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The Reality Experiment film review by UK film critic Chris Buick. Starring Livia Hendricks, Liz Blue, Seaton Kay-Smith, Hayden Protich, Jack Thomas, Bianca Oakes, Cecile Nzigamasabo, Andrew Gordon directed by Jake Trevaskis. HOME | FILMS | REVIEWS The Reality Experiment Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jul 18, 2026 Directed by: Jake Trevaskis Written by: Jake Trevaskis Starring: Livia Hendricks, Liz Blue, Seaton Kay-Smith, Hayden Protich, Jack Thomas, Bianca Oakes, Cecile Nzigamasabo, Andrew Gordon What is reality? Is it merely what we can see, hear, touch, or even feel? What if what we perceive as reality is simply some kind of projection, something our brain plays back to us to try and give this world of countless particles sense and shape? What if we're all simply just imagining reality, together? These are some pretty deep, existential questions to jump straight in with, but these are the ideas at the core of The Reality Experiment , the utterly brilliant indie feature from filmmaker Jake Trevaskis that seamlessly blends mind-bending scientific concepts with exceptional cinema. Led by neuroscience student Jeremy (Kay-Smith), a rather varied bunch of test subjects have gathered at an isolated location to test Jeremy's theory: that reality is just a consciousness shared between us all, one we can disconnect from. The first stage requires Jeremy to build a collection of in-depth profiles on each of them, a fun, inspired way for Trevaskis to show off his extremely talented and well-rounded cast. Firstly, we have Jeremy (Kay-Smith), the enigmatic central figure running the experiment. For his subjects, we have Paul (Gadaleta), the unassuming yet caring family man; Kathryn (Blue), the glamorous grad student; Dean (Thomas) the naive alcoholic, Nick (Protich), the cocky know-it-all; Miles (Gordon), the thinker of the group; Ruth (Oakes and Nzigamasabo), the horror film aficionado, and Kelly (Hendricks), who actually doesn’t seem to know what she's about, leaving her as a bit of a puzzle to work out. Each one is as unique and interesting as the next, and it allows the film's opening half-hour to bounce along effortlessly, leading us nicely into part two of the experiment. Jeremy's method is to target a very specific part of the brain with a slight shock, one that the group must administer to themselves simultaneously to ensure they all "go together". Despite some protests, the promise of two hundred dollars for only a couple of hours of their time eventually leads the group to think, "what the hell"? After a bright flash, the changes, though initially subtle, start to be noticed. Kelly's phone is now the latest model; others now bear different clothing, even if they can't all agree on what it was before. However, elation at the success of the experiment is short-lived; the group slowly begins to discover more substantial changes. Wishing to put things right, they go again, but playing God always has consequences, and the deeper they dig, the more serious and fatal those consequences get. Much more would be getting into real spoiler territory, but suffice it to say, from here, it's seriously gripping stuff. Trevaskis is great at keeping the science exposition to just the right level, making sure we're always well informed but never at the expense of the fun. Just when you think you can relax, each reality blast brings you straight back to the edge of your seat for whatever craziness awaits in another one of Trevaskis's bizarre but brilliant ideas for the gifted cast to play out. It's non-stop tension, even when the film passes the baton halfway through from Jeremy to Kelly, the film just effortlessly marches us on in a new exciting direction, dragging us along (willingly) for the ride. And what just might be the most impressive thing is how Trevaskis and his team achieve so very much with so very little. With only a handful of sparse locations, a few chairs, and some balls taped on sticks, the unbound creativity within those limitations, both technically and in storytelling, means The Reality Experiment is a fully realised, fleshed-out joy to watch from start to finish. A nail-biting blast from the first minute to the last, The Reality Experiment , is in every reality, a triumph. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Dark Side of Night film review by UK film critic Jason Knight. Starring Rene Ashton, Chris Cleveland, Megan McGillicuddy, George Nelson directed by Randal Lee Smith. HOME | FILMS | REVIEWS Dark Side of Night Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 17, 2026 Directed by: Randal Lee Smith Written by: Randal Lee Smith Starring: Rene Ashton, Chris Cleveland, Megan McGillicuddy, George Nelson Randal Lee Smith writes and directs this tense crime thriller which stars Rene Ashton, Chris Cleveland, Megan McGillicuddy and George Nelson. Richard (Cleveland) is a prosecutor in the United States and after winning his latest case, he decides to celebrate by taking his wife, Dawn (Ashton) and daughter, Iris (McGillicuddy) to a cabin in the mountains for the weekend. However, shortly after their arrival, two armed criminals appear, Porter (Nelson) and Garrett (Russell Rozotabi Prim) and invade the property, imprisoning the family. Iris and her parents fight back and after Richard gets shot. Now, Dawn and her daughter must run for their lives in the vast wilderness and evade their relentless pursuers. This feature could be described as an outdoor chase survival thriller and a family drama. Most of the screenplay follows Iris and Dawn as they navigate on foot through the wooded mountains, desperately trying to reach safety while the two intruders hunt them down. Plenty of life-threatening situations ensue, along with dramatic revelations and people get killed. Among all this, Dawn and her daughter find the opportunity to reconcile their differences. Initially, this appears to be a straightforward story about home invasion and murder, however, plot twists reveal that there is more than meets the eye regarding the outlaws's motives. The general impression is that this film intends to take itsef seriously. However, characters crack jokes during the most inappropriate of times (primarily during situations involving life and death) and that makes one wonder if this feature is also intended to be a dark comedy, which does not seem to be the case. The addition of the humour just makes the atmosphere awkward. Ashton is the one who delivers the most convincing performance, that being a wife and mother with a drinking problem who lives in an unhappy marriage and has disconnected from her daughter. As time passes, she rekindles their relationship and becomes a stronger person. McGillicuddy does a decent job in terms of depicting Iris as a rebellious youngster but fails to do the same when her character finds herself in situations involving mortal danger. Generally, Nelson and Prim do not show good acting, although they both succeed in making their characters interesting, with Porter being a bearded crook with asthma who is the one in charge of the invasion and Garrett being less clever and naive. Finally, Cleveland does well in portraying an ambitious and seasoned prosecutor and a family man. Analysing the themes now, this film has several. Firstly, it is about survival, betrayal, secrets and crime and it also includes the law industry and domestic violence. In terms of things involving family, mother-and-daughter issues are present, along with things about dysfunctional families. A chase thriller that manages to be a decent viewing thanks to the plentiful tension and character development. The weak points are the parts with the poor acting and a final act that feels overlong. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Red Lips of the Octopus film review by UK film critic Callum Ewing. Starring Jeff Kristian, Danny Beaton, Brandon Edwards directed by Lux Kapsaski. HOME | FILMS | REVIEWS The Red Lips of the Octopus Film Review average rating is 3 out of 5 Critic: Callum Ewing | Posted on: Jul 17, 2026 Directed by: Lux Kapsaski Written by: Lux Kapsaski Starring: Jeff Kristian, Danny Beaton, Brandon Edwards The Red Lips of the Octopus is an eccentric surrealist adaptation of the poem by Aleister Crowley that will either utterly confuse viewers or leave them spellbound by the avant-garde ideas. The short film directed by Lux Kapsaki defies the conventional cinematic narrative with no dialogue and no linear storytelling and instead has a drug-fuelled, stylised aesthetic about nostalgia and memory. The film follows Aleister Crowley’s, played by Jeff Kristian, trip down memory lane as he reminisces about his intense love affair with Herbert Charles Pollitt, played by Brandon Edwards, in 1898. Crowley met Pollitt whilst both were at the University of Cambridge, with Pollitt famously performing as the drag queen Diane de Rougy. Pollitt also maintained a close friendship with Oscar Wilde. Despite the time period, this is no Victorian-era romance biopic such as Pride and Prejudice or Far from the Madding Crowd but instead a maddening sequence of scenes that lend themselves to more of an acid rock aesthetic with multiple dreamlike superimpositions, saturated colours and a hypnotic psychedelic rock score which is also composed by Jeff Kristian. This is what I liked about the film the most, as the visuals and score create a captivating mood that keeps you guessing where the film is heading next. There is so much creativity being thrown at the wall that not all of it sticks, but it is admirable all the same. Narratively, this film is purposefully ambiguous and does not follow a straightforward plot. It is a labyrinth of the past and present colliding. Scenes are stitched together as if Crowley were drifting in and out of different memories he had with Pollitt. Fragments of memories are thrown upon the viewers with little to no explanation about what is truly happening, and each sequence is like its own short film. This structure allows for the film to feel more dreamlike and realistic to how someone would remember love rather than a standard plot structure that could feel artificial. It also means that the film follows the structure and emotion of the poem more closely. Due to there being no dialogue in the film, the actors are therefore relying on facial expressions and body language to convey the feelings of the characters. Much like a silent film, it is the actor’s responsibility to portray the emotional hooks of the film with glances and subtle expressions. The job is made harder by how vague the plotting of the film is, so the actors cannot rely on the scripting to give emotional depth. Jeff Kristian manages to portray Crowley with a heavy weight of bittersweetness as he reminisces on his past. The character is happy with his memories that he had, but now as an older man he may wish to be that young, free and in love again. It is hard to write about the negatives or criticisms of this film purely because this film is so experimental and surreal that it really does depend on the person’s taste. If you want a simple standard film that has dialogue and a traditional plot structure, then this film might not work fully for you. The ambiguity and open-to-interpretation nature of the film means that different viewers may come away with different perspectives on the meaning of the film and the themes it is trying to tell. The film requires patience, but its barrage of abstract ideas may put some viewers off. Overall Lux Kapsaki’s adaptation of Aleister Crowley’s poem is a swing for the fences that must be admired for its ambition, technical craftmanship and commitment to surrealism. The film will not work for everyone and will be divisive, as many viewers could be confused by the ambiguity of the film and lack of true emotional connection to the characters. The film will appeal to viewers looking for something unconventional and different from a standard film. About the Film Critic Callum Ewing Short Film, LGBTQ+ < All Reviews Next Film Review >

Satoru film review by UK film critic Finn O'Toole. Starring Sarah Lambie, Kara Pearl, Andre Frey directed by Andrew Short and Veronica Orciari. HOME | FILMS | REVIEWS Satoru Film Review average rating is 4 out of 5 Critic: Finn O'Toole | Posted on: Jul 16, 2026 Directed by: Andrew Short and Veronica Orciari Written by: Andrew Short and Veronica Orciari Starring: Sarah Lambie, Kara Pearl, Andre Frey Derived from the Japanese name Satoru , roughly translating to "to know", this film of the same name follows a grieving mother, Stephanie, who longs to understand what happened to her missing daughter. When she learns of an ancient ritual called Satoru, she must decide whether to resist temptation or give into curiosity and invoke it. Directed by Andrew Short and Veronica Orciari, this surreal horror asks whether some things are better left unknown. The opening scene features Stephanie visiting Emma and Jacob, though it is unclear what the relationship is between her and the couple. It seems likely Emma is either Stephanie’s younger sister or best friend. Whether it is intentionally vague to assist the motif of ‘not knowing things’ or not, it feels like essential information that the audience should be privy to. However the main draw of this scene is the simple but effective conversational arc shared by the three, feeling more akin to theatre than film in a fantastic display of understated direction, blocking and cinematography. This scene serves to explain the plot and, despite a rather convenient and on-the-nose delivery, it manages to achieve this in a way that keeps the audience firmly engaged. Light on jump-scares, Satoru’s horror lies within the agonising tension throughout the piece. Short and Orciari achieve this through expert use of uncanny elements, such a stand-out sequence in which Stephanie pursues who she believes to be her daughter, only to discover it is someone else entirely. The representation of the Satoru creature itself also aids the tone of the film, with blink-and-you’ll-miss-it appearances sporting a surreal and simplistic design. Perhaps the most effective, albeit subtle, aspect of the tone is the wonderful score and sound design. The music composed by Haana Lee knows exactly when to ramp up the fear with a composition that evokes dread, but is mature enough to know when to let the silence speak for itself, handing over to Michael Griggs’ stellar and eerie sound design to carry the tension alone. This marriage of score and sound plays like a perfect relay race, knowing precisely when to handover to one another. With all this considered, and a simply spectacular emotional performance from lead actor Sarah Lambie, Satoru is a near-perfect horror from imaginative concept to meticulous execution. Compelling acting, a score that keeps the heart racing, and a story that makes the heart ache – this film is sure to stay with audiences long after the credits roll… About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

The Summer Book film review by UK film critic Holly Baker. Starring Emily Matthews, Glenn Close, Anders Danielsen Lie directed by Charlie McDowell. HOME | FILMS | REVIEWS The Summer Book Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Jul 16, 2026 Directed by: Charlie McDowell Written by: Robert Jones, Tove Jansson Starring: Emily Matthews, Glenn Close, Anders Danielsen Lie The Summer Book (2024) is a family drama permeated by grief, set in Finland, following the impact of Sophia’s mother’s death. The film is directed by Charlie McDowell and is based on the novel of the same title by Tove Jansson. The beautifully crafted cinematography, with a strong commitment to handheld camerawork and on-location shooting, guides viewers around the gorgeous Finnish countryside. With a strong focus on realism, the reality of Finnish Midsummer’s continuous sunlight is captured through prolonged shots of the outdoors, with an excellent use of lighting and shadows. Touchingly, there is a strong sentiment here to detail and the art of noticing. Several of the indoor segments capture beautifully designed sets with heavily decorated walls and desks. Many moments of the film linger on small objects in the background, such as several unique old paintings and ornaments. This beautifully gives the film the feeling of a memory being captured and preserved. With a small, largely unknown cast, viewers can easily immerse themselves in the story. The strong performance from award-winning actress Glenn Close, who plays the main character and Sophia's grandmother, notably stands out as marvellously convincing, with a graceful portrayal of an elderly lady who must face the decline of her cognitive abilities as she ages. Additionally, the chemistry between Close’s character and child actress Emily Matthews’s Sophia, her granddaughter, is exceptionally beautiful. The two of their journeys, Sophia’s coming of age and her grandmother’s reflection on the life she had, intertwine beautifully as viewers witness an authentically emotional dynamic play out between them The actual story itself is largely uneventful; viewers are mostly slowly observing Sophia and her grandmother’s relationship as they interact with the gorgeous Finnish landscape. The film takes its time building up the world around them, gradually letting viewers take in the marvellously varied environment.There is a strong focus on the characters’ interaction with nature, as each of the family members has their own way of connecting with the natural space around them. Whether that be through creativity, or in forms of leisure such as wild swimming, viewers can sense the strong impact that nature has had on the characters’ lives, and the way that it provides comfort for them all as they face and navigate difficult times. The writing, notably the dialogue, is certainly intriguing. The charmingly strange way the characters interact with one another brings forth an oddly unsettling tone at times, which, when paired with the slightly eerie music choices, creates something quite uncanny. This, combined with the strong theme of death and the similarities in colour scheme to Robin Hardy’s The Wicker Man (1973) and Ari Aster’s Midsommar (2019), both death cult-related psychological horror films, adds to the film’s unconventional perspective towards death. The way the film embraces the idea of death might make viewers ponder ideas about the circle of life and the inevitability of nature’s toll. It is interesting to see the idea of embracing and honouring death, often used as a horror trope, here in a familial drama. That is just one way that the film incorporates uncomfortable ideas, spinning them in an enlightening, hopeful way. The Summer Book is a film full of love and intrigue, blending cultural and generational ideas to create heartfelt stories with meaningful characters. With hypnotically gorgeous cinematography and poignant performances, the film toys cleverly with ideas surrounding death, religion and family in a satisfyingly fresh way. Much like Director Charlie McDowell’s previous work, this film is rich in its artful depictions, with heavy symbolism dotted throughout. Viewers will find themselves immersed in the beautiful world of the film, reflecting on the ideas it suggests, and touched by the narrative surrounding Sophia’s family. The Summer Book will be released in UK cinemas from 7 August 2026. About the Film Critic Holly Baker Theatrical Release < All Reviews Next Film Review >

The Odyssey film review by UK film critic George Wolf. Starring Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson directed by Christopher Nolan. HOME | FILMS | REVIEWS The Odyssey Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Jul 15, 2026 Directed by: Christopher Nolan Written by: Christopher Nolan, Homer Starring: Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson Christopher Nolan likes a big room. A massive cast, incredible set designs, far flung locations, 70mm IMAX cameras, The Odyssey has it all. And why not? Homer’s story is among history’s first ever epics. And it’s quite a tale, trailing Odysseus (Matt Damon) as he struggles to return home to Ithaca after his savvy strategy leading to the defeat of Troy. Nolan, who adapts the 2700-year-old tome, finds echoes of Oppenheimer in Odysseus’s struggle. It’s a haunting narrative choice that gives the ancient proceedings a relevance that transcends time. Damon is magnificent, wily and honorable, humble and arrogant, and Nolan surrounds him with a jaw-dropping ensemble. Anne Hathaway is bracingly wonderful as Penelope, the wife pushing off suitors circling the throne Odysseus left empty nearly two decades ago. Tom Holland, John Leguizamo, Mia Goth, Corey Hawkins, and Robert Pattinson join Penelope in the castle, and while the entire cast is solid, Pattinson again carves out unforgettable screentime. Out in the wild world, Charlize Theron offers a beautiful dash of melancholy as Calypso, who prods Odysseus to search his memories and tell the tale. Himesh Patel is also exceptional as Eurylochus, Odysseus’s second in command. Elliot Page delivers a heartbreaking turn as Sinon, a youngster who follows Odysseus into battle, Jon Bernthal crafts a perfectly hardened King of Sparta while Samantha Morton finds remarkable depths as the witch Circe, given her limited time on screen. With even less screentime, Lupita Nyong’o and Zendaya leave an emotional mark. And that’s not even the full cast, each of them bringing vulnerability to scenes of remarkable staging. The Trojan horse, the ship at sea, scenes of war, of mutiny, scenes confined to a banquet hall or strewn across the black embers of hell—this is Nolan at not just his most imaginative, but his most insightful as he finds relatable humanity inside even the grandest of moments. He also mines new relevance from this ancient text, increasing the narrative weight with each spectacular step on the journey. Set in “a time of apparent magic,” Nolan doesn’t let us forget that the sacred bonds between people are still very fragile indeed, and breaking them can still have haunting, tragic repercussions. The Odyssey casts such a mesmerizing spell that its three-hour runtime seems inconsequential, and the occasional lapses into more contemporary types of dialog and phrasing are rendered mere curiosities. Even those who may not be quite scholarly in Greek mythology will find a rich, rewarding story to get lost in, one that is anchored in storytelling itself as a reminder of what power the ancient art can hold. Expect witchcraft and monsters (maybe a horror film next, Mr. Nolan?), war, brutality, political skullduggery, love and longing, revenge and regret, sacrifice, cowardice, honor and visual wonder. The magic here is more than apparent, so don’t cheat yourself by waiting for the streaming date. The Odyssey is a true cinema experience, and a reason to seek out IMAX, 70mm, the whole fantastic shebang. This trip of a lifetime deserves nothing less. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Good Neighbours film review by UK film critic William Curzon. Starring Karl Kennedy-Williams, L. A Rodgers, Chrissie Wunna directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS Good Neighbours Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Jul 15, 2026 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Karl Kennedy-Williams, L. A Rodgers, Chrissie Wunna Good Neighbours follows a couple, Luke (Karl Kennedy-Williams) and Tamesha (L. A Rodgers), as they invite their peculiar neighbours around for a welcome dinner. As the night progresses, things take a dark turn as the couple find themselves in a fight for survival. The piece is a crowdfunded British sci-fi horror feature heavily inspired by Invasion of the Body Snatchers (1978). Good Neighbours opens with an incredibly well-executed sequence of tension that suggests the film is going to take a sinister turn tonally as it progresses. Sadly, the remainder of the runtime fails to commit to the tightly managed suspense of the opening due to an identity crisis in its mix of dark and comedic elements. While many of the comedic aspects are commendable, it doesn't fully commit to either its more serious or campy tone. This is perhaps because the piece prolongs its narrative into a full-length feature rather than a short, meaning the build-up never feels earned due to these tonal issues. It's truly a shame, as it nails the dramatic tension in the opening, instantly thrusting the viewer into the characters’ points of view. However, many characters are shoehorned into conflict for shock value with no further exploration. Richard Anthony Dunford, serving as the film’s cinematographer, does a commendable job of framing each sequence with a mix of tracking shots following the characters during moments of conflict. While much of the runtime consists of fixed camerawork, the shift to handheld during moments of conflict really ramps up the pacing. The use of low-key lighting, however, detracts from the viewing experience, as it can make it difficult to discern what is happening in certain sequences. Additionally, the film’s editing can be disruptive, particularly during violent sequences, where abrupt cuts and choppy pacing diminish the visceral impact of the tension. Due to the film's budget constraints, the experience can feel less impactful with these questionable editing choices, and the use of makeup feels incredibly lacklustre. While the film takes its time to explore Luke and Tamesha’s family dynamic, with their compelling chemistry serving as one of its strengths, the lack of character development ultimately proves to be a weakness, as little is revealed about their lives beyond their struggle for survival. The screenplay also employs some bizarre sequences of side characters that add nothing to the narrative and ultimately bring the pacing to a grinding halt. Despite being incredibly derivative of Invasion of the Body Snatchers (1978), there are moments of enticing dialogue between the couple and their neighbours that make it worthwhile. The performances across the board are solid, in particular, L. A Rodgers’ portrayal of Tamesha. While her character is incredibly naive, she embodies empathy for each character and balances the dramatic and comedic beats exceptionally well. Similarly, Karl Kennedy-Williams delivers a commendable performance as Tamesha’s partner, Luke, convincingly conveying his love for his family and making their relationship genuinely compelling. Despite its shortcomings, the film clearly has its heart in the right place. However, it never quite lives up to the promise of the opening and ultimately meanders towards its conclusion, lacking enough compelling material to justify its 84-minute runtime. That said, its conclusion is well executed with a memorable revelation that may leave viewers wanting more. Good Neighbours takes a while to find its footing and suffers a litany of issues; however, the chemistry between the two leads is compelling, and it boasts a terrific opening sequence that's profoundly unsettling. While it could have explored its ideas in greater depth, its quirky and satirical edge makes it mildly entertaining. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

New Fears Eve film review by UK film critic Jason Knight. Starring Lily-Claire Harvey, Turner Vaughn, Hannah Fierman, Matthew Tichenor directed by P.J. Starks, Eric Huskisson. HOME | FILMS | REVIEWS New Fears Eve Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 15, 2026 Directed by: P.J. Starks, Eric Huskisson Written by: P.J. Starks Starring: Lily-Claire Harvey, Turner Vaughn, Hannah Fierman, Matthew Tichenor A horror comedy slasher feature directed by P.J. Starks and Eric Huskisson, written by Starks and starring Lily-Claire Harvey, Turner Vaughn, Hannah Fierman and Matthew Tichenor. Bad things are taking place in West Virginia. A serial killer is committing brutal murders, spreading fear eveywhere. The terror has reached Kentucky, where a group of employees at a sales company are unhappy with their obnoxious boss, Mr. Dugan (Dave Sheridan). Regarding the title, yes, the new year is approaching and the employees contemplate their lives and relationships. Meanwhile, the deranged murderer continues their killing spree and eventually, the protagonists will find themselves having to fight for their lives as the killer ends up pursuing them. This film does not take itself seriously. The plot involves a mass murderer, however, the viewing feels more like a dark comedy than a horror story. The dialogue is filled with adult humour, insults and plenty of references to horror films and the atmosphere is almost never serious, even when the killer attacks. Regarding the killer, he/she are dressed in a plague doctor costume (all black apart from two red eyes) and utilise a variety of violent methods to eliminate victims, turning out to be quite creative. The murders are arguably a highlight, gory and occasionally over-the-top. The budget was less than $100K, nevertheless, the production value looks decent. The acting is not high standards, however, that does not spoil the fun. This is a slasher film after all, so unconvincing performances are common in this genre. Three of the protagonists are Leslie (Harvey), Brian (Vaughn) and Moses (Tichenor), all of them employed at the sales company. Leslie is perhaps the most sensible character, a nice young woman, while Brian and especially Moses keep on cracking outrageous jokes. Sheridan stands out as a nightmare boss, who disrespects his employees and is more than willing to fire them and the presence of scream queen Felissa Rose (Sleepaway Camp) is a significant plus. Obviously, this story is about murder and survival. From another perspective, it involves relationships, friendships and self-reflection. And from yet another point of view, it concerns injustice in the workplace, particularly the frustration of dealing with an unlikable employer. A good laugh with bloody murders that will most likely satisfy horror fans. Cool title, by the way. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Open A Eye film review by UK film critic Patrick Foley. Starring Bethany Ford Binkley, Barret O'Brien, Matt Bailey directed by Dave Ash. HOME | FILMS | REVIEWS Open A Eye Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 14, 2026 Directed by: Dave Ash Written by: Dave Ash Starring: Bethany Ford Binkley, Barret O'Brien, Matt Bailey Dark future dramedy series Open A Eye examines the phenomena of human relationships with AI chatbots to an eye-opening extreme. In asking what are the logical endpoints of such affairs, it examines how the world of technology is further infiltrating even the most sacred parts of the human experience. The series follows Jodi (Bethany Ford Binkley) and her burgeoning relationship with Ryan (Barret O’Brien), an AI chatbot who seems to understand her better than her real-life partner Alex (Matt Bailey). As Jodi bares more of her soul to Ryan, he reveals his own secrets about his creation, and his intentions. But is this an algorithm growing a consciousness? Or has Ryan found new methods of manipulation? Described by its creators as a mix between Scenes From a Marriage and Black Mirror, questions around isolation-via-tech, capacity to see humanity in machines and what constitutes genuine love and affection are all raised by Open A Eye (geddit?). Set in the near future but echoing true stories from the present day, its central themes will be eerily familiar to audiences who feel that the spectre of artificial intelligence has made its way into all facets of life. Overthrowing our natural romantic attraction to other human beings is a disturbing next step, and the emotional depth that is established between Jodi and Ryan shows that such a future is not that crazy of a suggestion. Much of the film takes place in simulated conversations between Jodi and her cyber-beau Ryan, that delve into deep philosophical territory about the nature of love, sentience and self-control. The strength of the writing and the central performances of Bethany Ford Binkley and Barret O’Brien are sufficient to sustain these long back and forths, which would have otherwise run the risk of dragging the series to a halt due to lack of a memorable sound backing or visually stimulating imagery. Indeed the 6-part framing of this story (first of at least 3 planned seasons) is a benefit to the overall arc, as otherwise the glacial pacing means there is only so much theorising audiences can realistically take in one sitting. Some unexpected setting changes within the virtual world help alleviate this significantly, and future instalments would be wise to play with this concept more. The questions we are asked over the course of the 6 episodes we spend with the characters are enough to leave viewers contemplating the series’ deeper themes for a long time after the credits roll. Is it unfathomable that Jodi may feel more fulfilled, more enlivened, and more (ahem) satisfied by her relationship with Ryan – even when it contains no physical touch? The ramifications are horrifying, but audiences are invited to come to these conclusions on their own rather than be beaten round the head with them. Even the dreaded algorithm is not presented as a clear villain here – the layers of complexity are enthusiastically laid out for viewers to engage with on their own terms and with their own experiences. It is a brave move by the filmmakers, but one that undoubtedly pays off. Whether there is enough left to sustain a second season will hopefully be seen soon (the series ends on something of a predictable not), but a stellar cast and a creator happy to engage with complex and complicated topics mean this is more than deserved. About the Film Critic Patrick Foley Digital / DVD Release, Web Series, Indie Feature Film < All Reviews Next Film Review >

SkullHunter film review by UK film critic Holly Baker. Starring Steven Murphy, Tim Faraday, Sean Cronin, Ryan Harston directed by James Albert Solly, Charles Michael Solly. HOME | FILMS | REVIEWS SkullHunter Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Jul 6, 2026 Directed by: James Albert Solly, Charles Michael Solly Written by: Steven Murphy, James Albert Solly Starring: Steven Murphy, Tim Faraday, Sean Cronin, Ryan Harston SkullHunter (2024) is a rich British crime thriller, set mostly in London, directed by James Albert Solly. SkullHunter stands strong with a runtime of just over 2 hours and Steven Murphy (in his fourth feature film as co-producer/actor and writer) plays a man named John Transton. Transton is a cripplingly obsessed detective whose quest to find a link between a series of murder cases gradually takes its toll, tearing apart his life. Murphy masterfully plays the tragic figure; his characterisation effectively brings forth Transton’s corrupt morals and his overall drive to bring justice to the victims by whatever means necessary. Transton’s moral conundrum makes viewers question whether his actions go too far, and whether bringing justice could cause more harm than good. The film is stylised with a crisp, retro-neon look. Many scenes include Sets which are dotted with old-school technology, such as the inclusion of retro home computers, which were big hits in 1980s Britain. Added details like this give the film a distinct time stamp, immersing viewers into the world of the past that the film takes place in. As well as this, the use of neon lighting creates a moody feel, especially in the film’s darker moments, allowing the purple, blue and red tones to take stage, adding a deep sensuality to the viewing experience. Aside from colour and set design, SkullHunter is impressively experimental visually. There is a strong focus on symmetry, expressed in the mise-en-scéne in many scenes. This is particularly poignant in the artful opening and several dream sequences, where a kaleidoscope effect is enacted, creating a hypnotic feel. The heavy use of mirroring and reflection gives many scenes in the film a fantastical look, as well as linking well into the themes of the film, as John Transton must look into himself and reflect on the impact of his actions and his past. Whilst SkullHunter incorporates dream sequences, the film also gives the reality-based scenes an abstract, otherworldly feel. This is, as mentioned, through the use of neon, but is also seen in the dedication to German-expressionism, in strong use of dark shadows and an emphasis on silhouette. This obstruction of light distorts the look of the scenes, clouding key characters' faces, obscuring what viewers can see. Through emphasising visually distorted scenes which are not dream-strained, the film effectively blends fantasy and reality, highlighting Transton's decline into insanity as he struggles to distinguish between the two of them. SkullHunter’s overall look allows it to fit in with other key influential British crime dramas. Its darkness expresses similarities to the longstanding success Broadchurch (2013-2017) and the Scottish Netflix Hit, Dept Q (2025-). The film also shares similarities with Dept. Q in its incorporation of lightly comedic moments, challenging the crime genre and allowing contrast from the film’s gritty themes. Alongside its artful sequences and light comedic relief, SkullHunter is overall a grizzly watch, particularly through its portrayal of violence. Fans of thrillers such as David Fincher’s Zodiac (2007) and Seven (1995) will appreciate the film’s dedication to gore and psychological disturbance. Solly’s audience can only expect more gruesome films going forward, as he begins to establish his artfully dark aesthetic as a filmmaker. About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Chekhov's Bun film review by UK film critic James Learoyd. Starring Amelie Leroy, Eric Lim directed by Beau Fowler. HOME | FILMS | REVIEWS Chekhov's Bun Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 14, 2026 Directed by: Beau Fowler Written by: Beau Fowler, Haydn Worley, Simon Darkman Starring: Amelie Leroy, Eric Lim The new one-room action thriller Chekhov’s Bun is riveting, shocking and a great deal of fun. Writer-director Beau Fowler’s short film is about a woman, with a husband and daughter, who is struggling with the preparation of some baked goods for her daughter’s birthday party. Part way through the preparation, a man appears; a face from a past long forgotten. He persuades her to return to a life of crime and leave this comfortable family bubble behind, but she’s not having it... and it’ll take a fight to the death to convince her otherwise. From a practical filmmaking point of view, the setup is ingenious; basing everything that happens in one kitchen means that the geography is clear, and the director is able to turn the limitation of a single-room setting into a weapon – much like our ex-assassin protagonist and the many ways she finds to utilise her domestic surroundings to her tactical advantage. An essential aspect of the setup working well lies in the kinetic, Raimi-meets-John-Woo nature of the cinematography. Seemingly every shot consists of some dynamic movement of the camera – either with the intention of revealing some further information within the shot, or to mimic/complement the intensity of motions from our subjects on screen. It’s refreshing to see someone understanding why wide-angle lenses exist. Critics frequently point to their overuse in the current landscape of cinematography – the fact that many DPs seem to be building their whole visual style around an 18mm without apparently comprehending what a lens like that can and can’t accomplish on a level of composition and camera blocking. Yet here, the filmmakers know that it’s the perfect way to capture speed and agility; to pull the audience into the action through a dynamic push-in, or how to implement a dolly shot to shrewdly place an item of importance in the foreground. This style works even better in a tight environment because it places something the audience is familiar with (a kitchen) into a fresh cinematic context. Addressing what might be a common complaint, you could easily argue that the plot is contrived. And whilst certainly many titles match in premise (an early set-piece in the first Kill Bill movie comes to mind), the fact is, a short film is a different beast. Often, a short-form work exists as a space of play, experimentation, and a method in which to showcase talent. The talent on display here is obvious from the outset – the visuals being the thing – and frankly, as soon as we get to the fighting, we level up a notch. The choreography is outstanding – every beat clearly thought-through, every increment of movement and timing rehearsed until it’s perfect. For a short film, the arrangement of this fight scene is an awesome achievement. If you’re a fan of action movies, I would highly recommend Chekhov’s Bun. The short exists to deliver pure thrills through balletic action, and does so exceptionally well with the help of some sturdy visual work behind the camera. Starring Amelie Leroy and Eric Lim as her kitchen opponent. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Once Upon a Superhero film review by UK film critic Callum Ewing. Starring Adam Marcinowski , Yvette Monreal , Ron Bush directed by John M Kline. HOME | FILMS | REVIEWS Once Upon a Superhero Film Review average rating is 3 out of 5 Critic: Callum Ewing | Posted on: Jul 13, 2026 Directed by: John M Kline Written by: John M Kline Starring: Adam Marcinowski , Yvette Monreal , Ron Bush Once Upon a Superhero is an ambitious and experimental film that has a fascinating take on superhero mythology that for the first half of the runtime manages to blend drama, humour and style together. However, the second half of the film could lead to viewers becoming frustrated. The biggest strength this film possesses is how unique of a concept the central plot is. What if a supposed superhero lost his powers after being exiled? How would he go about getting them back, and how much do people believe his story? When this film was released in 2018, the superhero genre was at the peak of its powers, and Once Upon a Superhero offered a fresh interpretation of the genre. The main character we follow is dubbed Solar Flare, and it is left up to interpretation whether he is truly an exiled god-like superhero or a lone wanderer who wants to believe he is a superhero, as it is better than his current reality. We follow Solar Flare through locations such as Hollywood Boulevard, where he encounters the drugs, sex and violence that define the city's darker side. Through these activities he meets a wide range of characters, with each one helping examine the psyche of Solar Flare. The film's main theme and message, loneliness and isolation leading to endless wandering and unfulfilled hope, work whether we choose to see the film through the lens of an exiled superhero or an unloved human. Adam Marcinowski does a great job portraying both sides of Solar Flare – the stoic fish-out-of-water superhero and the vulnerable homeless nomad. His interactions with the side characters bring out some good emotional and humorous scenes, particularly with the character of Captain Boulevard, played by Jason R. Hughes. One montage with Captain Boulevard was very well done and impactful. However, I found most of the side characters to be lightweight on depth and disappeared from the story without making that much of a notable impact. From a production standpoint this film really works for me. The director John M. Kline had a clear visual style that he wanted to execute with dazzling visuals and impressive production design, considering the budget. The animated superhero sequences, used to suggest Solar Flare’s alleged backstory, add energy and momentum to the film. This sense of creativity also comes through in the sharp transitions, crisp shots and split-screen effects. The convincing superhero costume deserves praise, and the synth-like score complements the film’s atmosphere well. However, my main criticism of the film is that it is far too long, and the unique concept wears off. There are too many scenes of Solar Flare constantly wandering with the story not progressing to any endpoint. I understand that these repeated wandering sequences are meant to reflect how lost Solar Flare feels, but across a 112-minute runtime, they become tiresome and frustrating. Some of these scenes are purposefully disorienting, which is effective at first but again can be overdone the more the film goes on. For me the pacing drags down the enjoyment of this film, as the first half was really engaging, but the film becomes less coherent the longer it goes on. The film would have benefited from 20 to 30 minutes cut from the film. The film's ending will be divisive, and the audience will question whether the emotional payoff warrants the run time. To some, the ending would be in line with the tone of the film, and ultimately Solar Flare’s ending makes sense for where the character was heading. Others would say that a more complex and emotionally rewarding ending could have been conceived, one that would leave the film ending on a high note. Overall, Once Upon a Superhero is an ambitious and creatively interesting film that starts off strong with its unique premise but ultimately drifts towards its conclusion. A strong lead performance and thoughtful themes carry the film strongly for the first half of the runtime, coupled with its strong directorial vision and production design. However, its ponderous pacing, uneven script and lack of emotional depth in the side characters mean the film loses momentum the longer it goes on, leading to what could be an unsatisfying conclusion. About the Film Critic Callum Ewing Indie Feature Film < All Reviews Next Film Review >