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Song of the Selkie film review by UK film critic William Curzon. Starring Layla Burns, James Robinson, Kerry Browne directed by Kerry Browne . HOME | FILMS | REVIEWS Song of the Selkie Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 22, 2026 Directed by: Kerry Browne Written by: Kerry Browne Starring: Layla Burns, James Robinson, Kerry Browne Song of the Selkie follows Isla (Layla Burns), a young girl who returns to the Scottish Highlands with her father, Craig (James Robinson). Their return leads her to the mystery of the mythical and legendary being, the Selkie. Set over two time periods, the narrative is a mix of two languages (Scottish English and Scottish Gaelic) and an exploration of grief and forgiveness. The piece is ultimately paced as a slow burn, with a meandering depiction of a father and daughter reconnecting as they return to the Scottish Highlands. As the film spans two time periods, the transition between these sequences can feel jarring and difficult to comprehend; however, as the narrative progresses, it ties together wonderfully. While it may take multiple viewings to appreciate its subtlety on a deeper level, this approach is a welcome one that genuinely trusts its audience to follow along. It's a quietly meditative and haunting experience as Isla begins to unravel the truth about her mother’s disappearance, and both central performances from Layla Burns and James Robinson convey their characters' struggles profoundly. The chemistry between both performers is endearing and feels like a raw father-daughter relationship as the two characters grapple with grief over the loss of their beloved wife and mother. Both Jon Burton and Ryan Gibson, serving as the cinematographers, do an incredible job of showcasing the landscapes of the Scottish Highlands while making the experience intimate and thought-provoking. The camera is often positioned close to the actors during scenes of self-discovery or discomfort, allowing the performances to shine in each frame. David Julyan, serving as the film's composer, delivers an evocative musical score that is quietly haunting and striking in its motifs. It's a haunting portrayal of loss and acceptance, deeply rooted in its technical prowess. One of the most surprisingly memorable aspects of the narrative is a wonderfully choreographed dance sequence that feels thematically rich in its purpose during the story and deeply enriches Isla’s character arc. While it may take its time to find its footing, the film is a rewarding and emotionally resonant experience with plot points that piece together wonderfully. The mix of a contemporary setting with the old folklore is constructed perfectly and becomes less jarring as the story delves deeper into the two time periods colliding. The over-reliance on visual storytelling is both a positive and a detriment to the experience; despite the lack of exposition being refreshing, the limited context provided for certain elements of the narrative can become frustrating for the viewer to piece together. Its meandering pace at times can also hinder some of the engagement within the story; that being said, as a directorial effort from Kerry Browne, it's a stunning achievement with splendid direction that may entice viewers to seek out her upcoming projects. Song of the Selkie is an absorbing experience that blends two time periods and explores profound themes of grief and forgiveness. The importance of family and understanding one's grief is a prevalent theme at the centre of the story, and the film never shies away from this. Despite some hiccups in its pacing and some jarring tonal elements, the film is an affecting and gripping piece of filmmaking that ties together superbly in its emotionally resonant conclusion. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Think of England film review by UK film critic Jason Knight. Starring Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm, Ollie Madigan directed by Richard Hawkins. HOME | FILMS | REVIEWS Think of England Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 22, 2026 Directed by: Richard Hawkins Written by: Richard Hawkins Starring: Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm, Ollie Madigan A World War II drama thriller written and directed by Richard Hawkins and starring Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm and Ollie Madigan. The Scecond World War is taking place, the Allies' Invasion of France is near and the British Government is sending six people to the Orkney Islands to make three short pornographic films, one for the Army, one for the Navy and one for the Air Force. The plan is to boost the soldiers' spirit. These six people are Captain Clune (McCrea), who works for the Ministry of information, specialising in film propaganda, Holly (Quarry), an aspiring actress, Max (Bohm), a German film director, Agnes (Ancona), in charge of the makeup and the clothing, Clifford (Maddigan), the sound apprentice and Corporal Evans (Bandeira), an unstable soldier. As they attempt to complete the project under a tight deadline, they find themselves dealing with a lot of drama and complications. This feature concentrates primarily on character exploration rather than the narrative. Some of the story's challenges are the crew's personal issues that they have with making this kind of film, particularly the erotic scenes. As they work (or at least try to) work together, with Holly and Corporal Evans being the actors, the crew build rapport with one another, a significant one being the relationship that develops between Max and Holly, with him acting as her acting mentor. A significant part of the narrative involves Corporal Evans, whose outrageous behaviour creates a lot of tension and he secretely captures a German soldier and holds him captive. The creative mise-en-scene effectively brings to life a Second World War environment, with Nadia Dunn-Hill doing a great job on the costumes and the hairstyles looking good and the soundtrack consisting of music that is very appropriate for that era. Director of photography Sarah Cunningham expertly mixes black-and-white cinematography with colour. The viewing is quite dramatic and it is also a psychological thriller, mostly because of Corporal Evans's actions. Some viewers will most likely find the sex scenes hard to watch and there is graphic nudity. These observations are not ment to be nagative, but rather to point out that they highlight what the team is there to do and they also contribute in character development. It would be fair to state that Bandeira's character is the one who steals the show. A war veteran, one moment he can be utterly quiet and motionless and the other he bursts into a fit of rage, shouting obscenities, making it evident that he is a damaged man. Quarry is quite emotional as the one who has to film intimate scenes that she is uncomfortable with, especially with a man who terrifies her. Captain Clune is the one in charge of the project, a serious and determined man who is also dealing with family issues. This is a World Ward II story and a commentary about the challenges of filmmaking and acting. Additionally, it is a story about trauma, mental health, self-esteem and self-reflection. Moreover, it also explores the limits of acceptable behaviour. This is not a comfortable viewing, however, the strong acting, the intriguing plot and the heavy drama make this a skilfully crafted film. UK premiere at Glasgow Film Festival-March 2026. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Crime 101 film review by UK film critic Kieran Freemantle. Starring Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Nick Nolte directed by Bart Layton. HOME | FILMS | REVIEWS Crime 101 Film Review average rating is 4 out of 5 Critic: Kieran Freemantle | Posted on: Feb 20, 2026 Directed by: Bart Layton Written by: Bart Layton, Don Winslow (Novella) Starring: Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Nick Nolte Crime 101 is a crime thriller based on the Don Winslow novella from his collection of short novels, Broken. It’s a wide-ranging film that shows many characters getting involved in jewellery robberies across Los Angeles. Mike (Chris Hemsworth) is a diamond thief who operates on U.S Route 101. His crimes are well planned, and he refuses to use violence. He sets out to do one last job by robbing a billionaire’s wedding, and he plans to get a disgruntled insurance executive, Sharon Combs (Halle Berry), involved. However, a LAPD Detective, Lou Lubesnick (Mark Ruffalo), is on Mike’s trail, and the gentleman thief is being followed by an unhinged rival, Ormon (Barry Keoghan). As a cinematic genre, crime thrillers have been on the decline. They have not been as plentiful as they were in the 1990s, 2000s, and 2010s. Crime 101 aims to rectify this by being a throwback to crime thrillers of old with its ensemble cast, slick direction, and focus on characters and tension. The people who made it saw it as a proper film for grown-ups. Crime 101 was written and directed by Bart Layton, who’s best known for the acclaimed documentary The Imposter. Crime 101 was Layton’s second narrative film. The Michael Mann classic Heat clearly inspired him. Both were cops-and-robbers films set in LA with a large cast of storylines and characters, and oozing with style. Crime 101 lifted some specific ideas from Heat, like the main thieves starting relationships whilst the cop’s marriage was falling apart. Crime 101 would have fit in any time between the 1990s and 2010s. Tonally, there was a bit of Martin Scorsese’s The Departed during the cop-and-robbers story, broad storyline, and how characters were connected. There were also a bit of Drive and The Place Beyond the Pines in Crime 101 . Mike was a handsome man, but struggled with eye contact and maintaining human connections like Ryan Gosling’s character in Drive, who was coded to be autistic. Barry Keoghan’s Ormon was a biker like Ryan Gosling’s character in The Place Beyond the Pines, and Ormon’s jewellery store felt similar to the bank robberies in the Derek Cianfrance film, particularly when things went wrong. Crime 101 did name-check two Steve McQueen films, Bullitt and The Thomas Crown Affair, and there were visual cues to those films. Crime 101 had a broad scope, and it did rely on a bit of dramatic convenience. Sharon ended up investigating the same robbery as Lou that Mike conducted at the beginning of the film. At the same time, Mike was planning to groom Sharon as an asset in his final job. Even though the film was a lengthy 140 minutes, there were times that characters just disappeared for large portions of the film: Sharon and Ormon were the main victims of this. Some plotlines did not lead anywhere, like when Lou discovers Mike’s past. Crime 101 ended by sharing Heat’s faults as well as its strengths. Crime 101 wasn’t as action-packed as Heat, but it did have a lot of tension. There was a strong opening showing Mike staking out his target and showing all the moving parts from all parties involved. Ormon’s robberies showed how unhinged he could be, especially when stressed, which made him a volatile variable. The most intense sequence in the film was a chase on the streets of LA, where Ormon rode his bike into the traffic as he tried to escape from Mike. It was a mix of The French Connection, The Departed, and The Place Beyond the Pines, whilst also putting its own spin because of the LA night setting. One of the moments wasn’t even a crime sequence: it was Sharon asserting herself and showing that Halle Berry can be a strong-willed presence. For any cinemagoers looking for a serious crime thriller, Crime 101 will provide a fix due to its strong direction and air of seriousness. It’s great to see this type of film getting a theatrical release. About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Psycho Killer film review by UK film critic Hope Madden. Starring Georgina Campbell, James Preston Rogers, Malcolm McDowell directed by Gavin Polone. HOME | FILMS | REVIEWS Psycho Killer Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 19, 2026 Directed by: Gavin Polone Written by: Andrew Kevin Walker Starring: Georgina Campbell, James Preston Rogers, Malcolm McDowell Gavin Polone’s Psycho Killer had one strike against it going in, for me. The film takes us along for the ride on the Satanic Slasher’s cross-country killing spree. And while James Preston Rogers cuts an impressive figure as the serial killer at the center of this cat and mouse chase, a Satanic murderer is a conservative straw dog cliché as tired and damaging as witches, maybe worse. That aside, Polone, working from a script by Andrew Kevin Walker (Se7en, The Killer , Metalocaplyse: Army of the Doomstar ), crafts a taut thriller. Georgina Campbell (Barbarian ) is Trooper Jane Archer. After witnessing her husband’s murder, Archer determines to take the shot she missed and put an end to the Satanic Slasher. Campbell delivers a properly heroic performance. Smart, driven, and with an aggressive lack of cooperation from the FBI and other law enforcement agencies but nothing to divide her attention, Archer figures out the psycho’s trajectory. And though her story involves one almost inescapable cliché, having a woman play the cop who misses the shot that could save their spouse and then, job be damned, scours the country to kill the bastard—it’s a nice gender role reversal. The villain’s concept impresses: the hair, the mask, the coats, the voice. His mythology is sometimes clunky, other times lazy, but it’s rarely the backstory that makes a villain memorable. This guy’s creepy. Logan Miller offers solid support with limited screentime. Likewise, Malcolm McDowell lends his unmistakably infernal voice to great effect, providing the film with a bit of dramatic flourish. But otherwise, Psycho Killer blends police procedural and revenge flick with plenty of tension and not a lot of fanfare. There’s fairly little onscreen violence. Though an awful lot of grisly carnage is mentioned, there are only a few scenes in the film depicting it. Two of them are grimly subversive and worth the ticket price. The third act comes seems to come from nowhere, but it’s a big capper to the slow building momentum of the Slasher’s bloody journey. Psycho Killer isn’t perfect, but it’s a tight, entertaining bit of a thrill. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Dreadful film review by UK film critic Hope Madden. Starring SophieTurner, Marcia Gay Harden, Kit Harington directed by Natasha Kermani. HOME | FILMS | REVIEWS The Dreadful Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 19, 2026 Directed by: Natasha Kermani Written by: Natasha Kermani Starring: SophieTurner, Marcia Gay Harden, Kit Harington Have you ever seen Kaneto Shindô’s1964 masterpiece Onibaba ? Dude, you should! Writer/director Natasha Kermani’s latest film, The Dreadful , reteams Game of Thrones stars Sophie Turner and Kit Harington, alongside the flawless as ever Marcia Gay Harden, in a medieval retelling of the same Buddhist parable that inspired Shindô’s tale. Turner is Anne, a pious young woman whose husband Seamus (Laurence O’Fuarain) has been called up to fight in 15th Century England. She lives on the outskirts of a tiny hamlet near the sea, in a hovel with her mother-in-law, Morwen (Harden). Times are tough for the two women, and before too long, Morwen’s exploiting Anne’s naivete with ever darker schemes to earn money. But when Seamus’s friend returns home without him, Morwen sees a future without a son, without Anne, and with very little hope for survival. Morwen tries to convince Anne that leaving her would be an unforgivable sin, damning Anne to hell. Out of the other side of her mouth, Morwen contends that the increasingly bloody criminal activity the women are involved in is, in fact, entirely forgivable. Seamus’s friend Jago (Harington), the bearer of bad news, has other plans for Anne and they definitely do not include her mother-in-law. Because Kermani’s take on the parable sees Anne as the protagonist, the battle then is her own fight between piety, devotion and pity, and a second chance at love. Unfortunately, Anne is an impossible character. There is no conceivable logic to a choice to stay with Morwen, so no real conflict of any kind. While she seems to feel pity and some fear for her mother-in-law, she doesn’t seem to harbor any guilt for her own complicity in the crimes, or worry over punishment of any sort, criminal or spiritual. If Turner never manages to convey a clear character, Kermani seems equally mystified. The final act of the film is unearned and unsatisfying. It might be too much to hope for some of the visual majesty and honest to God horror of Shindô’s film, but Kermani can’t find her own way through the parable well enough to leave an impression. You should definitely watch Onibaba , though. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Ghost Train film review by UK film critic Rachel Willis. Starring Joo Hyun-young, Jeon Bae-soo directed by Se-woong Tak. HOME | FILMS | REVIEWS Ghost Train Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Feb 19, 2026 Directed by: Se-woong Tak Written by: Jo Ba-Reun Starring: Joo Hyun-young, Jeon Bae-soo Several strange incidents at a subway station spark the curiosity of a YouTube content creator in director Se-woong Tak’s film Ghost Train . To understand the real issues surrounding the rash of bizarre occurrences, Horror Queen Da-kyeong (Joo Hyun-young) bribes tales from a station master (Jeon Bae-soo) with fancy spirits (some of which I wouldn’t mind trying). As the station master spins each yarn, we’re privy to what really happens to each person at the center of the individual tales. At times, what we’re shown during the movie is not what appears on the surveillance tapes the station master shows to Da-kyeong. There are several unsettling concepts at work to help unnerve the viewer. A woman who repetitively bangs her head against the train door sends passengers scurrying to another car. This is a motif that pops up at different moments, helping to create an atmosphere of dread. Each of the station master’s stories has a uniqueness that makes the movie flow like an anthology horror. However, the style and atmosphere remain consistent, setting a creepy tone throughout. The framing story is the movie’s weak link. The Horror Queen herself isn’t nearly as compelling as the individuals in the station master’s tales. Da-kyeong’s nemesis at work is a stereotypical mean girl, and her work love interest is about as interesting as a blank sheet of paper. It’s with impatience that we wait for the next of the station master’s tales. However, as the film enters the final act, the framing story picks up steam. As Da-kyeong learns more about the station and its history, her story starts to get its teeth. Unfortunately, those teeth are never quite sharp enough to explain the overall mystery around the ghost train. While there are a lot of memorable and interesting parts, they never quite come together as single narrative. That said, the movie is creepy enough to remain interesting, and overall, an intriguing series of ghost stories. About the Film Critic Rachel Willis Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Nostalgie film review by UK film critic James Learoyd. Starring Aidan Gillen, Michael Smiley, Jessica Reynolds directed by Kathryn Ferguson. HOME | FILMS | REVIEWS Nostalgie Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Feb 18, 2026 Directed by: Kathryn Ferguson Written by: Stacey Gregg, Wendy Erskine Starring: Aidan Gillen, Michael Smiley, Jessica Reynolds When it comes to the last year of short-form filmmaking, Nostalgie is a true standout. Written by Stacey Gregg and based on the short story by Wendy Erskine, Kathryn Ferguson’s 19-minute drama tells the tale of a has-been singer, now an IT company manager, who’s invited to a remote venue in Northern Ireland to perform his hits from yesteryear. Thematically speaking, the screenplay manages to hit on many intriguing topics (recapturing one’s youth, how oppressive forces can weaponise pop music, rural areas becoming more isolated as modernity advances) without having them seem pointed or the overall piece overwhelmed. The narrative is beautifully structured; enriched with reflective, often disturbing little details; and with a turn that takes place between the second and third act which stands as one of the better-executed story shifts this critic has seen in some time. This is mainly due to the naturalness of the reveal and the believability and prescient nature of the subtext. One can draw slight comparisons between this film and Jeremy Saulnier’s uncompromisingly visceral Green Room which evokes something more explicit, yet thematically similar to this piece. There’s a reason why within only the opening shot, you can tell this is a superior production. Nostalgie ’s director of photography is none other than Robbie Ryan, a legend of modern cinematography; someone who has shot the work of Ken Loach, Andrea Arnold, Yorgos Lanthimos, and Noah Baumbach (my favourite looking film of Ryan’s is The Meyerowitz Stories ). What the visual artist brings to this project is an unmatched ability to capture the texture of a location. Based on the colour, one presumes this was shot on film. Even if it wasn’t, it has that irresistible grainy characteristic, with certain frames flooded with green and pink tones. Much like Ryan’s best work, he also bases the depth of field / aperture on the lighting conditions of the moment, instead of using filters or different film stocks – thus, we get some lush soft-focus photography for interiors, and some strikingly vivid deep-focus photography for some hard-lit exteriors. All of this, for anyone interested in the technical side of filmmaking, is incredibly exciting to witness. Director Kathryn Ferguson has arranged the film’s formal and narrative aspects masterfully. They’ve also managed to provide invaluable space to each and every collaborator’s talents. Cinematography and writing I’ve already discussed in this regard, but perhaps the most obvious place to look to understand Ferguson’s directorial skill and dramatic awareness is in the outstanding performances, especially from seasoned players like Aidan Gillen and Michael Smiley. One feels compelled to conclude on this note because, believe it or not, I believe this to be a career-best performance from Gillen who plays the protagonist of Drew. This is simply unheard of when it comes to such an established Hollywood presence being featured in a short; but the tiredness, the sense of confused melancholy, and then the hard rise and fall from euphoria to utter shame, is a testament not only to Gillen as an actor but to Ferguson as someone crafting these careful moments for him to freely exist in. Nostalgie is a real cinematic pleasure. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Paul McCartmey: Man on the Run film review by UK film critic George Wolf. Starring Paul McCartney directed by Morgan Neville. HOME | FILMS | REVIEWS Paul McCartmey: Man on the Run Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 18, 2026 Directed by: Morgan Neville Written by: Morgan Neville Starring: Paul McCartney A seasoned filmmaker like Morgan Neville is smart enough to know that with Paul McCartney as your documentary subject, you gotta pick a lane and focus. For Man of the Run , Neville picks a good one: how on Earth do you approach following up your stint in the most culturally significant band of all time? Think about it. If you count Pete Best (first drummer), plus Stu Sutcliffe (original bassist) and even Jimmy Nicol (temporary tour replacement for a sick Ringo), they’ve been only seven souls in history who faced life as a “former Beatle.” And McCartney is the most commercially successful, by far. Man on the Run takes us inside Paul’s strategy for that second act. Neville (Won’t You Be My Neighbor?, Piece by Piece, Steve! and the Oscar-winning 20 Feet From Stardom ) keeps mainly to the ten year period after Paul’s first solo album in 1970 officially signaled the end of the Beatles. Using archival photos, videos, interview clips and animation, Neville plays with an engaging audio/visual style that often mirrors a mixed-media scrapbook. He also keeps a tight reign on the time stamp, limiting more recent interview clips (from Mick Jagger, Chrissie Hynde, Paul’s adult kids and others) to audio only, so as not to break the immersive spell that keeps us close to McCartney’s head space at the time. And we hear and see much from the man himself. His thoughts on forming Wings with first wife Linda are endearing and self-reflective. He was seeking to combat his crushing fame by surrounding himself with bandmates, but couldn’t completely quell the ego and drive that made many of them feel like mere sidemen. Home movies from down on his farm are warm and loving, much like the sentiments on John Lennon and some very early days with the Fab Four. And you’ll probably learn a thing or two you didn’t know about the infamous pot bust in Japan. But above all, Man on the Run succeeds in its mission to reconsider an important decade in the life of an icon. We see a man seeking a new kind of contentment at home and on the run, making music that only became more impactful and influential as the bands played on. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

I Wonder What's Keeping My True Love Tonight film review by UK film critic Jason Knight. Starring Bethan Rose Young, Ailsa Joy, Oz Lamoureux, Miranda Horn, Tom Melvin directed by Harry Baker. HOME | FILMS | REVIEWS I Wonder What's Keeping My True Love Tonight Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 8, 2026 Directed by: Harry Baker Written by: Harry Baker Starring: Bethan Rose Young, Ailsa Joy, Oz Lamoureux, Miranda Horn, Tom Melvin A short psychological horror film written and directed by Harry Baker and starring Bethan Rose Young, Ailsa Joy, Oz Lamoureux, Miranda Horn and Tom Melvin. Hester (Young) works as a bar singer and following an act of infidelity, she encounters and enlists the help of a mysterious young woman (Joy), who claims to have magical abilities. With Hester's consent, she allegedly places a curse on the one responsible for Hester's hurt, and shortly after, they are involved in an automobile accident. The unfortunate victim survives; however, Hester is now forced to face the emotional complications of her actions. A story that operates as a mystery and as a tale about witchcraft. Told entirely through Hester's perspective, the screenplay concentrates on her as she tries to come to terms with the terrible incident and keep her life in order. She carries on singing at the bar and even attempts to start a romantic relationship; however, she is haunted by the consequences of her decision to get even, being plagued by nightmares. The film works well as a dark story about witchcraft, with visions of bloodied faces, strange rituals and appearances of Voodoo dolls and the atmosphere is supported by Harry Laurie's moody cinematography. And Joy's character, that of the supposed witch, is intriguing and, to a certain degree, menacing. Perhaps, though, the viewing experience would have benefited by having more information revealed about this character. Keeping her mysterious is OK, nevertheless, it would probably have been interesting to have more details about her, such as a backstory. Young plays the protagonist, a youngster who is having to deal with the aftermath of a vile act that she feels responsible for. She puts in effort to carry on with her life, but the sinister visions and emotional strain are taking their toll on her. As mentioned, Joy's character is intriguing, even though her appearance is brief. Dressed in black, her presence creates an aura that is simultaneously mysterious and sinister. From one perspective, this short provides an insight into life as a bar singer and pursuing romantic relationships. And it also explores witchcraft and adultery. Perhaps, though, the main themes involve revenge, regrets, and facing the consequences of one's actions. A dark story about an individual who finds themselves drawn into a world where they did not want to be in the first place. The main message appears to be ''be careful what you wish for''. Watch the film on YouTube . About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Meat Locker film review by UK film critic Jason Knight. Starring Daniel Illes directed by Mark G. Lakatos. HOME | FILMS | REVIEWS Meat Locker Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 18, 2026 Directed by: Mark G. Lakatos Written by: Balazs Harangozo Starring: Daniel Illes A short low-budget Hungarian body horror film that pays homage to grindhouse cinema and Rod Serlings's The Twilight Zone . Directed by Mark G. Lakatos, written by Balazs Harangozo and starring Daniel Illes. The film begins inside a restaurant's kitchen, where a dead pig is being prepared to be served. Then, a couple are sitting at a table in the restaurant, eating the pig and having a discussion about the morality of eating baby animals. Suddenly, the woman realises that she is about to give birth and she is rushed to the hospital, while her partner waits outside. It is then when the horror starts. This short's main strength, what makes it stand out the most is the sequence at the hospital. The atmosphere is agonising and dreadful. The woman is tied to the hospital bed and the three medical staff behave like deranged lunatics, saying outrageous things and committing unspeakable acts. The creative practical effects look gory and nasty and the whole thing is hard to watch. Additionally, Armin Rethly's black-and-white cinematography makes the atmosphere feel even darker. Of course, the rest of the film has its own positive standards, especially during the conversation about animals being eaten. Interestingly, Illes plays both characters that constitute the couple. The man accuses his partner of being two-faced as she is OK with eating meat but claims that she disapproves of eating infant animals, even though she eats foods like eggs and veal. Having the same actor portray the couple feels surreal and having a male play a woman in some ways makes the character both male and female and this is effective because it communicates the message that both men and women can make the awkward statement that they do not eat baby meat while they actually do. With his performance, Illes succeeds in creating a couple, however, it is during the harrowing hospital section that he shows what he can do, vividly bringing to life feelings of extreme agony and terror. This story (especially if one takes the unexpected ending under consideration) paints a negative picture of humanity and it is even misanthropic. It appears to be pointing out that animal rights are not being valued, that people are dishonest and that by eating meat, they are cannibals. Generally, it seems to be carrying the message that humans are no-good in general or that they can be very awful at times. A dark horror film with dark messages. A tense and terrifying ride that is not for sensitive viewers. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Becoming Sidney film review by UK film critic Patrick Foley. Starring Jadon Shamir, Tyrone Stewart, Regina Williams directed by Ken Gregory. HOME | FILMS | REVIEWS Becoming Sidney Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 17, 2026 Directed by: Ken Gregory Written by: Ken Gregory Starring: Jadon Shamir, Tyrone Stewart, Regina Williams Becoming Sidney is Ken Gregory’s docudrama that imagines a formative audition from a young man who would go on to become the legendary Sidney Poitier, and the historical impact the Bahamian would have on the acting world. Told using archival footage and performance, the stage is set of a world where black actors suffer discrimination and pigeon-holing in roles that deny them the opportunity to flourish as storytellers. After an establishing montage of historic clips, the young Poitier (Jadon Shamir) is shown being barely given the chance to show what he can do onstage due to his accent, before finding the voice within himself that would go on to break down barriers in the acting world and beyond. Based on the true story of Sidney Poitier, Becoming Sidney is something of a fairy-tale representation of the beginning of the great man’s journey. Ken Gregory interestingly splits his film into halves – the first documentary and the second drama, which contextualises the fictional retelling effectively (using Poitier's own recorded words as part of the dialogue) and adds layers to the significance of the young dishwashers’ dream at greatness – and the unlikeliness of such a pursuit. The background stretching back to the 20s, 30s and 40s where even Oscar-winning black actors were forbidden from attending the same ceremony as whites is a powerful reminder of the world Poitier grew up in. And even given the infuriating barriers he faced, Gregory makes sure to maintain the glamorousness of old Hollywood in such moments to make clear why Poitier so desired a career in performing arts. The jazz soundtrack in these sections, as well as clips of some of the eras finest actors is a quietly powerful addition that formed key parts of the story. In the short’s second half it switches to a dramatic rendition of Sidney Poitier’s life – led by Jadon Shamir who portrays the future great as a shy dreamer. The sensitivity in Shamir’s performance is key in emphasising his naivety and inexperience, yet we also see signs of the inner strength and belief Poitier possessed to stand up to those who were hesitant to accept him. Clifton J Williams’ Johnny Brooks and Regina Williams’ Ruby Dee are key players in the episode of Poitier’s life, and intricacies in their smaller roles shine through to show that race looms large in their assessment of his skill despite experiencing discrimination themselves. Truthfully there are some flaws in the dramatic section of the film – primarily the speed at which Poitier goes from receiving pariah treatment from the acting world to being lauded by the same individuals based on a single audition. Viewers will get whiplash from this transformation, which comes about not as a result of the short running time but due to underdevelopments in the script. However, for what is essentially a fantasy telling of this part of Poitier’s story, it is a forgivable hole in a short that otherwise accomplishes its primary goal – that being the importance of his impact. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

The Last Sacrifice film review by UK film critic Hope Madden. Starring Geraldine Beskin, Gavin Bone, Janet Farrar directed by Rupert Russell. HOME | FILMS | REVIEWS The Last Sacrifice Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 16, 2026 Directed by: Rupert Russell Written by: Rupert Russell Starring: Geraldine Beskin, Gavin Bone, Janet Farrar Documentarian Rupert Russell has a pretty wild tale to tell, one set in an isolated British community where outsiders aren’t wanted, information is hard to come by, and something sinister waits in the fields. And if that sounds like every British folk horror film from The Wicker Man in 1973 to Kill List in 2011, there’s a reason. Russell tracks the birth of British folk horror cinema to one specific moment and place in time: Cotswold District, Gloucestershire, England, Valentine’s Day, 1945. On that day in that hamlet—an isolated farming community of about 200 people—Charles Walton was found dead, a pitchfork in his face and throat, a billhook in his neck. The murder shook the nation, its description taking on wild details over the retellings: a cross carved in his chest, dead frogs all around him. The crime so enthralled England that its most prized Scotland Yard detective, Robert Fabian, came to Cotswold to investigate. What he found was a community unwilling to cooperate in the investigation, and the Rollright Stones, enormous ancient stones said to be what remains of an Iron Age King and his soldiers after a witch’s curse. This is all fascinating enough, but Russell goes on to explore the genuine British witchcraft phenomenon of the Sixties and Seventies, and even brings in a Teletubby. What’s wildest about this documentary is the way that the old films—including the campiest Hammer greats The Devil Rides Out , The Witches, and Dracula A.D. 1972 —are based directly from documentary footage of official witch rituals of the time. The campier and more ridiculous the scene, the more exactly it recreates rituals celebrated by Alex Sanders, the era’s self-proclaimed King of the Witches. Except that, of course, Sanders and his followers were harmless, and Hammer’s witches rarely were. But Sanders’s incredible popularity sparked new interest in the Cotswold murder and a whole, very British film genre was born. The Last Sacrifice is sometimes clunky in its true crime format. It’s trying too hard to be scary. The approach doesn’t always suit the material, because the wild cinematic crossover with nonfiction is exponentially more interesting, and no crime was committed there. The information is revelatory for horror film fanatics, jaw-dropping, even. And certain details are downright funny. Russell’s sometimes wobbly approach to the doc is hardly a reason to skip it. If you have any interest in British folk horror, The Last Sacrifice is a fascinating must-watch. (Give yourself the gift of a double feature, with Kier-La Janisse’s 2021 doc Woodlands Dark and Days Bewitched , also on Shudder.) About the Film Critic Hope Madden Documentary, Digital / DVD Release < All Reviews Next Film Review >