopher Presswell Starring: Shian Denovan, Gala Wesson, Tom Knight The Whip is a micro-budget British political heist thriller set in the post-Brexit era. Following a full-time carer, Sadie (Shian Denovan), who plots a heist from the Houses of Parliament, to thwart welfare reforms such as Independence Credit. The film is a scathing indictment of the current British political landscape and how it mistreats the lower class, particularly individuals with disabilities. The narrative employs a slow-burning approach to establish the plethora of characters which are introduced throughout. While taking its time to develop its characters is integral to the planning of the heist and myriad of themes it explores, the dialogue sadly gets bogged down in expository territory, which impacts the pace throughout the first quarter of the runtime. Forced and cringe-inducing dialogue is unfortunately also present throughout when characters are convincing others to partake in the heist, which may leave a sour taste in the audience's mouths. Thanks to the tight runtime, the piece feels less bloated, and once the titular heist comes into fruition, the investment and tension rise significantly. This is also helped by the editing, which is impressive and frenetic as it seamlessly transitions into scene changes. The chemistry-laden cast also engages you further as a viewer due to their endearing qualities, keeping the set-up compelling. Thankfully, the piece provides a profound level of empathy for lower-class individuals and is topical for audiences around the world, unaware of the political state of the United Kingdom. The piece also tackles a satirical edge by mocking the government comedically, and this ties commendably into the comedic banter of the group that participates in the heist plan. While the performances are serviceable for the plot, the main standouts are Shian Denovan and Meg Fozzard, who portrays Sadie’s sister Emily. Their relationship is astoundingly profound and heartwarming thanks to their magnetic chemistry and love for one another, which elevates the emotional resonance. Sadly, the filmmaking throughout the first half is somewhat unengaging, as the camerawork does not do anything groundbreaking outside of the aerial shots, which showcase central London as its own character. On the other hand, the construction of the heist is impressive thanks to seamless, quick cuts within the meticulous planning of pulling off the job. However, the use of shaky cam while tracking the characters is a detriment due to the lack of tension built up, and the final set piece feels rushed, with it being shoehorned in so close to the conclusion of the narrative. The musical score is low-key and amplifies the apprehension of the heist planning with its rhythmic tone constantly pervading sequences of dialogue. The culmination of the heist is satisfying and makes the steady build-up feel earned, and the overall payoff of the conclusion of the narrative is satisfying as a viewer, thanks to the central characters being provided emotional closure in their respective arcs. The Whip is a politically charged piece with its heart in the right place, tackling themes of greed within the systematic schemes of the British government while showcasing empathy for the lower class. It may suffer from sluggish pacing issues in the first quarter of the runtime; however, the tightly managed runtime helps the experience feel less bloated, and the performances from Shian Denovan and Meg Fozzard are an utter delight to behold. Buy UKFR Banner Space About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Havoc film review by UK film critic George Wolf. Starring Tom Hardy, Timothy Olyphant, Jessie Mei Li directed by Gareth Evans. HOME | FILMS | REVIEWS Havoc Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 25, 2025 Directed by: Gareth Evans Written by: Gareth Evans Starring: Tom Hardy, Timothy Olyphant, Jessie Mei Li If you’ve seen The Raid or The Raid 2 , you’re plenty familiar with the Gareth Evans brand of Gun Fu. With Havoc , he brings the same breakneck blood sport to Netflix. And by the time he’s done, you’ll be amazed none of that splatter got on your sofa. Expect violence, turned up to eleven. Tom Hardy takes the lead as Walker, a hardened detective in a seedy, unnamed metropolis. It’s clear Walker has taken part in his share of dirty dealings, and he’s looking for a way to finally get clear of owing local politician Lawrence Beaumont (Forest Whitaker) anything at all. Walker gets his chance when Beaumont’s estranged son Charlie (Justin Cornwell) is part of a drug deal gone way wrong, and quickly earns a death sentence from a vengeful crime lord. If Walker can get Charlie out of the city alive, all debts to Daddy Beaumont will be settled. His forthright partner Ellie (Jessie Mei Li) brings the integrity Walker gave up long ago, and together they sort through increasing levels of goons, guns and corruption to complete the mission. Yes, levels. Yes, like a video game. Writer/director Evans is careful to craft the setting as a familiar but ambiguous cesspool where escape will only be possible via wave upon wave of martial arts homages, frenetic camerawork and relentless bloodletting. When it doubt, keep shooting. Does it get ridiculous? Damn right it does, but Hardy keeps it grounded in anti-hero righteousness, a game supporting cast (including the always welcome Timothy Olyphant and Obstacle Corpse standout Gareth Tidball) fleshes out all the edges, and Evans brings the visual calling cards that anchor a savage ballet of bullets. Is Havoc deep? Not at all. But does it hit the target? Yes it does, and anything else that might be in the vicinity. Buy UKFR Banner Space About the Film Critic George Wolf Netflix < All Reviews Next Film Review >

Chad Faust’s directorial debut feature GIRL tells the story of a young woman who returns to her small hometown intent on killing her abusive father only to discover someone murdered him the day before. . Brand new film trailers. Girl Trailer ON DIGITAL DOWNLOAD 31 MAY 2021 Written and Directed by CHAD FAUST Produced by THOMAS MICHAEL , SARA SHAAK and SHAYNE PUTZLOCHER Starring BELLA THORNE (ASSASSINATION NATION , MIDNIGHT SUN ), MICKEY ROURKE (THE WRESTLER, IRON MAN 2 ) & CHAD FAUST (BILLIONAIRE BOYS CLUB ) Chad Faust’s directorial debut feature GIRL tells the story of a young woman who returns to her small hometown intent on killing her abusive father only to discover someone murdered him the day before. As she searches for answers, she uncovers a family legacy more dangerous than she ever imagined. Starring Bella Thorne, Mickey Rourke and Chad Faust , GIRL will be released in the UK and Ireland on digital download from 31 May 2021 . ‘GIRL’ IS AVAILABLE ON DIGITAL DOWNLOAD FROM 31 MAY 2021 Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

CATACLYSM film review by UK film critic William Curzon . Starring Brigitta Egyed directed by Marcell Betlej. HOME | FILMS | REVIEWS CATACLYSM Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 24, 2025 Directed by: Marcell Betlej Written by: Marcell Betlej Starring: Brigitta Egyed CATACLYSM is a cinematic music short piece, a passion project born from the idea of the writer, director, and producer, Marcell Betlej. The filmmakers aimed to create a piece that bridged the worlds of surrealism and grounded reality through the mediums of dance and music. Marcell Betlej wanted the visual storytelling of the video to remain separate from being described as a music video to accompany the producers of the music and, preferably, to have its own singular directorial vision. It's evident from the awe-inspiring opening wide shot of the sky with the clouds in the centre that there is a distinct vision the filmmakers clearly aimed to set out. This is a jaw-dropping formal decision, and the cinematographer Milán Maruszki clearly has a keen eye for spectacle and drawing an audience into a piece of filmmaking from the landscapes alone. While the majority of the runtime consists of fixed camerawork, the delivery of extreme close-ups and the shallow depth of field is effectively implemented, although sometimes over-relied upon. The shifting aspect ratios can become jarring; however, they are an effective tool that anchors the frenetic edit from Marcell Betlej. This ultimately makes the experience pulse-pounding, accompanied by some pulsating music that works alongside the VFX. Visually, the piece at times feels claustrophobic with its use of surrealism and the incredible fantastical elements that close in on the central characters' dance choreography. Even with its minimal budget, the VFX are genuinely fantastic. Brigitta Egyed's dance choreography is breathtaking and consistently engaging to witness, thanks to Egyed’s committed central performance that never lets up until the end of the piece. However, it can become repetitive after a while and grating towards its conclusive moments thanks to a lack of thematic prowess visually. While its heart is clearly in the right place with the profound passion that lingers behind and in front of the camera, the piece sadly fails to elicit anything that is thought-provoking outside of its camerawork and central performance. Creating a bridge that blurs the line between the ‘world of unseen’ and grounded reality is an interesting concept on paper; however, the short-lived runtime and lack of visual symbolism make the whole experience feel undercooked and diminish its staying power after its conclusion. Perhaps tying the thematic nature of the music more with the visual flair could have anchored its symbolism and made the experience ultimately more rewarding. The conclusion to the piece also wraps up abruptly and, unfortunately, doesn't showcase anything that is momentous outside of its ambitious offerings formally. However, as a debut project, it's still an exciting piece of work that displays Marcell Betlej’s technical prowess and leaves the door open for more compelling work from him down the line. CATACLYSM is an ambitious independent offering from Marcell Betlej that demonstrates an exciting new voice, as his expertise as a writer, director, and editor is truly splendid. His commitment to perfecting the dance choreography is also commendable alongside Brigitta Egyed. It may suffer from offering fairly minor metaphorical symbolism outside of blurring the line between the ‘world of unseen’ and grounded reality, and tedious imagery. However, Brigitta Egyed’s dance performance is electrifying, and it boasts some astounding VFX along the way, even with its shortcomings. Buy UKFR Banner Space About the Film Critic William Curzon Short Film, Music Video < All Reviews Next Film Review >