DEMONS VS GHOSTS film review by UK film critic Charlie Robinson. Starring Benjamin Engdahl, Noah G. Arnold, Muhammed Sami Pervez, Karl Martin directed by Benjamin Engdahl. HOME | FILMS | REVIEWS DEMONS VS GHOSTS Film Review average rating is 2 out of 5 Critic: Charlie Robinson | Posted on: Oct 23, 2026 Directed by: Benjamin Engdahl Written by: Benjamin Engdahl Starring: Benjamin Engdahl, Noah G. Arnold, Muhammed Sami Pervez, Karl Martin DEMONS VS GHOSTS is a film which asks as much from its audience as it does from itself. Made on a budget of a few rubber masks and a dream, director Benjamin Engdahl achieves an impressive amount with the materials available. But in order to really engage with Engdahl’s vision, the audience becomes an active participant in the making of the film. You must decipher some of the plot's more confusing aspects; you need to imagine the space the characters inhabit (a bedroom becomes an office, for example); you need to believe and give yourself over to the film to truly get where it’s going and, importantly, laugh along with it. And when the movie works, it works incredibly well. We open in small-town USA. Our nameless lead, played by Engdahl, as almost all characters are, is working a thankless office job. The job is vague, somehow working within the film, financial, and construction sectors, but whatever it is, it sucks. We spend a long time in this office, which is a shame because it is the weakest section of the film. But both our lead and we get a reprieve when the cock sured manager sends the protagonist to a small town in Texas, where the real action starts. After we arrive in Texas, the real movie begins. Our lead quickly learns that the house he is staying in is haunted by three demons (affectionately called ‘The Stooges’), and a battle of wits and hijinks ensues. The battle, which fills the final hour of runtime, is cartoonish; more Looney Tunes than The Conjuring . The film is at its best when it shows off Engdahl’s knack for physical comedy, both in his direction and Chaplin-esque body movements. A particular favourite scene is when Engdahl battles a haunted locked door. He's thrown around the room, constantly knocked out, then bouncing right back up Wile E. style and trying a new technique. Despite the comedy working wonders, DEMONS VS GHOSTS is convoluted and downright confusing at times. The opening stretch set in the office is obsolete and unnecessarily weighs down the film. And while the haunted home war is fun, it feels like Engdahl had a number of ideas for specific scenes and struggled to find a reason to connect them. The result is just that: a jumble of funny scenes that don’t flow cohesively from one to the next. In the end, while charming and at times hilarious, DEMONS VS GHOSTS is too much for too long. A 30-minute version would have been killer, but as it stands, its lack of a throughline sags everything down. DEMONS VS GHOSTS can be viewed on YouTube for free here: https://www.youtube.com/watch?v=PDixVKZusik&t=12s Buy UKFR Banner Space About the Film Critic Charlie Robinson Digital / DVD Release < All Reviews Next Film Review >

Kamerad 2026 film review by UK film critic Jason Knight. Starring Ryan Hayes, Benjamin Schnau, Dean Ridge directed by Toby Kearton. HOME | FILMS | REVIEWS Kamerad 2026 Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Oct 23, 2026 Directed by: Toby Kearton Written by: Toby Kearton, Kari Liljendal Starring: Ryan Hayes, Benjamin Schnau, Dean Ridge A short war drama directed by Toby Kearton, written by Kearton and Kari Liljendal and starring Ryan Hayes, Benjamin Schnau and Dean Ridge. Before describing the plot, just explaining that ''kamerad'' is a German word that can mean comrade or friend and it was also a cry for surrender by German soldiers during the First World War. And this story does take place during this historical global conflict, the year is 1918 and the location is Marcoing France, at a battlefield, in a crater. Tandey (Hayes), a British soldier engages in a desperate hand-to-hand fight with a German soldier (Ridge). After Tandey kills him, another one (Schnau) appears, only this one is wounded. Tandey points his rifle at him, contemplating what to do. What makes this short memorable in comparison to other war films is the revelation in the end. It is quite an astonishing moment and motivated the writer of this review to look it up. What the revelation is about will not be disclosed here, however, it should be pointed out that via a title card at the beginning, the film acknowledges that even though the story of based on true events, the event depicted in the film may or may not be true. Nevertheless, this short utilises this alleged occurrence to create a disclosure that leaves the viewer stunned. Whether it is true or not, it has quite an impact as it is an intriguing theory. Looking at the technical side of things, the film looks great, experctly directed by Kearton, with superb cinematography by Lou Murrall. The mise-en-scene effectively brings the story to a WWI combat zone, with convincing weaponry and uniforms and the dramatic music adds to the atmosphere. It is worth noting the presence of a butterfly. The butterfly appears just when a major decision is about to be made. The appearance of the butterfly is an obvious nod to the butterfly effect, a concept that theorises that actions can lead to unpredictable consequences of massive magnitude and that would be rather appropriate here. Hayes plays a man who actually existed and fought during the World War Two, Henry James Tandey, who at age 27 was awarded the Victoria Cross, Britain's highest award for gallantry in the presence of the enemy. Hayes portrays him as an experienced soldier who can do his duty in the war zone and has a strong understanding of morality. Heavy drama, tension and suspense dominate this short story that deals with war, survival, mercy and morality. The revelation is evidently in regards to the notion that in war, no good deed goes unpunished. This film deserves five stars because of the strong acting, the high quality of the filmmaking, the fact that it revolves around an alleged encounter of massive significance and because it pays homage to Henry James Tandey. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Easy Way Out film review by UK film critic William Curzon. Starring Sam Swainsbury, Charlie Hiscock, Tomi Egbowon-Ogunjobi directed by Ben Bovington-Key. HOME | FILMS | REVIEWS The Easy Way Out Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 22, 2026 Directed by: Ben Bovington-Key Written by: Ben Bovington-Key Starring: Sam Swainsbury, Charlie Hiscock, Tomi Egbowon-Ogunjobi The Easy Way Out follows Ted (Charlie Hiscock) as he returns to his hometown to find his big brother, Jim (Sam Swainsbury), at his breaking point. The short film explores Ted’s attempt to save Jim before it's too late. The Easy Way Out is based on writer/director Ben Bovington-Key’s own personal lived experiences with bereavement by suicide and is a deeply personal piece of work in that respect. One of the film's most impactful aspects is its blend of dramatic and comedic charm. Despite its sensitive subject matter, it strikes a stunning balance between the dark humour and depiction of brotherhood. It's an emotionally charged experience as the film explores how an individual would respond in such a gut-wrenching situation. The film immediately thrusts the viewer into the distressing setup, cutting seamlessly between Jim at his breaking point and Ted trying to save him. While it may be triggering for some viewers, the personal lens and the captivating chemistry between the two leads make it impactful and hopeful despite the harrowing subject matter. The film handles its grim subject matter elegantly, keeping both central characters at the centre of focus while taking time to explore their anger and struggles with the world. Despite the lack of characterisation, the script manages to instantly connect the audience with both characters and sympathise with their struggles. The balance between the comedic and dramatic beats never feels too heavy-handed, and it knows when to utilise the darker humour to represent the characters' personalities. It may leave audiences hopeful and encourage them to reach out to their close friends and family, as this is such an important aspect of life that the filmmakers clearly intended to convey through the material. While the film primarily takes place in a single location, the use of flashbacks is wonderfully interwoven into the narrative and briefly explores both Ted and Jim’s childhoods. This aspect of the narrative resonates deeply. Writer/director Ben Bovington-Key does a tremendous job framing each sequence to ensure it’s a deeply intimate exploration of brotherhood and the importance of discussion. Wouter Verheul serves as the film’s director of photography and primarily utilises close-up shots between Ted and Jim to cement the personal, intimate bond the brothers share. It's an incredibly raw and uncompromising vision anchored by its technical aspects. Charlie Hiscock and Sam Swainsbury’s portrayals of Ted and Jim, respectively, are astounding. Sam Swainsbury in particular manages to strike a balance that is both deeply harrowing and comedic in his character's struggles. Charlie Hiscock’s turn as Ted, by contrast, is deeply empathetic, as he conveys his love and frustration with Jim to persuade him to see the world differently. The bond between both characters is profoundly moving and easily the strongest aspect of the experience. The Easy Way Out is a deeply harrowing yet life-affirming exploration of two relatable characters and their struggles with the world. While it may be a tough watch for some viewers, the film is an empathetic depiction of brotherhood and encourages the audience to reach out to others in need. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Black Cab film review by UK film critic Thomas Manning. Starring Jay Simpson, Gemma Dyllen, Anna-Maria Everett directed by James Arden. HOME | FILMS | REVIEWS Black Cab Film Review average rating is 3 out of 5 Critic: Thomas Manning | Posted on: Oct 22, 2026 Directed by: James Arden Written by: James Arden Starring: Jay Simpson, Gemma Dyllen, Anna-Maria Everett Black Cab is the new short film from director and writer James Arden that explores a near future dystopian world in a very grounded realist setting. It follows Harry (Jay Simpson), a black cab driver, as he struggles to find business in a world of autonomous taxis. The film is set in February 2027, mere months away as of writing this, and it’s a testament to Arden’s writing that this world feels incredibly familiar while incorporating elements of a futuristic society. People appear to be obsessed by autonomous taxis called Ridars which have just been legalised and the number of black cab drivers are dwindling. This feels like a clear comparison to the rise in Uber/Waymo and the tensions that have risen from this particularly with black cab drivers in London. Harry is very much the core of this film and Simpson (a familiar face from Black Mirror, Chernobyl, etc.) gives a very strong performance in the lead. The film balances Harry’s work life with his family life and Arden illustrates how the rise of Ridars and loss of work is impacting his relationship with his own family. Emma (Gemma Dyllen), Harry’s wife, is a strong character that represents Harry’s family life as she raises their troublesome son and looks to work herself. The division and fracturing of their relationship throughout the film is shown through the distance of facetiming and Harry and Emma not sharing any screentime together. Arden has spent over two years carefully researching and developing this film which can be seen through the setting of these Ridars and the feel of the black cab environment. It does at times feel like it falls into cliches with Harry as a cab driver but it feels very real. The smaller characters, however, all feel incredibly one dimensional and are simply there to show how big of an impact Ridar is having and to fuel Harry’s stresses and impending breakdown. While a short film naturally doesn’t have the time to explore these characters as much as a feature length film does, it would have been nice to see a few more instances of depth to these characters. This, for example, is done very well with the café scene where the other black cab drivers are talking with Harry and the chef. Indeed, as the film progresses, it’s clear that Black Cab isn’t just concerned with the anxieties surrounding Harry’s job future but rather it analyses Harry’s character through family dynamics. This is a man that is consumed with pride to the point that it reaches a breaking point with his family and Harry is unable to see beyond the feud he has with Ridar. The fact that Harry and Emma do not share any screen time, is evidence of this. Black Cab feels incredibly relevant to today. Not only with the conversation surrounding Uber and autonomous taxis but also with the rise of AI. It’s a topic that has defined the past couple of years and Arden weighs in on this with a human centred film that highlights the pressures and stresses this new world can cause. The film ends in rather a bleak way but it serves as a warning to where our world can be heading and the importance to avoid it. Buy UKFR Banner Space About the Film Critic Thomas Manning Short Film < All Reviews Next Film Review >

Sloppy Sunday film review by UK film critic Joyce. Starring Ali Dusinberre and Kris Salvi directed by Cristoff LeBlanc. HOME | FILMS | REVIEWS Sloppy Sunday Film Review average rating is 3 out of 5 Critic: Joyce Cowan | Posted on: Oct 22, 2026 Directed by: Cristoff LeBlanc Written by: Cristoff LeBlanc Starring: Ali Dusinberre and Kris Salvi Sloppy Sunday, written and directed by Cristoff LeBlanc, is an unapologetically sharp about exploitation, misogyny and excruciating choices women face. We hear before we see. Off screen, a male voice screams ‘I got you those heels so you can walk faster, not just look pretty’. Then, we meet Sweetheart (an objectifying non-name that really suits this story) where she works- on the road, as a prostitute. On this sloppy Sunday afternoon, a client approaches, and after a thought-provoking conversation, she decides to refuse him, which triggers the chain of events we see. This turning point scene gives the audience a glimpse into Sweetheart’s real mindset. Played skilfully by Ali Dusinberre, Sweetheart is young, trying to make ends meet. The question is will she go all the way in standing up for herself and her integrity? Sloppy Sunday is a deeply American film- visually, narratively, and even its soundtrack- a scintillating selection of blues songs. Guns are unsurprisingly ubiquitous, almost characters unto themselves. They are noticeable props within great performances that are almost theatrical in how they drive the story, in particular Kris Salvi's unapologetic portrayal of Skinny, who is Sweethearts' boss. This short crime thriller asks deep questions in regards to oppression, misogyny and life chances of today's young generally, in a sharp yet non-dramatic tone. Artistically, pulling off a story like this in short form, in the crime genre is a huge challenge, and it's one Sloppy Sunday rises to fully. Buy UKFR Banner Space About the Film Critic Joyce Cowan Short Film < All Reviews Next Film Review >

Terrestrial film review by UK film critic George Wolf. Starring Jermaine Fowler, Brendan Hunt, Craig Robinson, Rob Corddry directed by Steve Pink. HOME | FILMS | REVIEWS Terrestrial Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 21, 2026 Directed by: Steve Pink Written by: Connor Diedrich, SamuelJohnson Starring: Jermaine Fowler, Brendan Hunt, Craig Robinson, Rob Corddry You notice Steve Pink as the director, and then you glimpse both Craig Robinson and Rob Corddry in the opening minutes, and you’re thinking Terrestrial may be another raunchy comedy with a sci-fi catalyst on the order of Hot Tub Time Machine . The raunch got left behind, but there’s a decent, darkly comic mystery here that’s rooted in science fiction, fandom, and good ol’ writer’s block. Allen (Jermaine Fowler) is a struggling science fiction writer who could be on the verge of something big. He fanboys the sci-fi novels of “The Neptune Files” series, and idolizes their author, SJ Purcell (Brendan Hunt from Ted Lasso ). Allen’s devotion carries over to the cheesy Neptune Files TV show, and those fictionalized clips (starring Robinson and Corddry) are cheeky and charming. The mystery begins when Allen’s college buds (James Morosini, Pauline Chalamet, Edy Modica) visit him at his new L.A. mansion. They’re happy for their old friend’s success, but start to wonder about Allen’s odd behavior and the big paydays that hit before his first book is even finished. What’s really going on here? To find out, Pink and screenwriters Connor Diedrich and Samuel Johnson take us back to three months earlier, and the film is instantly elevated by a captivating, self-aware thriller vibe. Fowler’s (Sorry to Bother You, Faces of Death, The Blackening) ability to transmit Allen’s refusal to let his slowly growing panic derail the bigger plan is a frantic delight, and it keeps your interest grounded when events get bloody and more than a little spacey. Pink effectively juggles the story – and the story within the story – for a solid setup, but Act Three can’t quite deliver on the promise. Pink scripted both Grosse Point Blank and High Fidelity some years back, and this friend reunion could have used more of the cynical bite he brought to those interactions. Terrestrial seems satisfied to ramp up the body count, and crawl across the finish line out of breath. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Aditya film review by UK film critic Jason Knight. Starring Abhi Kandlakunta, Leesha Sarayu Kolapalli, Ankith Kandlakunta directed by Arpith Kandlakunta. HOME | FILMS | REVIEWS Aditya Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 21, 2026 Directed by: Arpith Kandlakunta Written by: Abhi Kandlakunta, Arpith Kandlakunta Starring: Abhi Kandlakunta, Leesha Sarayu Kolapalli, Ankith Kandlakunta A short drama written by Abhi Kandlakunta and Arpith Kandlakunta, directed by Arpith Kandlakunta and starring Abhi Kandlakunta, Leesha Sarayu Kolapalli and Ankith Kandlakunta. Aditya (Abhi Kandlakunta) is a young cricketer living in London, whose girlfriend, Meera (Kolapalli) has moved away in order to pursue her studies. So, the two of them maintain connection via phone and online chatting...at least for a while because as time goes by, Aditya becomes frustrated with the situation, putting his relationship and his own well-being at risk. With the addition of several montages and dramatic music, this film examines the romance between Aditya and Meera, its gradual deterioration, along with the psychological damage that Aditya goes through as a result of the break-up. As the story is experienced through his perspective, his reactions towards everything is the main focus, particularly his feelings regarding his disconnection with his partner that also ends up affecting his performance in cricket and his relationship with his friend, Kaushik (Ankith Kandlakunta). As the main and titular character, Aditya goes through signifcant emotions, be it anger, frustration, disappointment and sadness. Although he is a youngster who means well, he is unable to comprehend himself, unable to control his anger, resulting in him becoming isolated. Meera is a sensible person who refuses to tolerate her partner's erratic behaviour and decides that there is no future for their relationship. Kaushik, radio show host, serves as Aditya's source of support and as a sort of mentor, helping him understand his actions. To a degree, this short explores the world of cricket and radio shows. From another perspective, it covers how long-distance relationships work and the significance of commitments and perhaps more crucially, it builds a picture of self-redemption and analyses the effects that a break-up can have on a person, especially if they fail to acknowledge that they are the one to blame. A story about the ending of a romance and the consequences. The final message might be that people need to accept what happens and move on. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Vincent film review by UK film critic Charlie Robinson. Starring J'Ma directed by Tyrone Bruinsma, J'Ma. HOME | FILMS | REVIEWS Vincent Film Review average rating is 1 out of 5 Critic: Charlie Robinson | Posted on: Oct 20, 2026 Directed by: Tyrone Bruinsma, J'Ma Written by: Tyrone Bruinsma Starring: J'Ma Bram Stoker’s Dracula has been a cornerstone of popular culture since its 1897 debut. The novel has been adapted directly (or indirectly, under the title Nosferatu ) since the silent film era, with an updated version appearing every few years. Beyond film, Dracula has inspired stage plays, operas, and ballets, while the titular character has appeared in so many other fictional works that Stoker’s original creation has been subwhat subsumed by these multi-textual interpretations. Vincent is the latest short film to join this tradition, as filmmaking duo Tyrone Bruinsma and J’Ma update the tale to modern-day Australia, to middling results. In some respects, Vincent is a faithful adaptation of Dracula, particularly in its approach to storytelling. The novel’s epistolary nature is modernised by presenting the story as a series of vlogs hosted by Ashley (username CutiePie95), played by J’Ma. We meet Ashley right after her first run-in with the mysterious, blue-eyed ‘Vincent’ at her local coffee shop. Immediately enamoured with the stranger, Ashley decides to go on a date with him, and ends up spending an amnestic night at his place. The next morning, Ashley begins to notice some bodily changes. Vincent ’s purpose is immediately made clear through an epigraph about intimate partner homicide, framing itself as a call to action against violence towards women. Although the intertitles are overused, didactically reappearing at the end, J’Ma’s performance sells us on this filmic statement. Ashley’s dawning realisation about what happened that night at Vincent's house is written across J’Ma’s face, as her polished, influencer demeanour fades away to reveal the fear underneath. Unfortunately, the film around J’Ma can’t quite match her weathered intensity. Almost the entire film is presented through front-facing videos as Ashley narrates to her audience. This lack of visual variety leaves the storytelling stagnant, doing little to build suspense as Ashley’s condition worsens. The abrupt insertion of an American news report from the 1980s is particularly jarring, breaking the film’s contemporary setting and undermining its established rhythm. More than simply a confusing detour, the report highlights the film’s broader lack of polish, from grammatical errors in the intertitles to the uneven editing of the vlogs themselves. Condensing Dracula into a short film is no easy feat, particularly when trying to translate it into a contemporary setting. Despite Bruinsma and J’Ma’s valiant efforts, Vincent drains the life from a promising premise, with clumsy execution undermining both its horror and its message. Buy UKFR Banner Space About the Film Critic Charlie Robinson Short Film < All Reviews Next Film Review >

Behemoth! film review by UK film critic Madeleine Lavers. Starring Pedro Pascal, Olivia Wilde, Eva Victor directed by Tony Gilroy. HOME | FILMS | REVIEWS Behemoth! Film Review average rating is 4 out of 5 Critic: Madeleine Lavers | Posted on: Oct 20, 2026 Directed by: Tony Gilroy Written by: Tony Gilroy Starring: Pedro Pascal, Olivia Wilde, Eva Victor Behemoth! (2026) is a drama film written and directed by Tony Gilroy. It has a cast full of big names, including Olivia Wilde and Pedro Pascal, who plays the protagonist, Alex. The narrative follows Alex, a very talented cellist (once a child prodigy) who returns to Los Angeles after a messy breakup with Olivia's character, Carol, in Chicago. He leaves his orchestra and past behind and attempts to reconnect with his family, including his mother, who has dementia. Will Arnett plays his brother, the star of another gala at the London Film Festival for Is This Thing On? (2025). Flashbacks enhance our understanding of Alex as a character and his past; audiences are introduced to his intricate affair with famous violinist Eva Victor, who later has a daughter, another musical child prodigy. Alex is troubled by questions regarding his own legacy and whether he could be the father of Eva’s daughter (Vivaina). Music was obviously a large part of this film and the appreciation for the score is huge. The music that the main character, Alex, records for fictional films in the orchestra bleeds into other scenes, with his own music becoming beautiful and meticulous narration for his own life. The creative decision to have the film score reinforce Alex’s own turmoil was a smart and unique play, one that I enjoyed thoroughly. Pedro’s performance really shone during one of the final scenes, with whom he previously finds out to be his daughter. His emotional vulnerability and expressiveness in this scene were memorable and this showcases his extremely skilled work as an actor. My criticism falls within the character development and narrative stages. I personally felt that the emotional weight of the story took too long to be felt. The raw emotion seen in Pedro’s performance towards the end of the motion picture ensured that lots of previous troubles came to a head. Despite this being satisfying, I would have liked this understanding sooner in the viewing experience. I also found the non-linear structure and location shifts sometimes hard to keep up with, which was disappointing. Olivia Wilde’s character, Carol, offered comedic relief. She was a returning face in Alex’s life, a woman who wanted him badly and would not give up; she was even firm on her ultimatum to leave her husband for him. This resulted in Alex’s annoyance and surprise when she consistently popped up, which attracted laughter from the audience in the theatre. I would have liked this character trope to have been repeated a few more times so the witty interjections could have hit harder. The production value of this film was incredible, but the music must be the standout. Intense, engaging and full of life. The work of the composers and music department will leave people who are not classical music fans converted. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Film Festival < All Reviews Next Film Review >

Prima Facie film review by UK film critic Madeleine Lavers. Starring Daniel Ings, Cynthia Erivo, Harry Treadaway directed by Susanna White. HOME | FILMS | REVIEWS Prima Facie Film Review average rating is 4 out of 5 Critic: Madeleine Lavers | Posted on: Oct 19, 2026 Directed by: Susanna White Written by: Suzie Miller Starring: Daniel Ings, Cynthia Erivo, Harry Treadaway Prima Facie is a play written by Suzie Miller, with the protagonist, Tessa Ensler being previously played by Jodie Comer. This 2026 rendition, however, is the first on-screen portrayal of the story, starring superstar Cynthia Erivo in the main role. The narrative follows the life and work of a confident and successful defence lawyer who has previously dealt with many sexual assault cases. After she is raped by a colleague and takes the stand herself (now as a victim), her trust in the law is shaken as she does not receive justice. Cynthia’s performance must be the main talking point of this film. Her compelling and emotional presence increased the emotional weight of the story, especially during Tessa’s interactions with her family. The moment Tessa told her Mum what had occurred was particularly heartbreaking. The moving character portrayal of Noma Dumezweni is one to be noted. The location exposition felt fit for TV, with the upbeat songs and drone shots of London feeling somewhat out of place when bookended with less surprising sunny moments. I also found that the quick-witted voiceovers from Tessa during tense moments throughout the narrative took me out of the story more often than not. Cynthia’s performance conveyed Tessa’s feelings and inner dialogue well enough. The apprehension in the courtroom scenes was incredibly engaging and unsettling, charged with trepidation but also hope, with audience members most likely wishing for a better outcome for Tessa and other victims depicted. The lack of trust and the newfound clarity Tessa reached were important to share and a story many women can unfortunately relate to. The tale of Prima Facie (despite originally being written by Suzie Miller in 2018) felt extremely relevant to current feminist issues being jeopardised in the news today. The production value of the film did not amaze me, yet the performances and distressing content took most viewers’ focus anyway. The visuals did not seem interesting, or even full of life; dull and grey would be a better description. I do not underestimate the filmmakers; this may have been a conscious choice, maybe to reinforce the dark subject matter? The ending deserves a focus in this review and in audiences' retention of the film, with the change from the original play being a substantial moment of optimism to round off the motion picture. I was heart warmed by the journalist who approaches Tessa after she lost in court, declaring she is also a 1 in 3 (a statistic of women who are victims of sexual crimes. She exclaimed that she would keep fighting to get women’s stories told. As much as the political state of the world can feel daunting, I wish for this small, hopeful script change to inspire other young women out there to speak out and have conversations with the people in their lives about relevant topics. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Film Festival < All Reviews Next Film Review >

Smile, Smile, Smile! film review by UK film critic My Nguyen. Starring Jacob Kay, Aiden Clark, Oliver Griffiths directed by Oliver Griffiths. HOME | FILMS | REVIEWS Smile, Smile, Smile! Film Review average rating is 3 out of 5 Critic: My Nguyen | Posted on: Oct 19, 2026 Directed by: Oliver Griffiths Written by: Josef Duncan, Oliver Griffiths, Jacob Kay Starring: Jacob Kay, Aiden Clark, Oliver Griffiths A marching drumbeat sets the tone for the opening scene as an unidentified prisoner is being dragged into the frame. Two soldiers salute their commanding officer, who is sharply dressed in a beret and shiny black boots. After the screaming prisoner is led outside to be tortured, Jacob Kay and Aiden Clark, who both play the anonymous soldiers, enter a conversation about everything under the sun – from the mechanics of their salute just moments earlier to the pros and cons of becoming vegetarian, and whether pigs can even have depression. Most of this conversation happens while the second soldier is playing a game on his phone, which further enhances the farce-like and satirical tone. Everything about Smile, Smile, Smile! is mysterious. From the secret facility where this operation is held, which looks like an abandoned warehouse, to the unnamed soldiers and the organization, an enigmatic layer surrounds this short. We are pretty much left in the dark about these things, and as the short continues, we realize that it’s not necessary to have everything spelled out to us in order to enjoy the film. As we are kept in the dark figuratively, this short is actually literally filmed in near-total darkness. This made it difficult to tell one actor from another and which character was speaking. Better lighting in general could help give the film a better sense of direction, since mostly all the actors were dressed in dark clothes, and this made differentiating them in the dim lighting hard. But if the dimness was there to keep the film mysterious, viewers might be able to see that this could be a directorial choice and let it pass. Since this short was pretty much entirely filmed in what seemed to be an abandoned warehouse, audience members might chalk it up to the acoustics of such a venue lending to the reverb that could be heard throughout the film. However, this became rather distracting over time. Due to the excessive reverb, the syncing of the movement of the actors’ lips with the dialogue was slightly delayed. For better immersion purposes, perhaps editing out the reverb would be a good choice. A clever technique that the director Oliver Griffiths employs is utilizing the sound effects to serve the film’s purpose better. For the most part, the prisoner is tortured off-screen, or outside the warehouse where we can’t see him. Sound effects of buzzing jigsaws and screams effectively convey that the prisoner is being brutalized. This technique is used more than once over the course of the film. And it demonstrates Griffiths’s good directorial instincts in keeping the violence and gore to a tasteful minimum so as not to alienate general audiences and keep the film accessible. Griffiths even makes a cameo appearance in the film as Dave, a fellow soldier in a bloody hazmat suit. Dave is instrumental to the scene where the main characters are performing a card trick. He is asked to bring over a bag, from which Kay’s character produces the card that Clark’s character had drawn previously, right out of said bag. The comedy continues when, as Dave wheels out the latest prisoner casualty, Kay’s character requests a coffee. Clark’s character even asks for one (“No sugars in mine”), further offsetting the dark humor of this moment. For the most part, the short is filmed in one single unbroken shot, with the two unnamed soldiers shooting the breeze, while all this dark stuff is happening around them. The irony couldn’t be missed on viewers, as the deadpan humor both in the written dialogue and the action creates some very much-needed comedic relief in this bleak setting. With that being said, the script is very clever. Lines bordering on black humor and philosophical outtakes punctuate the script and create lasting impressions on the viewer. Written by Jacob Kay and Josef Duncan in 2019, Smile, Smile, Smile! was the semi-finalist for Best Short Comedy at the 2025 Lit Laughs International Comedy Festival. Sadly, Duncan passed away in late 2019. Kay and Director Oliver Griffiths collaborated together and made the film in dedication to Duncan. At times, mixing dark humor with situational comedy, the short successfully delivers as a black satire with themes of real human interactions and camaraderie. Viewers will be pleasantly surprised to find it is a 14-minute philosophical romp through comedic territory, offering thought-provoking insights based off the actors’ on-point performances and impeccable comedic timing. Centered around two soldiers and their casual conversation as they stand guard inside a secret facility, at its core, this is a film about human connections. Have you ever imagined what could possibly pass off as small talk between two soldiers during a special-ops mission? Smile, Smile, Smile! satisfies your curiosity and so much more. Buy UKFR Banner Space About the Film Critic My Nguyen Short Film < All Reviews Next Film Review >

My Nguyen writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. My Nguyen My Nguyen is a film critic for UK Film Review. Read Latest Film Reviews