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Trunk film review by UK film critic George Wolf. Starring Sina Martens directed by Marc Schießer. HOME | FILMS | REVIEWS Trunk Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 25, 2023 Directed by: Marc Schießer Written by: Marc Schießer Starring: Sina Martens You get the sense early on that the German thriller Trunk may have some pleasant surprises in store. Malina (Sina Martens, terrific in a physically demanding role) wakes up to find herself badly injured and confined to the trunk of a car. The trunk is ajar, and before the driver returns to shut her inside, Malina is able to retrieve her cell phone. And lemme guess, the phone’s almost dead, right? FULL POWER. Okay, then, here we go! Dialing a series of well-chosen contacts, Malina has to 1) stay alive, and 2) piece together what’s happening while she looks for an escape route. Writer/director Marc Schießer proves a solid triple threat here, also handling the editing duties with a deft hand and solid instincts for pacing and tension. The cinematography is on point, as well. And while this particular trunk seems unusually roomy, Schießer consistently lands precisely the type of claustrophobic camera angles and POV shots that Liam Nesson’s recent car-centric thriller Retribution tried in vain to achieve. You may send up sniffing out some the mystery at play, but even so, Schießer’s crowd-pleasing finale will be no less satisfying. Trunk is a taut and well-constructed thriller, one that adds enough detours to a well-traveled road until it’s fun again. So climb in, and enjoy the ride. About the Film Critic George Wolf Indie Feature Film, Film Festival < All Reviews Next Film Review >

Somnium film review by UK film critic William Curzon. Starring Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz directed by Racheal Cain. HOME | FILMS | REVIEWS Somnium Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2025 Directed by: Racheal Cain Written by: Racheal Cain Starring: Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz Somnium follows Gemma, an aspiring actress who moves to LA. She gets a job working a night shift at an experimental sleep clinic that promises to make its clients’ dreams come true. The longer Gemma spends there, she realises it is not all what it seems as mysterious events begin to unravel around her. While the premise of the piece feels somewhat formulaic at first, with the Hollywood cautionary tale approach, although, in terms of tone, it feels much more like a psychological science fiction drama than a horror. While its moments of horror are visceral and grotesque, akin to David Cronenberg’s signature style, the focus seems to be primarily on the inner turmoil the protagonist faces throughout. The characterisation can feel sadly restrained at times and reduced to brief flashbacks with a coming-of-age tonal shift, although the ambiguity almost makes it more intriguing to uncover more around Gemma’s past and present ambition. The main standout of the piece is Chloë Levine’s performance as Gemma; she is utterly terrific and elevates a lot of the screenplay due to her commanding screen presence and nuance as the protagonist. The supporting cast, including Grace Van Dien, Johnathon Schaech, and Will Peltz, was also solid; their characters portray helping parts of Gemma’s journey positively and negatively as she navigates fame; however, most of the narrative primarily focuses on Gemma throughout the majority of the runtime. Another major standout of the piece is Racheal Cain’s direction. As a debut feature, the production design and camera work were incredibly impressive, deftly directed by Cain with a keen eye for suspense and horror. Even with the film's budget constraints, the VFX are astounding for a smaller feature with a mix of practical and visual effects; some viewers may find certain imagery thoroughly unsettling due to this. The visual style of the film at times felt neon-drenched with its use of intense saturated colours in the interior scenes within the sleep clinic, with a synth-heavy musical score to accompany the tone stylistically. Scenes set around the sleep clinic tend to be presented within minimal space, almost claustrophobic with its use of tight corners and low-key neon lighting to create greater tension within sequences of terror. While these scenes are remarkable due to their formal prowess, they're sadly underutilised, and some viewers may find this disappointing due to the marketing and premise heavily suggesting scares being the main focus. The tonal balance between psychological drama and horror can feel jarring at times; however, the piece does tend to focus more heavily on the slower characterisation than spectacle. Cain was potentially more interested in utilising horror as a backdrop for a deeper character study. Thematically, the focus is set around the misfortunes of the Hollywood dream as an aspiring actress. There are perhaps allegories to escapism, such as the dream state within the sleep clinic being a coping mechanism for Gemma, to make her dreams real, even with all the pain she’s suffered from within the nightmare and reality. Similar to the way in which Hollywood is presented, where your dreams come true initially, but in reality, that's not always the case. While the pacing may meander at times with a lack of threat consistently looming over Gemma, the final moments of the piece do wrap up her journey in a satisfying manner that makes the slower moments feel earned in the end. Somnium is an impressive debut feature from Racheal Cain with an incredible central performance from Chloë Levine at the centre of it all, that prioritises character focus over spectacle-heavy horror set pieces with a unique plethora of technical standouts. While it may suffer from a couple of pacing issues and perhaps a lack of consistent engagement, Cain takes creative risks in making a slow-burning approach to the narrative structure. The piece undeniably wears its influences on its sleeve while being an original force of nature in genre filmmaking. Somnium will be available on Digital Download from 8th September. About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Film news - Another Round UK DVD And Blu-Ray Release Date Announced. Find out more at UK Film Review. Another Round UK DVD And Blu-Ray Release Date Announced Chris Olson Tuesday, August 10, 2021 at 3:41:10 PM UTC ANOTHER ROUND ON EST FROM 24 SEPTEMBER 2021 & DVD, BLU-RAY and DIGITAL FROM 27 SEPTEMBER 2021 Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. ANOTHER ROUND is a darkly funny drama which unfolds from a group of weary middle-aged teachers, led by Mads Mikkelsen, who embark on an experiment to see if being in a state of slight and constant intoxication will improve their outlook on life. While results initially seem positive, the experiment quickly begins to spiral out of control with dire consequences. There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin (Mads Mikkelsen) and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others start to go off the rails. It becomes increasingly clear that while alcohol may have fuelled great results in world history, some bold acts carry consequences. With a BAFTA nominated performance from Mads Mikkelsen at its centre, Thomas Vinterberg’s ANOTHER ROUND is a must-see dramatic comedy for all film fans everywhere. Extras Interview with Mads Mikkelsen & Thomas Vinterberg at the Festival de Cannes 2020 ANOTHER ROUND is released on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read our Another Round film review . The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Witchez are Bitchez film review by UK film critic Nina Romain. Starring Jazmine Cornielle, Ryan Marko, Caeron Zabae directed by Gideon McCarty. HOME | FILMS | REVIEWS Witchez are Bitchez Film Review average rating is 3 out of 5 Critic: Nina Romain | Posted on: Oct 14, 2025 Directed by: Gideon McCarty Written by: Jazmine Cornielle Starring: Jazmine Cornielle, Ryan Marko, Caeron Zabae A comedic horror buzz not to be taken too seriously. This 15-minute comedy focuses on revenge and dating in a world of modern-day witches who use smartphones as well as spells, and zips exist on buxom wenches’ bustiers. Fraya (writer and producer Jazmine Cornielle) is “the ugliest witch in town” looking for love and also collects male genitalia in a jar for her collection. Taking a breather from swiping left on non-matching potential suitor warlocks on her smartphone, she visits a cobweb-strewn bar for a drink. Here she hits on Dalvin (Ryan Marko), the self-proclaimed town “warlock-saviour”, who deals fearlessly with dragons; he’s also a conceited womaniser, all flowing neo-gothic shirts and designer stubble. Despite Fraya promising him a good time (“I can take care of that wand of yours,” she purrs seductively) to her annoyance, he turns her down. In revenge, Fraya puts a curse on him, causing Dalvin to lose his warlock powers unless he fancies her, so he is forced to turn up to her lair and beg her to have sex with him in return for his powers back. The action takes place on the cheap in a Halloween-themed bar, and according to the entertaining YouTube behind-the-scenes short with leads Cornielle and Marko, it was in fact completed in two overnight shoots in a Long Island bar finishing at 6 am. The acting is vampishly hammy, and could be toned down along with the non-stop fart jokes, but viewers can tell working on the vampy production was fun, like an R-rated Hocus Pocus with more knob gags and witchy saucy banter. There’s also a streak of visual comedy as when one of Delvin’s ladyfriends/conquests demands payment in gold coins, which end up being chocolate pieces instead of cash, and promptly starts eating them. Like a Halloween-themed cocktail laced with cheap green-dyed tequila and pumpkin-shaped chocolate, Witchez are Bitchez is a fun horror buzz not to be taken too seriously. About the Film Critic Nina Romain Short Film < All Reviews Next Film Review >

Beyond Time film review by UK film critic Jason Knight. Starring Louise Lee, Alan Anthony directed by David Wayman. HOME | FILMS | REVIEWS Beyond Time Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 7, 2023 Directed by: David Wayman Written by: Alan Anthony Starring: Louise Lee, Alan Anthony A man and a woman meet at a memorial and look back on their shared past. The film begins with Jessica (Lee) contemplating her life. Then, Nate (Anthony) arrives at a monument, where he places flowers. Soon he is joined by Jessica and it becomes apparent that they know each other and that something tragic took place in the past. This short is quite emotional and it deals with the aftermath of a tragedy. The screenplay is very well structured and it is structured in a way that it is not clear what is going on, until the dramatic plot twist in the end. Jessica and Nate are alone at a peaceful environment and they walk together and talk about the time that they shared and it is indicated that they used to be a couple. Nate appears to be saddened by something, while Jessica is more cheerful and tries to reassure Nate that things are fine. The conflict appears to be that Nate wants to be with Jessica, however that is not possible. Things get further complicated by the sound of a voice whispering 'Jessica' every time a significant moment occurs, preventing the moment to continue. The ending reveals that this is a story about a person who has suffered a loss and are now struggling with their emotions. The film benefits immensely by the performances of Lee and Anthony who are both superb in their roles. Another highlight is the music, which includes beautiful and melancholic piano melodies that create a dramatic atmosphere and the voice-over contributes to that effect. There are also some terrific overhead shots that add significant value. This short is a moving story about a troubled individual who is trying to find some conclusion following a loss. The dialogue, acting and score make this film an emotional experience that explores loss, grief and finding the strength to move on. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Motel Room film review by UK film critic Joe Beck. Starring Sebastian Rosero, Tammy Kaitz, David Gianopoulos directed by Bradford Lipson. HOME | FILMS | REVIEWS Motel Room Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Dec 8, 2024 Directed by: Bradford Lipson Written by: Sahag Gureghian Starring: Sebastian Rosero, Tammy Kaitz, David Gianopoulos In the movies, it is very rare that anything good happens in a motel room. Barring the conception of John Connor in ‘The Terminator’, you’ve got criminals - ‘From Dusk Till Dawn’, weirdness - William Friedkin’s ‘Bug’, and of course, most famously psychopaths - The Bates Motel in ‘Psycho’. Therefore, you’d be forgiven for walking into ‘Motel Room’ with trepidation, fearing an onslaught of horror or debauchery, but what you actually get is something extremely earnest and heartwarming. The film follows the friendship that develops between a young Armenian teenage boy, Sevag (played by Sebastian Rosero) and the prostitute, Megan (played by Tammy Kaitz) that the boy’s father hires to take his virginity. His father, Massis (played by David Gianopoulos) is a hyper-masculine figure, one whom has plenty of experience with Megan - even requesting the Massis special for his son as he kisses her and hands him over. He doesn’t understand his son, nor does his son understand him. To his father, a boy losing virginity at the age of fifteen is normal, however, for Sevag it is the last thing he wants to indulge in, not least because of his repressed homosexuality. It’s established smartly in the film’s opening that the film takes place in the midst of the AIDs crisis, on the night of Freddie Mercury’s death no less. For a while these fears are left to simmer in the background, but they never go away, and has its undertones in every line, for which credit must be given to writer Sahag Gureghian. When it does come back to the fore it potent and sensitively handled, serving only to amplify Sevag’s fears of both sex and coming out to his father - who thinks AIDs only affects gay people, whom he says have to die. All this is revealed tenderly to Megan, herself a fully fleshed out character. There’s regret in what she does, but you sense that in talking to Sevag - rather than forcing the poor boy into something he doesn’t want to do - there’s some redemption or relief that she has taken that path in life. She helps him, of course, that is what the film is ostensibly about, but under the surface, he helps her too. Such tenderness is reflected in the directing by Bradford Lipson, whose use of soft lighting only adds to the warmth and genuine care with which Megan handles Sevag. Each shot is well directed and at no point does the pace lag, it is an altogether well made film from a filmmaker with a bright future. Furthermore, Lipson brings the most out of Sebastian Rosero and Tammy Kaitz, who each give dynamic, vulnerable performances, and bounce off each other well. ‘Motel Room’ is a beautifully, tragic film in many ways. It is one that remains important even though we’ve moved on from the times that it depicts, and that in itself is tragic, but it is beautiful because it contains such warmth and ultimately hope for a better, more understanding world. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Top Gun: Maverick film review by UK film critic Hope Madden, George Wolf. Starring Tom Cruise, Miles Teller, Jennifer Connelly directed by Joseph Kosinski. HOME | FILMS | REVIEWS Top Gun: Maverick Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 25, 2022 Directed by: Joseph Kosinski Written by: Erin Kruger, Eric Warren Singer, Christopher McQuarrie Starring: Tom Cruise, Miles Teller, Jennifer Connelly Sentimental, button-pushing and formulaic, as predictable as it is visceral, Top Gun: Maverick stays laser-focused on its objective. Attract crowd. Thrill crowd. Please crowd. Expect bullseyes on all three fronts, as star Tom Cruise and director Joseph Kosinski take a couple cues from the Star Wars franchise in reconnecting with friends and re-packaging feelings. After all these years in the Navy, Pete Mitchell’s “Maverick” tendencies have kept him from advancing past the rank of Captain. And when Pete blatantly shows up Admiral Cain (Ed Harris), he’s in danger of being grounded until Admiral “Iceman” (Val Kilmer) rescues him with orders to return to Top Gun and whip some new flyboys and girls into shape for a secret mission. One of those young guns is “Rooster” (Miles Teller), son of “Goose,” who resents Maverick for more than just coming home alive when his father did not. Against the wishes of Admiral “Cyclone” (Jon Hamm), it is Maverick who will train the 12 Top Gun pilots, and then pick 6 to take out a newly discovered uranium plant that poses a clear and present threat to the U.S. Who’s doing the threatening? We never know. Does it matter? Not in Maverick ‘s world. The screenplay-by-committee doesn’t stretch anybody’s imagination or talent, with early hotshot dialog so phony it feels like a spoof. But nobody came for banter. We came for nostalgia, flight action, and – god help us – Tom Cruise. He delivers, in his inimitable movie star way. He cries on cue, runs like his hair’s on fire, and burns charisma. What more do you want? Romance? Here’s old flame Penny (Jennifer Connelly), who now runs that famous San Diego beachfront bar and just happens to be a single mother who might be looking for someone as ridiculously good-looking as she is. As both characters and actors, they click. Cruise’s chemistry with a mainly underused Teller – who really looks like a chip off the old Goose – finally gets to show itself late in the film, exposing both tenderness and humor in its wake. And once we’re in the air, get in front of the biggest screen you can and hang on. Kosinski’s airborne action sequences are often downright breathtaking, every moment in the danger zone moving us closer to that Goose/Rooster/Maverick moment that has no business working as well as it does. It’s emotional manipulation, but not nearly as garish an act as Val Kilmer’s thankless role. Still, Cruise and Kosinski know it’s nostalgia that flies this plane, and Iceman is part of the plan that starts right from that original Kenny Loggins tune heard in the opening minutes. From manufactured rivalries to shirtless team building to the entrance of a surprise Top Gun instructor from last night at the bar, Maverick sells us back what we first bought back in 1986. And dammit, it feels even better this time. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Fall Guy film review by UK film critic Hope Madden. Starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson directed by David Leitch. HOME | FILMS | REVIEWS The Fall Guy Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 2, 2024 Directed by: David Leitch Written by: Drew Pearce, Glen A. Larson Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson From the first notes of the Kiss classic playing behind a montage of stunt moments across cinema’s recent history, The Fall Guy defines itself as a love story. This movie loves stunt performers. And why not? It’s pretty clever in getting audiences on board by casting maybe the most lovable movie star working today, Ryan Gosling, as Colt Seavers, hapless stuntman. (Yes, that is the same name used by Lee Majors in the kitschy 80s TV detective show, but mercifully the PI angle is dropped for the feature.) Colt, longtime stunt double for megastar Tom Ryder (Aaron Taylor-Johnson), is smitten with the camera operator on his latest film. But an accident takes him out of the stunt game and out of Jody’s (Emily Blunt) life. That is, until producer Gail (Hannah Waddingham) comes calling: Ryder’s missing and Colt must fill in on set or Jody’s first film as a director, Metalstorm , will go bust. When David Leitch made his feature directing debut in 2017 with Atomic Blonde , his decades in stunt work and stunt coordination showed. His instinct was not just to string together one fascinating piece of stunt choreography after another (though he did do that). He took advantage of his cast’s natural physical abilities to help sell the action. And where Charlize Theron is grace, strength and ability, Gosling and Blunt are goofy and adorable. That’s the vibe from start to finish. The leads share a sweet, infectious chemistry. Winston Duke is underused but fun as Metalstorm ’s stunt coordinator and Colt’s bestie, and Taylor-Johnson’s full-blown McConaughey riff is a riot. The film has some glaring problems, though. The Fall Guy’s heart is not really in its plot, and that’s fine. But at a full and noticeable 2 hours, the film needed to prune. The opening third of the film could easily lose 15 minutes because the sheer chemistry between Blunt and Gosling carries the love story without the heavy and lengthy exposition. It’s too long and it feels it, but there’s still much to be delighted by. The set pieces are fun, funny, practical and quite impressive. And they lead to a climax that lets a full cast of stunt performers and technicians just go to town. The Fall Guy is not the most memorable way to spend two hours and 9 minutes (you will want to stick it out through the credits, BTW), but it is mindless—if overlong—fun. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

One Night Stand film review by UK film critic Patrick Foley. Starring Tom Sidney, AJ Jones, Lauren Darbyshire directed by Michael Long. HOME | FILMS | REVIEWS One Night Stand Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 21, 2025 Directed by: Michael Long Written by: Michael Long Starring: Tom Sidney, AJ Jones, Lauren Darbyshire It’s hardly an original observation that intimidation, bullying and desperation are rife in the acting profession – and these experiences are usually twice as bad for new recruits. One Night Stand tells the story of a despotic school ran by a depraved, jealous teacher – a snapshot of the disturbing manner in which lines can be blurred before they are crossed. Thomas (Tom Sidney) is warned by his teacher Geoff (AJ Jones) that he has to improve in acting class or his place is under threat. Taking an unusual interest in his relationship with fellow student Jess (Lauren Darbyshire), Geoff gives Tom the chance to impress in class by acting out a scene in which the two have had a one-night stand. But the scene takes an unpleasant direction as Geoff insists on an ever-more sinister escalation. One Night Stand is an uncomfortable look at power dynamics in the acting world. Viewers are shown how the jealous, sexual whims of a teacher are played out in his treatment of two students, under the pretence of helping them achieve something great. Thomas is isolated and threatened with expulsion from the class unless he improves – with a clear edict to follow his teacher’s commands. Geoff’s interest in Jess results in her being placed in a vulnerable position – being forced to strip in front of the class and put up with second-hand intimidation from her scene partner. Yet neither feel in a position to push back against their teacher – nor do other students in the class feel a need to step in until things have gone too far. The plot does a solid job of demonstrating how manipulators can gradually escalate abuse in front of others, especially in environments that they can control. However, it may have benefitted from additional context that is missing from the story. Viewers are intentionally left in the dark about the actual nature of the relationship (or lack thereof) between Tom and Jess. It is an interesting omission from director/writer Michael Long which makes Geoff’s obsession with the pair more elusive. Some extra background to the pair themselves would however have been welcome, and without this one is left wondering why neither feel able to stand up to their tormenter sooner or empathise with Tom quite as easily. For a film that gets into some really dark territory, it also feels like a larger point is needed to be underlined than the film commits to. The continuation of Geoff’s dominance of his students and ability to maintain his reign of terror over his class can be taken as a commentary on the resilient nature of abusers in the acting space – a notable unfortunate truth that is well documented. But the film feels like more of a snapshot than a story, and seems to suggest that this dynamic is a wheel that will keep on turning. If this is the film’s point, there have been better and more insightful examples of how such individuals and actions are excused than One Night Stand ever really gets into. And with characters that are quite one-note and contextless, the film is unlikely also to leave much of a lasting impression. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

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.. Brand new film trailers. The Carpenter's Son The mere mention of a biblical horror film immediately pricks the ears of discerning cinema-goers, but when you couple that with an official UK trailer release and a cast headlined by Nicolas Cage and FKA twigs, anticipation goes stratospheric. Altitude is bringing Lotfy Nathan’s genre-bending supernatural thriller, The Carpenter's Son , to British and Irish screens November 2025, and the first look suggests we are in for a deeply unsettling and meticulously crafted nightmare. Director Lotfy Nathan, drawing from his own Coptic Christian heritage, appears determined to strip away the Sunday school reverence and present the formative years of Jesus of Nazareth as a pressure cooker of spiritual peril. Set in Roman-era Egypt, the remote, ancient backdrop immediately establishes a sense of isolation and creeping dread. This is not the clean, sun-drenched epic Hollywood often delivers; the trailer promises a film steeped in dust, darkness, and palpable threat. Nathan seems to have successfully blended the aesthetic of a historical drama with the unforgiving intensity of a supernatural siege film, turning a familiar narrative into something raw and terrifying. The casting decisions alone are enough to generate considerable buzz. Nicolas Cage, whose recent career resurgence has cemented him as the patron saint of high-concept genre fare (Mandy, Longlegs), takes on the role of Joseph, the carpenter, whose faith is pitted against a demonic force. The trailer hints at a restrained yet haunted performance, capturing the horror of a protective father facing an enemy he cannot punch. Opposite him, FKA twigs, known for her magnetic and intense on-screen presence, plays Mary. Her limited screen time in the preview suggests a quiet strength and deep weariness, a mother who has long lived 'under threat.' The dramatic and thematic weight of the film, however, rests firmly on the shoulders of Noah Jupe (Jesus). Depicted here as a teenager—a vessel of immense, potentially destructive power—he is the locus of the spiritual warfare. His family’s tenuous peace is shattered when the enigmatic mysterious girl (Isla Johnston) appears, tempting him away from his father’s devout rules. The trailer brilliantly frames this as a conflict not just of morality, but of adolescent rebellion given cosmic stakes. The temptation is a subtle pull toward a forbidden world, and Joseph’s realisation that this is the work of a powerful, faith-rivaling demonic entity is the core element of the horror. What is most compelling is the film's refusal to shy away from the horrific potential of the divine and the demonic in direct conflict. The trailer’s visual language suggests a constant blurring between spiritual conviction and existential terror. Nathan's vision appears uncompromising, promising an unnerving and powerful cinematic experience that challenges both faith and genre conventions. 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. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. 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.

Samurai Frog Golf film review by UK film critic Jason Knight. Starring N/A directed by Brent Forrest. HOME | FILMS | REVIEWS Samurai Frog Golf Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jun 23, 2022 Directed by: Brent Forrest Written by: Brent Forrest Starring: N/A A tough frog battles a group of evil crows in order to save some baby turtles. This animated short film is a beautiful and mesmerising journey, filled with fantastic colours, extraordinary characters and action. In this story the characters are animals and they are anthropomorphic. The tale begins with a large frog playing a golf session in the countryside, accompanied by his little fluffy friend. After going into the woods to retrieve a golf ball, he encounters a some sinister-looking crows who have captured a turtle. He decides not to interfere and returns to his game. However, he discovers that the ball he recovered is actually a turtle egg and after it hatches and reveals a cute baby, the frog has a change of heart and goes back to rescue the rest of the turtles. This rather enjoyable short carries quite a lot in its duration of approximately three-and-a-half minutes. From start to finish it is a pleasure viewing this animated story and the reasons for that are many. First of all, the narrative is very appealing and has drama and fight scenes. It evolves around the idea of a hard as nails hero battling bad guys and saving the day and the action scenes are quite fun to watch, with the frog utilising a golf club as a weapon in order to beat the crows. The animation is wonderful and bears similarities to Japanese watercolour and wood carving art of the Ukiyo-e style. Every single shot is like a painting in motion and the colours are very rich, with terrific lighting effects. All the characters look great. The frog is the main character and he is basically a frog that appears to be the size of a grown human, wears clothing and a hat, has a wooden leg and is a tough guy with a heart of gold. The crows are pretty much presented as pure evil, carrying bladed weapons and eating turtle eggs. There are no spoken words, which suits things well, as the plot is easy to follow. The visuals are accompanied by an amazing score that is sometimes sentimental and sometimes dynamic, which goes very well with the action scenes. The effective sound effects are another great plus. It would be hard to point out any flaws here. This is a memorable and admirable achievement that had a great deal of work and creativity put into it and deserves recognition and commendations. Unfortunately, it actually does have one flaw: it ends and so does this review. About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

The Thing That Ate The Birds film review by UK film critic Joe Beck. Starring Eoin Slattery, Rebecca Palmer, Lewis Mackinnon directed by Dan Gitsham, Sophie Mair. HOME | FILMS | REVIEWS The Thing That Ate The Birds Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 17, 2022 Directed by: Dan Gitsham, Sophie Mair Written by: Dan Gitsham, Sophie Mair Starring: Eoin Slattery, Rebecca Palmer, Lewis Mackinnon When you namedrop a classic horror film in your title you create unfairly high expectations. It just comes with the territory. ‘The Thing That Ate The Birds’ ups the stakes by naming not one, but two of the greatest horror films of all time - and though not a scratch on the classics, it doesn’t do a disservice to such iconic names. Of course, the two horror films are John Carpenter’s 1982 science-fiction, stroke supernatural classic ‘The Thing’ and Alfred Hitchcock’s masterful 1963 natural horror ‘The Birds’. ‘The Thing That Ate The Birds’ takes the natural horror of ‘The Birds’ and mixes it with some of the goriness and supernatural of ‘The Thing’. Here, the polar setting of ‘The Thing’ is swapped for the picturesque English countryside, though the rolling moors of North Yorkshire still have the same chilling effect, and reinforce the total isolation of the film’s characters as they face an otherworldly threat. The central character is Abel (Eoin Slattery), a middle-aged gamekeeper, who roams his land with his assistant Jake (Lewis Mackinnon) to establish the cause of the mysterious deaths of several of the estate’s grouse. The birds are left as rotting corpses, which are cut to as the title card plays alongside a score reminiscent of Bernard Hermann’s efforts on some of Hitchcock’s greatest thrillers. The ‘thing’ they discover to be the source of the birds’ demise is actually put away relatively quickly, as Abel’s pent-up frustrations release themselves into two quick shotgun blasts at the creature, which looks like a horrifying mashup of Gollum and the orcs in ‘The Lord of the Rings’, and the ‘Walkers’ which inhabit ‘The Walking Dead’. More pressing matters for Abel revolve around his dissolving marriage situation. He and his wife, Grace (Rebecca Palmer), seem on the brink of separation - it's never properly revealed, but it isn’t hard to guess that she feels neglected by him, and there’s a strong feeling that the isolation of their country home has only weakened their relationship further. He sleeps on the sofa, she pretends to be asleep when he goes up to their bedroom, and he leaves to work without a word. Things come to the fore, upon his return from killing the creature - he’s more distant than ever, and there is a frosty tension in the air, as each would rather launch a dig at the other than work together to solve their problems or say how they truly feel. The marital conflict is a nice subplot to the creature feature, but it lacks much depth, particularly when the film attempts to weave the two together in a profound way, culminating in a disappointingly predictable (though extremely gruesome) conclusion to an otherwise chilling piece. Writers-directors Dan Gitsham and Sophie Mair handle both the camera and the script with competency, and their lens emphasises the distance between Abel and Grace with admirable quality. The actors are similarly at their best when asked to show the bleak state of the marriage, with both Slattery and Palmer having believably tired responses and wan faces. ‘The Thing That Ate The Birds’ is a solid horror film - one which provides short-term scares at the expense of anything meaningful in its far more engaging depiction of a strained marriage. The blood, gore, and supernatural may be the selling point of any horror film, but there’s rarely anything scarier than real life, and ‘The Thing That Ate The Birds’ failure to properly exploit that fear to its full potential is ultimately disappointing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >