It's A Beautiful View film review by UK film critic Joe Beck. Starring Anthony Aitman, Joe Facer, Bradley Mell directed by Anthony Aitman. HOME | FILMS | REVIEWS It's A Beautiful View Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 2, 2022 Directed by: Anthony Aitman Written by: Joe Facer, Bradley Mell Starring: Anthony Aitman, Joe Facer, Bradley Mell There are moments in ‘It’s A Beautiful View’ which threaten to be interesting - indeed it features a fairly intriguing baseline story - however, it never shifts out of first gear, and instead just trundles along at the same monotonous pace for its eight-minute runtime. ‘It’s A Beautiful View’ tells a generational story, with Charlie (Bradley Mell) at it’s forefront, as he visits a peaceful beach where he used to spend each Sunday with his grandfather. The two had a close relationship, and as Charlie reminisces about that bond, John (Joe Facer), and George (Anthony Aitman) also pop up on the beach, seemingly as Charlie’s forefathers. It’s a concept which could have been fresh and intriguing, but is instead turgid, too plodding and sentimental for its own good, becoming bogged down in poorly written ruminations. Aitman directed the short, whilst Facer and Mell wrote the script, so this is a tight-knit production, and whilst it’s always evident that the trio care about what they’re doing, you do wonder whether perhaps they gave themselves slightly too long a leash. The decision to tell most of the dialogue through voiceover is disappointing, given that the actor is left staring out into the admittedly beautiful view. Perhaps we could have seen the different actors interact, as though united on some spiritual plain which connects the living and dead, but alas, they just stand there staring wistfully out to sea. ‘It’s A Beautiful View’ may look good - the title fits the picture - but it doesn’t play good. An idea which undoubtedly works better on paper than on screen, it’s a film which could have been so much more, and invited so much more emotion than the bland shrug of the shoulders which it garners. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Stuck film review by UK film critic Joe Beck. Starring Javicia Leslie, Hari Williams directed by Praheme. HOME | FILMS | REVIEWS Stuck Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jun 4, 2022 Directed by: Praheme Written by: Andrew Burrows-Trotman, Praheme Starring: Javicia Leslie, Hari Williams ‘Stuck’ shouldn’t work as a film. It’s a concept so bizarre, so outrageously ludicrous that the fact it was even given the opportunity to be filmed is a minor miracle in itself. However, despite its sheer ridiculousness, it is an effectively charming and affectionate comedy. Charming and affectionate would not normally be how a film of this nature would be described - typical words would be: raunchy, mad, and gross. At first, things appear to be all on track for a by-the-book romantic comedy, as two young attractive people - Ebony (Javicia Leslie) and Dre (Hari Williams) catch each other's eye at the club. As is the way, they take things to the bedroom - nothing new yet. It’s only after two, creatively shot, rounds of sex that they realise that there’s a bit of an issue, and ‘Stuck’ begins to deviate from the norm. In the act of intercourse, the pair have become stuck. No, you did not read that incorrectly; they are stuck together in that oh so delicate position. Try as they might, they can’t seem to separate - a big problem for Ebony, who has a big pitch at work the next day. 
They contemplate calling an ambulance but the shame would surely ruin their respective reputations permanently. It isn’t until the morning that Dre has a new suggestion - they become vulnerable, pushing closer spiritually in order to pull apart. 

 Ordinarily, this is the kind of idea which is quickly thrown away in favour of something more … streamlined. At most the script would be written up before somebody gathered some common sense and realised that it quite simply wouldn’t work. Obviously, somewhere along the production line some crazy genius caught wind of Andrew Burrows-Trotman’s story, commissioned Praheme to write and direct and gambled that it would turn out good. It was a very wise gamble. Praheme’s script is sharp and neat, with clever one-liners and offhand comments coming thick and fast, whilst also finding space for a surprising amount of affection and realism. As director Praheme also impresses, with the aforementioned inventive sex scenes impressing the most - focusing only on the silhouette and not showing any nudity. The conversation is also given an added edge by the close-up shots of Ebony and Dre’s mouths as the camera quickly pans from one to the other. 

 Credit must also be given to the film’s two leads - Javicia Leslie and Hari Williams - who manage the hard task of filming semi-naked for almost the entirety of the film. The two have magnetic chemistry and rebound off each other well - making what could have been an awkward watch, feel very light and breezy. The only lingering disappointment with ‘Stuck’ is the conclusion, which dampens any heartwarming feelings which have built up over the course of its slight 17 minutes runtime. The ending feels like an excerpt from another film and doesn’t suit the overriding emotions which have built up to that point - leaving the viewer ultimately dissatisfied with the finished product. Nevertheless, despite a sub-par ending, ‘Stuck’ is a worthwhile watch - far from the impression the synopsis gives. It is the raunchy, mad, and gross film which your mind first jumps to, but it's something else as well, something better - a film with a genuine heart. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Honour Among Thieves film review by UK film critic Jason Knight. Starring Gabrielle Ruffin, Michael Tatomir, Mikael Austin, Elijah Noble El, Rodriguez Jennings directed by Rodriguez Jennings. HOME | FILMS | REVIEWS Honour Among Thieves Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 11, 2022 Directed by: Rodriguez Jennings Written by: Rodriguez Jennings Starring: Gabrielle Ruffin, Michael Tatomir, Mikael Austin, Elijah Noble El, Rodriguez Jennings A group of criminals plan to steal money from local drug dealers. Tired of working an unwanted job, small-time crook Alex (Ruffin) dreams of starting a new life far away from the city that she lives in. After spending time doing illegal activities with Daniel (Tatomir), two former associates of hers, Lucas (Austin) and Dante (Jennings), who had been away for a while, contact her and try to persuade her to do one last thing together that will set them up for life: snatch drug money from unknown lawbreakers. On the surface, this lengthy feature is another crime drama film noir. There are many elements here that are often seen in the crime genre, including dangerous criminals, guns, life-threatening situations and people getting killed. The screenplay effectively explores the lives of criminals, the dangers they face and the consequences of living a life of crime and a large part of the story concentrates on the planning of the heist. However, it is not all about dark subjects, as the plot also deals with the significance of friendship, loyalty and the desire to move on to better things. The lives of the main characters are well-explored and so are the relationships they have with each other, particularly the ones Alex has with Lucas and Daniel. As the main protagonist, Ruffin gives a decent performance as an outlaw who wants a normal life and does not want anyone to get hurt. Her three accomplices, Lucas, Dante and a corrupt policeman, share her point of view and these four characters, along with Daniel's close associate Gabriel (Noble El), they are presented as individuals who are against violence and wish to start a new life somewhere else without crime. Daniel is the character who represents the darkest side of being a criminal, as he is willing to resort to violence in order to have his own way. Generally, the acting is not very good, however that does not ruin the movie. The decision to film in black-and-white is interesting and the result creates a downbeat atmosphere. Jennings also worked on the editing and makes effective use of dissolve techniques. Taylor Batory does a good contribution with the score and the soundtrack includes songs from various artists. There are issues with the running time. With a duration of two hours and twenty minutes, the film feels overlong, nevertheless, it is still a watchable feature, with an intriguing plot, interesting characters and well-written dialogue. Fans of the gangster genre should give this one a go. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

KYTLY - "Neverending" film review by UK film critic Patrick Foley. Starring KYTLY directed by Virginia Abramovich. HOME | FILMS | REVIEWS KYTLY - "Neverending" Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 5, 2023 Directed by: Virginia Abramovich Written by: KYTLY Starring: KYTLY Summer may be fast approaching, but fans of KYTLY might still want to don their big coat for the Canadian indie-pop singer’s winter-themed video for her new single Neverending. The video features KYTLY in various snowy, foggy forest-based landscapes as the hypnotic and ethereal single works a magic on the audience’s eardrums. Blending in to a sheer white background whilst wearing a mesmerizing, Monroe-esque dress in one moment, forming one with the nature-based setting in another, viewers will get a sense that the singer is as much a part of the background as they are a participant in it. Unnerving scenes in which she is trapped beneath a frozen lake, or seemingly fading away into the vapour matches the single’s morose tone as KYTLY tries to establish which parts of a fading relationship were genuine, and which were illusions. As a visual experience, Neverending is a thoughtful and impressive treat. The director’s lucid use of a gleaming whites and foreboding greys as the video’s colour scheme presents the setting as a void-like, timeless and otherworldly space. At other times the natural features of snow-covered, leafless trees and frozen lakes base the video in a rural setting. But regardless, the sensation viewers will have is that KYTLY is isolated and desolate – trapped in an environment alone in which outside influence has no bearing, and truths can be identified – albeit up against harsh and testing conditions. The direction of Virginia Ambramovich, production of Laura Keightley and photography of Nelson Rogers results in some stunning and memorable shots that amplify the intricate and delicate lyrical structure of the song. Amongst the finest of these are the scenes in which KYTLY appears entrapped behind a translucent wall of fog, which later metamorphizes into a frozen lake - in which she is drowning. Whilst it’s not the most original of imagery, the haunting presentation and context with the single’s themes make it impressive-yet-understated example of how a great music video can take a song’s message and bring it to life. The repeated use of fading similarly creates a sense of unbalance, transformation, uncertainty and instability – matching the emotional journey many of us experience when relationships are ending. Where so many music videos resort to tired and recycled frameworks in the streaming age, the video for KYTLY’s Neverending shows that creativity and ingenuity can still be attained in the genre. It brilliantly captures the song’s themes and tone, whilst introducing engaging, metaphorical storytelling to visualise the music’s heart and message. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Music Video < All Reviews Next Film Review >

Fantastic Beasts: The Secrets of Dumbledore film review by UK film critic Hope Madden. Starring Jude Law, Eddie Redmayne, Mads Mikkelsen directed by David Yates. HOME | FILMS | REVIEWS Fantastic Beasts: The Secrets of Dumbledore Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Apr 14, 2022 Directed by: David Yates Written by: J.K. Rowling, Steve Kloves Starring: Jude Law, Eddie Redmayne, Mads Mikkelsen After much delay, Fantastic Beasts: The Secrets of Dumbledore comes to big screens this weekend. The film is the needless third installment in a 5-part series based on a single 2001 guidebook that walked readers through the various magical animals of the Harry Potter universe. The guidebook’s “author” is Newt Scamander, and Harry Potter has jotted notes throughout it. That’s it. No narrative, no characters, really. It’s like a little, pretend textbook from Hogwarts. The book was a semi-adorable cash grab — one additional little scrap to throw the hungry Harry-heads at the height of Pottermania — meant to raise money for charity. And now it’s a planned 5-part series, each installment thus far clocking in at well over two hours. Oof. The new adventure catches up with Newt (Eddie Redmayne) assembling a ragtag band of witches, wizards and muggles to help mentor Albus Dumbledore (Jude Law) fight the dark magic of Gellert Grindelwald (Mads Mikkelsen). Grindelwald hates muggles (non-magical losers like us) and wants a war. He’ll deceive, bully, appeal to baser instincts, and when it comes down to it, cheat the election to take over the wizarding world. It’s a good guys v bad guys tale with loads of Trumpian nods (keep an eye on that newspaper), but that feels hollow given creator/co-writer J.K. Rowling’s history of bullying vulnerable populations. A main role for the recently shameful Ezra Miller (who plays forlorn baddie Credence Barebone) doesn’t help those optics, either. As superficial spin goes, though, it is nice to have Mikkelsen on board. He replaces Johnny Depp (easily the best thing about the previous installment) as the film’s villain. Where Depp embraced the magical elements and leaned into camp, Mikkelsen is all elegant, understated menace. The cast boasts a lot of solid, wasted talent. Law continues to charm as the unflappable Dumbledore, Redmayne’s quirk tests patience, Dan Fogler’s a bright spot. Director David Yates — who directed four HP movies as well as the previous two installments in this franchise — struggles this go-round to even conjure much visual panache to distract from the bloated, overpopulated and underdeveloped script. Rowling co-writes for the screen again with Steve Kloves, her scripting partner for every Potter and Fantastic Beasts installment. The Potter films often suffered from unimaginative adaptation, which could be chalked up to the writers’ tough time pruning the source material. No idea what’s to blame here, but these movies are not getting any better. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Furias Corto film review by UK film critic India Gwyn-Williams. Starring Tarek Ouahabi, Daoud Zaani, Ammar El Hachemi, Mohammed El Amine directed by Ruben Sanchez. HOME | FILMS | REVIEWS Furias Corto Film Review average rating is 3 out of 5 Critic: India Gwyn-Williams | Posted on: May 20, 2026 Directed by: Ruben Sanchez Written by: Ruben Sanchez Starring: Tarek Ouahabi, Daoud Zaani, Ammar El Hachemi, Mohammed El Amine Furias follows the character Jacob, living in Morocco. By having a camera observe him the audience naturally meet the community surrounding our protagonist, as all seem to approach him for help or advice. This quickly establishes Jacob’s altruism, responsibilities and seemingly parental status to those in his life, without the film explicitly saying so. Someone so quietly trustworthy and generous leaves him little alone time with the audience - as a magnet to others his day is saturated with social interactions. What triggers the camera’s departure is an ugly incident which leaves the viewers wondering how a character, so familiar with morality and selflessness, will change or respond to the event he, least of all, deserved. The short film utilises a handheld camera, which offers a naturalistic and personal viewing experience. There is a further artistic element of the shots which range from close framing of Jacob and the people he has connections with, to unoccupied frames of the city. Not all his interactions are stationary or front facing, instead it seems the camera’s only objective is to stay close to our protagonist in any position. The variety of shots mimics the range of people we meet, highlighting the amount of connections he has and the significance of his character. He commands the story, standing as its life source. The dialogue compliments the visual style of the film, as we hear parts of conversations that began existing off screen. It does not accommodate the audience's understanding of specific happenings or discussions, but it does leave room for the viewers to interpret what kind of life Jacob leads and what person he is. The narrative adds to the natural flow, but it simultaneously can make audiences feel the story is underdeveloped. The decision to communicate the wider plot through showing rather than contextualising means viewers are left with multiple short, unfinished narratives, which makes it hard to identify the structure of the story. However this may be a conscious decision to deepen the impact of an unanticipated closing incident, which triggers the camera’s departure. This arguably represents that all his other responsibilities, relationships, duties with or for others ends with this event. The director once again uses a stylistic rather than narrative method to communicate to the audience. In this instance, by ending unexpectedly there is a closing message on life’s unpredictability. The heaviness of our lives and the imbalances in the world means one connection can outweigh everything. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Short Film < All Reviews Next Film Review >

Chris Olson is a movie critic and Founder of UK Film Review. Learn more about his career in film journalism and being Editor-in-Chief. Chris Olson Founder / Editor-in-Chief Having spent a lot of time watching films during my time at the University of Plymouth, I decided to become a film critic - a job that offers no pay, no luxury, and no guarantee of meeting famous people...At least it doesn't come with a uniform. You can see my Plymouth University Alumni Page here . I started writing for a London cultural magazine about events going on in the city. Soon after I was made the Editor of the film section. Eventually, the mag went bust and I decided to use my connections and start UK Film Review. The result being what you see here - a platform to help filmmakers, actors, writers and indeed film critics achieve cyber glory. My reviewing style is probably more optimistic than most, especially as I try to find the good in what everyone does...except Michael Bay. My favourite films are, in no particular order, About Time (2013), Glengarry Glen Ross (1992), Fight Club (1999), 12 Angry Men (1957), Adam Sandler's early movies ("Hey Waterboy, durrr") and anything directed by Christopher Nolan. Outside of film reviewing I also release music as a recording artist and provide UK sync music for film & TV. Follow me on Twitter and LinkedIn using the icons below and drop me a line if you are interested in becoming a film critic or having your film reviewed. Or watch some of my video film reviews below and click the button underneath to read some of my movie reviews . Read My Reviews

There's Something I Have to Tell You film review by UK film critic Jason Knight. Starring Reagan Kelly, Suzanne Kovi, Caroline Brauner directed by Jamie Savarese. HOME | FILMS | REVIEWS There's Something I Have to Tell You Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 24, 2025 Directed by: Jamie Savarese Written by: Jamie Savarese Starring: Reagan Kelly, Suzanne Kovi, Caroline Brauner An emotional short drama written and directed by Jamie Savarese and starring Reagan Kelly, Suzanne Kovi and Caroline Brauner. This project is Savarese's directorial debut and was inspired by her experiences. The film centres on Anna (Kelly), a young American woman who travels to the Bahamas in order to help her estranged mother (Kovi) build a house. Kelly is harbouring a dark secret and she feels the need to disclose it to her parent. As time goes by during her stay overseas, Anna will struggle to find the courage to reveal what is causing her so much sorrow. The narrative is non-linear and the majority of the scenes are brief. The screenplay focuses primarily on Anna's inner struggles and the relationship between her and her mother. It is implied that they have being apart for a while, however things are still OK and they go for a swim and work together on the construction of the home, along with the help of friendly locals. The scenes in the Bahamas alternate with flashbacks of Anna as a little girl, providing deeper exploration into her character. Filming took place under challenging circumstances in the Bahamas, however, the cast and crew clearly overcame the obstacles as the film looks great, with numerous well-executed shots that capture the beauty of the Bahamas, all of which are enhanced by Liz Charky's terrific cinematography. Additionally, the beautiful music by Alexander Taylor increases the drama. Kelly's character is a troubled woman who also has a purpose: to communicate to her mother what is tormenting her. Keeping her pain a secret is obviously tearing her apart and Kelly's dramatic performance expresses that fact very convincingly. Kovi is equally impressive, playing a middle-aged woman who is capable and caring, but unaware of her daughter's personal issues. As the plot revolves around a person trying to reach out to someone, the significance of connection is a main subject. Other evident themes are family values, especially those that exist between a mother and her daughter. Furthermore, reminiscing the past and trauma are well within the picture. A dramatic mother-and-daughter story. Savarese brings to the viewer a film that is quite moving and could encourage people to seek help when they are in need. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

T.H.O.T? film review by UK film critic Joe Beck. Starring Phoenyx Rose, Adrian Marcel, Arion Johnson, Quania Jones directed by Jayson Johnson. HOME | FILMS | REVIEWS T.H.O.T? Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 24, 2023 Directed by: Jayson Johnson Written by: Sara Anders, Kareem Gedra, Jayson Johnson Starring: Phoenyx Rose, Adrian Marcel, Arion Johnson, Quania Jones The word thot is a derogatory, misogynistic term used, mainly by men, to refer to a woman whom they believe to be sexually promiscuous or engaged in multiple relationships. It’s an interesting, and apt, title choice for a film which wants to speak out against the kind of culture that frequently uses such language, and that is on the rise. Yet, the film never outright denounces the term nor the men who use it, instead tiptoeing around the issue without confronting it head-on. ’T.H.O.T?’ begins in the raunchy manner some might expect from it’s title, with a sex scene intercut with soundbites from a television in the background. We suddenly cut to a barber shop, and it becomes apparent that the sex scene was merely Kev (Arion Johnson) dreaming about how his date with Stacy (Phoenyx Rose) later that night may go. The fact that he isn’t watching the sports on the television quickly catches the attention of the other customers - clearly all members of a tightly knit community - who immediately guess the source of his distraction. They say boys will be boys, and here they very much are, childishly gossiping about Kev’s later date, confusedly trying to work out whether it’s the Stacy with kids or the Stacy without, in the process making a series of underhand misogynistic comments. Kev walks away from the barbers feeling confused as to the true intentions of his date, and it is to writers Sara Anders, Kareem Gedra and Jayson Johnson’s credit that they then cut to Stacy (without kids) as she prepares for her date. Anders, Gedra and Johnson cleverly outline the misrepresentation given to Stacy by the barbershop boys, through the concise script, which best demonstrates itself as Stacy fights off the warnings of her friend Tasha (Quania Jones). We see Stacy as an empathetic figure cast in a negative and derogative light by a group of men, and we see the result of their misguided attitudes over the course of the date, where the only comforting presence is Isiah (Adrian Marcel), who incidentally was the one man (a female barber did also) to speak out against the misogynistic attitudes of those at the barber shop. Still, ’T.H.O.T?’ doesn’t lead us to dislike Kev, feeling unfinished as he inconsequently walks away from the barbers and off the screen forever. Indeed, the film as a whole feels incomplete, missing both prior context as to Kev, who is only a fragment of a character, as well as Isiah, who is just as poorly characterised. Even Stacy lacks depth and merely acts in opposition to the dimwitted characterisations of her by men rather than as a character in her own right. Additionally, Jayson Johnson’s directing feels out of place, aiming highly but never coming close to reaching that high mark, it is more style over substance, with little of his technical camerawork adding anything to either the stories or the characters. The acting is competent, though isn’t particularly weighty, and it is hard to imagine many getting more out of a script, which while proficient and clever in its message, doesn’t lend itself particularly to exploring the talents of the films actors. ’T.H.O.T?’ isn’t a bad film, and it certainly has its heart in the right place, yet it doesn’t settle well, with its message feeling undercooked and the film as a whole feeling unfinished. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Unhuman film review by UK film critic Hope Madden. Starring Brianne Tju, Ali Gallo, Benjamin Wadsworth directed by Marcus Dunstan. HOME | FILMS | REVIEWS Unhuman Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 2, 2022 Directed by: Marcus Dunstan Written by: Marcus Dunstan, Patrick Melton Starring: Brianne Tju, Ali Gallo, Benjamin Wadsworth No one ever said high school was easy. Since the day Hollywood realized that teens spent a lot of money on movies, films have depicted high school angst. Often enough those movies offer suggestions, simple enough remedies to the woes inside those hallowed halls. A makeover, perhaps? Saturday detention? Karate lessons? Director Marcus Dunstan’s darkly comedic Unhuman thinks maybe an apocalyptic field trip could do the trick. A high school science class and one teacher who’s no better than the worst of the teens set off on an extra-credit adventure. And before you know it, you’re eyeball deep in a zombie flick, redneck menace film and John Hughes movie all rolled into one. Briannae Tju (TV’s I Know What You Did Last Summer ) plays Ever, who keeps her head down, her mouth shut and tries not to make waves. She and bestie Tamra (Ali Gallo) are having a moment—it’s that moment when the cool kids want only one of you for their clique and you pretend you aren’t both aware of it. But suddenly, after a bus crash, scary radio broadcast and a throat-biting murderous attack, Ever and Tamra must team up with those cool kids and whoever else escaped the bus to survive the field trip. Expect more than you bargain for, including solid performances from Tju, Gallo, Benjamin Wadsworth and a busload of actors finding ways to color outside the lines. This is the same writing team that launched into the horror scene with Project Greenlight winner Feast. Unhuman shares an irreverent tone with that early work. Dunstan, co-writing with longtime partner Patrick Melton, sees a darling simplicity in old-school teen movies. At one point, Randall (Wadsworth) tells us, “It’s a microcosm for life. High school doesn’t end. It spreads.” The filmmakers sell that kind of 80s influence well, but don’t assume Melton and Dunstan buy it. There’s real cynicism lying under the viscera, although the surface-level laughs and shocks help Unhuman masquerade as simple bloody levity. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Dance film review by UK film critic Alasdair MacRae. Starring John McCullough, Lara Deam directed by Sarah Jayne Portelli. HOME | FILMS | REVIEWS The Dance Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jun 18, 2022 Directed by: Sarah Jayne Portelli Written by: Ivan Malekin Starring: John McCullough, Lara Deam After stumbling in and catching her Dad (John McCullough) dancing clumsily as he prepares to start dating again, Emma (Laura Deam) decides to confront her father about the effect his coming out as gay has had on both her and her mother. In the opening two minutes of this short, the gentle cringe and humour of the awkward social parlance of dancing seem to be a cute parallel for finding one’s own rhythms in a new and unfamiliar social circumstance. The mild discomfort felt in observing the father, Jack, dancing continues into the small talk between him and his adult daughter. There are clearly some unresolved issues between the pair. Then, all of a sudden a non-diegetic piano piece begins to play and Emma launches into a melodramatic outburst about her father’s neglect of his family. This sledgehammers the early nuance into oblivion, and frankly, the tone never recovers. It is wholly fair that although it is a blameless situation, there may be some complicated feelings arising in Emma over the polar opposite ways her parents have reacted to her father’s coming out. Her father has the excitement of exploring a newly awakened self, although it appears to her, to be at the expense of her mother, who seems to have shrunk into isolation and despair. Whilst it is clear that her reaction is meant to be an emotional and irrational one, which she eventually recognises too, the way that it is portrayed on screen feels wholly contrived. All emotion is drained from the film the moment the forced music begins and the remaining run time is indistinguishable from an episode of Hollyoaks. The early promise of The Dance is rudely drowned out by melodrama. The difficult and complicated feelings it tries to raise are made obvious but not conveyed in a way that can be received emotionally. Buy UKFR Banner Space About the Film Critic Alasdair MacRae LGBTQ+, Short Film < All Reviews Next Film Review >

Golden Years film review by UK film critic William Hemingway. Starring Harry Dexter, Theo Athinou, Rebecca Sargent, Laura Frances Martin directed by George Carter. HOME | FILMS | REVIEWS Golden Years Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Sep 13, 2026 Directed by: George Carter Written by: George Carter and Harrison Jones Starring: Harry Dexter, Theo Athinou, Rebecca Sargent, Laura Frances Martin Within the empty rooms of his mind, a man wrestles with memories of happier times, as his wife and younger self push through from the past to light up the dark spaces of the present. Jonah (Dexter) is having trouble remembering. He’s old and lives alone, and hasn’t very much around him in terms of personal effects to keep him familiar with and full of the past. His walls are mostly bare, there’s no family photographs anywhere, and Jonah lives a typical male life of simplicity and economy, without clutter or memorabilia. What Jonah does have though, is music, and the remembrance of his wife through the tune that they would dance to when they were young and in love. Putting the record on switches some kind of light on in Jonah, too, and memories keep coming back to him about the time he spent with his wife, Alma (Sargent), in the house that seems so dark and grey to him now. As he moves through the rooms he keeps finding different snippets of their past together, remembering how she was, the conversations they had, and the loving times they had spent. He’s there, too, younger (Athinou) and so sure of himself, not realising what he had when it was all right in front of him. And then it is all gone again. These memories seem to be a blessing and a curse for Jonah, as they call back to something that he couldn’t hold onto. His life now is so empty, drab, and dreary, compared to what he had then, and it is a real wrench for Jonah to keep going through reminiscences that he’s not sure are always going to be there, with his memory failing and his age catching up to him. Much like Anthony Hopkins in The Father (2020) he’s not always so sure now what is real, what is remembered, and what is a false memory. Told with real care and attention by director and co-writer, George Carter, Golden Years invites us into Jonah’s ever decreasing world to witness the end of a story. Even in the quick ten minutes we have with him, we know Jonah, and feel with him, and understand him, as he wrestles with the images that hold so much for him. The small, single location of the house never feels restrictive, and in the hands of Carter, each new room holds a different surprise and another piece of the jigsaw, as Jonah desperately tries to fit the pieces of his life back together. With Jono Tarrant’s cinematography capturing the essence of light and dark in Jonah’s life, keeping the memories warm and cosy, and the present cold and grey, along with Elliot Iddon’s accompanying music, which fits neatly and seamlessly into the narrative, Golden Years builds a feeling and an atmosphere around Jonah that fully encapsulates his life on screen. The way the characters interact, sharing the same space but perhaps not the same time, is elegantly handled as Carter shows us the story from all angles, deciding who to put in the frame, whose emotion to capture, and showing us who is looking at who, as they all move around each other in a dance. For what is a student film on a small budget, Carter manages to build his vision through the team around him, who all pull together to bring their expertise to bear. Each element works well on screen and fits together to build the narrative that Carter is looking for, allowing us into Jonah’s story in an effective and familiar way. While the themes and scenario are fairly universal, it is how the story is told that really beings the viewer into the experience of what Jonah is going through, and with that Carter has led with his vision to create something that speaks to the audience clearly and emotionally, even if you think you can half remember seeing something similar somewhere before. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >