Shaun the Sheep: The Beast of Mossy Bottom film review by UK film critic Hope Madden. Starring Paul Whitehouse, Nina Sosanya, Justin Fletcher directed by Steve Cox, Matthew Walker. HOME | FILMS | REVIEWS Shaun the Sheep: The Beast of Mossy Bottom Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 16, 2026 Directed by: Steve Cox, Matthew Walker Written by: Mark Buton, Giles Pilbrow Starring: Paul Whitehouse, Nina Sosanya, Justin Fletcher Fully two decades ago, the gang at Aardman animation produced Wallace & Gromit: The Curse of the Were-Rabbit , and it was perfect. A perfect family Halloween film, perfect entertainment, it won the 2006 Oscar for best animated feature. And it’s the reason I was so delighted at news of Aardman’s new Halloween feature, Shaun the Sheep: The Beast of Mossy Bottom. The dear Shaun the Sheep franchise is sort of a Grade B W&G, but imperfect Aardman is better than none. It’s almost Halloween at Mossy Bottom Farm, and the herd has been raising pumpkins to carve for their celebration. Meanwhile, Farmer laments his receding hairline because he wants to ask the Vet to the Mossy Bottom Halloween Hoedown. Then Shaun finds a “Home Made Science” book and soon the pumpkins won’t stop growing, Farmer has vanished, and some incredibly hairy beast is running amuck! One of the great charms of this franchise is its love of silent movies and its precise display of the sight gags that go into great comic storytelling. There’s no dialog in a Shaun episode. Even the human characters only gesture, sigh, and grunt. But you’re never unsure about the hijinks and that meticulous instinct for cinema is impressive. Characters carve out whole personalities without a word. Shaun is a problem solver as likely to cause the problem as to fix it. Farmer’s a bit of a bumbler, sort of a country bumpkin Wallace, complete with a dog of high competence and higher tolerance. And overbites have never been more charming. Though entirely wholesome, the film packs some lovely references for old school horror. The tactile animation feeds that vintage vibe, but the tone is forever goofy. Exceptional editing keeps the pace frantic, but not so quick moving that you’ll miss any of the fun going on in the background. Plus, at 80 minutes, Shaun the Sheep keeps the pace crisp and exits the party without overstaying its welcome. It’s a joyous way to celebrate the season with the young ones, and it will entertain everyone watching. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Knightfall film review by UK film critic Nina Rawlingson. Starring Ian Oglivy, Jeanine Nerissa Sothcott, Geoffrey Moore, Michael Paré directed by Ben Fortune. HOME | FILMS | REVIEWS Knightfall Film Review average rating is 2 out of 5 Critic: Nina Rawlingson | Posted on: Sep 15, 2026 Directed by: Ben Fortune Written by: Simon Cluett, Robert Dunn, Bob Schultz, James Smy Starring: Ian Oglivy, Jeanine Nerissa Sothcott, Geoffrey Moore, Michael Paré A father-and-daughter duo team up in a bid to stop a bioweapon getting into the wrong hands. Following a strained relationship, an MI5 operation, and a race against time. We follow Ros (Jeanine Nerissa Sothcott), a bioweapons analyst on a mission with her lover and head of the operation, Hugh (Geoffrey Moore, son of Roger Moore). His character oozes charisma, much like his father, and is perfect to compliment our main lead. This film becomes a chess game, as indicated throughout, finding Ros battling with whom she can truly trust. We also encounter Matthew (Michael Paré), another iconic actor who fills up the space in his one and only memorable sequence. This feels like a nostalgic throwback to British spy films on a lower budget. With a Bond-esque atmosphere but with a female lead. One of the most prominent performances is from Charles Knight (Ian Ogilvy), who plays Ros’s father. He embodies the cool, quick-witted former spy catcher and distant father figure. The off-screen relationship indicates a strained father-and-daughter dynamic when they finally meet back up. This was one of the stronger aspects of the film; whilst they catch up on years lost, it coincides with them fighting alongside one another. Ian Oglivy brings a comedic relief that breaks up the impending doom of such a weapon. It makes sense that Oglivy was once considered for the role of Bond after Roger Moore. Whilst an independent film, they make the most of the budget with varying sets, stunts, and fight choreography. Most notably, a scene involving a squabble with one of the bad guys on a bike establishes early on the imminent danger of the weapon. You can tell there is a passion for filmmaking from Shogun Films, even on a limited budget. The stacked, star-studded cast helps to maintain interest throughout with quippy lines and complicated relationships. However, the storyline falls a little flat with lacklustre pacing and confusing character twists, causing a weaker payoff towards the end. Knightfall relies heavily on performances, and at times, the dialogue and lack of emotion can seem jarring. This, paired with audio issues, can take you out of the immersion of the action and threat and ultimately drop the tension it tries to build. Overall, Knightfall provides a condensed, fun-filled action. Following a convincing father-daughter duo, it provides heartfelt moments amongst the metaphorical chess game. Figuring out who is a pawn and how to check the king. Within the genre, it’s hard to compete with the likes of Bond and Mission Impossible but can certainly be enjoyable, especially for lovers of independent action films. It provides a snug and digestible run time; it doesn’t try to be more magnificent in scale, but the narrative does fall short. It misses the mark with any pivotal moments in the film and, to the detriment of building any depth within the characters. Whilst it underperforms in areas, it’s still an entertaining watch, especially seeing legendary actors take up the screen once again. Knightfall on UK digital from 14 September, on Blu-ray 26 October. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Digital / DVD Release < All Reviews Next Film Review >

Lasagna Run film review by UK film critic James Learoyd. Starring Danielle Pollari directed by James Livitski. HOME | FILMS | REVIEWS Lasagna Run Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Sep 15, 2026 Directed by: James Livitski Written by: James Livitski Starring: Danielle Pollari Lasagna Run is a supremely inventive absurdist comedy, written and directed by James Livitski. Within the space of less than four minutes, it depicts a simple journey with erratic, stylistically punchy visual flair. We follow a woman with anxiety who realises that she needs to retrieve her homemade lasagna from the oven and deliver it to her neighbour’s house as soon as possible. This short but arduous journey of her’s is conveyed in heightened, expressionistic terms as she traverses gruelling natural landscapes and extreme weather conditions. The film is a technical triumph and creatively ambitious; yet it’s also definitively a work of entertainment, accessible to the casual viewer (a useful asset for a film wishing to bring attention to the subjective experience of anxiety, as this one does so successfully). Director Livitski and director of photography / editor Matt Popowich clearly have an instinctive visual attitude and a sturdy knowledge of cinema. Within just the opening shot – a virtuosic zoom through reflection – they demonstrate stunning visual confidence. Then, when our protagonist runs to the kitchen, there are obvious yet well-implemented notes of Scorsese (specifically the rush in the second half of Goodfellas , the use of handheld through a domestic setting). But it’s the piece’s middle portion – its montage of landscapes, composed in a wide, flat, Wes Andersonian style – that is nothing less than masterful. Our filmmakers make it look easy, but the degree of preparation and visual specificity that must go into a sequence such as this cannot be overstated. For this to work well, they needed to select the right medium focal length so as to compress the image enough to bring a painterly arrangement, but not so long a lens that would obscure any subjects or create a disconnect of depth between foreground and background. They then expertly utilise deep focus to create that Wed Andersonian flatness and compositional intricacy. And from an editorial standpoint, these are also effectively ‘match cuts’, wherein each shot should consistently mimic the position of the camera in relation to the subject. This is all incredibly high-level stuff cinematically speaking, and a genuine testament to the skill of the filmmakers. There’s also an expert use of sound design and music to both heighten the suspense (through the use of rapid drumbeats) and immerse us in the quickly changing environments. It should be noted that the sound was designed and the music composed by one individual, Ethan Myers – an impressive accomplishment. Additionally, praise should go to the colour grading which is some of the best I’ve seen in a short film recently; the palette consists of gentle tones, yet somehow still vibrant and pleasing to the eye, with a subtle touch of film grain to form an organic look. It’s a pretty unique thing to see a short film, concerned primarily with anxiety, that adopts a comedic tone to explore its issue. Not only that, but to maintain the feelings of panic and disorientation – whilst also building a cinematic world which is so aesthetically pleasing and gleeful – is not something easily achieved. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Shadows of Beirut film review by UK film critic Holly Baker. Starring Tala Calil, Assaad Bouab, Flavia Bechara directed by Tina Gharavi. HOME | FILMS | REVIEWS Shadows of Beirut Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Sep 15, 2026 Directed by: Tina Gharavi Written by: Tala Calil, Tina Gharavi Starring: Tala Calil, Assaad Bouab, Flavia Bechara Shadows of Beirut is a feature-length film directed by up-and-coming filmmaker Tina Gharavi. The story follows a young woman named Lana, played by Tala Calil, working in London, who has been informed that her estranged father is gravely unwell and, in his near-death state, desires to see her. Lena also suffers from severe OCD, which affects her daily life, as she is panicked by even the slightest possibility of germ transfer. As a result, in the first act of the film, she wears a mask in most scenes and appears explicitly uncomfortable in those where she is without one, and being close to others often triggers panic attacks for her. The film takes place largely in Beirut, the capital of Lebanon. The film is shot well, emphasising the yellow, Arabian misty aesthetic the country is characterised by, while also focusing on the city’s industrial, often run-down, grey and beige architecture. Early on in the film, Lana meets a significant friend named Sirine, played by Flavia Bechara, a friendly paramedic who helps her when in need. Their friendship, along with Lana’s own journey through the city, includes many intriguing scenes within the city of Beirut, particularly the outskirts, where viewers are guided around the streets, gaining an insider's perspective on the look of the city. The camera ponders the more unsavoury aspects of the city, such as precariously standing tower blocks and eyesores of building works, providing sharp commentary on the economic divides within the country, and indeed the world, as Lana’s life in London is a very different-looking one to that of her adventures in Beirut. Shadows of Beirut plays the clever balance of maintaining its storyline of Lana’s conflicting visit to her father, whilst truly, and most touchingly, being a film about unexpected connection. Lana and Sirine’s friendship is beautifully played out, Gharav and Bechara have extraordinary chemistry, and viewers, particularly women, can quickly grasp the way that they can become comfortable with one another as they discover they relate in more and more ways. The way the characters interact continuously feels naturalistic, and we sense the way that Sirine becomes a beacon of hope for Lana as she struggles her way through an unfamiliar space and a difficult gaze into her family history. The film heavily relies on performance, particularly facial expression, as Lana’s trepidation and anxiety tone the key moments of the film. This is cleverly contrasted with Lana’s times of ease, such as the time she spends connecting with Sirine. In addition, the film has a unique and powerful use of sound. Music is used sparingly and artfully, as viewers are encouraged for the majority of scenes to take in the soundscape of the city, paired with the vast cinematography of the urban space. There are carefully crafted incorporations of colour contrast here, particularly when highlighting tonal shifts and emotional divides. Washed-out colours are used for moments of uncertainty and discomfort, whilst parts of the film which are more tender, characterised by connection, are painted through warmer yellow tones. In scenes where both feelings of difficulty and ease cross over, the cinematography marvellously creates a dichotomous colour scheme to highlight the nuance at play, letting viewers into Lana’s inner conflicts. Overall, Shadows of Beirut is certainly an intriguing achievement in filmmaking. Whilst being a well-rounded family drama, with strong emotional shifts between love, connection, and anxiety, it is also a brilliant in-depth portrayal of mental illness, and a beautiful tale of friendship. Shadows of Beirut in UK & Irish cinemas 25th September 2026. Buy UKFR Banner Space About the Film Critic Holly Baker Theatrical Release < All Reviews Next Film Review >

The Iron Claw film review by UK film critic Matt Weine. Starring Zac Effron, Jeremy Allen White, H arris Dickinson directed by Sean Durkin. HOME | FILMS | REVIEWS The Iron Claw Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 22, 2023 Directed by: Sean Durkin Written by: Sean Durkin Starring: Zac Effron, Jeremy Allen White, H arris Dickinson For the Von Erich professional wrestling family, success in the ring—starting in the freewheeling territory days and continuing into the present—has existed uneasily alongside the “family curse.” Writer/director Sean Durkin (Martha Marcy May Marlene and The Nest ) brings together his lifelong love of wrestling with a keen ability to heighten psychological tension to the breaking point and then see what fills the void that comes after that break. The Iron Claw charts these harrowing ups and downs starting with family patriarch Fritz (Holt McCallany), whose overbearing presence dominates every aspect of his children’s lives. The athletic Von Erich children unquestioningly glide into the path Fritz lays out for them, the family business of wrestling. The series of events that ultimately spin out of this fateful choice gives rise to the legend of the curse, which the brothers deal with in their own (mostly taciturn) ways. Kevin (Zac Efron) is the genial audience stand-in, who wants nothing more than to please his father and have fun in and out of the ring with his brothers. This includes the charismatic David (Harris Dickinson), golden boy Kerry (Jeremy Allen White) and the sensitive aspiring artist Mike (Stanley Simons). Fritz and the boys are given varying degrees of personality and dialogue that at times sacrifices depth for quick characterizations. But with so much biopic ground to cover, Durkin narrows in on Kevin as the one bearing witness to all the inexplicable tragedy. It’s a difficult role to serve, and Efron delivers a commanding performance. As the family’s Job-like suffering grinds down his stoicism and filial loyalty, he remains tethered to hope and the possibility of a different life thanks to his stalwart wife Pam (Lily James, matching Efron with a vibrant performance that elevates her otherwise dutiful lines). The result is a mesmerizing sports movie with more echoes of Malick than Aronofksy. Call it a curse or call it bad luck, but Durkin’s deft handling of these events turns public tragedy into a searing meditation on familial bonds and the limits of a certain type of masculinity. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Street Trash film review by UK film critic Chris Buick. Starring Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk directed by Ryan Kruger. HOME | FILMS | REVIEWS Street Trash Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jan 5, 2025 Directed by: Ryan Kruger Written by: Ryan Kruger, James C. Williamson Starring: Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk After taking fellow vagabond Alex (Cormack-Thomson) under their wing, a group of individuals living rough on the streets of Cape Town uncover a government plot to do away with the homeless community permanently through the use of a gruesome chemical weapon known as “V". With their very existence on the line, Ronald (Michael) and his gang must form unstable alliances and risk everything to make sure they don’t become nothing. Street Trash , a sequel of sorts to the 1987 cult film of the same name, is writer & director Ryan Kruger’s follow-up from his deservedly multi-award nominated and winning comedic sci-fi horror Fried Barry . There are a few returning faces here, both Gary Green, who played the titular Barry, and Sean Cameron Michael returning as Ronald, swap roles here with Michael taking the lead of this band of displaced misfits and Green’s 2-Bit helping fill out a cast of vibrant, eccentric and shall we say, rather colorful characters. Ronald is the affable leader, who recruits Alex to show her the ropes and the glue that holds them all together. There’s Chef (Vaz, also returning as part of the Fried Barry alum), the sage elder of the group with unmatched street-life know-how and a unique perspective on fairy-tale morality and message. Rounding off, we have the aforementioned Green as 2-Bit, mostly silent but always accompanied by his foul-mouthed imaginary friend Sockle as well as twins Pap (Meyer) and Wors (Newkirk) and the mostly off-screen (bar a hand or two) Offley (Kruger). Each one much like the film, is as crazy and out there as the next, but with all clearly having an immensely good time and giving no less than one hundred percent. It’s this band of brothers and sisters that must come together to take down the over-tanned and downright despicable Mayor Mostert (Grier, themselves fully committed to the cause), a bubbling cesspit of vitriol and hate who will stop at nothing to wipe them all out once and for all. And, as fans of Fried Barry might expect, Street Trash is a crazy film and, as its opening moments will very much prove, not one for the faint-hearted. You would very quickly lose track trying to keep count of how many body parts pop or squelch or are indeed pulled/chopped/snapped off in-between all the crude knob gags, and although it does end up eventually repeating its tricks somewhat, its impressive array of practical effects is just exactly the sort of thing fans of the gross-out, body-horror genre will lap up, especially so in the finale. Also surprisingly, it's a film that actually says a lot, class divides, civil unrest and over-policing are all tackled here to create a film that ultimately culminates in a messy affair that keeps you rooting for the underdogs. Definitely not to everyone's taste, but for those with the appetite for cranked-up body horror, in Street Trash a buffet of delights awaits. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Film Festival Partners A selection of the Film Festivals that UK Film Review is a Media Partner for. Soho London Independent Film Festival Shining a light on stories that matter Soho London Independent Film Festival (SohoLIFF) is a ‘short film’ festival based in the heart of Soho, in London’s West End. We love films that could make a difference, that give a voice to those who have been marginalised. We simply love great films that are engaging, from the dark and gritty to the eccentric and flamboyant. We welcome all genres and have a particular interest in films with a social and environmental message, films that matter. SohoLIFF Thurs 25th – Sun 28th of January 2024 75 Dean Street, Soho, London W1D 3SQ SohoLIFF features live screenings, panel discussions and workshops over four consecutive days, culminating in a gala-night award ceremony to celebrate all the festival’s films! Our Audience Choice Award, voted for by the public, brings with it an amazing opportunity for the winner to have their film poster displayed across Storm’s huge digital billboards in prominent London locations, all thanks to our wonderful Soho neighbours, Clear Channel. Throughout the year we host our ‘Soho Spotlights’ which provide advice and insights for filmmakers – from industry professionals, covering subject matters ranging from finance to distribution. We also host panels and masterclasses featuring industry experts, which are free to our filmmakers. Filmmakers have an opportunity to be interviewed for our Soho Spotlights in the run-up to our festival and awards night as well. Run by a group of passionate professionals and enthusiastic newcomers, this is one not to be missed. More Screen and Story Film Festival The Screen and Story Film Festival is an open global festival giving filmmakers a platform to showcase their stories to diverse audiences across the world. Our first edition opened as a result of the pandemic in 2020 with our first virtual edition featuring 21 shorts from 10 countries. This year we are expanding our film programme to screenings of shorts, features and documentaries. The 2021 festival edition will bring its inaugural screenwriting competition to celebrate the power of storytelling combined with a full range of industry-leading events. All screenings, events and talks will be held virtually. Our 2021 edition sees a global open call for submissions that encourages all filmmakers to submit their work. With no submission or ticket fees, the festival focuses on one common mission: to enhance and empower worldwide filmmaking, providing a platform to all regardless of location, race, sexuality, gender identity, faith, disability or socio-economic background, with no exceptions. The Screen and Story Film Festival is run by likeminded volunteers from different sectors of the professional film community all working towards one common mission. We exist to enhance and empower global filmmakers and writers around the world, giving a platform to all in-discriminative of location, race, sexuality, gender, religion, disability or socio-economic background, with no exceptions. Our Values are to: - To find, develop and promote undiscovered international filmmaking talent, encouraging them to showcase their films and let their voices be heard in an engaging and inspiring atmosphere where creativity and powerful storytelling abounds. - To level the playing field for filmmakers, always providing equal opportunities to all through a broad open call free from theme at least once a year. - To create an all-encompassing support network of filmmakers for the filmmakers. Fostering connection for collaboration, encouragement and advice. - To give independent film a diverse and worldwide audience and reach a wide range of communities with films they may not generally have access to. - To be nomadic and take the festival to interesting and unexplored territories. - To be accessible to everyone, everywhere, regardless of location. More Yellowstone International Film Festival In the city of culture, art, and heritage. Yellowstone International Film Festival is dedicated to celebrating the world-class cinema. Yellowstone International Film festival is home to independent cinema from around the world. YIFF puts filmmakers first and provides the opportunity for recognition and publicity for quality films and documentaries. Our aim is to be an advocate for filmmakers with a unique vision and to promote their work by showcasing it to a large audience. which is why our mission is to carefully consider and select a wide range of films to promote to the indie film-loving crowd. YIFF will be a global adventure of the premiere, screenings, nightly red carpets, daring documentaries, eye-opening short films, We also focus films under special categories such as LGBTQ films, Women Empowerment films, environmental films, Students Films. More Cheap Cuts Documentary Film Festival Cheap Cuts Documentary Film Festival is the only UK festival dedicated exclusively to short documentary. Cheap Cuts showcases the best of British and international short documentary talent. We strongly believe in content over form and are interested in the stories you have to tell and not the equipment or budget used to do so. Cheap Cuts is committed to helping promote equality within film and every year at least 50% of our programme is formed of short documentaries directed by women. Our programme offers a variety of filmmaking styles; including experimental, animation and observational documentary and there are some great appearances from films that really push the boundaries of documentary. More Little Wing Film Festival Little Wing Film Festival takes place in August / September in London. Now in its second year, the LWFF will play host to a selection of fantastic short films from UK filmmakers, as well as some exciting workshops hosted by the Little Wing Film Festival organisers. Little Wing Film Festival Facebook - @littlewingevents Twitter - @LittleWingFF Instagram - @littlewingfilmfestival More Fringe Queer Film Fest Since 2011, Fringe! Queer Film & Arts Fest has been an entirely volunteer-run organisation rooted in London's queer creative scene. In Novembers, and throughout the year, we showcase an eclectic mix of films, arts and events celebrating LGBTIQA+ stories from around the world, welcoming everybody. Fringe! Queer Film Fest started in 2011 as a community response to arts cuts carnage, and since then we’ve ‘expanded exponentially to become one of the most innovative and exciting festivals on the circuit.’(Londonist) From feature films to experimental installations, workshops and lively debates to wild parties, Fringe! hosts a multitude of diverse events to tickle every one of the senses. You'll see us flooding East London's cinemas, art galleries, pop-up venues and basement clubs with the powerful, provocative and strange. As we continue to develop and our Fringe! Queer Film Fest family continues to grow, some things stay the same: a lot of our screenings and events are free or affordable, we remain open to new voices and ideas, and we’ll always be queer: celebratory but critical as hell. More Beeston Film Festival THE BIGGEST INTERNATIONAL SHORT FILM FESTIVAL IN THE MIDLANDS is the Beeston Film Festival. It is now open for its SIXTH year and now ranks in the top 100 Best Reviewed Festivals from the 8,000 festivals registered worldwide. The festival takes place over five days across several venues and screens over 120 films from 35 countries, creating a truly international cinematic experience. It will take place late March 2020. The Beeston Oscar, or B’Oscar, is presented to the best film in the following categories - Drama, Horror, Comedy, Documentary, Animation, Crime, Science Fiction and Student. Further prizes include Best Director, Best Script, Best Cinematography, Best Acting Performance, Best Soundtrack & Sound Design, Women’s Voices and an Audience award, too. The selection process includes review by a team of local Beestonians who select the film accepted into the festival and determine the B’Oscar nomination shortlists. Our B’Oscar award jury comprises of film professionals from across the globe including UK, US, Belgium, France, India, and Taiwan. More High Peak Indie Film Festival High Peak Independent Film Festival is a not-for-profit film festival that celebrates shorts and feature films from some of the best filmmakers around the world. The festival showcases up and coming talent from independent filmmakers across a four-day event of film, events and networking parties. Set in the beautiful town of New Mills, the festival takes place at the old theatre, New Mills Art Theatre, an almost hidden five hundred seater venue that takes you back to the past when you walk in. New Mills, only 45 minutes away from Manchester and Sheffield, is an easy commute and is worth the visit just to see the rolling hills that surround the village. It’s also known for making the famous Swizzles Matlow sweets! In the festival’s inaugural year back in 2017, the festival hit off with a bang and received great reviews from filmmakers, film lovers and those who just heard about it through word of mouth. It showed 51 films across a three and a half day event. In its second year, the festival will showcase 60 films (56 shorts, 4 features), amongst hosting an array of events and networking opportunities for filmmakers and festival goers alike. Programmes at this year's festival include our dedicated Young Filmmakers Shorts that include a selection of short films by young filmmakers aged 13-18-year-olds from around the world, a category that is always free for entry to those of that age. There is also a Women in Film programme that is dedicated to the outstanding work of female filmmakers in the independent film industry and our Best of the North which celebrates the best of local talent. As well as many other shorts programmes, we are showcasing four feature films, including holding two UK Premieres for Sarah Barker’s ‘The Subject’ and Christophe Leclaire’s ‘Le Portrait’. Our events for this year include our prestigious awards ceremony which comes jam-packed with entertainment and a live set from local artists, James Holt, and our returning movie-themed brass band night, which really is something not to be missed! We also have our free 10-hour filmmaking challenge on the Thursday and panels on Saturday and Sunday too. More Barnes Film Festival Barnes Film Festival is now planning its fourth film festival, taking place in Barnes in September 2019. The festival showcases filmmaking talent from across the UK, workshops and panel talks, together with award-winning films from around the world. Barnes Film Festival celebrates diversity, passion and creativity, and connects all filmmakers – and anybody interested in film – with industry professionals. As well as our Filmmaking Competition, the Festival will host inspiring film events for all, including workshops, discussions, screenings and gatherings, with leading figures from the film, documentary and animation industries. Whether you’re a filmmaker, or a film fan looking to discover something new, there’s something at Barnes Film Festival for you! Come along to our next Festival and be part of something fantastic. More British Urban Film Festival The British Urban Film Festival was founded in July 2005 to showcase urban independent cinema in the absence of any such state-sponsored activity in the UK (at the time). To date, the festival has screened over 500 films, securing broadcast platforms for a majority of Black and urban independent writers, actors, actresses, producers and directors on the BBC i-player, Channel 4, Community Channel (now Together TV), Showcase TV and London Live. In February 2018, BUFF Originals was launched to act as the production and distribution arm of the British Urban Film Festival. Its' debut feature - No Shade - was released in UK cinemas in November 2018, making director Clare Anyiam-Osigwe the 6th Black British female director (to date) to secure theatrical distribution in over 120 years. Emmanuel Anyiam-Osigwe is the founder and Chairman of the British Urban Film Festival and officially, one of the 100 most powerful and influential figures in independent film, according to a list published by the UK Power 100 in June 2019. For his work as executive producer of 'No Shade' (BUFF's first, fully funded and independently released feature film), Emmanuel was also listed as 1 of 5 standout inductees by the UK Power 100. More London Independent Film Festival Due to come to London in April/May 2020, the London Independent Film Festival is a particularly important event in the cinematic calendar. Mostly because it provides a fantastic stepping stone for new filmmakers, and a great festival to be part of. LIFF (London Independent Film Festival) puts on a selection of fantastic screenings, events, and workshops that attract big fans across the capital. Filmmakers who are looking to submit their film to a London Film Festival should seriously consider the LIFF. It has a strong pedigree amongst the industry and can provide exposure to some of the movie-making community's big players. For instance, at the London Independent Film Festival 2020, there will be a special event hosted by our Editor-in-Chief, Chris Olson, on film marketing. This is a fantastic partnership that is sure to benefit all who are able to attend. We are hoping to add a few more entries to this page as we review films that will be appearing in the LIFF lineup. You can also check out special features that have been provided by the festival organisers, or exclusive interviews. One such interview can be found between UK Film Review and Festival Director Natasha Marburger - so be sure to check it out. More Grimmfest Film Festival Grimmfest is one of the UK's leading festivals of horror, sci-fi, fantasy & cult cinema, taking place every year in Manchester. This truly independent genre film festival is dedicated to sharing the best new short and feature films from both emerging and established filmmakers, hosting a wealth of World, European, UK and Northern premieres across the 4-day event. Previous Grimmfest highlights range from international successes What We Do in the Shadows, The Babadook, Train to Busan, The Woman and American Mary, to those made closer to home such as Howl, Grabbers, Before Dawn, Let Us Prey and Colin. Over the years they've welcomed a vast number of guests, including horror mainstays Robin Hardy (The Wicker Man), Ken Foree (Dawn of the Dead, From Beyond), Brian Yuzna (Re-Animator, From Beyond) and Italian soundtrack maestros Goblin, alongside Britain's own Ross Noble (Stitches), Alice Lowe (Sightseers, Prevenge) and Liam Cunningham (Game of Thrones, Dog Soldiers). The 2017 edition attracted thousands of genre film fans, press and industry guests to the city, with highlights including World Premieres of gritty Manchester-set horror film Habit and stunning animated documentary Borley Rectory, featuring the voice talents of Reece Shearsmith, Nicholas Vince and Julian Sands. Ted Geoghegan's Mohawk and Rob Grant's Fake Blood had their first European outings, alongside UK premieres of the WW1-set Trench 11, Fantasia favourite Poor Agnes and Russian supernatural thriller The Bride. The Francesca Eastwood-starring M.F.A., Sitges-selected Rabbit and festival favourite Dave Made a Maze also had their first UK screenings at the festival. Northern Premieres included Better Watch Out, Replace, Game of Death, Killing Ground, Still/Born, 68 Kill, Ruin Me, Double Date, Freehold (Two Pigeons), Leatherface and Attack of the Adult Babies. 2017 Q&As and special guests included filmmakers and stars from Habit, Borley Rectory, Fake Blood, Trench 11, Double Date and Attack of the Adult Babies. The Festival's 9th edition proved once again that Grimmfest is one of the most welcoming genre film festivals in the world. "In all respects I can honestly say 'Grimmfest did me proud'! I've attended film premieres before but I've never felt such a warm atmosphere or watched cast and crew members be so well looked after, myself included" - Sara Dee (Actress - Borley Rectory) "We were honoured to have our UK premiere at Grimmfest. They did a great job of promoting the film, and their efforts led to a slew of great press; their PR people are really on top of it and we are forever grateful. It really helped establish an audience for our movie in the UK" - Bill Watterson (Director - Dave Made a Maze) "All the films looked and sounded amazing. Talking with the fans and filmmakers at the fest was a blast. I loved everything about Grimmfest. I very much look forward to screening another film there" - Matt Stuertz (Director - Tonight She Comes) More

The Show film review by UK film critic Joe Beck. Starring Richard Rowden, Marie Everett directed by Richard Rowden. HOME | FILMS | REVIEWS The Show Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 10, 2022 Directed by: Richard Rowden Written by: Richard Rowden Starring: Richard Rowden, Marie Everett As Britain swelters in yet another heatwave this summer, there will be many people looking for a getaway to some exotic foreign location. The chance to escape Britain’s heat for the inexplicably cooler heat of another country, and lounge by a pool is irresistible. So, at this time of year more than any other, we empathise with Jackie (Marie Everett) when she discovers that her partner Sam (Richard Rowden) has swapped Bali for the Lake District for a romantic time away. 
 The writings on the wall for the couple at the centre of ‘The Show’, as it becomes plain to see within a couple of minutes that they aren’t going to have their happily ever after. The undercurrent of animosity and distance between the pair grows - Sam is preoccupied with his phone, Jackie is unwilling to embrace nature, and they’re constantly undermining each other with little sarcastic digs. Therefore, the destruction of their relationship comes as no surprise, removing the majority of tension from the situation. The fact that Jackie’s sister has recently been dumped by her partner of nine years and is staying with the not-so happy couple is merely foreshadowing the impending doom of Jackie and Sam’s relationship, but the apparent seriousness of the subject matter is undermined by what can only be described as a disastrous choice of soundtrack. The arguments and crumbling of the relationship are paired with a soundtrack not too dissimilar from those old 60s comedies - with this destroying any semblance of tonal consistency. The film appears uncertain of its true identity - caught between a comedy and a drama, and ultimately ending up as neither, just a conglomeration of good parts undermined by one large bad part. That’s because everything else is good, or at least solid, with the acting from Everett and Rowden standing out the most. The two have good chemistry and appear comfortable going toe to toe with each other, trading snide remarks. The direction is also solid, capturing the picturesque beauty of the Lake District, and also surprising us with a heavily-hinted twist at the conclusion. It’s a shame, therefore, that the film lacks an identity, and is confused with what it wants to be - there are moments where you want to reach out, and gently nudge in the right direction, to guide it to a respectable four-star rating. However, that’s something no one can do, and so, despite its obvious charm and numerous good qualities, ‘The Show’ falls short of the mark, instead imprinting only its own confusion on the viewer. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Good Boy film review by UK film critic James Learoyd. Starring Indy, Shane Jensen, Arielle Friedman directed by Ben Leonberg. HOME | FILMS | REVIEWS Good Boy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 30, 2025 Directed by: Ben Leonberg Written by: Alex Cannon, Ben Leonberg Starring: Indy, Shane Jensen, Arielle Friedman If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold. Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece. What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release. What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next! GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025 Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

George film review by UK film critic Patrick Foley. Starring Jack Sambrook directed by Jack Sambrook. HOME | FILMS | REVIEWS George Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 20, 2024 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Jack Sambrook Mockumentary George is quietly a smart, insightful short which follows its eponymous subject as he is freshly released from the clink, offering an amusing critique of the prison and rehabilitation system with a light touch. When a documentary team receives only one response to their requests to recently released prisoners, they spend a day following him as he navigates his new liberty. However, George (writer and director Jack Sambrook) seems to have learnt little from his time inside, reverting to his old ways of drug-dealing, drinking and unemployment. Though he believes he can easily slot back into his previous life, the world has changed around him – with unexpected consequences… Using its faux-documentary format, George manages to both entertain and provoke with its tale of a reprimanded young man who seems to have learnt or benefitted little from a system that is designed to act in a self-fulfilling cycle. George as the protagonist is quite clearly someone who takes limited interest in improving his life or living within the law, but as the film demonstrates, it seems that there is little effort being made to ensure he does so anyway. By framing the film through a ‘documentarian’s’ lenses, the viewer feels an intimate connection with the ‘subject’ – seeing that his life is allowed to drift without any significant direction. The viewer spends most of the film anticipating George’s re-arrest – effectively questioning what the whole point of the prison system is meant to be. Jack Sambrook impressively realises George – capturing a sense that despite his eccentricities, he is not a bad person at heart. George as a ‘subject’ rather than a protagonist allows the viewer to take on the ‘observer’ role that the documentary team present. Sambrook cleverly utilises this to leave a sense of uncertainty around George’s nature; sometimes presenting as mildly threatening and other times as wholesome and welcoming. It makes the viewer question their own perception of criminals and former prisoners, even as we witness George committing petty crimes. The plot does meander at points – though this is likely an intentional choice on behalf of the filmmakers to show George’s purposeless and drift. A shocking twist at the film’s conclusion is also somewhat out of sync with the film’s message, but is in line with the dark humour woven throughout the story. George leaves enough of an impression to make its audience ask questions of its setting and subject without making grandiose or dramatic statements. A shorter runtime, humour and absurd conclusion soften its critical edges somewhat, but there’s significant depth and thought in Sambrook’s film. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Bardo film review by UK film critic Jason Knight. Starring Jackson Wright, Tash Morley directed by Joshua Moulinie. HOME | FILMS | REVIEWS Bardo Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 16, 2025 Directed by: Joshua Moulinie Written by: Joshua Moulinie Starring: Jackson Wright, Tash Morley A short dark comedy fantasy film written and directed by Joshua Moulinie and starring Jackson Wright and Tash Morley. The writer of this review would like to explain that (in Tibetan Buddhism) ''bardo'' is a state of existence between death and rebirth. This explanation is done with the intention of helping the reader understand the film's context. The story takes place in England and something extraordinary is taking place. A man named Frank (Wright) discovers that somehow some spiritual part of him has taken over the body of an unnamed young woman (Morley) and now there are 'two of them', two individuals that have different appearances but the same memories. Now, they must team up and find out what is going on. The plot of this forty-minute long film is one of its strongest aspects: a sort of body swap story that involves a man having two versions of himself and one is a young woman. As they set off to solve the mystery, they end up in an unknown place that resembles an abandoned building and things get more and more bizarre from there, involving a masked entity dressed in black and a quote from Dante Alighieri's The Divine Comedy . As Frank and his new friend go through their journey, the film alternates with scenes that show the woman sitting on a chair in a darkened location. There is mystery and there is plenty of cheeky and adult humour, mesmerising music, creative lighting techniques and the performances by Wright and Morley contribute massively in making this viewing enjoyable. Would there be anything that could had been improved? As far as the screenplay goes, it is never dull and although the low-budget production is evident, it does not significantly affect the viewing experience. As mentioned, the performences by the two leads are some of the strongest aspects of the film and that is because they are entertaining. Starting with Wright, his character is a man who apparently lives alone and drinks and smokes a lot. Morley's character is supposed to be the same character as Wright's (not physically that is), yet her character's personality seems to be different, more sceptical. Self-reflection plays a big part in this story, which is quite evident as two people who have the same mind explain themselves to each other and therefore are actually opening up to themselves. The narrative also involves regrets and reminiscing the past. Those who fancy a supernatural story with humour and also deep meanings should give this short a go. It is an odd and amusing journey with cheeky dialogue and an interesting plot. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Attachment film review by UK film critic Hope Madden. Starring Josephine Park, Sofie Grabol, Ellie Kendrick directed by Gabriel Bier Gislason. HOME | FILMS | REVIEWS Attachment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 7, 2023 Directed by: Gabriel Bier Gislason Written by: Gabriel Bier Gislason Starring: Josephine Park, Sofie Grabol, Ellie Kendrick There are not nearly enough horror films based in Jewish folklore. Have you ever seen a dybbuk movie? You should. So far, I’ve seen three – Marcin Wrona’s beautiful 2016 haunting, Demon ; Keith Thomas’s 2021 horror, The Vigil ; and writer/director Gabriel Bier Gislason’s latest, Attachment . The thing about dybbuk stories is that I’ve never seen one go well for anyone. Fun! On the surface – and even just below – Attachment is an astute observation on being new to the family, particularly in a situation where the relationship itself is probably not that welcome. All families are weird, but they are weird in such individual ways. Gislason picks that scab effectively, as does his cast. Josephine Park is Maja, a Danish actress best known – really, only known – for playing Santa’s Elf in a long-defunct TV series. She literally runs into Leah (Ellie Kendrick) at a bookstore. Leah is in from London doing some research, the two fall quickly in love, and after Leah is injured during a seizure, Maja offers to return with her to London and her mother’s care. There is something quietly astute about the way Gislason sets up the dynamic: the willfully oblivious love interest, the domineering parent (Sofie Gråbøl) unwilling to be gracious, and the insecure new love unsure how to make herself fit into the family. All of it feels authentic, even if the stakes and weirdness are clearly ratcheted up a few notches. Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. When the film changes its point of view, you realize where its compassion really lies. Attachment is a nightmare about parenting, about releasing your everything – your beautiful, tender baby – into a vast and brutal world. At the center of the entire nightmare is love, of course, because there is no real horror unless love is at stake. It’s that knowledge that makes the film hurt. Hug your mom. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >