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Jay Kelly film review by UK film critic George Wolf. Starring George Clooney, Adam Sandler, Laura Dern directed by Noah Baumbach. HOME | FILMS | REVIEWS Jay Kelly Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 19, 2025 Directed by: Noah Baumbach Written by: Noah Baumbach, Emily Mortimer Starring: George Clooney, Adam Sandler, Laura Dern Oh, jeez, here we go. Just in time for Awards Season, it’s another group of Hollywood elites making a big Netflix movie about how great movies are, and how great the people making movies are and how hard those people work. Cue the eye-roll. Can the Oscar-baiting get any more shameless? Hang on there, hot-taker. Why can’t veteran movie-makers write what they know? Like any other story, it comes down to how well you’re telling it, and how much we’re invested in what’s happening to the characters. Turns out, it’s pretty easy to care about Jay Kelly , about the people in his orbit, and the commitment required to make cinema feel like “pieces of time.” George Clooney wears the title role like his most broken-in leather jacket. Jay Kelly is a veteran movie star, enjoying the comforts of his status while slowly realizing what he has given up to get it. And it’s not just Jay. From his loyal manager (Adam Sandler) to his publicist (Laura Dern), old roommate (Billy Crudup) to first mentor (Jim Broadbent) and beyond, their is no shortage of people holding a to-do list that starts with making Jay Kelly comfortable. Director Noah Baumbach and co-writer Emily Mortimer (who also takes a small role in a large ensemble) seem very committed to writing what they know and live. The script does get talky, but never preachy, and we do see the daily anxieties and the juggled priorities, plus the fun of often watching someone else get the glory. The film’s pool isn’t deep and its claws aren’t sharp but easygoing humor and poignancy reign. As Jay prepares for his career tribute in Tuscany (where else?), Baumbach’s breezy structure often feels like an adaptation from some unknown Sondheim musical. Characters hustle in and out of the periphery while Jay enters rooms that let him visit scenes from his life, reflecting on past choices and strained relationships with his two daughters (Riley Keough and Grace Edwards). The cast is littered with talent (including Greta Gerwig, Patrick Wilson, Isla Fisher and Stacy Keach), and Sandler may finally earn that Oscar nod he was robbed of in 2019’s Uncut Gems . But in the end, you may as well just pronounce the title as “George Clooney.” His modern-day Cary Grant persona is so effortless (just look at him charming that trainload of fans!), it’s nearly impossible to imagine the film working without him. And by the time Jay is seated for a very recognizable career tribute, the line where Clooney stops and Kelly starts becomes pretty damn thin. Do you appreciate movies? You like Clooney? Say hello to Jay Kelly . About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Keeper film review by UK film critic Kieran Freemantle. Starring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss directed by Osgood Perkins. HOME | FILMS | REVIEWS Keeper Film Review average rating is 2 out of 5 Critic: Kieran Freemantle | Posted on: Nov 19, 2025 Directed by: Osgood Perkins Written by: Nick Lepard Starring: Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss Keeper is the third film directed by Osgood Perkins to be released within 18 months. With Keeper , he made a restricted arthouse offering. Liz (Tatiana Maslany) is an artist who's about to celebrate her first anniversary with her doctor boyfriend, Malcolm Westbridge (Rossif Sutherland). Malcolm plans to take Liz to his family’s cabin in the woods for a weekend. However, when they go to the cabin, Liz starts to experience visions and dreams. Longlegs made Perkins’ name as a director. It was a critical hit and a commercial success, making $128 million from a $10 million budget. His follow-up, The Monkey , was promoted that it was from the director of Longlegs . He’s responsible for two of Neon’s grossest films. Sadly, Keeper did not make it a hat-trick of success for Perkins. Perkins has shown himself to be a versatile director. Longlegs was a supernatural version of The Silence of the Lambs , and The Monkey was a hilarious horror-comedy in the vein of the Final Destination movies. Keeper was a minimalistic film due to its small cast and setting, and was a slow burn. It has ended up being a divisive film, only earning a D+ score from CinemaScore users. Keeper earned this negative reputation because of its slow pacing. Liz was alone for most of the film as she pottered around the cabin. Maslany was terrific in the film and the saving grace in the film, but she could only do so much to carry the film with her lack of characterisation. Keeper felt like it wanted to be an elevated horror but didn’t have enough to say like the greats in the subgenre, such as Get Us , The Lighthouse , and Midsommar . Nor was there enough appeal for more mainstream audiences. Perkins attempted to create a creepy atmosphere, and there is a gradual ratcheting up. It started small with Liz’s visions and a monster appearing in the background and following her, although I did want to shout ‘look behind you’ like I was watching a pantomime. There was more peril as the film progressed, like an unwanted visitor and creepy beings becoming present. Keeper only got going when the film reveals the whole picture, and there was a genuinely horrifying creature. It was a barmy affair, which has been typical of Perkins’ previous films’ third acts. It was a shame it took so long to get there. It was a reverse of Alex Garland’s Men , where that film had a solid first two acts, but an insanely bad third act. Keeper wanted to be a film about coercive control. Malcolm presented himself to be a nice guy, but his behaviour became more troubling as time passed, like when he offered Liz a piece of chocolate cake. Keeper joins a growing cohort of # MeToo-inspired horror films and thrillers. However, the sci-fi film Companion was a better 2025 film that explored the issue of coercive control and how someone can fight against it. A more positive aspect of the film was the score by Edo Van Breemen. It used a lot of percussion and felt like it would have fitted in another horror film. Keeper was a film that had potential because of the central relationship and Maslany’s performance, but it was underdeveloped and underwhelming. About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Planet Hope film review by UK film critic William Curzon . Starring Jane Goodall, Krisztina Nagy, Bálint Hajas directed by Gergö Elekes, Virág Horváth. HOME | FILMS | REVIEWS Planet Hope Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 18, 2025 Directed by: Gergö Elekes, Virág Horváth Written by: Gergö Elekes, Virág Horváth Starring: Jane Goodall, Krisztina Nagy, Bálint Hajas Planet Hope follows Jane Goodall, who inspired millions of people worldwide in the field of sustainability. This thought-provoking documentary explores her visit to Hungary, which changed many lives, and showcases her conversations with an activist, a bishop and an environmental specialist as they discuss how we can come together and prevent the destruction of this planet due to issues like global warming. The piece opens with a highly engaging and pulse-pounding musical score which accompanies sequences of exploration over Hungary and scenes of discussion. The score successfully complements these sequences tonally. Frenetic camerawork is also present throughout, courtesy of a plethora of camera operators, including the duo of directors Gergö Elekes, Virág Horváth and also Alexa Tringli, who create a sense of urgency when showcasing the environments and the deadly impact global warming can have on them. Basing this conceptually around the world of sustainability creates a sense of necessity to provide outreach to a broader audience and educate people on the impact of global warming on our planet. The documentary showcases inspirational speeches to evoke discussion and further reach individuals unaware of our issues of sustainability and to urge others to create a better world for the environment. Tackling universal themes that politicians fail to acknowledge is a powerful and educational thematic device that creates intrigue and discussion long after the credits roll. Dialogue can also be overwhelming to process at times, with how much exposition is presented at once, on topics of sustainability or religion. It engages with a mix of activists and public figures to gain a wide variety of opinions on the state of the world. Perhaps the film could have benefited more from interviewing additional younger individuals to offer a unique perspective on these topics. The filmmakers are ambitious in calling out institutions and politicians, and the upper class, for completely ignoring the warning signs of sustainability as they try to deny its impact on the environment. It also brings up compelling conversations regarding climate catastrophe in religion and faith, based on specific political affiliations, which is an absorbing perspective to have. The film can feel tonally confused at times, however, as it almost turns into a music video at several points with oddly implemented montage sequences which feel baffling and prolong the runtime even further. It can become grating to sit through these sequences, and trimming them down could have made the documentary more compelling and ultimately more digestible. It also fails to remain engaging throughout the last 40 minutes, thanks to the repetitive nature of the dialogue-heavy scenes; as it grasps for further depth, the conclusion sadly never reaches. That being said, the archival footage is incredibly visceral and really paints a picture of the horrific impact of global warming and the damage it has inflicted. The piece concludes with a profound sense of hope for the future generations to hopefully educate people further on sustainability, and potentially reach out to a broader audience to build more exposure around these topics. Planet Hope is an educational and provocative piece of documentary filmmaking with its heart in the right place. The film may suffer from a litany of issues, such as a prolonged runtime and unnecessary montage sequences that add passably minor details to the topics being brought up. However, it’s an engaging body of work which tackles pervasive themes and sheds a heavy light on the field of sustainability and what we can do as a species to protect this planet. About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

Wicked: For Good film review by UK film critic Chris Olson. Starring Cynthia Erivo, Ariana Grande, Jeff Goldblum, Michelle Yeoh directed by Jon M. Chu. HOME | FILMS | REVIEWS Wicked: For Good Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 18, 2025 Directed by: Jon M. Chu Written by: Winnie Holzman, Dana Fox, Gregory Maguire Starring: Cynthia Erivo, Ariana Grande, Jeff Goldblum, Michelle Yeoh It doesn’t feel like it’s been a clock-tick since the first Wicked film reigned supreme over the box office and cinema listings, yet here we are with a superbly realised sequel (although this feels more like a continuation) that gets deeper and darker into the stories from the land of Oz and is likely to be a behemoth to contend with for 2025’s biggest film. SPOILER WARNING Following the conclusion of Wicked (2024), the powerful witch Elphaba (Cynthia Erivo) is now public enemy number one across the land, fighting a losing battle for hearts and minds to try and convince Oz’s population that the “Wonderful Wizard” (Jeff Goldblum) is actually a lying trickster. Her efforts to free persecuted animals and reveal the ingrained deception of Oz’s most powerful get skillfully skewed by Madame Horrible (Michelle Yeoh) and those in charge, leading to widespread fearmongering and propaganda to create a villain that unites everyone against Elphaba. Our emerald green heroine is not completely alone, however, with her ex-schoolmate Glinda (Ariana Grande) trying desperately to placate both sides and bring Elphaba back into the fold, whilst also developing her own cult following as a magical, bubble-riding witch (one that sadly can’t do any magic). SPOILER FREE FROM HERE To say it’s mostly more of the same feels disrespectful to Wicked: For Good , however, this is meant as a feel-good compliment. This second instalment carries across the same gorgeous aesthetics, captivating performances, and vivid cinematography that make it an absolute cinematic must-see for 2025 (and 2026 most likely). The storyline gets deeper and darker, and there are some excellent moments where the original Wizard of Oz characters get woven in and out of this tale, which are handled expertly. The sublime choreography of the dance sequences pays great tribute to Wicked’s origins as a popular stage musical, and the songs here are just as good as the first movie. The costume design is also the best of the year - an insanely talented team here. Ariane Grande’s comic timing is just as appealing as her incredible voice, and it’s a shame in the sequel, we get less of it. A standout scene where she mocks Elphaba’s newfound cackle elicited uproarious laughter in the screening I attended. She also enhances many of the musical numbers where the counterpart is maybe lacking, looking at you, Goldblum and Yeoh. Cynthia Erivo is the beating heart of this film, masterfully balancing the need for drama, romance, spectacle, tension and comedy (sometimes all in one scene). There are several moments within Wicked: For Good where sleight of hand gets applied, and characters are magically transported - a particularly great scene involves Glinda and some mirrors, which was really impressive to see realised onscreen. It’s a shame some of the CGI animals and backdrops weren’t as arresting, but viewers who didn’t have a problem with the first film will certainly be engaged in the second. By exploring themes of a post-truth world, this second entry feels far more potent than the first (which was more of a teen high-school movie at times). There’s a political activism in Wicked: For Good that allows the film to feel heartier, somewhat more noble. Combine this with the simply outstanding fantasy world that’s been created and the incredible lead actresses, and it’s a crying shame we can’t click our heels three times and get a third movie out of this truly epic cinematic duology. About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

The Young Mozart film review by UK film critic Matt Trapp. Starring Nazanin Yousefi, Pardis Shiravani directed by Ali Moazen. HOME | FILMS | REVIEWS The Young Mozart Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Nov 18, 2025 Directed by: Ali Moazen Written by: Ali Moazen, Peyman Ezzati Starring: Nazanin Yousefi, Pardis Shiravani The Young Mozart can best be summed up as a duel, fought not with pistols but with words soaked in venom. Directed by Ali Moazen, this short is a confident and tense experience, and rich in thematic depth. The film stars Nazanin Yousefi and Pardis Shiravani as the mother and piano teacher of Jorge, a 13 year old boy who has suddenly been pulled from his lessons and will return to his home in Spain. The resulting drama that unfolds from this final confrontation between two women reveals that there is much more at stake for Jorge beyond missing a piano lesson. Mozen’s film is theatrical in its construction, thanks to the dialogue-heavy script and simple set design. The focus of The Young Mozart is undoubtedly on the words that the women are speaking, and their battle of wills over the fate of a 13 year old boy. They both hold opposite viewpoints on how they exert their power over Jorge; while his mother has carefully planned out his career and generally holds a tight leash, the piano teacher indulges him, concealing information from his mother and reveling in the secrets that she holds. The costume design reinforces the strict dichotomy between the women – Jorge’s mother dresses in a traditional, black outfit, while his piano teacher is dressed entirely in white, in more modern clothing. Despite their opposition to each other, they both wear similar looking headscarves, hinting that while they appear to be mirror opposites of each other, they may share some similarities in their goals with Jorge. Power seems to be at the center of The Young Mozart, and the film navigates themes of choice and control with precision. Undoubtedly, the most important part of The Young Mozart is the language, which is why it’s a shame that the English language subtitles could have been improved. It doesn’t necessarily detract from the film, but it’s worth mentioning that some English speaking audiences may have a more difficult time with understanding the dialogue. The Young Mozart mostly delivers in the drama it promises, but audiences may feel that there could have been a more exciting climax. The ending may feel sudden to some, and possibly even tonally jarring. One additional complicating factor could have elevated the film further, and given the end more of the punch that Moazen was aiming for. Mozen’s short delivers some excellent drama and the cast should be commended for their performances. Despite the short run time, there’s a depth and complexity in the film that will keep audiences engaged in the story even beyond the credits. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

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.. Brand new film trailers. Wake Up Dead Man: A Knives Out Mystery The return of cinema’s most charmingly verbose private detective, Benoit Blanc, is always an event, and the first look at Wake Up Dead Man: A Knives Out Mystery confirms that Rian Johnson has lost none of his dazzling, subversive flair. This third instalment, teased in a minute and a half of pure, concentrated cinematic delight, feels less like a cozy weekend murder and more like a high-stakes, gothic confrontation. The trailer sets a tone instantly darker and arguably more foreboding than its predecessors, suggesting that Blanc, played with customary, laconic brilliance by Daniel Craig, might be stepping into his most dangerous labyrinth yet. Johnson, ever the master of aesthetics, presents a film that is visually arresting from the outset. We are plunged into a world that appears to be a sprawling, crumbling mansion—perhaps a grand, isolated English country estate, though with a Greek-infused, almost temple-like decay. The cinematography is moody, embracing deep shadows and the ominous flicker of candlelight. It’s gothic luxury given a contemporary, sardonic polish. The set design hints at a party that has gone terribly wrong, with fractured antiques and shadowy hallways that promise secrets lurking behind every velvet curtain. The costume design, as is tradition for the franchise, is impeccable; everyone is dressed to the nines, suggesting a gathering of the exorbitantly wealthy and effortlessly despicable. This commitment to visual texture alone is enough to justify the excitement. The atmosphere alone, heavy with secrets and a proper sense of dread, elevates this whodunnit beyond mere parlour games. But the real pleasure of any Knives Out project lies in the ensemble, and this trailer delivers a thrilling roster. The shots are quick, giving us just enough of a glimpse to feel the electric chemistry between the players. There is a palpable tension hanging over the assembled suspects, a delicious array of the seemingly innocent and the undeniably guilty. The quick cuts of reaction—a furtive glance, a sudden gasp, a desperate whisper—serve as miniature acting showcases, promising powerhouse performances from the collection of celebrated and rising stars. We anticipate the fireworks when Blanc finally begins to unravel their carefully constructed narratives of deceit. And then, of course, there is Daniel Craig. His introductory voiceover, delivered in that glorious, molasses-thick Southern drawl, immediately re-establishes Blanc as the calm centre of a chaotic storm. His presence in the trailer is reassuring; he remains the quintessential gentleman detective, observing, processing, and ready to politely dissect the truth from the ridiculous lies of the gentry. We see him in new attire, perhaps a set of impeccably tailored trousers and a waistcoat, suggesting his investigative journey has taken him across continents and into various high-society wardrobes. The title itself, Wake Up Dead Man , is the biggest clue and the most significant tease. It implies a reversal of expectations, a person presumed dead who is suddenly a pivotal figure, or perhaps a reference to an obscure cultural artefact central to the mystery. The plot, as far as the trailer will allow, involves a death that is quickly complicated by layer upon layer of deceit. Johnson excels at taking the classic whodunnit blueprint and rebuilding it with modern, satirical cynicism, and this looks to be no exception. We get flashes of violence, panic, and then the inevitable close-up on Blanc as he quietly announces that he has indeed ‘solved the puzzle.’ It’s a promise of intellectual rigour wrapped in high-octane spectacle, keeping us guessing right until the final reveal. The structure of the trailer itself, moving from grand setting to individual suspects to the final, brilliant summation from Blanc, is a clever piece of marketing that reassures us the formula remains strong, yet freshly invigorated. For UK filmgoers, the Knives Out franchise has become a proper cinematic institution, effortlessly blending the tradition of Agatha Christie with a contemporary sensibility. This latest trailer confirms that Johnson is not resting on his laurels; he is pushing the boundaries of the genre whilst maintaining the elements we love: the sharp dialogue, the fabulous locations, and the sheer fun of watching an immaculate mystery unfold. 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. Anticipation for its release couldn't be higher. It's time to sharpen your wits and dust off your thinking cap. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie Don Q Don Q will be available on digital platforms in the UK on 15 September, thanks to Reel2Reel Films. John Candy: I Like Me The new documentary, John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, offers a poignant and intimate look at the man behind the memorable characters. Eschewing the typical celebratory retrospective, the film embarks on a journey to humanise an icon, exploring his personal struggles, deep-seated anxieties, and the profound impact he had on those who knew him best.

Reawakening film review by UK film critic Rachel Willis. Starring JaredHarris, Juliet Stevenson, Erin Doherty directed by Virginia Gilberg. HOME | FILMS | REVIEWS Reawakening Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Nov 18, 2025 Directed by: Virginia Gilberg Written by: Virginia Gilbert Starring: JaredHarris, Juliet Stevenson, Erin Doherty It’s generally a good bet that if Jared Harris is in your film, it will be worth watching. This is certainly the case for writer/director Virginia Gilbert’s Reawakening , and the cast surrounding Harris help elevate the entire film. On the tenth anniversary of their daughter Clare’s disappearance, John (Harris) and Mary (Juliet Stevenson) make a renewed plea to the public to help them in their search for their daughter. It’s made known through subtle pieces of conversation that Clare wasn’t kidnapped but ran away from home at the age of 14. Brief flashbacks show pieces from the past that help to explain the events leading up to Clare’s departure, but these moments never overshadow the present narrative. We frequently see how her disappearance continues to affect her parents. Mary’s grief is overwhelming. John looks for his daughter in the faces of every young woman he passes. Both have continued with their lives, but it’s clear they will never move on from their loss. This is a subtle thriller, as the twists and turns play second fiddle to a poignant character study. Harris takes center stage as first a grieving father, then a skeptical one as a woman claiming to be Clare (Erin Doherty) enters their lives. It’s not hard to understand why Mary and John have such divergent reactions to the return of their daughter. Their reactions underscore both blind hope and stunning disbelief. The film’s subtlety sometimes works against it. There are small moments that are easy to miss even though they play an important role in the overall narrative. But what works for this film is the veracity of this small family as they seek answers and struggle to reconnect. Harris, especially, sells his role as a father who just wants to know what really happened to his beloved daughter. It’s a moving analysis of family trauma that resonates long after the credits roll. About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

Pelverata film review by UK film critic Holly Baker. Starring Ian Laing, Carina Parsons, Charley Hur directed by Mark Lipkin. HOME | FILMS | REVIEWS Pelverata Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Nov 18, 2025 Directed by: Mark Lipkin Written by: Mark Lipkin Starring: Ian Laing, Carina Parsons, Charley Hur Set in the forestry landscape of Tasmania, Pelverata takes viewers on a gritty journey of trauma and self-discovery, marvellously blending the frightening supernatural with sharp realism. Similar to director Mark Lipkin’s previous works, this eerie film is an elevated thriller with notes of horror, never losing its intensity throughout. Characters Misha (Charley Hur) and Myaree (Carina Parsons) are on an excursion in the Tasmanian forest to find prime locations for wind turbines. On their way, they are faced with several setbacks and disturbances, keeping viewers on edge as we follow along their journey and wonder if it would have been wiser for them to turn back long ago. As aspects of Misha’s past and deteriorating mental state are gradually revealed, the tone is harshly set to one of unease. The film excellently moves from moment to moment, juxtaposing stressful, disturbing moments with more calming ones, so viewers never quite know the extent of the character’s situation. Such a profound and delicate exploration of the psyche and a unique bond between two characters is aptly placed within the varying, ever-changing forest. The green sea of mystery encapsulates Misha and Myaree, keeping them within its mystical, wild world that they attempt to navigate, finding comfort in the small protected spaces of their tents. As the story escalates, the characters' situation becomes more and more dire, and it seems that they, as the viewer does, only seem to know their lives as inside this forest, which consumes them. Misha and Myaree are well characterised; from the beginning, we get a sense of their close but slightly dysfunctional friendship. Their bond feels genuine despite some of the dialogue delivery faltering at points. We get the sense that Misha and Myaree, despite caring for each other greatly, feel somewhat claustrophobic due to their constant sharing of the same space, and this is enhanced by the film’s ominous cinematography, as they are constantly consumed by the forest from all angles. Pelverata 's use of colour is particularly striking. Against the woodland landscape, the contrast of the character’s costumes and camping equipment can subtly hint towards danger by doing ever so little. The camera work is shaky and intentional, drawing attention to certain frightening aspects effectively, and incorporating several long takes in order to captivate viewers and maintain the building of tension. Though enhancing the menacing feel of the forest, the film’s slow pacing does have a tendency to take the viewer out of the film slightly. The film’s repetitive use of sombre music alongside similarly structured scenes can make the viewing experience feel slightly never-ending and directionless. However, this does have the bonus of creating an uncomfortable viewing experience and certainly an intentional sensation of feeling trapped, just as the characters do as certain dark themes are explored. As Pelverata comes to an end, the film’s build-up through slow, long shots and scenes using compact spaces pays off well. The film’s closure feels earned and works as a satisfying outcome of the hopeless despair that seems to permeate the majority of the film prior to this. Overall, the Pelverata is an interesting, unique watch. An excursion into the woods becomes an exploration of the psyche. Which will be more sinister? About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Jujji film review by UK film critic Jason Knight. Starring Mustafa Rizvi, Anjum Habibi, Muhammad Arslan directed by Habib Shahzad. HOME | FILMS | REVIEWS Jujji Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 18, 2025 Directed by: Habib Shahzad Written by: Ahmad Umar Ayaz Starring: Mustafa Rizvi, Anjum Habibi, Muhammad Arslan Acquired by Buffalo 8, a studio based in Los Angeles for worldwide release and included in Variety, this Pakistani neo-noir crime thriller feature was directed by Habib Shahzad, written by Ahmad Umar and stars Mustafa Rizvi, Anjum Habibi and Muhammad Arslan. This film was inspired by real events. A serial killer is stalking the streets of Rawalpindi at night, looking for victims. SI Naveed (Rizvi) and Constable Arshad (Habibi) are assigned to track down the killer of a shoeshiner and it soon becomes evident that they are dealing with a serial killer. As the investigation progresses, Naveed will struggle to focus on his duty, while dealing with family issues and come to terms with a terrible event that took place in the past. A dark story that is told primarily through Naveed's perspective. A relatively short feature with a duration of approximately seventy minutes, it takes the viewer on a journey to the darker side of Rawalpindi, where crime and poverty exist. There isn't much mystery, as the identity of the murderer is revealed from the beginning. Instead, the focus is directed towards Naveed's personal journey as he looks for the perpetrator and fights his demons. Shahzad utilises some well-executed long takes, which look even better thanks to Furqan Gul's cinematography and the sombre and unsettling music by Alister Alvin and Zahra Paracha adds to the atmosphere. As Naveed is the main character, he is an interesting one: an ambitious man who wants to move up the ladder in the world of law enforcement. However, his dedication to his profession appears to be isolating him from his wife (Mahnoor Nawab) and daughter (Arfa Nadeem) and on top of this, he is tormented by a devastating event that occurred while he was on duty. Dedicated to his profession, he aims to be a righteous person. Arshad is quite different: he is an easy-going, seasoned member of law enforcement, who (unlike Naveed) often smiles and looks at life more optimistically than his associate. Arslan plays the killer, a creepy yet cautious homeless man with a considerable knowledge regarding the human neck. This character is intriguing and he would had more depth if he was explored more and the same goes for Arshad. Both these characters would probably had benefited from more information about them being brought to light, such as their background. With a downbeat atmosphere, this feature goes on an exploration involving crime, murder, low life and policing. Additionally, morality, trauma, self-reflection and family values play major parts in this story. A hunt for a serial killer. With a pace that is somewhat slow, this film offers an experience that looks into some harsh subjects and it deserves recognition. Jujji is scheduled to premiere on Amazon Prime on the 21st of November. About the Film Critic Jason Knight Indie Feature Film, World Cinema, Amazon Prime < All Reviews Next Film Review >

The Edge of Existence film review by UK film critic William Curzon. Starring Cam Cameron, Nobby Styles, Emil Bergmann directed by Aaron Wheeler. HOME | FILMS | REVIEWS The Edge of Existence Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 17, 2025 Directed by: Aaron Wheeler Written by: N/A Starring: Cam Cameron, Nobby Styles, Emil Bergmann The Edge of Existence follows an electronics lecturer, Cam Cameron, as he attempts to survive on the UK’s most remote island, Rockall, for a record of 50 days to prove his resilience and strength to himself and to inspire his family. This documentary explores why Cameron wants to undertake this expedition to such an outstanding depth and sheds light on an individual's courage and bravery in committing to something they're profoundly passionate about pursuing. The film opens with an incredible sweeping shot of the ocean and Rockall, which immediately gives the viewer a sense of how remote the location actually is. While the premise may not appeal to a wider demographic, the filmmakers take a steady pace and take time to dive into why Cam Cameron wants to undertake this expedition. The slow pacing complements the prolonged build-up smoothly and explores Cameron’s past and family with an emotionally resonant turn by stripping back his grief and inner turmoil. It can be particularly tough to watch Cameron deal with his own issues at times, and the filmmakers showcase a helping hand of compassion to make sure the viewer has a deeper understanding of what he is going through and what primarily drives his ambition ahead. Cameron is simply comfortable to engage with, thanks to his down-to-earth personality and his drive to be close with his family, even with the expedition he's committed to undertaking. The filmmakers also provide insight into how Cameron’s venturing on this expedition affects his family, which is deeply touching as a viewer. It's an incredibly ambitious piece of documentary filmmaking that puts you in Cameron’s point of view, with camerawork that feels visceral and claustrophobic as it tracks him venturing across the island of Rockall. The plethora of camera operators make incredible use of space with a stunning mix of drone shots overlooking the beautiful landscapes of Scotland and the oceans. Archival footage is suitably implemented to further enrich the expository dialogue and educational aspects for further discussions. Animated visualisation sequences are also immersive and give the viewer a more profound understanding of Rockall and the dangerous nature of survival there. The entire documentary makes astounding use of its budget, with every frame feeling expansive and intimate. However, the pacing can meander at times and feel stagnant in the back half of the runtime, which is a given from the objective of the expedition alone. Sam Clunie’s musical score is low-key and melancholic, anchoring scenes of recollection and visual storytelling which feel profoundly moving and unforgettable. The conclusion to the documentary is astoundingly inspiring and hopeful as it shines a heavy light on human nature. It explores what it means to leave a legacy on the world by inspiring your family and aiding your well-being. While it may slightly overstay its welcome with far too much exposition and some pacing issues, it's an exceptionally inspiring and touching story of resilience and hope and the struggles of overcoming mental health. The Edge of Existence is a tremendously moving piece of documentary filmmaking, tackling themes such as survival, family and determination. It takes its time to tell Cam Cameron's story and provides compassion towards the courage it took to complete this expedition. An educational and unforgettable build-up that feels earned in its inspiring, conclusive moments while supporting military charities and further reaching out Cameron’s ambitious courage to a broader audience. World Premiere at Kendall Mountain Film Festival on Friday 21st Nov. About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

. Brand new film trailers. Anniversary The first look at Anniversary , the upcoming psychological thriller from director Jan Komasa, promises a stylish, gripping, and deeply uncomfortable domestic nightmare. Anchored by two generations of immense talent—veterans Diane Lane and Kyle Chandler alongside rising stars Phoebe Dynevor and Dylan O’Brien—the film immediately sets itself up as a sharp critique of modern social and political fractures, all played out within the intimate, claustrophobic confines of a family celebration. This is not the standard Hollywood fare; it’s a sophisticated, slow-burn thriller that seems poised to leave an unsettling chill long after the credits roll. The trailer opens in deceptively familiar territory: a loving family gathers for Ellen (Diane Lane) and Paul’s (Kyle Chandler) twenty-fifth wedding anniversary. The initial warmth is palpable, yet the air is thick with the unspoken tensions that plague any close-knit unit. This veneer of perfection is shattered by the arrival of Liz (Phoebe Dynevor, brilliantly cast as the poised interloper), the new girlfriend of their son, Josh. We quickly learn that Liz is an old student of Ellen’s, described ominously as "radical in her ideology." The core conflict instantly ignites, transforming the celebratory dinner party into a psychological battleground. Lane’s portrayal of Ellen—a mother and teacher whose intuition screams danger—is immediately compelling, providing the perfect counterpoint to Dynevor’s unnervingly calm and evasive performance. It's a testament to the trailer's editing that the dialogue is so instantly venomous: "We don’t bite." "Sure you do." What separates Anniversary from a simple family drama is the underlying context established by Komasa and screenwriter Lori Rosene-Gambino. The personal conflict between Ellen and Liz acts as a microcosm for a national crisis involving a mysterious rising movement called “The Change.” This infusion of broader social commentary elevates the narrative, suggesting the film will use the family’s fracturing as a mirror for widespread societal division and paranoia. The tension is exquisitely ramped up, moving from passive-aggressive dinner conversation to full-blown domestic warfare, complete with smashed glass and terrified whispers of a missing sister. Komasa, known for his ability to blend intimate character studies with major socio-political themes, appears to be using a pristine, polished cinematic vision to depict something truly corrosive. The photography is clean, the performances measured, yet the emotional violence conveyed in those two minutes is stunning. For UK audiences, the presence of Dynevor, continuing her successful transition from period drama to intense thriller, is particularly exciting. In essence, the Anniversary trailer offers a gripping promise: a devastating exploration of trust, loyalty, and how ideological warfare can obliterate the fabric of a family. If the finished product lives up to this meticulously crafted, highly anxious preview, we could be looking at one of the standout psychological thrillers of the year. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie Don Q Don Q will be available on digital platforms in the UK on 15 September, thanks to Reel2Reel Films. John Candy: I Like Me The new documentary, John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, offers a poignant and intimate look at the man behind the memorable characters. Eschewing the typical celebratory retrospective, the film embarks on a journey to humanise an icon, exploring his personal struggles, deep-seated anxieties, and the profound impact he had on those who knew him best.

M: Beyond The Wasteland film review by UK film critic Lawrence Bennie. Starring Matej Sivakov, Sasko Kocev, Aleksander Nichovski directed by Vardan Tozija. HOME | FILMS | REVIEWS M: Beyond The Wasteland Film Review average rating is 3 out of 5 Critic: Lawrence Bennie | Posted on: Nov 16, 2025 Directed by: Vardan Tozija Written by: Darijan Pejovski, Vardan Tozija Starring: Matej Sivakov, Sasko Kocev, Aleksander Nichovski Few genres are as exhausted or over-familiar as the ‘Zombie Apocalypse’ (the superhero genre is an obvious exception, but that goes without saying). From George A. Romero’s seminal 1968 Night of the Living Dead to the revival of the game-changing 28 Days Later franchise with 2025’s 28 Years Later , the zombie movie is as relentless as the raging monsters unleashed on audiences time and time again. Macedonian director Vardan Tozija's M: Beyond the Wasteland (or simply M) essentially blends together the tropes of the zombie film with elements from John Krasinski's A Quiet Place . Young Marko (Matej Sivakov) and surivalist father (Sasko Kocev) have been left seemingly alone in a world now ridden with deadly virus and mutant monsters. Of course, they’re not alone. Marko finds sanctuary with Miko (Aleksandar Nichovski) another youngster surviving in the wilderness. Similarly, Miko is accompanied by a single parent (his mother played by Kamka Tocinovski). Dissimiarly, Miko is not cut out for post-apocalyptic survival. He has Down's Syndrome and Marko soon becomes a surrogate parent figure for him as they traverse through a feral landscape in the search for safety. Special praise goes to Sivakov. Carrying an apocalyptic zombie-horror at a very young age is no mean feat. Nichovski's performance is equally accompolished. 28 Weeks Later of course featured dual child protagonists battling through a universe of the undead, so the concept itself is not new. The difference here is that Tozija chooses to tell his story more directly through the eyes of a child with Marko understanding the world around him as a storybook journey through darkness to hope at the other end. The clichés are inevitably there. The zombification of the parent. The caged zombie(s) kept in containment. The sinister resistance movement whose questionable actions and motives paint them as the ‘real’ monsters. However, Tozija and co-writer Darijan Pejovski bring some refreshing touches to an over-familar genre. Blood, gore and tiresome jump scares are ruled out. Instead, Tozija employs striking restraint to tell his story. Ineed, the film’s true moment of horror is not a gruesome scare and comes at a moment (and from a source) least expected. In fact, Tozija foregrounds hope over horror and the piece concludes on an unexpectedly uplifting note. It is this approach of telling an over-saturated story through a juvenille perspective with a more restrained hand and optimistic grasp that makes M a worthy addition to the genre and a notable notch in Tozija's body of work. M: Beyond the Wasteland is on digital 10 November 2025 from GrimmVision. About the Film Critic Lawrence Bennie Indie Feature Film, World Cinema < All Reviews Next Film Review >