Search Results

Blowing Up film review by UK film critic Jason Knight. Starring Maria Todero, Tenaya Cleveland, Danielle Rodd, Don-Dimitri Joseph directed by A.J. Fitzgerald. HOME | FILMS | REVIEWS Blowing Up Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 25, 2025 Directed by: A.J. Fitzgerald Written by: A.J. Fitzgerald Starring: Maria Todero, Tenaya Cleveland, Danielle Rodd, Don-Dimitri Joseph Dedicated to his late father, this short drama is A.J. Fitzgerald's directorial debut, that he also wrote and it stars Maria Todero, Tenaya Cleveland, Danielle Rodd and Don-Dimitri Joseph. Janine is not well. It is her 30th birthday and she has not been well for ages due to a loss. Her condition has alienated her from her loved ones, damaging her relationship with her partner, Scott (Joseph), testing her friendship with co-worker Miranda (Rodd) and causing her to ber less competent at work, much to the dissatisfaction of her boss (Cleveland). Scott and Miranda are planning to take Janine to a restaurant for the special occasion and there, things will get quite dramatic. Here is the thing: Janine is an inflatable doll. Just a doll, lying on a bed, sitting at a desk at work, listening to a smart speaker or sitting at a table at a restaurant with friends. She is treated by others as an actual person: they talk to her the same way they would speak to a friend and the doll is also dressed in clothing, although she does not move or speak, she seems to be an object, not one that is magically alive. The fact that a doll appears to be the protagonist and all characters view her as a real person is probably what makes this film stand out the most, as it is an intriguing technique. The reason that Janine is presented as a doll is revealed eventually, meanwhile one cannot help but wonder whether the doll possesses supernatural powers or whether the characters have lost their mind. Without spoilers, the answer is neither. With a doll as a protagonist, this story goes into deep drama, filled with emotional pain and confrontations with the atmosphere being enhanced by Julien Monette's music. Throughout the film, several quotes appear that are about a variety of themes, such as happiness and bravery. Although their apparent intention is to add further meaning to the viewing, ultimately, they are not required in order for the film to have an impact. The performances are strong. Rodd and Scott play characters who are concerned about Janine's well-being but do not seem to be able to get through to her. Cleveland plays a different role, that of a selfish employer who is more concerned about people's performance at work than their mental health. Todero is arguably the one who stands out the most, thanks to her terrific job as a broken woman who is being torn apart by loss and has become isolated. The film begins with a title card stating that this story contains distressing subjects such as grief and depression and it is a correct statement as what follows heavily involves these themes and it also brings attention to alienation, anger, self-reflection and the importance of support. Furthermore, the significance of smart speakers is brought forward, how much people rely on these devices in today's world. A dramatic and emotional story about loss that focuses on the aftermath of a passing. Great acting, great drama and a doll as a protagonist being the most memorable aspect. Doll aside, this film does not differentiate itself much from other films that deal with similar subjects. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

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

. Brand new film trailers. Doctor Plague The promotional footage for Doctor Plague , the new mystery killer chiller from director Ben Fortune and Shogun Films, promises a sinister, high-stakes slasher that leverages the grim historical tapestry of London’s underworld. Fronted by UK screen favourite Martin Kemp as the cynical Detective John Verney, the film looks set to deliver a relentless, modern take on ancient evil, complete with a genuinely unsettling masked killer. The trailer wastes no time in establishing the dire situation, presenting a city gripped by fear as a mysterious figure stalks the streets under the ominous guise of a 17th-century Plague Doctor. What immediately grabs the attention is the tone: a dark, rain-slicked urban setting provides the backdrop for a crime story that spirals rapidly into the supernatural. Verney’s investigation into the escalating body count reveals that this is no ordinary serial killer; the dialogue confirms the connections to the White Chapel murders and Jack the Ripper, immediately escalating the mythology. The trailer hints at a chilling history, explaining that the Plague Doctors of old were part of a secret faction tasked with killing those "deemed corrupt and criminal and who refused to repent." This ancient, deadly mandate has seemingly been revived, adding a layers of cultic deception and deadly rituals to the standard detective procedural. Kemp, who made his name in The Krays and Eastenders , looks commanding as the beleaguered detective. Verney is presented as a man under intense pressure, facing scrutiny from his superior, played by David Yip, who dismisses the Plague Doctor killings as mere gang violence. Adding fuel to the fire, the trailer shows the media and social platforms fearmongering with explosive headlines and outlandish videos, encouraging public unrest and complicating Verney’s already impossible task. The scope broadens as Verney falls deeper into the terrifying web, hinting at a connection to a subterranean London—the tunnels beneath the city housing an ancient evil. The stakes become deeply personal when his son is kidnapped, forcing Verney to break protocol and take the law into his own hands as his colleagues turn against him. The trailer effectively showcases a strong ensemble cast ready to be drawn into the chaos, including Peter Woodward, Jeanine Nerissa Sothcott, Wendy Glenn, Daisy Beaumont, Gary Webster, and Michael McKell. From the sharp, gritty cinematography to the unnerving presence of the titular killer, the Doctor Plague trailer offers a compelling glimpse at a British horror-thriller hybrid that aims high. It successfully balances the familiar beats of a London-based police drama with the chilling theatrics of a full-blown slasher and conspiracy thriller. Produced by Shogun Films and directed by Ben Fortune, this looks like a solid piece of UK genre filmmaking. For viewers looking for a dark, labyrinthine mystery that delves into the city's deepest secrets, Doctor Plague looks like the essential appointment. Get ready to repent or die; the doctor will see you now when the film makes its UK digital debut on 12 January, courtesy of Miracle Media. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie

Letters of Love film review by UK film critic Chris Olson. Starring Johan Wickholm, Derek Duce directed by Johan Wickholm. HOME | FILMS | REVIEWS Letters of Love Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 24, 2025 Directed by: Johan Wickholm Written by: Johan Wickholm Starring: Johan Wickholm, Derek Duce Drenched in regret and tragedy, Johan Wickholm’s poignant short film Letters of Love deep dives into the choices we make in life and how these often come back to haunt us. The writer-director himself plays the lead character of Peter, a troubled young man we meet early on in the movie but later in his life, reflecting on his past regrets. We then flashback to his early adolescence, where his strong bond with Raymond (Derek Duce) is peppered with turbulence, after Peter gets himself more deeply involved with drugs. The ne’er-do-wells that Peter becomes embroiled with lead him on a catastrophic course for calamity, and it’s only his volatile yet emotional relationship with Ray that could possibly save him. Presented as a proof of concept for a feature film, Letters of Love has a variety of strong elements going for it. The central characters are intriguing, and the conflict in their relationship creates a palpable tension for the audience to connect with. Viewers may also sense an aesthetic akin to classic crime dramas and gangster flicks of the 60s and 70s, with the use of European locations and costumes. A section of the film told without dialogue, seeing Peter engaging in the nefarious activities of drug-dealing was certainly Godfather-adjacent. At times, the performances spill into melodrama as the deeply rooted and intense feelings between Peter and Ray attempt to be communicated on screen. Perhaps a less-is-more approach would have helped display this better, and certainly eschewing the amateur punching for something more visceral would be commended. Emotional outbursts aside, however, Wickholm and Duce make for a compelling on-screen duo, and a longer version of this story would help develop their relationship even further for the audience. There is a brooding intensity to Letters of Love as a short film. From the opening, Peter feels like a DiCaprio-esque “stoically grieving” protagonist, coolly smoking a cigarette against the beautiful rural backdrop in the opening moments of the film, before we submit to the violent entanglement that follows. Crime and narcotics stories are ten-a-penny, and Letters of Love is certainly not penning anything unique here. Peter’s downfall is familiar cinematic territory, and the themes of regret, loss, longing and addiction have been tackled by huge numbers of filmmakers. However, Wickholm has created a potentially rich and abundant landscape to develop this idea further, hopefully capitalising on the tender central relationship, which is the main strength of the 20-minute version we have currently, and taking the story into charters unknown. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

TERRA film review by UK film critic William Curzon. Starring Tayo Aluko, Meg Birley, Ramin Farahani directed by Rory Wilson. HOME | FILMS | REVIEWS TERRA Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 4, 2025 Directed by: Rory Wilson Written by: Rory Wilson Starring: Tayo Aluko, Meg Birley, Ramin Farahani TERRA depicts a war zone setting, following a war doctor and his medical staff who are forced underground into a makeshift hospital, only to be faced with a desperate father, Dabir (Ramin Farahani), and his daughter, who are willing to do whatever it takes to be helped to cross the border. Opening in an almost dystopian wartime backdrop, the film viscerally forces the viewer into a harrowing and desperate journey following a father and daughter trying to survive in the desolate war zone. Even with the film's bleak subject matter, there's a beauty to be found within the performances from Ramin Farahani and Runya Ghani, who effortlessly portray the father and daughter. Their chemistry is magnetic, and the narrative remains character-focused primarily rather than a spectacle-heavy depiction of war, which makes their relationship profoundly compelling to witness. The narrative consistently hooks you in due to threats frequently looming over the central characters and a severe amount of tension being built up. Another substantial positive feature formally is the musical score, which anchors scenes of terror and keeps the flow of the pacing tight alongside meditative scenes of despair; however, it can become overbearing at times between sequences of dialogue. Depictions of wartime and a heavy focus on the injuries characters endure make the presentation raw and difficult to watch at times, and can easily get under your skin with the rich attention to detail. While the pacing can become uneven at times, thanks to the lack of characterisation, specific characters are given, and it does lose some momentum towards the conclusion due to how frenetic the first 40 minutes are, the finale is suitably satisfying and pulse-pounding. The tight runtime works in its favour, with the piece never overstaying its welcome or feeling prolonged. Once the tightly managed opening concludes and the inner conflict hits the fan, the piece remains engaging and focused throughout the rest of the runtime. The film makes outstanding use of its limited budget, primarily setting it around one area, which keeps the narrative focus linear, rarely putting a foot wrong while tackling culturally relevant and thematically potent themes of the horrors of war. Rory Wilson impressively helmed the piece, utilising extreme close-ups which feel as claustrophobic as a straitjacket, never shying away from the brutality and isolation of fear. Whilst the depth of the characters is perhaps compromised by overly convoluted inner revelations that sometimes feel shoehorned in for shock value, the central twist still manages to be compelling and gut-wrenching. The father-child trope can feel derivative of other pieces of media; however, the performances and chemistry from the two actors elevate the material to outstanding heights. Showcases of empathy towards a father who is willing to do what it takes to protect his family and doctors trying their best to help as many helpless victims as possible are profoundly universal themes and something that is naturally compelling as a viewer. The conclusion of the story is emotionally overwhelming while wrapping up narrative threads in a satisfying manner with a sense of closure for the audience, for what is suggested for the character's further journey beyond the credits. TERRA is an unforgettable depiction of the horrors of a bleak war zone, while providing a colossal helping of empathy towards the doctors and helpless individuals, unfortunately forced into a horrific situation. The central relationship and performances from Ramin Farahani and newcomer Runya Ghani are outstanding, alongside a mesmerising supporting cast. A raw and uncompromising vision that rarely lets up and never loses sight of its character-focused narrative. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

A Tight Squeeze film review by UK film critic Lawrence Bennie. Starring Rinzin Thonden, Keegan Garant, Jack Haycock directed by Colton Caulfield. HOME | FILMS | REVIEWS A Tight Squeeze Film Review average rating is 3 out of 5 Critic: Lawrence Bennie | Posted on: Nov 23, 2025 Directed by: Colton Caulfield Written by: Colton Caulfield Starring: Rinzin Thonden, Keegan Garant, Jack Haycock From the pen and directorial chair of Colton Caulfield comes A Tight Squeeze , a short, surreal sneak-peek into the intriguing world of the actor's audition. Remi (Rinzin Thonden) is excitedly called back for an opportunity to join a promising improv group. A friend of one of the troupe, Remi however has to win over Bobby (Keegan Garant), the imposing head of the company. In just 12 minutes, Caulfield crafts a tight, tense tale in just twelve minutes across two settings - Remi's home and the theatre. The set-up is realistic; the situation surreal - Remi's water-bottle vanishes when Bobby sits on it. Did it fall off the seat? Is Remi losing his grip? Or, more worryingly, has it (somehow) gone into Bobby? It's all very simple and silly on paper, but surprisingly sustained for tension on the screen. Rather than going for a more obvious absurdist-screwball approach, Caulfield's film (much like Remi's experience at the theatre) jolts against expectations. Instead of playing for the comedy, the focus is a battle between Remi and Bobby. Bizarrely, Remi's predicament seems like one of the company's improv exercises come-to-life. A daft, fantastical scenario which nonetheless Remi has to play completely straight, or he's out. An alternative of course is we're watching Remi's mental technique first-hand. Perhaps the water-bottle forms part of a focusing technique and is all part of his method? More metaphorically (and intriguingly) perhaps it symbolises Remi's goal, his shot at success on the stage. Caulfield has Bobby decked out all in blue, just like the water-bottle. When Remi introduces himself to the group, Bobby cuts in with "Oh, forgot to mention, Remi is here for a call-back". It's a positive enough note, but it seems, somehow, to throw off Remi. From here, Bobby is increasingly built as Remi's adversary, to the point where it comes to a final verbal showdown between the two. However, is Bobby really his nemesis or is everything going on simply a projection of Remi's insecurity and desperation at getting accepted into the group? "Wow, that rocked!" acclaims Bobby when he reveals the outcome of Remi's efforts. That said, Remi's friend Alex (Jack Haycock) looks more than on-edge by the end of it. And, having proved himself and been successful, Remi is reunited with the Bobby-fied water-bottle. Quirky and absurdist, yet with its feet firmly on the stage, A Tight Squeeze reels out a lot of interesting questions from a simple set-up in a short-time. Unlike Remi and Bobby's theatrical tussle, it may not rock but it's certainly worth a call-back. About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

Extricate film review by UK film critic Patrick Foley. Starring Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi directed by Sterling Nlongo. HOME | FILMS | REVIEWS Extricate Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 20, 2025 Directed by: Sterling Nlongo Written by: Sterling Nlongo Starring: Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi Filmed over the course of a single day and with minimal budget, short thriller Extricate is a flawed but impressively-realised vision of a post-apocalyptic London that has fallen foul of lawlessness, militarism and plague. Survivors Hazel (Bennette Ngoma) and Joshua (Tafara Mbangani) face a desperate struggle in a world that has fallen apart, when they come across a mysterious mute child, Cairo (Jayden Ndombasi). Cairo possesses mysterious power that may hold a key to rebuilding society, but the threat of scavengers, fascist militias and a fatal disease that has crippled the world mean they have to use all of their meagre resource and strength to bring the child to a sanctuary where such an outcome may be possible. The sacrifices make their pair wonder if their choices are worth the risk. Extricate ’s budget and smaller-scale production mean that the lofty ambition of director Sterling Nlongo at creating a fully-formed sci-fi thriller aren’t fully met – but this entertaining short is one hell of a go at it. Some of the more complex and action-packed developments of Hazel and Joshua’s quest are relegated to voiceover – a presumed necessity due to the scale such scenes would demand. What is left are the quieter character moments between the pair, Jayden Ndombasi’s Cairo and later Alisha Henry’s malicious dictator Mabel – and these deep moments of introspective exchanges stand up as emotional and thought-provoking examples of why post-apocalyptic movies have great potential to speak to the human experience. The themes of sacrifice, loyalty and commitment to a greater purpose are all explored through considered moments that develop the story more than any large-scale gun battle ever could. Bennette Ngoma’s Hazel and Tafara Mbangani’s Joshua share the majority of the screen time, and their chemistry echoes the likes of Joel and Tess in The Last of Us as an imperfect and desperate couple who are faced with a difficult choice that places their existence in great danger, but requires selflessness for the benefit of all. Their differing perspectives on what to do with Cairo are the film’s most intriguing aspect, as is the choices both face when danger inevitably tracks them down. Ngoma and Nbangani convince as hardened, embittered and embattled survivors, whose humanity is frayed but not fractured. There are times where the film creaks under the pressures of its small-scale production. Much of the film is limited to the interiors of warehouses – the sparse outdoor sequences convince but there is a lack of scale that mean the scale of societal downfall or the reach of the militarised organisation hunting Hazel and Joshua down is hard to envision. There are occasional hiccups with the dialogue where vocal matching feels off, and clunky dialogue is another symptom of too much story, too little time. An unsatisfactory and open-ended conclusion also falls flat – one that aims for a complex deliberation on sacrifice but leaves audiences feeling short-changed. Despite some clear shortcomings, Extricate is an impressive success for director Sterling Nlongo. It outperforms a small budget to imagine a devastated world and explores it with strong characters who act convincingly for the world they live in. About the Film Critic Patrick Foley Short Film, Digital / DVD Release < All Reviews Next Film Review >

The Silver Screen Dreams Cafe film review by UK film critic William Curzon . Starring Mike Peacock, Rebecca Peacock, Brandon Ntuli directed by Mike Peacock . HOME | FILMS | REVIEWS The Silver Screen Dreams Cafe Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 21, 2025 Directed by: Mike Peacock Written by: Mike Peacock Starring: Mike Peacock, Rebecca Peacock, Brandon Ntuli The Silver Screen Dreams Cafe follows Milton (Mike Peacock), who is living in a washed-up, rundown seaside town. Surrounded by his father’s collection of silent film memorabilia, he is burdened with a mountain of debt he must pay to keep his parents’ cafe open until Jenna (Rebecca Peacock) arrives. With her, she brings a second-hand camera and a vision to make a film that will help Milton pay off his debt and keep his family’s legacy alive. Written and directed by Mike Peacock, the film is clearly made with a distinct passion for filmmaking and community, which shines through in each frame. The piece is accompanied by an endearing voiceover and musical score, which perfectly sets the wholesome tone. Mike Peacock’s screenplay radiates a somewhat grounded narrative with a lack of perceivable conflict and builds off its quirky vibe and down-to-earth characters in the town. Its chemistry-laden cast of characters and heartwarming thematic push are deeply resonant, keeping the narrative engaging throughout. It builds an effortless sense of empathy for Milton’s struggles and makes it impossible not to root for him as he attempts to keep the cafe open for his family's legacy. The central relationship that blossoms between him and Jenna is profoundly engaging thanks to their magnetic chemistry and awkwardness that feels genuine in both of their naturalistic performances. Some of the supporting players, however, do at times register as robotic and stilted in their delivery, which can feel awkward to witness as a viewer. Sadly, the colour grading at times can look washed out, and the camerawork isn't anything spectacular; however, the use of drone shots overlooking the seaside is glorious, as well as the switch to handheld during infrequent scenes of conflict. The filmmakers are clearly in love with the material, as it feels like a homemade piece of filmmaking. The filmmaking sequences are intentionally directed with a sense of amateurism, thanks to the limited budget they're working with and the inexperienced actors, which adds to the sense of community within the town and how they come together, despite their differences. It also feels profoundly British thanks to its deadpan humour and surprisingly darkly comedic portions, which is something a broader audience worldwide may struggle to connect with entirely. However, it’s an inspirational narrative that keeps you rooting for its plethora of characters and radiates a profound sense of heartfelt vibes. The pacing can unfortunately be stagnant at times due to a lack of conflict as the characters struggle to find ambition and funding to make the film, making the set-up feel clunky and uninspired in its execution. Thankfully, once the setup is complete, the narrative becomes far more compelling as the chemistry of the cast and their dedication to the craft are evident. It may lose some momentum during the third act thanks to overly convoluted narrative threads and a jarring tonal shift; however, it concludes satisfyingly, leaving the characters’ arcs with a sense of fulfilment. The Silver Screen Dreams Cafe is a heartwarming and hopeful piece of filmmaking about resilience and community, which is clearly made with a profound passion for the material and cinema as a form of escapism. It may suffer from a prolonged runtime that slightly overstays its welcome and an overly convoluted conclusion. However, it's ultimately anchored by its fantastic central performances from Mike Peacock and Rebecca Peacock and its wholesome vibe that'll no doubt stick with you after the credits. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Counterpart film review by UK film critic William Hemingway. Starring Jacob Huey Correa directed by Ethan Grover. HOME | FILMS | REVIEWS Counterpart Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 21, 2025 Directed by: Ethan Grover Written by: Ethan Grover Starring: Jacob Huey Correa A musician who is finding it difficult to compose his newest piece of work finds some unexpected help from an other-worldly version of himself. The unnamed composer (Correa) wakes up to the continuous ticking of a metronome. He’d fallen asleep on his bed with all of his clothes on as he desperately tried to get something of his new composition out of his head and onto the page, but to no avail. Picking up some of what he wrote, and trying to get some sort of tune out of it, is no use, and he scrumples up the paper and throws it in the bin. Sitting in dumbstruck silence at his keyboard, looking at the keys with no hope, he suddenly hears a noise outside the window, as a great shadow moves menacingly beyond the shades of the blind. With a flash of white light, the composer is transported to another realm, or at least a version of him is, and that damned metronome is busy rhythmically counting out the seconds again. He, too, is all dressed in white, as are all of his surroundings, suggesting that he is in some sort of ethereal plane of beauty or heavenliness, and he finds that it might just be here that the answer to all of his creative problems lies. Exploring this realm, the angelic composer tries to find himself and the music that has been eluding him up until now. At only six-and-a-half minutes long, Counterpart doesn’t have a lot of time to tell its story. This doesn’t really matter, however, as the composer and his doppelganger are the only characters in the film and there is no dialogue between them. The plot is very thin on the ground, too, with only the bare bones of what is needed to share a narrative given to the viewer to chew upon, and everything being over with almost as soon as it started. There are no surprises or side-lines in Counterpart , with everything going in exactly the direction you would expect it to, until it reaches the denouement that you always knew was coming anyway. All of the technical aspects are handled proficiently enough, with writer/director, Ethan Grover placing the camera where he needs to within the confined environment to keep the face and the emotion of the composer in the frame, while DoP James Nield highlights enough of a difference between one world and the next to make sure that we always understand where we are. Sound obviously plays a big part in the narrative of Counterpart , with the first half of the film being eerily silent, save for a few incidental sounds, while the second half comes alive once the composer starts to put his new composition together. The music itself, sadly, isn’t all that exciting or enticing for the viewer, and it’s hard to believe that the composer would really go to all these lengths, and find such inspiration in his other-worldly muse, just for the short snatches of music that we get. While there’s nothing wrong with what we’re being given as an audience, it just doesn’t engender enough interest to necessarily justify us being there in the first place. Counterpart is a short, simple film that does exactly what it says on the tin. There are no frills, and definitely no spills, to speak of, and by the time it’s finished there a distinct feeling of ‘meh’ about the whole affair. Something this bare is difficult to get excited about, as it does what it needs to do and nothing else. Still, for what it is, and what it sets out to achieve, it manages it all pretty well. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

PN & Friends: Algore film review by UK film critic Jason Knight. Starring Todd Montesi, Joseph Lewis Dixon, Kenzie Klem directed by Todd Montesi. HOME | FILMS | REVIEWS PN & Friends: Algore Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 21, 2025 Directed by: Todd Montesi Written by: Todd Montesi Starring: Todd Montesi, Joseph Lewis Dixon, Kenzie Klem Part of the sci-fi comedy web series PN & Friends, this could be classified as a feature, written and directed by NYC comedian Todd Montesi and starring himself, Joseph Lewis Dixon and Kenzie Klem. The plot? It is quite extraordinary. There is this guy (Montesi) who is called PN and he is a supernatural being, a glitch actually and it is revealed that he is the latest version of another PN (also played by Montesi), who, many centuries ago, craved power and domination. Now, PN, the good one who lives in present day United States, must collaborate with his associates and try to find out what exactly is going on. This fifty-minute-long feature mixes live action with animation in order to tell the story. The narrative consists mainly of Good PN talking on his phone, attempting to discover what he needs to do next and many animated sequences that provide the backstory. Understanding the story is not mandatory for this project to be apprecciated as the visuals are rather cool. With computer animation, viewers will see a variety of things, the majority of which appear to be in Ancient Egypt and they include powerful entities in human forms, guards and pyramids. Additionally, both PNs appear in animated forms, the bad PN as an Egyptian ruler and the good one as a robotic entity. The animation creates an exciting world filled with supernatural beings and watching all this is enough to make one forget about the story. And then there is the entertaining soundtrack. The acting is not convincing, but that is OK and more about that later. And regarding the animation, although it looks great, it can be a bit repetitive, contantly showing more or less the same images again and again. No, the performances are not believable, however they are entertaining by the cast in general. Montesi and Dixon in particular, succeed admirably at being amusing in their roles. Montesi should get most of the credit as the main protagonist, portraying two characters: a guy who does not know who he is or what is going on and his evil version. This story is about Good vs. Evil and saving the world. It is also about self-discovery, heroism and technology including artificial technology. A wild journey. A satirical and surreal experience whose main strengths are the animated scenes. The whole thing is amusing and a good way to introduce people to this web series. About the Film Critic Jason Knight Web Series, Animation, Indie Feature Film < All Reviews Next Film Review >

The Whispers film review by UK film critic Matt Trapp. Starring Ehsan Gharedaghi, Nava Nemati directed by Ali Moazen. HOME | FILMS | REVIEWS The Whispers Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Nov 20, 2025 Directed by: Ali Moazen Written by: Peyman Ezzati Starring: Ehsan Gharedaghi, Nava Nemati Ali Moazen’s short film The Whispers is an intimate and quiet affair. The cast is made up of just Ehsan Gharedaghi and Nava Nemati, playing a couple with an ambiguous relationship as they converse in bed. More context surrounding their relationship is revealed as the short unfolds, and the couple begin to reveal certain vulnerabilities and fears with each other. It’s the morning after the night before, and for the duration of the short, the two leads share a conversation in bed that skates around relationships, pain, and philosophy. Immediately, the audience are invited into a very personal space, as the camera lingers above and between the two actors underneath their bedsheets. A thin sunbeam gives the impression that The Whispers takes place after a night of passion, and in the afterglow of the night before, the two can be open with each other for perhaps the first time. The conversation sways idly between various topics; they talk about school, past loves, and scars – both emotional and physical. There’s a sense that they can be honest with each other in this space, sharing anxieties that they’re burdened by in everyday life and confessing to darker thoughts that have troubled them. A cloud of unease underpins the conversation as they meander around past traumas, and when the film ends, it feels as though something unspoken is left hanging in the air. The Whispers treads into heavy territory, and while it's interesting to see how these characters confront what could have been an awkward morning, audiences may find it difficult to navigate through the dialogue to find exactly what Moazen’s point is. Unfortunately, the English language subtitles were unclear in parts, which made the conversation difficult to follow. A key reveal towards the end of the film was vague in the English subtitles, and audiences may miss the meaning of the film’s climax. Fortunately, the subtitles can easily be improved, and I would like to see the film again with a more accurate translation into English. The Whispers should be commended for its filmmaking and the performances of the cast. The minimalism of shooting two actors in bed and putting the camera between them creates a strong sense of intimacy, and Moazen clearly trusts the audience to learn the nature of the main characters’ relationship to each other without spoonfeeding all the juicy details immediately. It feels rewarding to learn how casual or serious the nature of their relationship is, which gives the first half of the short a palpable sense of intrigue. However, while the verisimilitude of the dialogue creates a great sense of realism, the film may lose audiences with an apparent lack of focus in the script and a fairly lethargic pace. Once the details of the night before are revealed, the engine begins to run on empty, and there’s not much in the way of conflict to keep the audience invested. The brilliance of the film’s script may shine through with a better English translation, but until that is available, the narrative and dramatic potential of The Whispers unfortunately falls a little short. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Peter Hujar's Day film review by UK film critic Hope Madden. Starring Ben Whishaw, Rebecca Hall directed by Ira Sachs. HOME | FILMS | REVIEWS Peter Hujar's Day Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 19, 2025 Directed by: Ira Sachs Written by: Ira Sachs, Linda Rosenkranz Starring: Ben Whishaw, Rebecca Hall Linda Rosenkranz blurred lines between fiction and nonfiction, turning conversation into a microcosm of Chelsea Hotel-orbiting 1970s society. Peter Hujar—one artist in that orbit—provided photographic evidence of the same. Writer/director Ira Sachs attempts to trap that same lightning on screen with Peter Hujar’s Day . Sachs adapts a transcript, part of a planned book by Rosenkrantz in which her artist friends simply dictated, in detail, every event of the previous day. We catch Peter Hujar on December 18, 1974. Ben Whishaw is Hujar, dutifully detailing his previous day to a prodding, intimate Rosenkranz (Rebecca Hall). Theirs are the only faces you see, the only voices you hear, for the film’s brisk 75-minute run time. The two fall into a delightfully familiar chemistry, Linda a little protective, Peter a tad vulnerable, but certainly committed. Every detail—from sleeping through his alarm and being awakened by a phone call, through all the phone calls, naps, liverwurst sandwiches, right up until being awakened in the middle of the night by the prostitutes talking business under his window—is recounted. Faithful to the tone of Rosenkranz’s body of work, Sachs spotlights the fiction structuring the nonfiction, blurring lines while drawing attention to them. The banality of the exercise—forcing himself to remember every forgettable detail of a day—strips the conversation of ego or pretention, unveiling introspection and struggle. Whishaw is exceptional, the rote and self-consciousness at the beginning of the conversation evolving into self-effacing humor and, eventually, raw bursts of personal reflection touched by lilting melancholy. Hall is a gift in this role, the personification of the absolute joy in simply giving your attention, listening and being with a person. Set design and cinematography befit not just the time period but the portraiture Hujar is known for. Sachs captures kindship and camaraderie among artists. Peter Hujar’s Day is a peek inside a lost and treasured time, an era of punk rock artistic and literary revolution. It’s also a bittersweet dance with an artist underappreciated in his time, whose work and words pack a punch 50 years on. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >