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Riot in the Meadow film review by UK film critic Corey Bulloch. Starring Vicky Hawkins, Roberta Taylor directed by Thomas Harman . HOME | FILMS | REVIEWS Riot in the Meadow Film Review average rating is 3 out of 5 Critic: Corey Bulloch | Posted on: Mar 9, 2022 Directed by: Thomas Harman Written by: None Starring: Vicky Hawkins, Roberta Taylor “I wanted to make beautiful things” Creating art is a transformative process, not just in the physical sense where a blank canvas can become a tableau of wonder but also a transformation of the self. As the subject of the film artist Vicky Hawkins states “I wanted to turn my grief into joy” but Riot in the Meadow , named after Hawkins’ 2017 showcase of a hundred collages only offers brief glimpses into the life and process of the artist. Director Thomas Harman puts forth a fine example of a short portrait documentary with some insights into Hawkins’ life, inspirations and techniques with interviews from herself, friends and fellow artists. Even though the honesty and sincerity of the film allow for an enjoyable watch, the surface level presentation leaves the audience wanting. Harman’s direction follows conventional documentary techniques of talking-head interviews edited alongside b-roll footage of the subject. The film’s opening narration as read by actress Roberta Taylor finishes with the line “this was the beginning of my lifelong interest with colour”, a sentiment not expressed by the filmmaking of Riot in the Meadow . From what the audience can see and is told of Hawkins’ art, it is all about colours and patterns, vibrant and subtle alike and crafted through different mediums and techniques. Not just paint and canvas but through fabrics as well, the examples from the Riot in the Meadow showcase display eye-catching compositions of colours and shapes. Whereas Riot in the Meadow the film has the audience in drab grey studios, seeing very little of the creative process. Perhaps an intentional decision on Harman’s part, creating a visual juxtaposition between Hawkins’ reality and Hawkins’ artistry. Though it is frustrating that the film only offers a brief impression of Hawkins’ creative process, with a hundred pieces on display at the end of the film, Harman only shows them being packed away. The interviews Harman gets from Hawkins, Taylor, and others are insightful and do allow a “portrait” to be crafted within the film but for a film about a colourful creative artist, the film lacks the visuals to enforce that image. Riot in the Meadow allows an audience member like myself who knew nothing about Vicky Hawkins to leave the film feeling a connection to her. Either through specific commonalities, or that universal desire to overcome grief, Hawkins’ outlook as an artist is an inspiring one. A deeper look into how she created her art would have been welcome but Harman and Hawkins’ do make the film accessible enough with the time they have. About the Film Critic Corey Bulloch Documentary < All Reviews Next Film Review >

The Valley of Hearts Delight film review by UK film critic William Curzon . Starring Matthew Blood-Smyth, Taj Cross, Claire Hinkley directed by Mike Timm. HOME | FILMS | REVIEWS The Valley of Hearts Delight Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Oct 22, 2025 Directed by: Mike Timm Written by: Ryan Rea, Mike Timm Starring: Matthew Blood-Smyth, Taj Cross, Claire Hinkley The Valley of Hearts Delight follows a young man fresh out of high school, Tyler (Taj Cross), on his way to Silicon Valley to start an internet company circa 1997 to sell cars. As regret begins to loom over him, a good Samaritan helps him find his spirit and drive to move on. The narrative adopts a road trip approach as Tyler embarks on a journey of self-discovery and longing in his quest to fulfil his dreams. The piece focuses on the relationship between Tyler and his girlfriend through flashbacks, as it slowly reveals his ambitions through the people who had a profound impact on him throughout his journey. Firstly, the viewer is placed directly in the wilderness of the California desert with a lack of context provided to Tyler’s characterisation or direction, an almost fish-out-of-water scenario as the narrative switches from current events to flashbacks to heighten Tyler’s purpose. This aspect is a positive and a detriment to the experience, as you can always appreciate filmmakers not spoonfeeding their themes to the audience; however, the short runtime and lack of thematic flair certainly impact the emotional resonance and investment within the story. The formal elements of the piece soar, however, as the musical score is almost immediately endearing with its low-key themes that fit the coming-of-age tone superbly. Mike Timm’s direction is another major standout as it is engaging, and the use of blocking is a sight to behold in the film's more intimate moments. There is very little to critique in its edit as it flows incredibly smoothly into scene changes, allowing dialogue or moments of stillness to play out suitably for audiences to admire the steady pacing. The central performance from Taj Cross is serviceable at best, sadly, thanks to the screenplay not giving him much to showcase in his acting chops alongside the supporting cast. However, his chemistry with the supporting players, such as his girlfriend Julie (Claire Hinkley), is natural and provides the audience with more insight into his desire. The actor who portrays younger Tyler (Caz Sumner) is a standout of the cast as the narrative explores the relationship between Tyler and Elbert the Janitor (Matthew Blood-Smyth) in his elementary school. The narrative feels aimless and ultimately meanders to an abrupt conclusion; an extended runtime would have aided the overall experience substantially, with there not being much to chew on at all outside of the formal prowess. While the use of flashbacks is commendable and does enrich the thematic drive, some further context to Tyler’s past would have amplified the conclusion, as this almost feels like a third act to a feature-length narrative. The premise is refreshing and original; it just desperately requires deeper characterisation to further draw the viewer into the life of Tyler after high school and what motivates him to want to sell cars. The Valley of Hearts Delight is a solid road trip piece anchored by its terrific formal choices and a solid central performance from Taj Cross. Although the narrative does conclude abruptly, and the fulfilment is minimal, there is a suggestion of hope for Tyler’s character arc, which may leave the viewer satisfied as he ventures into the road ahead in his journey; it's just a shame the buildup to the conclusion leaves a lot to be desired for the conclusive moments to feel more earned. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Original Skin film review by UK film critic Joe Beck. Starring Sorcha Groundsell, Olive Gray directed by Mdhamiri A Nkemi . HOME | FILMS | REVIEWS Original Skin Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 15, 2024 Directed by: Mdhamiri A Nkemi Written by: Eve Hedderwick Turner Starring: Sorcha Groundsell, Olive Gray To touch another’s skin is something so simple, yet it can be so sensual. Of course, not always, sometimes it is simply the shaking of hands after a football match, or simply a doctor examining you. But sometimes, maybe even often, when two people touch skin on skin, it is a sensual, tantalising experience. Be it a simple brush of two hands, or a couple holding hands in the street or caressing one another in bed, there is something sensual about feeling another’s skin. ‘Original skin’ understands this acutely, and depicts the importance of skin and the sense of touch in a fittingly sensual manner. ‘Ordinary Skin’ focuses on an unnamed young woman, played by Sorcha Groundsell, who has issues with her skin. There’s a sensitive red patch on her arm, which she finds herself constantly picking at. This is an alternate reality, where through having sex you switch bodies with the other person. Early assumptions are that this causes discomfort in the skin hence the sensitive patch, though the opposite could be true, and it may be due to the young woman’s frigidity that suffers such an issue. The young woman lives in a convent type place, and is sent away one night by the people, whom she calls sisters. As they drive through London she is entranced by the blindingly neon lights and general hubbub, which make London, like any other major city so enchanting at night time. Through a surprising, and not altogether convincing, turn of events, the young woman finds herself in sequin cardigan and at a nightclub, where she is enraptured by another alluring young woman, played by Olive Gray, and ends up sleeping with her, and, in the process, swapping bodies. Director Mdhamiri A Nkemi perfectly understands the sensuality and sexuality of the film - the concept of sex being a transferal of bodies in itself is both these things. He directs the film, and in particular the sex scene between the two young women as something raw, passionate, and tender. The blurriness of it all enhances the sensuality, whilst the impeccable use of light in these scenes creates a rawness and vulnerability about them. This is pre-empted by the scenes of the young woman travelling through London, which is shot with similar sensuality, and is just as affecting. Although the script, written by Eve Hedderwick Turner, at times loses itself, with a couple of unconvincing plot points, the dialogue is nonetheless well written, and ultimately the concept itself is ingenious and bold. ‘Ordinary skin’ is a deeply sensual film, which is tantalisingly sexual and transgressive, and well worth experiencing. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

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

Shifting Tides film review by UK film critic Patrick Foley. Starring Yuri Angelov, Yoan Popov, Hristo Borisov directed by Yoan Petrov. HOME | FILMS | REVIEWS Shifting Tides Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 15, 2024 Directed by: Yoan Petrov Written by: Yoan Petrov Starring: Yuri Angelov, Yoan Popov, Hristo Borisov Generational divides and family trauma are explored in Shifting Tides, Yoan Petrov’s moving short set on a coast that acts as a dividing line between a bereaved uncle and nephew. Having recently lost his mother, Kristian (Yoan Popov) heads to a remote fishing village to find his reclusive uncle Mitio (Yuri Angelov). The pair couldn’t be much more unlike each other – with Kristian’s upbringing in the city putting him at odds with the harbour life, and the two struggle to find common ground even with their shared loss. But the time they spend together thaw’s their issues, and a hidden history helps Mitio rekindle a familial sense. Shifting Tides has a powerful sense of empathy and heart. Yoan Petrov’s intelligent writing style gives definition to both uncle and nephew – critical to the film’s success given that their differences are the driver of the plot. Kristian’s modern sensibilities come through authentically and naturally, as do his clashes with Mitio (who makes his disdain of vegans particularly known). The slower pace of the film fits their awkwardness with each other, and allows the pain each share to emanate during quieter moments of the story. Director of photography Giorgos Tsamis stages events beautifully – particularly during the closing scenes of the film on the lake. The palette of the film seems to match the relationship dynamic – natural darks taking precedence during moments of tension or difficulty when the divide between Kristian and Mitio feels insurmountable, and lighter and more vibrant when they are finding common ground or confronting long neglected thoughts and feelings. The imagery is sometimes a little standard during slower moments and doesn’t always compliment the quieter scenes. Yuri Angelov’s Uncle Mitio dominates his environment throughout most of the film – never feeling ruffled by his nephew’s presence or stopping to question his way of life. He quietly carries his sorrow at both his sister’s death and the resentment at her abandonment with him, and Angelov’s nuanced performance allows his inner turmoil to slowly bubble through. Yoan Popov’s performance as nephew Kristian is a world away from his uncle, echoing so many young people who return to familial homes to find little in common with the places of their heritage. Popov instils an uncertain drive in Kristian – a young person who knows where he has to be and what he has to do, but who doesn’t quite understand why. Whilst it drags at times and doesn’t always maintain visual engagement, Shifting Tides succeeds on the back of strong, committed performances and a relatable central relationship between engaging characters. The generational divide at the films’ centre is one that audiences will recognise in different locales and languages, and shows that even those with nothing in common can find a bond. Watch of Video Film Review of Shifting Tides . About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

One Nighters film review by UK film critic Swati Verma. Starring Jay Leno, Dan Friedman, Phil Perrier, Judy Tenuta directed by David Oyster. HOME | FILMS | REVIEWS One Nighters Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 20, 2022 Directed by: David Oyster Written by: Phil Perrier Starring: Jay Leno, Dan Friedman, Phil Perrier, Judy Tenuta The title of the short film- "One Nighters" chosen by the makers of this creative piece suits the genre and the theme of the movie. The fancy name given helps attract a large audience and fans to the movie posted on YouTube. The director David Oyster and the Editor Jason Rouse work together to discuss and decide on the approach and the medium of presenting the cinematic piece in front of the viewers. The use of regular people in the movie is a good move to keep it real. The short-film takes the form of a one-to-one interview and looks like a video-tape. The smooth transition from one scene to another creates a nostalgic feeling for the masses. The plot of the film revolves around the lives of stand-up comedians and explores various experiences that lead them to the path of success in this career choice they made. It also showcases life on the road in the USA. It gives full insight into the profession and will be a convenient method to learn for the people wanting to choose the same occupation. The inclusion of interviews from Tim Wilson, Jay Leno, Billy Gardell, and Judy Tenuta educate the viewers about the importance of what works with the crowd, being serious about what choices one has made yet enjoying the same. The clips from the standup comedy shows are also added to instill a sense of realism into the Indie feature film. The camera work by Dan Aguar exquisitely captures the beautiful landscapes and infrastructure America has to offer. He also uses various camera angles to cover the night-life as well as the Dears and Bisons. This makes the content more relatable to the masses thus assisting in increasing the popularity of the documentary. The set design, lights, costume, hair, and makeup departments are coordinating with each other to match with the approach and the vibe the creative team of the short film has put together. The dialogues and conversations is kept straight forward so that the masses can understand the real-life account of various comedy giants and get inspired by them. Everyone knows making people laugh is the most difficult part of this profession yet evoking laughter from a bunch of strangers sitting in the hall is the most rewarding thing for a professional entertainer. A comedian with each tour also gets to learn and discover a new trait of his/her personality and improve his skills as a performer. With being a humorist comes various challenges about planning little gigs carefully, maintaining own personality/style, and writing good material for the shows is the key to aiming for continuous growth in the entertainment industry. Being an ardent viewer of various short films I came across a few flaws in the movie. A few scenes appear to be cluttered because of low picture quality. The filmmaker David Oyster should have included subtitles as the dialogue delivery isn’t on point in some scenes and it becomes difficult for the audience to follow the same. About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Dead of Winter film review by UK film critic Hope Madden. Starring Emma Thompson, Judy Greer, Marc Menchaca directed by Brian Kirk. HOME | FILMS | REVIEWS Dead of Winter Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2025 Directed by: Brian Kirk Written by: Nicholas Jacobson-Larson, Dalton Leeb Starring: Emma Thompson, Judy Greer, Marc Menchaca Emma Thompson and Judy Greer go head-to-head in a kidnaping thriller set in a forsaken Northern Minnesota snowstorm? Dude, I am so in! With Dead of Winter, Brian Kirk relies on nuanced character work, gorgeously isolating cinematography, and the desperation of human nature to keep you guessing. Thompson, who executive produces, is Barb. Barb with that Minnesota “r”. She’s hearty for a mature gal. And despite the weather forecast, she puts on the ol’ snowsuit, warms up the even older pick up, and heads to faraway Lake Hilda to do some ice fishing. And maybe something else. But she gets a little turned around and hears chopping in the distance, so she goes to ask directions. Nobody else for miles around, what else is she to do? Barb finds a bearded man in camo (Marc Menchaca, excellent), who—very startled by the sight of her—directs her to the lake. But blood on the snow has Barb a little troubled, and soon enough, she sniffs out a kidnapping. Is she hearty enough to save that poor girl in the wood chopper’s basement? In some ways, Dead of Winter —written by first time screenwriters Nicholas Jacobson-Larson and Dalton Leeb—feels like little more than a welcome update to a well-worn plot. A handful of flashbacks to Barb’s youth, which flesh out the film’s B-story and deepen Barb’s character, are just this side of Hallmark Channel. But Thompson, from her first determined sigh, is so utterly convincing that you’re hooked. And that’s all before the glorious Greer makes her entrance. It’s hard to justify saying that the most versatile and employable character actor of a generation is playing against type, since Greer has played every imaginable type of character. But the blind desperation behind her unnamed (she and Barb never really get on chummy terms) character’s cruelty is so precisely wielded by this actor that you would believe this film no matter how farfetched it became. There’s a simplicity to the storytelling that matches Kirk’s determined avoidance of cynicism. Like Barb, this movie marches on, not necessarily seeing the worst in this world even when it wouldn’t be too hard. Hard with that Minnesota “r”. But he never loses track of his chosen genre. Dead of Winter sidesteps cliché, delivers thrills, and finds new ways to showcase two tremendous talents. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Becoming The Queen Of The North film review by UK film critic Swati Verma. Starring Gia Adams, Gabrielle Brown, Tom Campbell directed by Aziz Altamimi. HOME | FILMS | REVIEWS Becoming The Queen Of The North Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 6, 2023 Directed by: Aziz Altamimi Written by: Aziz Altamimi Starring: Gia Adams, Gabrielle Brown, Tom Campbell The writer-director Aziz Altamimi builds up an intricate script paying tribute to the big names in the world of wrestling and what impact they have on the lives of both Gabrielle Brown and Gia Adams. The plot follows a professional wrestler Gia Adams and a Teacher Gabrielle Brown as they slowly unite and face their biggest challenge to date. The short film Becoming The Queen Of The North begins with a mid-closeup shot of Gia Adams along with a voice-over and upbeat music providing the details of her life increasing the degree of audience engagement with the content of the movie. The long shot of Gia Adam’s wrestling sessions and preparation at the gym lifting weights has been captured by the cinematographer to showcase her passion and dedication towards the sports to ultimately choose the same as her profession. The interview format utilised by the creative team helps them differentiate between the description of the parallel journey allowing the viewers to interpret it as per their understanding. The set design, the black, white, pink, and blue colour palette, dim lighting, sound, dialogues, costume, hair, and makeup have been kept natural to complement and elevate the realism and relatability factor also ensuring that continuity is not compromised to maintain the interest of the audience. The makers of Becoming The Queen Of The North add some animated sketches as the credits roll in demonstrating various behind-the-scene moments allowing the movie to stay with the audience even after they have finished watching it. In terms of performance, Gia Adams plays herself in the movie and narrates her quest towards a fulfilling as well as successful career learning a lot from her idols and also inspiring many youngsters along the way. Adams with voice modulation and body language has the power to extract the desired emotion from the audience side with every changing situation in the script. Gabrielle Brown is a teacher with numerous dreams in her eyes. Brown brings out a very different tangent to the story than Adams introducing the personal space of the wrestler in front of the audience. Tom Campbell plays the role of commentator and lends his voice to add more glory to an illustrious personality. The slight changes in the upbeat tone help the audience to become very excited and interested in knowing all the aspects of the sports person’s life. Becoming The Queen Of The North talks about celebrating women and their achievements. The short film reiterates the importance of believing in one’s dream and continuously striving to work for the dream to come true without losing hope. The dramatic piece highlights the significance of a strong support system from family and loved ones to boost their confidence to perform well each day and stay grounded at the same time. The cinematic piece tells the audience to enjoy the work one does as it gives them strength to deal with the problems/issues and emerge to eventually become a better human being. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Last Year film review by UK film critic Joe Beck. Starring Dina Farag, Ella Coy, Shenay Arscott, Nathan Mills directed by Jack Twell. HOME | FILMS | REVIEWS Last Year Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Feb 6, 2023 Directed by: Jack Twell Written by: Jack Twell Starring: Dina Farag, Ella Coy, Shenay Arscott, Nathan Mills The final year of anything is often both the best and worst of times. They are some of the highest of highs we ever experience, and some of the lowest lows, as we face up to the impending changes in our lives. They are both exhilarating and daunting, the end of an era, and the start of something new. ‘Last Year’ capture some of those indescribable feelings of ‘happy-sad’, yet never truly feels representative of such an era. Focusing on the collective paths of a number of college students in Bristol nearing the end of their final year, ‘Last Year’ centres around party, as students converge on a house to get drunk and have a good time. They encounter some, largely trivial conflicts between them, and none of the characters ever truly feel fleshed out, or at all real, with only one or two characters engaging with any real conviction. There’s Ellie (Dina Farag), who pressures the nervous Ritu (Ella Coy) into attending the party and drinking, which at first appears slightly control, but becomes sweet as a romantic spark begins between them, and Ritu has a good time. Their arc is fulfilling, feels largely real, and fairly wholesome. Ellie’s interaction with sister Megan (Shenay Arscott) are far more forced, with an unexplained conflict drawn between them, and a resolution which feels too sudden. The dynamic between these characters and Dennis (Nathan Mills), a shy boy who nobody expects to have turned up, similarly lack conviction, with Dennis teetering on being a developed character, but eventually just fading into the background of events. The handling of one character’s attempts to take advantage of a drunken girl are relatively well handled, but that’s the darkest the film delves, never truly exploring the despairing struggles of the final year of college. The issue is ‘Last Year’ never truly feels as though it is the last year, there’s no suggestion that these characters are going through the end of an era - you get the sense that they could have these parties for years to come. There’s no sense of finality to any of it, no sense of impending goodbyes, and significantly no sense of heightening pressures of burgeoning adulthood. Writer-Director Jack Twell lets himself down with a script which never quite goes that extra step to real profundity, preferring to focus on half-baked relationships than deeper themes or ideas. This would be fine should the film capture the highs of the final year of college, yet these are similarly limited, leaving a party which just feels like another night out rather than anything truly special. The script is similarly lacking in terms of dialogue, which often feels forced, not helping a lack of chemistry between actors, which often leaves scenes feeling awkwardly off kilter. Twell’s direction is more convincing, at times capturing vibes akin to Steve McQueen’s glorious ‘Lover’s Rock’, though the cuts between characters in one intense argument feels more like a Youtube sketch than a short film. However, other than Twell’s competent direction, there’s not much going in the way for ‘Last Year’, a short which promises to explore an interesting, and pivotal time of life, yet scarcely resembles that experiences. Another thing also happens in the final year of things, you never achieve everything you want to before time runs out; the same could be said of ‘Last Year’. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

No Future film review by UK film critic Matt Weiner. Starring Catherine Keener, Charlie Heaton directed by Andrew Irvine, Mark Smoot. HOME | FILMS | REVIEWS No Future Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Oct 22, 2021 Directed by: Andrew Irvine, Mark Smoot Written by: Andrew Irvine, Mark Smoot Starring: Catherine Keener, Charlie Heaton The title of No Future also serves as an emotional content warning for a film about heroin addiction, and it’s a warning to heed if you want this kind of narrative tempered with breezy redemption. But it’s not without hope. Rather, directors Andrew Irvine and Mark Smoot avoid sentimentality and addiction cliches in equal measure, and what’s left is a lean, emotional gut punch delivered by the small cast all turning in top performances. When an old friend dies of an overdose, Will (Charlie Heaton), himself in recovery from heroin addiction, begins a tumultuous affair with Claire (Catherine Keener), his dead friend’s mother. The pair are drawn together by grief and guilt, a dynamic that quickly goes from sympathetic to parasitic as the two spurn the numerous more emotionally healthy therapeutic outlets available to process their loss. Keener and Heaton are electric together, which is no small feat for characters that veer wildly between retreating alone into their own pain while showing a convincing attraction to each other. Keener in particular shines as a woman who goes from casual fatalism to incandescent rage as she comes to terms with losing her son Chris (Jefferson White). The film flirts with thematic shortcuts, most notably in the form of No Future—a band that Will and Chris played in together. But the more Will and Claire wax philosophical about what brought them to this point in the present, it becomes clear that it’s less nihilistic than it sounds. The film is populated almost entirely with people who don’t allow themselves the luxury of looking any farther ahead than their open wound of the day. It’s raw and bracing to watch it all unfold, but if nothing else the impact lingers well into the future. About the Film Critic Matt Weiner Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

From the brink of extinction to the heights of Premier League glory, Stand or Fall: The Remarkable Rise of Brighton & Hove Albion tells the extraordinary true story of a football club that refused to give up.. Brand new film trailers. Stand or Fall: The Remarkable Rise of Brighton & Hove Albion From the brink of extinction to the heights of Premier League glory, Stand or Fall: The Remarkable Rise of Brighton & Hove Albion tells the extraordinary true story of a football club that refused to give up. This powerful documentary charts the emotional, dramatic journey of Brighton & Hove Albion - from losing their stadium and nearly vanishing from the league, to building a new home and earning a place among football’s elite. Through rare archive footage, exclusive interviews with players, managers, and devoted fans, and stirring match-day moments, this is more than just a story about football—it's about belief, community, and the unbreakable spirit of a city. Whether you're a die-hard Seagulls supporter or simply love a great underdog tale, Stand or Fall is an inspiring tribute to perseverance, passion, and the beautiful game. Dazzler Media presents Stand or Fall: The Remarkable Rise of Brighton & Hove Albion on Blu-ray, DVD & Digital platforms worldwide from 8th September Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September.

Kate & Jake film review by UK film critic William Hemingway. Starring Sarah-Louise Chadwick, Michael Latham, Anthony Devine directed by Jack McLoughlin. HOME | FILMS | REVIEWS Kate & Jake Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 24, 2022 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Sarah-Louise Chadwick, Michael Latham, Anthony Devine Ah, young love. Glorious halcyon days lived in a rose-tinted hue where everything is positive and the future looks bright. But it never lasts, does it? Pretty soon the cracks start to appear, the farts start to come out from under the bed covers and the privacy of bathroom time becomes a long lost memory. You'd think there'd be more films dedicated to the realities of fledgeling romances which show things as they are, but then again perhaps they would cut too close to the bone and people wouldn't want to see the formative failures that they themselves have experienced playing out on screen. Film-maker Jack McLoughlin isn't shy about these things though and brings us one such film in his feature debut, Kate & Jake . Everything about Kate (Sarah-Louise Chadwick) and Jake's (Michael Latham) romance is rooted firmly in reality. Their meet-cute is at a friend of a friend's party while they're smirting on the patio out the back door; their first date is at the local pub where they bond over laughing at strangers; they firm up their ties when Kate attends Jake's first solo gig as a singer-songwriter; and they jump into bed at a friend's apartment until they decide to get a place of their own. So far, so perfectly normal – but that is only the start of it. Told in a mixed up time-frame, Kate and Jake's story lets us have a sneak peek at the latter stages of their relationship before pulling us back through the highs and lows and everything in between. There's some clever beard continuity going on to keep us on the right track while we witness these main events and the growth of the characters is easy to follow as their relationship and story progresses. The dialogue flows quickly and easily between Kate and Jake with everyday conversations being the order of the day. There are plenty of real funny, intimate and revealing moments throughout and it's often hard to pick out where the real world ends and the acting begins, which is a real credit to the two main leads. Excellent support is provided by Anthony Devine as Jake's brother, Ian and the world is rounded out by a smattering of other family members and work colleagues. Sadly though, this is where the true positives end. The direction is distinctly average with no real reaching for superior shots and the whole flow of the film comes across as fairly pedestrian. Shaun O'Brien is credited with creating an original score but it's almost impossible to pick it out from any of the scenes and the original songs suffer the same fate as they bang out from speakers in the background of pubs, clubs and house parties. The cinematography keeps everything looking like real life but again never really reaches for anything out of the ordinary. Technically there is nothing wrong or out of step with the entire production but in the same breath the film remains rather flat and stuck in a mire of mediocrity. Jack McLoughlin isn't exactly new to the whole film-making business, despite this being his debut feature, but it does feel that he is cutting his teeth on this full length film. As a first attempt, at such a young age, it is still pretty impressive but it's obvious that he still has a lot to learn. There is definitely more than enough here to suggest that his next venture will be even better but in order for him to really break through into a fully fledged film-maker role it feels like he still needs to stretch his legs, spread his wings and really let himself fly. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >