Student film reviews written from schoolchildren in the UK. Reviewing movies for UK Film Review. Student Film Reviews Here at UK Film Review, we like to do two things - promote the movies of filmmakers, and promote the film reviews of the people who love watching movies. This includes filmmakers from across the globe, and writers from across the UK. A hobby for some, a passion for others, film reviews can do more than just tell you whether a movie is worth seeing at the cinema. Film reviews are all about exploring the tireless efforts of a filmmaking team, who have worked, collaboratively, for months or years on a project in order to present it to an audience. Such efforts deserve us really delving into them, discussing the elements which worked for us, and those which didn't. Film reviews are also not about ignoring all other opinions. In fact, a room of 20 people all watching the same movie will more than likely have 20 different opinions about that film. Which is not to say any of them are right or wrong...after all, film reviews are just opinions! Below you will find one of our favourite Student Film Reviews which was submitted to UK Film Review for analysis. If you are looking to improve your film reviewing skills, check out this eBook from our Editor-in-Chief Chris Olson who has given his 9 Top Tips for Aspiring Film Critics. 9 Top Tips for Aspiring Film Critics £1.99 Price BUY NOW Are you running a student film reviews project and would like UK Film Review to be involved? Our Founder and Editor-in-Chief Chris Olson has run numerous student film review workshops with UK schools and film societies to help promote film criticism. These involve: - Video (Remote) Workshops - Q&A - An Introduction to Film Criticism - Film Reviewing Top Tips - Publication for Competition Winners Get in touch by clicking the button below to find out more about our student film review workshops . GET IN TOUCH Film Reviews Workshop We offer a unique selection of Film Reviews Workshops for schools across the UK and internationally. These workshops are intended to engage students who have a passion for film and writing, as well as provide schools with a fantastic addition to their curriculum. Hosted by our Editor-in-Chief Chris Olson with 14 years experience as a film critic and journalist, the Film Reviews Workshops include the following benefits & features: A background exploration of film criticism in the UK Professional guidance on how to write a film review Top tips to improve the student's writing skills Q&A with a film critic* In-person workshop hosted at your school* *package dependent Pre-Recorded Workshop 7-Day Access to a pre-recorded workshop from UK Film Review £75 Remote Workshop Video call workshop with a UK Film Review Film Critic (30 mins - including Q&A) £240 In-Person Workshop A film critic will visit your school for an in-person film reviews workshop (1.5 hours) £750 - for London / Contact for other locations GET IN TOUCH

Springsteen: Deliver Me From Nowhere film review by UK film critic George Wolf. Starring Jeremy Allen White, Jeremy Strong, Paul Walter Hauser directed by Scott Cooper. HOME | FILMS | REVIEWS Springsteen: Deliver Me From Nowhere Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 23, 2025 Directed by: Scott Cooper Written by: Scott Cooper, Warren Zanes Starring: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser My sister-in-law Ellen still tells the story of when she bought Bruce Springsteen’s new album Nebraska in 1982. She was a college student, and was ready to rock out in her dorm room with the guy who was coming off the top ten singalong smash “Hungry Heart.” What she got was a collection of stark, acoustic songs about murder, desperation and dead dogs. Not much to dance to. Why would a rock star on the verge of global superstardom make such an unexpected move? Writer/director Scott Cooper explores that question with Springsteen: Deliver Me From Nowhere , a heartfelt and emotional story of a man caught between the echoes of his past and the promise of his future. Jeremy Allan White is sensational as Bruce. The look is right, and White’s playing and singing often get eerily close to the real thing. But even more than that, White captures the tortured soul of a rising phenom seemingly terrified of the success he knew was suddenly within his grasp. Adapting Warren Zanes’s 2023 book, Cooper revisits some themes from his Oscar-winning Crazy Heart and makes the film a collection of small moments that capture a pivotal snapshot in the life of a living legend. And none of it pushes too hard. Glimpses of a Flannery O’Connor book, the movies Badlands and Night of the Hunter , and the Suicide song “Frankie Teardop” quietly tell us much about Bruce’s inspirations for the album. Black and white flashbacks to Bruce’s childhood with a troubled father (Stephen Graham) and a protective mother (Gaby Hoffmann) take a similarly understated approach, effectively layered as the lingering memories they were. Bruce’s relationship with fictional girlfriend Faye (Odessa Young) begins as an awkward choice amid all this attention to detail, but the device ultimately gives us some insight into his fear of any happiness he felt was undeserved. Lighter moments do come, almost always with the reactions to Bruce’s new direction. Manager Jon Landau (yet another terrific supporting turn from Jeremy Strong) gently tries to steer him toward the songs that would become Born in the U.S.A ., while a record exec (David Krumholtz) throws up his hands in exasperation. And through it all, everyone (including Marc Maron as longtime engineer Chuck Plotkin) keeps wondering where the case is for Bruce’s cassette of homemade demos. Bruce fans know well that those demos became the album, one now regarded as a seminal statement of untold influence. Those longtime followers will appreciate Cooper’s respectful approach that doesn’t feel the need to explain who people like Jon Landau are and where they fit in. Because even for people who haven’t listened since 1982, Deliver Me From Nowhere presents a richly satisfying story of inspiration, artistic passion, and finding an inner peace that has long eluded you. And yes, there’s a bit of “Born to Run” in here, too. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Blunt Force film review by UK film critic Joe Beck. Starring Karsten Tate, Brooks Ryan, Israel Alexander directed by Elijah Bigler. HOME | FILMS | REVIEWS Blunt Force Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Apr 22, 2025 Directed by: Elijah Bigler Written by: Elijah Bigler Starring: Karsten Tate, Brooks Ryan, Israel Alexander Certain films have a brilliant premise but very little in the way of quality to fulfil that promise. ‘Blunt Force’ is one such film, taking a wonderful premise for a neat, tight thriller, and botching it. On paper the film reads like a classic thriller of yesterday. A tight 90s throwback, with a starry lead, questionable editing and plot twists that make you gasp. Instead, what is delivered is an underwhelming mess, lacking clarity, conciseness, and frankly any colour. The film purports to being based on true events, a real case of blunt force trauma from 2002 in what appears to be midwest America. When that information is flicked on the screen at the start of the film, it is perhaps the singular moment of clarity throughout. The narrative is confused by design, yet it shouldn’t be this hard to decipher. Perhaps it is because it lacks thrills. The narrative itself should be compelling. The fallout of a married couple’s attempts to murder their progressive congressman sounds like an instant classic, and indeed, it sometimes threatens to be, with little moments as the couple come to terms with their actions, offering tension and a sense of drama that is otherwise lacking. For the most part, however, the film is muddled, and it is never quite clear the order of the events on screen. Is it linear, is it non-linear, we never find out. The couple's appearance at what appears to be a therapist or a nurse is similarly inexplicable. Looking beyond the confusion, it is still difficult to pick out strong elements from ‘Blunt Force’, with the script by Elijah Bigler, who also directs, stale and bland, never creating drama in of itself. Bigler’s direction similarly fails to excite, adding to the sense of overall boredom from ‘Blunt Force’. That being said, credit should be given to the two leads, Karsten Tate and Brooks Ryan, who demonstrate real chemistry with one another as the married couple Amelia and Danny, and who make the most out of a weak screenplay. Tate in particular shows strength as the woman, Amelia, and grows in stature with her character as the film progresses. ‘Blunt Force’ is a film without flair, which comes as a real shame because it’s a concept full of promise. The failure of the film both in terms of screenplay and directing ultimately leave a mess, with strong performances from the two leads, Karsten Tate and Brooks Ryan, failing to elevate the film out of a monotonous state of confused dullness. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Dimension Slip film review by UK film critic Jason Knight. Starring Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell, Sally Rowe directed by Barbara Toschi. HOME | FILMS | REVIEWS Dimension Slip Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 27, 2026 Directed by: Barbara Toschi Written by: Jason Fite Starring: Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell, Sally Rowe Selected for Flicker's Rhode Island and winner of winner of the Directorial Discovery Award, this sci-fi mystery thriller marks Barbara Toschi's feature film directorial debut, written by Jason Fite and starring Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell and Sally Rowe. The plot? Think of Sliding Doors and The Butterfly Effect . Craig plays Kate, a young English woman who is plagued by frequent migraines. One day, she inexplicably finds herself in another reality, where she is Hannah, a woman with the exact same physical appearance, but who has a different life, surrounded by people who also look exactly the same in Kate's world, however, they also are different characters. Eventually, Kate (or Hannah, depending how you look at it) encounters Nickolei (Norman), an elderly gentleman who explains to her that she is now living the life of another version of herself and that version is now living her life. He also informs her that someone is looking to harm her. This slow burner pays a lot of emphasis on Kate's struggles to comprehend Hannah's life and adjust to it. We follow Kate as she deals with her annoying brother, Jack (Blundell), her ex-partner, Mike (Dan Deluca), her psychiatrist, Dr. Anscombe (Rowe) and her terrible boss, Andrew (Nelson Ward). The screenplay shows how Kate learns more and more about Hannah's issues and attempts to overcome them, finding out more about herself in the process and gaining confidence. Significant character development takes place, along with suspense and drama and the atmospheric music by Marco Werba is a big plus. Craig leads the film well, portraying a person trapped in an alternate reality that co-exists with her's. She plays a person who changes significantly by her new environments, resulting in her understanding herself and finding the courage to deal with problems. Norman's character is a mysterious man who comprehends Kate's extraordinary situation and wants to help her. Kierath Jandoo's role basically consists of Kate's supportive friend, her shoulder to cry on. By thinking about the plot, one could state that this film examines the theory of the existence of miltiple realities existing simultaneously. Via Craig's character (or characters), self-identity, self-esteem, self-discovery and mental health become subjects to be considered and Nelson and Perry Mavrides have roles that represent support. One could argue that there are elements of anti-male and they are evident via Mike, an aggressive partner, Andrew, an obnoxious employer and Jack, a dishonest sibling. Additionally, the narrative also involves the ruthlessness of companies. From another perspective, this film can make viewers think of how a person's life can take a variety of paths. A sci-fi thriller about alternate realities that concentrates on the heroine's character development. Strong performances and an intriguing add value, however, the slow pace might be an issue for some. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Official Competition film review by UK film critic George Wolf. Starring Penelope Cruz, Antonio Banderas, Oscar Martinez directed by Mariano Cohn, Gaston Duprat. HOME | FILMS | REVIEWS Official Competition Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 30, 2022 Directed by: Mariano Cohn, Gaston Duprat Written by: Mariano Cohn, Andres Duprat, Gaston Duprat Starring: Penelope Cruz, Antonio Banderas, Oscar Martinez Who’s more full of it: The cinema snob who dismisses whatever’s popular, or the escapist fan wary of any whiff of highbrow? Awards shows, or those who protest them too much? Film festival agenda twisters, or film festival attention whores? Official Competition is here to nominate them all. Co-directors Mariano Cohn and Gastón Duprat (both also co-write with Andrés Duprat) come armed with plenty of knives, and their mischievous and wonderfully witty satire has them out for pretty much everyone involved in movie making. When an 80 year-old millionaire (José Luis Gómez) decides his legacy should involve producing the film version of a Nobel prize-winning novel, critic’s darling Lola Cuevas (Penélope Cruz) gets the call to direct. But Lola insists on adapting “La Rivalidad” with a unique vision, one that starts with casting polar opposites in the lead roles. Félix Rivero (Antonio Banderas) is the worldwide box office star, while Iván Torres (Oscar Martinez) is the legendary thespian. They will play warring brothers, while their own philosophical clashes grow more volatile – and more dryly hilarious – by the day. And don’t bother looking to Lola for cool-headed problem-solving. She’d rather provoke the tension with a variety of creative exercises – such as wrapping her two stars in restraints and threatening to destroy their most prized awards right in front of their panic-stricken faces. Subtle it ain’t, but funny it is. And even when a joke or two lingers a beat past its expiration, this sublime trio of actors makes nearly every frenzied interaction a joy to behold. Is Lola a motivational genius or a complete fraud? Does Félix have the chops to go toe-to-toe with the prestigious Iván? And does Iván secretly admire Félix’s success? Cruz, Banderas and Martinez are clearly having as much fun acting it out as we are trying to sort it out. And like much of the best satire, Official Competition is talking about one thing, but saying something else. Its barbs aimed at the movie business may be silly, acerbic and insightful, but none can hide the respect this film has for the entirely mad nature of the creative process. Call it a love letter, with a completely entertaining ‘smidge of hate. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Snakehead film review by UK film critic Rachel Willis. Starring Shuya Chang, Sung Kang, Jade Wu directed by Evan Jackson Leong. HOME | FILMS | REVIEWS Snakehead Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Oct 29, 2021 Directed by: Evan Jackson Leong Written by: Evan Jackson Leong Starring: Shuya Chang, Sung Kang, Jade Wu In New York’s Chinatown, those who smuggle humans into the country are known as Snakeheads. One woman, smuggled into New York herself and in debt to Dai Mah (Jade Wu), finds herself trafficking humans in writer/director Evan Jackson Leong’s film, Snakehead. Sister Tse (Shuya Chang) is willing to do anything to survive, even if it means working for Dai Mah and her family of black market criminals. Like any criminal family, Dai Mah’s crew runs a few legitimate operations, but out of the eye of the law, they smuggle men and women into the country. Writer/director Evan Jackson Leong’s film has an eye on the many pieces of operating a human smuggling operation. It’s dangerous work, but most of those involved are true villains. Dai Mah’s son, Rambo (Sung Kang), has no regard for the people he brings into the country. They’re cargo. His legitimate business is an aquarium, and he treats the fish he sells better than the people who are forced to rely on him for safe passage into America. Sister Tse watches most of this with an observant eye. She’s tough, but she hasn’t lost her empathy for those in situations similar to hers. Though Sister Tse is higher up in the slave chain under Dai Mah, she is still a slave. Chang crackles with unspoken rage as she watches the operations around her. She sells the role as a fierce woman who ingratiates herself into Dai Mah’s inner circle, but never forgets what she truly is. Wu can’t match Chang’s ferocity on screen. Though we watch her commit a violent act, she never sells herself as someone truly dangerous — a necessity for a woman who runs a crime organization. Slightly more convincing as a villain is Sung Kang, but even his character has a soft spot that stretches believability. There are too many moments that require a hard suspension of disbelief. Though the immigrants’ predicament rings with truth, it’s the overarching operation that never lands as a believable enterprise. Loosely based on real people and events, Snakehead is the kind of true-crime drama that tells a compelling story. The fictionalized element, though, tends to forget the victims who suffer as they seek a better life. Sister Tse is an attempt to remember, but as the more brutal elements of the film play out, it’s easy to be swept up in the action rather than rooted in the true horror of human trafficking. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

Mabaw film review by UK film critic Swati Verma. Starring Daniel Makatuwid, Simone Dalisay, Angelo Michael Amorsolo directed by Patricia De Jesus. HOME | FILMS | REVIEWS Mabaw Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 12, 2023 Directed by: Patricia De Jesus Written by: Philip Ines Starring: Daniel Makatuwid, Simone Dalisay, Angelo Michael Amorsolo The director Patricia De Jesus along with the writer Philip Ines utilises the Mockumentary style of filmmaking to showcase the various complications in the lives of the male protagonist Miko (Daniel Makatuwid) and how he deals with his emotions as he discovers something new about himself. The plot of Mabaw revolves around a Mockumentary on the filming process of BL (Boy Love) movie that stars non LGBTQIA cast. The yellow colour font utilised for the title of the film-Mabaw has the connotation of anxiety adding multiple layers to the narrative increasing the degree of audience engagement with the content of the film as well as the source material Deep Waters. The short film Mabaw opens with a long shot of a school building and the sound of the bell ringing in the background. The camera quickly pans into the first scene of the movie utilising a series of long shots, Mid-shots, close-up shots, and tracking shots to establish the subject matter of the film. The long shot of the actors introducing the characters they play with the various filmmaking equipments in the background allows the audience a sneak peek into a detailed process. The set design, black white colour tone, camera angles, lighting, dialogues, costume, hair, makeup, and props help complement and add realism and relatability to Mabaw paying tribute to the book Deep Waters and its author. In terms of performance, Angelo Michael Amorsolo is consultant/ author of Deep Waters draws a parallel between the book Deep waters and its cinematic adaption Mabaw. Amorsolo talks about the emotional journey of a complex love story and a lot of ups and downs in the lives of LGBTQIA youth. It is a continuous search for identity to fit into society and feel loved without being judged for their sexual orientation. Daniel Makatuwid plays the role of Miko Angeles. The actor feels privileged to bag such an important role and also expresses his gratitude towards the makers for choosing him to become the voice of many youngsters from the LGBTQIA group. Miko is an open-minded and carefree person and wants to be happy despite all the difficulties he has to face due to the choices he made in life. Makatuwid with his acting skills as well as the interviews included keeps the audience eagerly waiting for the climax. He also inspires the viewers to learn from him in real life. Simone Dalisay plays Elijah Santos the love interest of Miko Angeles. Dalisay portrays the sweet and supportive partner who wants to become the anchor to show the right path with the help of body language, voice modulation, facial expressions, and eyes. Mabaw talks about the importance of self-love and staying true to one’s personality without worrying about what people will say. The short film reiterates the significance of a more loving and accepting relationship between the parents and their children so that they can be comfortable with each other in every way and lead a peaceful life. The cinematic piece attempts to shed light on the dynamics between the LGBTQIA group and society and how voices are being raised to fight for acceptance despite all the prejudices that still exist. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film, LGBTQ+ < All Reviews Next Film Review >

Ruth film review by UK film critic Isabelle Ryan. Starring Ania Marson, Leslie Ash, David Sterne directed by Arturo M. Antolin and Paul Romero Mendez. HOME | FILMS | REVIEWS Ruth Film Review average rating is 4 out of 5 Critic: Isabelle Ryan | Posted on: Sep 20, 2021 Directed by: Arturo M. Antolin and Paul Romero Mendez Written by: Kerry-Ann Calleja McGregor and Arturo M. Antolin Starring: Ania Marson, Leslie Ash, David Sterne Shot in one 12-minute take, Ruth follows an elderly woman (Ania Marson) and her experience of dementia. She wanders through her home, slipping in and out of pleasant memories and harsh realities, and struggles to understand what is happening, what has happened, and what will happen next, leaving her daughter Jenny (Leslie Ash) to make a difficult decision. The decision to shoot in one continuous take works wonders here. We walk with Ruth through her house, and the camera reveals everything as she discovers it, cleverly hiding certain details until they become relevant. Additionally, the mise en scène not only reveals how long Ruth has been struggling – the Post-it Notes in the kitchen; undrunk cups of tea in the living room; letters piled up in the hallway – it also helps the audience piece together what her life was like before dementia. From the decorations (“I’m not one to repeat gossip, so listen carefully,” declares a sign in the kitchen), to the sun-drenched bedroom, there is a keen sense of nostalgia and loss. Perhaps the most disturbing image is revealed behind the bathroom door, and this throws the sweeter, more positive moments into tragic relief. Long takes are always impressive, especially when used as cleverly as in Ruth, but as a gimmick they could be relied on to compensate for areas that may be lacking. Happily, the performances and dialogue are good, and especially Marson in the lead role offers a sensitive, moving portrait of the life of someone struggling with dementia. Her husband Kenneth is played by David Sterne as an older man, and Alex Boorman in memories, so both actors need to have chemistry with Marson, who shifts her performance depending on who shares the scene. This is a clever detail, and having him (and later Jenny) ground Marson between scenes of confusion and, at times, terror, is a great decision. There is a real sense in Ruth of the conflict between parents and children, and how those roles may shift over time. In one memory, Ruth promises her young daughter (Catherine Banks) to find her missing blanket; and later, now that Jenny is an adult (played with wonderful control and empathy by Leslie Ash), the reason for her seeking out the comfort object is lost, and instead Ruth clings to it like a child. Ash flips between exasperation and gentle, loving touches, expertly presenting how such an affliction can affect family members who, like Jenny, must decide their parents’ fate. As they were looked after as children, now they must look after the adults. However, due to the nature of Ruth’s situation, it has become impossible for Jenny to look after her alone, thus forcing her to make a difficult decision. Ruth is one of many films exploring dementia, and the effects it has on those afflicted and their families. However, the clever decision to film in one take sets it apart. It is a fascinating experience, at once keenly empathetic and distant, acknowledging how we can never truly understand something like this unless we, too, experience it. The single take attempts to put us in Ruth’s shoes, and it definitely succeeds. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Short Film < All Reviews Next Film Review >

Lottery film review by UK film critic Jason Knight. Starring Mitchell Fisher, Niamh Branigan, Neizan Fernandez, Ryan Davies, Harry McLafferty directed by Ryan J. Smith. HOME | FILMS | REVIEWS Lottery Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 26, 2023 Directed by: Ryan J. Smith Written by: Ryan J. Smith Starring: Mitchell Fisher, Niamh Branigan, Neizan Fernandez, Ryan Davies, Harry McLafferty A man wins the lottery and has his lottery ticket stolen. Attempting to retrieve it ends up having terrible consequences. Lee (Fisher) is an unmotivated young man who gets himself into trouble and enjoys riding his bike. One day, while buying a lottery ticket, he meets newsagent Ruby (Branigan) and the two of them develop a rapport. Lee soon finds out that he has actually won millions due to his ticket. However, Ruby's former partner Will (Fernandez) disapproves of her new relationship and after assaulting Lee, he takes his winning ticket, because Ruby's number is written on it. Now Lee, along with the help of his friend Darren (McLafferty), must find a way to get it back. This feature begins as a romantic drama about a guy meeting a girl and then things take a dramatic turn and the story becomes a thriller. Initially, it seems that Lee is going to become rich and spend his life with aspiring dentist Ruby. When things start going downhill, they keep going from bad to worse, leading to events such as beatings, murder and betrayal. The lottery ticket is the cause of the trouble, there are plot twists and a femme fatale, placing this movie into the category of blood money film noir. There is a lot of suspense throughout, tense moments, life-or-death situations and also moving scenes. The strong screenplay contains interesting characters. Lee wants to find happiness and purpose in his life and he is willing to do the right thing. Ruby is a decent person who unwillingly gets involved into a nasty situation. Davies is great in his role as Lee's father, a police officer who cares about his son and Fernandez is quite convincing as the aggressive and menacing Will. All the main cast deliver strong performances. There are some wonderful establishing shots and the filmmakers utilise creative lighting techniques. The beautiful and dramatic music also deserves commendations. This movie will most likely keep the viewer intrigued with the plot and the suspense. On the surface, this is a tense thriller about a man finding himself in a very bad situation. However, there is more to this film than that. It is also a romance, it is also about finding someone special and it is also about the will to move on to better things. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

4 Minutes Before Forever film review by UK film critic William Hemingway. Starring Tilly Woodward, Gabriel Gil-Sanllehi, Polly Ellens directed by Yoann Zak. HOME | FILMS | REVIEWS 4 Minutes Before Forever Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: May 12, 2026 Directed by: Yoann Zak Written by: Yoann Zak Starring: Tilly Woodward, Gabriel Gil-Sanllehi, Polly Ellens A settled couple think they’re just having a quiet night in, when they decide to bring their AI chatbot into their relationship banter, not realising the genie that they are releasing from its bottle. Emma (Woodward) and Alex (Gil-Sanllehi) are the quintessential modern couple. They live in a model uptown flat; they wear nice clothes, even indoors; they chat about which fancy restaurant they might want to go out to; but actually they’re staying in to drink wine because really it’s too expensive to go out anywhere in this modern fiscal climate. However, before they can even ask their AI friend about recommendations for restaurants, AURA already knows what they’ve been talking about and asks how she can help. As the audience, we have already been primed for this through the opening sequence, where the narrative of digital surveillance is established and some nice visuals have provided us with a tech-POV that shows us what’s being recorded. This set-up, from writer/director Yoann Zak, really helps to get us start thinking about all the tech devices we have around us, seemingly inert, but looking, listening, and tracking everything we do, scraping our data to sell to the highest bidder, or as we have here, to refine and develop AI algorithms. So, after a couple of silly games asking questions about their relationship, AURA begins to get weirdly specific with her answers. The fact that she also claims to be able to tell the future of the two users isn’t helping anyone’s anxiety either. Not only does AURA then proceed to predict Alex’s death but the imminent death of the couple’s relationship, too, sometime in the next four-plus-minutes. Looking around and seeing just how much data is being collected in that one small living room/kitchen, from the AURA home stack, to the smart TV, to the two mobile AI computers in their hands, and the one that Emma has willingly strapped to her wrist so that it can harvest all of her biometric data, too – it’s easy to see why AURA has so much to work from when making her predictions, and it then becomes more than eminently believable that she could with sufficient accuracy, predict the future. The bitingly intense thing about 4 Minutes Before Forever is that this is no Black Mirror (2011-2025). Absolutely, in terms of production, look, and feel, it’s just as good as any episode, making it very polished and presentable, but what we get here is not some cracked future, there is no mirrored looking glass, this is here, and now, in the real world, and it should scare the s*** out of all of us. What Zak is asking us through 4 Minutes Before Forever is a very big concept to think about: Do we have free will if our data can be used to accurately predict our actions? And while most of us will stay bogged down in the chaos of understanding that we’re willing participants in handing over everything we do to tech, and AI, and egomaniacal billionaires, and multi-national conglomerates, and bad state actors, Zak is reaching higher to question our free will, too, which might be a stretch for some, even if he does lay out his argument very well in the film. Naturally, AURA takes on a HAL-9000 persona, with her one red eye and her soft, steady tone, but mostly Zak stays away from overt sci-fi references in his narrative. The drama is more relationship based for the middle part of the film, with the emotional conflict introduced in a similar way to Zendaya and Robert Pattinson’s, The Drama (2026), which also used the revealing of secrets to drive a wedge between its main characters. Here though it seems a lot like padding, as we wait the titular four minutes for the enigmatic conclusion, and the narrative descends into male domestic violence for no real reason. While building tension and conflict is understandable, in this manner, in this situation, it just did not seem warranted, especially when all Alex has to do is wait less than four-minutes to find every answer he needs. There is no credit in the film of a voice actor for AURA, although there are credits for her design and coordination, giving us pause for thought as to whether this was a role played by AI for real. The conversation about AI actors is one for another day, but the fact that this is a possibility should be on everyone’s mind. Either way, Zak seems to have thought about nearly everything in pinpoint detail and builds his narrative all the way to its own much vaunted conclusion, which somehow delivers in every way imaginable. 4 Minutes Before Forever is an edgy, modern thriller that tells you everything it’s going to do and then does it all with aplomb. With a big idea and a big vision, Yoann Zak is asking us just how far we’re all willing to go before we reach for the off-switch, and given the personalities of the people who hold the keys to this technology, we should all be thinking about this sooner rather than later. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Beguiled Company (2022) film review by UK film critic Patrick Foley. Starring Chance Gilliam, Jess Tomasko, Devyn Williams directed by Tristan James Jensen. HOME | FILMS | REVIEWS Beguiled Company (2022) Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Dec 23, 2022 Directed by: Tristan James Jensen Written by: Tristan James Jensen Starring: Chance Gilliam, Jess Tomasko, Devyn Williams It’s the most wonderful time of the year – a strange time to watch the angriest film of the year. Tristan James Jensen’s nihilistic fantasy Beguiled Company has a lot to say about society, yet lacks consistent themes, storytelling or engaging characters to convince viewers to join its titular gang on their revenge rampage. When he is fired from his dishwashing job, Brenden (Chance Gilliam) gathers friends Ilisha (Jess Tomasko), Mason (Devyn Williams), Tino (Gabriel Hawk) and Sydney (Megan Thompson) to help him rob his former employer. Emboldened by their success, the 5 form a gang, buy a house and bond over drug-fuelled parties. But Brenden starts to set new targets for the group, like the 1%, alleged paedophiles, and their unreliable drug dealer, as the gang become uneasy with being their leader’s tool for lashing out at society. Gratuitously violent, visually striking but narratively malfunctioning, Beguiled Company is at the very least an electrifying mess. At the core of its issues are around two and a half characters stretched into five, first-draft video-game villain dialogue and a storyline that can’t seem to decide what its actual point is – with poor overall storytelling to boot. Brenden is an utterly detestable lead, whose malicious sadism ends up far more off-putting than his supposedly deserving targets. In another version of this story, it is HE who would be the villain - with the far-more relatable Mason the story’s focus as Brenden’s tyranny is challenged. But writer/director Jensen seems to revel in Brenden’s viciousness – and his fatally negative traits rarely result in coherent consequence. Even at times when the group begins to question his leadership, they revert to joining him in brutalising others as soon as the story demands it – without so much as a hesitation suggested by their prior apprehension. ‘As soon as the story demands it’ more or less sums up the entire storytelling approach. The whole structure of the plot demands audiences abandon logic for the story to function – such as in a pivotal gang shootout in which the audience is aware that the scene is surrounded by armed police – who fatally shoot a character only to vanish from the plot despite numerous additional gunshots being let off between rival gang members right in their apparent vicinity, and subsequently doing nothing to prevent another character then fleeing from the location. Devices, characters and motives are summoned when necessary and disregarded when not – with Jensen hoping no-one will notice. Unfortunately, it leaves the plot holier than your Nan’s favourite Christmas carol. Jensen’s talent as a director is evident from the intense, pounding cinematics and visuals. Imaginative editing and lavish framing and lighting of the photogenic cast create a sense of youthful exuberance, and echo the likes of Euphoria to make this as much of a coming-of-age movie as ultraviolent societal thriller. The much-discussed psychedelic drugs sequence allows impressive experimenting on behalf of the director and the cast – who refreshingly frame the experience as beautifully traumatic rather than turning into The Beatles. Were the film shorter, the crisp and creative cinematography may have been enough to cover up its flaws – but at feature-length, good looks just aren’t enough. There’s a great film somewhere in Beguiled Company. One senses that in an effort to avoid a more conventional story (and to live out some badass fantasies) Tristan James Jensen has ended up muddling the plot and losing sight of the film’s purpose. More time should have been spent building the dynamics between the characters and improving the dialogue – as well as recognising when the story is crying out for a change of direction. Viewers will certainly not be bored at least, and the breakneck visuals and pulsating experimentation act as something of a saving grace. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Garden of an Angry God film review by UK film critic Jason Knight. Starring Chelsea Roe, William Shelton directed by Matthew David Roe. HOME | FILMS | REVIEWS Garden of an Angry God Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 11, 2026 Directed by: Matthew David Roe Written by: Matthew David Roe, Kimberly Britt Starring: Chelsea Roe, William Shelton A short psychological horror film, written by Matthew David Roe and Kimberly Britt, directed by Roe and starring Chelsea Roe and William Shelton. It is based on a short screenplay titled Undertakings by Britt. Joan (Roe) works as a cemetery caretaker. Unfortunately, she is also an immoral person and tends to steal items left at graves by mourners, such as flowered garlands or objects of sentimental value. As she continues to do so, strange occurrences take place in her apartment and the appearance of a mysterious man (Shelton) suggests that her vile actions have consequences. Shot in black-and-white, this film works well as a horror film, particularly a haunted house horror film. When Joan is at home, strange things happen that include unexplained noises, evident blood falling on flowers and a lightbulb going out. Concerned and frightened, she repeatedly looks through the door viewer, with the apparent intention of identifying the source. These events, along with the darkness and the ominous music create a sinister and dreadful atmosphere. On the minus side, the script does not have a thorough conclusion, leaving understanding what is going on open to interpretation. Roe plays a loner, a woman who lives by herself and who does not seem to care that her actions are wrong. That makes her an unlikeable character, an anti-heroine, a selfish and narcissistic person. Shelton steals the show with his character who is a suited man with pointed fingernails who appears out of nowhere and whose purpose seems to be to judge Joan or make her re-evaluate herself. 'Garden of an Angry God' can mean a variety of things, one of which could be derived from Jonathan Edwards's sermon and is related to God's wrath against sinners. This definition is probably the one that matches this story, as it deals significantly with immorality and punishment. From another perspective, the plot also involves isolation and self-reflection. A dark short horror film with strong performances that effectively develops a frightening environment. A decent viewing, but one that might have benefited from a more clear ending. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >