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Directed by:  Bizhan Tong Written by:  Stephen Belber, Bizhan Tong, Selena Lee, Bonnie Lo Starring:  Kenny Kwan, Selena Lee, Adam Pak Film review by:  Jason Knight ⭐️⭐️⭐️⭐️ A feature drama directed by Bizhan Tong, written by Tong, Stephen Belber, Selena Lee and Bonnie Lo and starring Kenny Kwan, Selena Lee and Adam Pak. Drug dealer and lifeguard, Wing (Pak), is renting an Airbnb in Hong Kong, where he intends to reunite with Jon (Kwan), a friend from school whom he has not seen in years and who is now an accomplished filmmaker. There is far more to that, though, as Wing has set up hidden cameras throughout the apartment. Why? Because he believes that during their graduation fifteen years before, Jon committed a heinous act and Wing plans to get his confession on tape without him knowing. Following innocent exchanges, Wing sets his plan in motion, leading to a great deal of drama and the arrival of Amy (Lee), a former classmate, leads to further complications. This film begins more or less lightheartedly, with two men meeting again after a lengthy separation and catching up with everything, having a laugh, minor arguments and doing some drugs. It is after Wing mentions Amy that the atmosphere becomes serious (rather serious) and tension and suspense fill the air. Amy herself makes her appearance approximately halfway through, leading to the part where Jon is forced to face his past actions. Confrontations, revelations and accusations dominate this story that as both a drama as well as a thriller. Since it is based on a play, it is probably unsurprising that almost the entirety of the narrative takes place in real time and that it takes place almost completely in the apartment. The screenplay is more focused on exploring the characters than it is on moving the story forward, and it does so very effectively. Jon, Amy and Wing are the only characters on-screen (with the exception of several flashbacks) and they each have their own perspective regarding the fateful incident that drives the story. Wing is the most cheerful one, a carefree guy who sells and uses illegal drugs and who seems to want to see justice being served for Jon's wrongdoing. Jon appears to be a coward when it comes to admitting his mistake and facing the consequences and being forced to admit what he did clearly has a massive impact on him. Amy is a public prosecutor and her presence pretty much dominates the second half, with her confronting the person who caused her anguish. She is an intelligent and calm individual and Lee's performance perfectly reveals the torment she is going through. The whole plot revolves around a past incident, and the feature concentrates heavily on the concept of facing the consequences of one's actions, that the past catches up. Accompanied by this are feelings of self-reflection and regret. This is a remake that brings the story from the United States to Hong Kong, and the result is a dramatic and thought-provoking viewing with strong acting and an intriguing plot. Tape  will be in UK Cinemas from the 19 th  of September.

Directed by: Jonathan Zaurin Written by: Kat Ellinger, Michael Mackenzie, Todd Rodgers Starring: Suzanne Fulton, Michael Coombes, Pete Bird Film Review by: Holly Baker ⭐️⭐️⭐️⭐️ Derelict (2024) marvellously transcends the boundaries of a gruelling psychological revenge thriller. Jonathan Zaurin’s second feature film takes viewers on a crime-ridden journey of love, grief, suffering and rage, and the ride is full of grit and emotion. Derelict’s gnarly narrative and passionate performances result in a gripping psychological battle between morals and justice, never letting you go, as its themes of violence and anguish are navigated in all of their complex cerebral glory. Viewers are introduced to Abigail (Suzanne Fulton), who is vacantly grief-stricken and enraged following the trauma of the mysterious, horrific death of her father. On a quest for vengeance against his attackers, Abigail faces several physical threats and internal conflicts of conscience. Meanwhile, a young man named Matt (Michael Coombes) has his life derailed when his brother, Ewan (Pete Bird), returns home from prison. Matt’s moral compass is put to the test as his loyalties are divided between two opposing worlds. Will his delinquent brother lead him astray, or is there hope for Matt to avoid a life of crime? The story takes place within a working-class community residing in Herefordshire, with the majority of its narrative told through a visualisation of washed-out images, depicted in a muted colour palette. Lending itself to Memento (2000), Derelict incorporates a reverse structure with dual timeframes symbolised through colour grading. Memento’s legacy also shines through in the film’s portrayal of complexly corrupted characters who are presented as dichotomous in their humanity and villainy. The film portrays menacing individuals in society as corrupt yet emotionally charged, meaning viewers may feel torn and unsure of whom to sympathise with, enhancing the film’s psychological poignancy. Derelict does not shy away from its terrifying potential, with harrowing depictions of brutality and gore lending itself to the horror genre through ghastly special effects and a disturbingly visceral sound design. Scenes of sexual and physical violence are horrifyingly presented. There are moments of absolute despair when exploring the dangers of predatory men. The film also goes further to present the nuances at play within the patriarchy through presenting intricate characterisations of its most threatening characters. Attention is paid to exploring insecurities and prejudices which drive violent, hateful acts, brutally depicting the deathly consequences of toxic masculinity. The horrors at play in Derelict are further impactful through a potent demonstration of the disastrous effects of substance use. This is conveyed through haunting intoxication sequences. These are shown through anxiety-inducing, shaky, blurry cinematic sequences blended with moments of eerie stillness and quiet. Derelict’s performances are blunt and assertive, with all of its characters making a strong impression on the feel of the film. The film’s most disturbing moments are enhanced by the actor’s commitment to eliciting disgust through vulgar body language and bellowing voices. Suzanne Felton’s acting is quietly impactful. Abigail comes across as subtly bold and empowered by the love and anger which drive her. Felton’s performance is comparable to that of Michaela McManus, who plays Irene in Redux Redux (2025), both notable accomplishments, sharing the admirable strength of executing the determination of a vengeful female character who is willing to go beyond any means necessary to achieve justice and closure. As the film transitions from the first to the second act, there is a stark shift in tone. Through shaky camera work and the use of a sinister musical build-up, suspense is intensified brilliantly. One might compare such an effective increase in anticipation to that pulled off in Jordan Peele’s Get Out (2017), both films’ final acts maintaining a disturbing influx of violence and dread. Derelict’s use of time, through intertwining dual narratives and the creative incorporation of an analogue clock display, enhances the film’s sense of dread and excitement, making it impossible to look away from, despite the viewer being made aware of what the film’s events are going to lead to. In the face of Derelict’s vulgar scenarios and graphic depictions of terrible suffering, what stays with you after watching is not a feeling of grimness or psychological upset. Rather, there is a warm feeling of hope. Derelict commits to engaging with the perplexing terrors implicated in its psychological thriller genre whilst maintaining a heartfelt focus on its characters’ humanity, keeping the viewer anxiously hooked and emotionally invested in the horrors at play. After watching, you’ll definitely think twice before taking the underpass on your walk home… Derelict is on digital 1 September from Miracle Media and on Blu-ray 22 September from 101 Films

The latest documentary from acclaimed filmmaker Asif Kapadia , the mind behind masterpieces like Senna  and Amy , is set to premiere. This time, Kapadia turns his lens to a true football legend: Kenny Dalglish . Kenny Dalglish  is not just another sports film. It's a deep dive into the life of a man who defined a generation of football, told in his own words. The film features Dalglish himself, alongside his wife Marina and close friends like Graeme Souness  and Alan Hansen . Drawing on hundreds of hours of archival footage, including never-before-seen personal clips, the documentary offers a unique and intimate portrait of Dalglish's journey. It highlights his immense talent on the pitch, but also focuses on his remarkable character off it—his sharp humour, his humility, and his unwavering loyalty. As a player, he was a giant for both Celtic and Liverpool, but the film also pays tribute to his profound impact on the people of Liverpool, particularly during times of tragedy. Kapadia himself has said this is a personal project, a way to show a new generation who only know Dalglish from video games the true scale of his greatness as both a player and a leader. Kenny Dalglish  will be in cinemas for one night only on 29 October, with exclusive bonus content. For those who can't make it to the cinema, the film will be available to stream on Prime Video in the UK and Ireland from 4 November.

When All The Right Movies launched back in 2019, the team had a simple goal: create the movie podcast they wished existed. The kind that actually tells the great stories behind how films were made, not just discussing whether they're worth watching. One hundred episodes later, they've discovered something which is good to know: there's an insatiable appetite for creative film storytelling. Here's the thing about most movie podcasts: they're essentially mates-down-the-pub conversations recorded for posterity. Absolutely nothing wrong with that, but the ATRM team wanted something  a bit different. Retain that great, engaging dynamic that entertains audiences, but also tell the story of Hollywood one movie at a time—and actually mean it. Each episode of All The Right Movies represents weeks of research. The hosts buy specialist books, watch every available documentary, and dig up interviews from archives most people forgot existed. Why? Because when they tell you about how The Terminator  came to be, they don't just mention that James Cameron had a nightmare about a metal skeleton. They tell you he was sick with a fever in a Rome hotel room, had the nightmare, sketched it out, and then spent years trying to convince anyone to let him direct it. They reveal that the studio wanted O.J. Simpson for the Terminator role (Cameron said he was "too nice”—yikes), and that Arnold only had 58 words of dialogue in the entire film. This obsessive approach to research led to some pretty mind-blowing discoveries over their first 100 episodes. During The Shining , Kubrick made Shelley Duvall perform the baseball bat scene 127 times (“made” being the operative word). The famous chest-bursting scene in Alien  was kept secret from most of the cast, meaning their horrified reactions were genuine (Yaphet Kotto took it particularly badly). These aren't just fun facts—they're windows into how great films are actually crafted. What makes All The Right Movies different isn't just the research though. It's the fact that the team—John, Luke, Westy, and Matt—have spent over 50 years combined working in creative industries. When they analyse a film, they're bringing perspectives from digital media, photography, cinematography, broadcast television, music composition, and more. They spot things others miss because they understand the creative process: they’ve been there, done that, and probably still have the call sheets to prove it. But here's their secret weapon: they've been friends for 20 years. That chemistry you can't fake? They've got it in spades. Whether they're doing questionable Arnold impressions or finding humour in Scorsese’s perfectionism, they balance serious film analysis with the kind of conversations you'd actually want to be part of. No pretension, no film school snobbery—just four people who bloody love movies sharing that passion with fellow enthusiasts. What's particularly special about All The Right Movies is how they've built a passionate community around their content. Through their ATRM Patron subscription service, they've created a space where over 1,200 dedicated supporters don't just listen—they actively participate. Patron questions are woven into episodes, adding fresh perspectives and creating a dialogue between hosts and audience. The monthly newsletter features a "Patron of the Month" interview, and patrons even get to vote on which films make it onto the show. Beyond the podcast itself, patrons can chat directly with the hosts and fellow film enthusiasts in their online community, turning movie discussions into ongoing conversations that extend well beyond each episode. It's this community focus that transforms passive listeners into active participants in the ATRM story. Over 100 episodes, ATRM has covered everything from blockbusters like Inception and Star Wars  to stone-cold classics like The Godfather  and Rear Window . They've explored how these films connect—like how Spielberg recommended John Williams to George Lucas, or how Goodfellas  influenced practically every crime film that followed. Each episode stands alone as a comprehensive deep-dive, but together they're building something bigger: an interconnected story of how Hollywood really works. The response has been rather overwhelming. They've achieved over 2,000,000 downloads, built a community of over a thousand dedicated patrons, and have a following approaching 1,500,000 on social media. They even caught the attention of directors like Christopher McQuarrie and Edgar Wright (which they're still not quite over). But what matters most? Hearing from listeners who say the podcast has changed how they watch films. That’s the whole point. Looking ahead to their next 100 episodes, the team isn't changing the formula that's worked so well. They'll keep diving deep into the films that matter, uncovering the stories that deserve telling, and maintaining the quality that their audience expects. (And whilst they can't say too much just yet, there's some rather exciting news on the horizon that'll take All The Right Movies beyond the podcast format—watch this space). Because ultimately, every great film has a great story behind it—and they're just getting started telling them. Fancy joining them for the next 100? Start with their most recent deep dive or explore the full catalog of 100+ episodes on Spotify , Apple Podcasts , or at alltherightmovies.com where you'll also find exclusive articles and film features. And if you fancy becoming part of the community that's shaping the show's future, their Patreon is where the real magic happens.. Trust us, you’ll never watch movies the same way again.

Film Feature by Chris Olson The nights are drawing in, the leaves are turning that beautiful autumnal orange, and the air is getting a little chillier. All of which means one thing: Halloween is just around the corner. But this year, the scares aren't just confined to a fancy dress party; the UK cinema circuit is gearing up for a frightfully good season. Forget last year's lukewarm offerings; the line-up for autumn 2025 is stacked with spine-chilling sequels, cerebral terrors, and a few exciting originals that promise to leave you sleeping with the lights on. Let's get into the dark heart of what's coming our way. First up, and landing with a chilling thud on September 12th, is The Long Walk . If the name rings a bell, that's because it's an adaptation of one of Stephen King's most unnerving novels. Director Francis Lawrence, a veteran of the Hunger Games  franchise, is at the helm, which bodes well for a tight, tense, and expertly paced experience. The premise is simple but terrifying: a dystopian story where young men compete in a walking contest, with the grim rule that only one survives. There's no supernatural entity, just the chilling horror of human endurance and the sheer, bleak finality of the contest. We’re expecting a film that ratchets up the psychological pressure with every single step, making it a must-see for fans of high-stakes, low-gore horror. Next, get ready to meet your masked tormentors again on September 26th with The Strangers: Chapter 2 . Following on from last year's trilogy opener, this film promises to continue the ordeal of Madelaine Petsch's character. The first chapter was a masterclass in unnerving tension, and with director Renny Harlin returning, we can only assume he has more twisted games planned. We’re bracing ourselves for an atmospheric, slow-burn sequel that focuses on the unsettling, random nature of the attacks. It's the kind of horror that makes you double-check your own front door lock when you get home. October kicks off with a triple dose of terror on the 3rd, and each film brings a unique flavour of fear. First, there's Him , the latest offering from Jordan Peele's Monkeypaw Productions. This one is a sports-horror hybrid, which is a genre we don't see nearly enough of. It stars Marlon Wayans and Tyriq Withers, and hints at a story where a young football player is taken under the wing of a star quarterback, only to discover there's something sinister at play. Given Peele's track record with films like Get Out  and Us , we're anticipating a film that blends social commentary with genuine, skin-crawling horror. Also on October 3rd, we have Shelby Oaks  and Keeper . Shelby Oaks  has been described as a found-footage film, which is always a good bet for a jump scare or twenty. Details are scarce, but the premise of a missing paranormal investigator who vanished during a case is ripe for some serious chills. Keeper , meanwhile, is the new film from Osgood Perkins (director of the critically-acclaimed Longlegs ). Starring Tatiana Maslani, it follows a couple on a retreat where one is left alone to face a sinister presence. Perkins is a master of building suspense and unease, and we're ready for another deeply unsettling film that gets under your skin and stays there. A week later, on October 10th, we welcome Good Boy  to our screens. With a title that sounds anything but scary, this film promises to subvert expectations. The plot revolves around a dog that moves to a new home and discovers a supernatural force lurking in the shadows. We're intrigued by a horror film that's told from the perspective of a loyal pup, and it has all the ingredients for a unique and surprisingly emotional horror experience. Leading us into the final two weeks of the month is The Black Phone 2 , dropping on October 17th. Scott Derrickson and Ethan Hawke return for this sequel to the 2023 hit. The first film was a chilling tale of a child kidnapped by a sadistic killer, so we're curious to see where the story goes now that the villain is supposedly dead. The trailers hint at a return of the titular spooky telephone, and we can only expect more of the claustrophobic dread and menacing performances that made the original so compelling. Finally, just in time for the big day itself on October 31st, two films will be fighting for your attention. Bugonia  is an intriguing project from the director of The Lobster , Yorgos Lanthimos. While not a conventional horror, his films are known for their dark, unsettling, and often absurdly disturbing content, so it’s likely to be a different kind of frightening experience. We're also getting The Descent , a film that has no cast or director details available yet but, given the title, we can expect a claustrophobic and terrifying journey into a dark and foreboding space, a perfect way to cap off the Halloween season. So there you have it, folks. From psychological thrillers to slasher sequels, this Halloween promises to be a fantastic one for UK cinema. The diverse line-up offers something for every type of horror fan, and we can’t wait to be thoroughly scared by each and every one of them. Happy haunting!

Hello, cinephiles, and welcome back to the silver screen, where the popcorn is hot, the seats are comfortable, and the magic is about to unfold. Autumn is officially upon us, and as the nights draw in, there’s no better time to get lost in the dark of a cinema. October 2025 is shaping up to be a cracker, with a movie line-up that’s more varied and exciting than a game of cinematic bingo. So, without further ado, grab your tickets and settle in, because here's what you absolutely must see this month. Tron: Ares First up, we have the long-awaited return to a digital landscape with Tron: Ares . It’s been a long time coming, but the buzz surrounding this sci-fi spectacle is deafening. With a stellar cast and what promises to be jaw-dropping visuals, this isn't just a sequel; it's a re-imagining of a cult classic for a new generation. Will it live up to the hype? Only time will tell, but I, for one, will be there on opening night with my 3D glasses firmly in place. The Black Phone 2 For those of you who enjoy a bit of a fright with your film, October is, of course, the month of spooks, and this year delivers in spades. The much-anticipated The Black Phone 2 is set to haunt our dreams with a sequel to the terrifying original. Scott Derrickson returns to the director's chair, and if the first film is anything to go by, we can expect a chilling, character-driven horror that will leave you on the edge of your seat. And if that's not enough to satisfy your craving for dread, look no further than Bugonia. Yorgos Lanthimos's latest is a pitch-black comedy about alien conspiracy theorists that promises to be as delightfully bizarre as his previous works. The Smashing Machine But it’s not all scares and sci-fi. For a dose of gritty, real-world drama, we have The Smashing Machine. A biopic about MMA fighter Mark Kerr, starring none other than Dwayne "The Rock" Johnson. This role is a genuine departure for Johnson and a chance to show off his serious acting chops. I’m utterly fascinated to see if he can truly embody the vulnerability and ferocity of a real-life champion battling his demons. If he pulls it off, we could be looking at a serious awards contender. Springsteen: Deliver Me From Nowhere And speaking of awards, the musical biopic Springsteen: Deliver Me From Nowhere looks like it could be a major player. Following the creation of Bruce Springsteen's iconic Nebraska album, this film has a rawness and intimacy that's already getting critics talking. Starring Jeremy Allen White as The Boss, this could be the definitive rock-and-roll film of the year. Mortal Kombat II For the gaming audience, there's Mortal Kombat II . This sequel to the video-game adaptation promises more visceral, fantastical fight choreography and fan-favourite characters. It's pure, unadulterated fun, and sometimes, that's exactly what you need. After the Hunt Finally, October brings a handful of films that I’m particularly excited about for their unique perspectives. After the Hunt, starring the incomparable Julia Roberts, is a thriller that delves into a university professor's world after a student's accusation. It sounds like a taut, suspenseful drama that will keep you guessing. Meanwhile, Roofman stars Channing Tatum as a real-life thief, a quirky, off-beat story that could be a sleeper hit. So there you have it, folks. A smorgasbord of cinematic delights to see you through the autumn. From big-budget spectacles to intimate dramas and nerve-shredding horrors, October 2025 has something for everyone. Get ready to lose yourself in the magic of the movies. I’ll see you at the concessions stand.

Film Feature by Chris Olson August's episode of the UK Film Club Podcast was packed tighter than a can of sardines, crammed with the latest movie reviews, short film reviews, and indie feature films. It was a pleasure, as always, to join my co-host Brian and cover some of the best movies out right now. As always, Brian gives his coveted "Film of the Month" award to one of the cinema releases, and this month it was for the new Stephen King adaptation, The Life of Chuck . Directed by Mike Flanagan and starring Tom Hiddleston, Jacob Tremblay and more, the film was co-written by Flanagan and King. The storyline goes: A life-affirming, genre-bending story about three chapters in the life of an ordinary man named Charles Krantz. Listen to Brian's review using the Apple Podcasts embed below: If you don't have Apple Podcasts, you can also check out Episode 30 of the UK Film Club Podcast on other platforms such as Spotify, Pocket Casts and more. Short Film Reviews on the Podcast Whilst we love covering the newest movies in UK cinemas, UK Film Club also takes time to appreciate indie filmmakers from around the world and in Episode 30 we covered 3 excellent short films: Kreaster : A proof-of-concept piece with impressive sci-fi stylings. Bread Winners : A startling and expertly crafted drama. Gold Hearts of Hot Rod County : An 80s-inspired coming-of-age film with excellent aesthetics. Indie Film Reviews on the Podcast We don't shy away from covering feature-length indie films on our movie podcast either, and in August's episode we were lucky enough to cover 2 excellent movies: The Bulls' Night Out : A 90s crime film crammed with New York accents. A Road to a Village : A Nepalese drama about the impact of progress in rural communities.

★★★★★ Starring: #GenevieveChenneour, #AdamFrith, #AlfieNoble, #MiaRodgers Directed by: #CarolineHajny Short Film Review by: Alexandra James Directed by Caroline Jajny, Diary of a Ghost  focuses on the theme of grief and loneliness, more specifically prolonged grief. No one can truly determine how long it is ‘acceptable’ to grieve someone close to you, however, it is difficult to place a time limit on something that can affect people so differently. For protagonist Sage, this grief feels like the weight of the world over the loss of her boyfriend, Riley. This deep sadness brings forth a lot of other emotions and forces Sage to isolate herself and remain rooted in the past, unable to escape the dark and terrifying memories. Instead of reliving the happy moments, she becomes fixated on his death and begins to lean into this trauma further by religiously writing in a grief journal as some form of comfort. A very real and powerful story that not only is touching but delves into a very important subject that many of us experience and yet perhaps are afraid to discuss. The complexities of grief are so vast, and Diary of a Ghost  explores just how much it can overwhelm many aspects of your life. We are introduced to Sage Evans, a stranger knocks on her grandmother’s door to check the meter, however, we quickly learn that her grandmother is now in a hospice leaving Sage alone in her house with nothing but her thoughts. Trying to distract herself, she meets with an old friend, but it was clear her mind was elsewhere. Their interaction inevitably leads to speaking of the past and in turn causes the flooding back of memories of her partner. Her friend assumes that she should be moving on at this point, given that it had been a year since the incident. But time almost stands still when faced with a traumatic loss and its as if everything around Sage is insignificant and she cannot find pleasure in anything anymore, even having a few drinks at the pub with friends. Actress Genevieve Chenneour conveys this feeling of heartache in a very realistic and moving way, there is a strong understanding of what it means to be stuck in this deep emotional pit, her commitment to the role is apparent and extremely moving. Diary of a Ghost  is a creative and honest representation of prolonged grief and focuses on the individual and often how difficult it is to convey to others how painful and consuming grief can be. This narrative shows that not everyone can pull themselves out of this emotion so easily and very much remain in the past, unable to see a light at the end of the tunnel. Instead, many people unfortunately dwell and surrender to this emotion. For Sage, this diary kept her very much stuck in one place and the seclusion only pushed her further into this inescapable pain. A film that many can relate to, as it highlights the dangers of just what can happen when trapped in a state of despair.

★★★★★ Starring: #MiaMcKenna-Bruce, #LouisaConnolly-Burnham, #MichaelFox Directed by: #LouisaConnolly-Burnham Short Film Review by: Alexandra James Sister Wives  is a short romantic film directed by Louisa Connolly-Burnham, the film centres around an orthodox Mormon relationship. A husband and wife introduce a second wife to their relationship and with this brings challenges for the couple, as well as tension as the dynamic changes within the household. Living such a sheltered life only raises questions for the two wives, their daily activities are monitored constantly, and they often fear the consequences of questioning the status quo, as well as life outside the community. However, left alone in the home for a few days as husband Jerimiah is sent on a mission, the wives begin to open-up to one another and a romantic relationship begins to develop between the two. A narrative of forbidden love and repressed emotions. Louise Connolly-Burnham director and star of this film creates a perfect balance of apprehension and curiosity within the character Kaidence. For many years Kaidence has served her husband, obeyed God and kept her opinions and thoughts very much to herself. However, when new wife Galilee enters the family home, although dismissive and even jealous was her initial response to a new wife, Kaidence eventually allows herself to be vulnerable. She shares with Galilee her worries and fears, even showing taboo literature she has kept hidden from her husband. Their relationship begins to blossom but into more than just friends. The chemistry between both women is one element to this film that is truly enticing, the subtle movements and intimate looks to one another highlight a strong passion between the two. This passion only becomes fuelled by the secrecy of their relationship, although their relationship is seen as a sin within their community, this only strengthens their connection as they find safety and comfort in one another. I think what is great about this short is the symbolism that runs throughout. The location is very dark and isolated representing how the women feel within the community, away from civilisation and left with just their own repressed thoughts. Moreover, the costume designs, both women wear plain or pastel-coloured dresses, making the hidden red dress at the back of cupboard seem that much more vivid and a powerful symbol. It became apparent that the girl’s relationship begins to flourish, red being seen as a very sensual colour and displays the women breaking out of their wife persona and learning to explore their sexual identity. Sister Wives  is a deeply emotional short film that explores the theme of love, repressed desires and religion. The cinematography within this short, is shot beautifully and aids the story by feeding into the narrative with the isolated locations, moody atmosphere creating a gripping storyline. Both Louisa Connolly-Burnham and Mia Mckenna-Bruce’s performances are incredibly noteworthy, portraying an electrifying connection that draws in the audience from the start to finish.

★★★★ Starring: #AndrewHodgson Directed by: #GuyPearson Short Film Review by: Alexandra James Extension , a short film directed by Guy Pearson and starring Andrew Hodgson, is a documentary style film recorded entirely in black and white and follows one man and the passion he has for his ‘project.’ The audience are kept completely in the dark about what this project is and can only make small assumptions about what it can be, however, I can assure you that you are all wrong! This is a short comedy that I found sweet and amusing, I loved the ambiguity that surrounded the film and became fascinated by the protagonist. Just your everyday northern bloke sharing his daily activities and how he enjoys his spare time. A simple, funny and fantastic film that leans into its absurdness to create something that is truly unique. The simplicity of this short is an element to really appreciate, as the protagonist speaks about how he gathers materials for his project and friends and family that have helped with supplies, you cannot help but see him as an extremely likeable character. Instantly the audience are drawn into his world and even though we are merely following him through the forest gathering wood and explaining what pieces can be used, you can’t help but want to learn more about his life. He seems like a humble character with simple pleasures and his fascination with this project makes us think and wonder what exactly he is working on. The typical answers, perhaps a tree house, a sculpture or maybe a piece of furniture, nothing can quite prepare you for what the project really is. Certainly, it’s the ridiculousness to this film that makes it funny and engaging, the small twist to this piece is a great element and shows a very creative and fun side that many will be amused by. Having researched the making of this film a bit further, I discovered that the ending to this piece was not the original. Due to unforeseen circumstances, there was lost footage and a lot of effort to try and recover what had vanished. Instead, a whole new ending had to be created which is very unlike the original. I think this is what you call a very happy accident, because even though the story may not be as envisioned, occasionally, this new path fits perfectly and turns out to be a surprise, but a good one! For a documentary style film, I really enjoyed how natural Andrew Hodgson was on screen, his persona and relaxed approach in front of the camera made the ending that much more of the perfect twist. Alongside the graininess of the footage, it appeared as though it had just been found or home footage, which kept the audience in the dark right until the end and the reveal of the project was so much more unexpected and certainly brought a bigger chuckle as well.

Film Feature by Chris Olson The dinosaur-sized shadow of the Jurassic Park franchise looms large over any new instalment, and Jurassic World: Rebirth is no exception. With the latest film in the series now in cinemas, the spotlight inevitably turns to the financial considerations that underpin such a colossal undertaking. As UK film critics, it is our duty not only to dissect the artistic merits but also to analyse the economic forces at play. Initial reports pointed to an estimated production budget of £140 million ($180 million), a figure that, while substantial, appeared to be a more controlled expenditure than some of its recent predecessors. For context, the last two Jurassic World films reportedly had significantly higher budgets, making this a noteworthy departure. This seemingly leaner budget for Rebirth suggests a calculated strategy from Universal Pictures, perhaps acknowledging the franchise's need for a creative reboot while managing the financial risks. The film's opening weekend takings in the US and Canada provide the first real test of this strategy. With a domestic haul of £71.5 million ($92,016,065), the figures are undoubtedly healthy, yet they also reflect a certain reticence compared to the explosive debuts of the previous Jurassic World trilogy. This opening is solid but not spectacular, indicating a tempered enthusiasm from audiences. The film's long-term success will hinge on its ability to sustain these numbers and resonate with a global audience, a task made all the more difficult by the competitive summer blockbuster season. Much of the film's success, both critically and commercially, will be credited to the creative team behind it. The casting of Scarlett Johansson, a bona fide action superstar, alongside acclaimed talents such as Jonathan Bailey, Mahershala Ali, and Rupert Friend, was a shrewd move, injecting fresh energy into the series. However, the true legacy of Rebirth may well be tied to the return of a familiar name: writer David Koepp. As the scribe of the original 1993 Jurassic Park and its sequel, The Lost World, Koepp's return signals a conscious effort to reconnect with the franchise's roots. Taking the director's chair is Gareth Edwards, a visualist with a proven track record in big-budget sci-fi, having helmed Godzilla and Rogue One: A Star Wars Story. His direction, combined with Koepp's screenplay, aims to deliver a film that is both a thrilling spectacle and a return to the thematic core that made Michael Crichton's original work so compelling. The creative DNA of Rebirth is a fascinating blend of old and new, and it will be this synthesis that determines whether this latest entry is truly a "rebirth" or simply a costly footnote in a long-running saga. Now listen to our Film Podcast Review of Jurassic World: Rebirth on Apple Podcasts:

In a review for their podcast, UK Film Club , critics Chris Olson and Brian Penn shared their thoughts on the new Netflix sequel, The Old Guard 2, starring Charlize Theron. While acknowledging the need to watch the first film to fully understand the sequel's plot, their overall assessment was lukewarm, with both critics agreeing the movie was "competent" but ultimately forgettable. Chris Olson initially sets up the film's premise, noting the return of Charlize Theron's character, Andy, who at the end of the previous film had lost her immortality. The sequel sees her reunited with the team, now living in exile, as they face the emergence of a "long-buried character." Olson is cautious about revealing too much, fearing it would spoil the film's limited twists and turns. Brian Penn kicks off the critical discussion by labelling the film as merely "competent." He believes the sequel "goes by the numbers" and, unlike the first film, fails to take any chances. A major point of criticism for Penn is the lack of character development. He argues that outside of Andy, the characters are not strong enough to stand out, and the film could have benefited from more fleshed-out character arcs. The film's central theme of immortal warriors protecting humanity is, to him, a familiar but underdeveloped concept. Olson echoes Penn's sentiments on character development, stating that the film "wasn't fully fleshed out" and simply "skims along." He also criticises the antagonists, describing them as "melodramatic" and reminiscent of the villains in The Mummy (1999), but without the same level of charm. Olson feels the movie is "clunky" and heavily relies on Charlize Theron's star power to be watchable. He even questions if the film is worthy of Theron's talent, suggesting it's not one of her best choices. Both critics found the film to be an emotionally detached experience. Olson mentions that upon finishing the movie, he simply "went okay" and didn't think about it again until the podcast review, suggesting a profound lack of emotional impact. He appreciates some of the action sequences and the banter among the group but feels that in today's cinematic landscape, great stunts alone are not enough to sustain a story. A key point raised by both Penn and Olson is the film's wasted potential. They both believe the core idea of immortal warriors living through centuries is a fantastic premise that has been poorly executed. Penn suggests a better direction would have been to take the characters back in time to pivotal historical moments, such as the Battle of Waterloo, instead of confining them to a modern-day spy thriller format. Olson agrees, feeling that the modern setting makes the immortal premise feel "a bit pointless" and lacking in genuine threat. In conclusion, Olson and Penn find The Old Guard 2 to be a serviceable but ultimately disappointing sequel. It's a film that is "fine and sturdy" in its execution but fails to achieve anything brilliant. They conclude that it never reaches a point where the audience feels a true connection to the characters or the stakes, leaving them with the impression that Theron's involvement was likely for the paycheck. Listen now to UK Film Club on Apple Podcasts: