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Coping film review by UK film critic Chris Olson. Starring Alex McGonagle, Michelle Taylor, John O'Gorman, Tom Murphy directed by Tom Murphy. HOME | FILMS | REVIEWS Coping Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 1, 2026 Directed by: Tom Murphy Written by: Tom Murphy Starring: Alex McGonagle, Michelle Taylor, John O'Gorman, Tom Murphy Filmmaker Tom Murphy’s eccentric yet charming short film coping. is a collage of coping mechanisms presented in a mockumentary fashion with smile-inducing results. Across three interviewees, we are presented with the unusual methods these people engage with in order to find peace and calm in their lives. Alex McGonagle, for example, plays a lad sitting at a piano, relentlessly dropping a pencil until it falls just the right way. Murphy cleverly overlaps the sound of the pencil rat-a-tatting over the opening messages about the film’s aim to “celebrate and normalise the diverse ways people find comfort”. The viewer is then regaled by McGonagle on the importance of the pencil dropping (pens work fine too, apparently). The performance is understated, emotive, and the serene music behind Alex’s character’s story creates a powerful opening chapter to the short film. This is juxtaposed by the quirky and energetic character played by Michelle Taylor, whose penchant for spinning in a chair makes her a dramatic left turn for the movie. The music changes pace and the audience is starting to piece together the differences and similarities between these eccentric behaviours. There’s a wonderful line in the script about how she would need to frequent Ikea all the time if she lost her chair that will likely elicit a few chuckles. By the final story, a man (John O’Gorman) whose plethora of voice notes reveal a soul in dire need of positive reinforcement, our understanding of the picture being painted by Murphy is clear. Brevity is keenly apparent here; the short film could easily have stretched to dozens of tales just like these three, and perhaps the piece does suffer a little from scratching too shallowly. That being said, the audience could have grown weary from a plotless film with isolated characters whose only connection is their coping mechanisms for their neurodivergence. The look and feel of coping. as a short film is carefully yet professionally presented. There is a tonal awareness that complements the characters being presented, as well as the topics of anxiety, neurodivergence, and behaviour that could be construed as “eccentric” (which may be a misunderstanding on people’s part). Viewers will love the framing of each character, utilising static shots, in true documentary style, which allows the subject to take centre stage, eschewing any filmmaking frivolity which may just be distracting. There is an offbeat energy to Tom Murphy’s coping. that will undoubtedly resonate with a large number of viewers. Whether you are aware of your own coping mechanisms in life or not, this is introspective storytelling done brilliantly and will likely leave you pondering your own habitual strategies for dealing with this thing we call life. Now, if you’ll excuse me, time for me to turn the light on and off 27 times exactly. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

In Search of Forgotten Crafts - The Heart of the Iron film review by UK film critic William Curzon. Starring Márton Kocsy, Gábor Csőre directed by Dániel Majoros, Marcell Betlej. HOME | FILMS | REVIEWS In Search of Forgotten Crafts - The Heart of the Iron Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 2, 2026 Directed by: Dániel Majoros, Marcell Betlej Written by: Dániel Majoros Starring: Márton Kocsy, Gábor Csőre In Search of Forgotten Crafts - The Heart of the Iron follows the personal story of a blacksmith, Márton Kocsy, who offers an insightful look into one of the oldest traditionally male crafts. The piece is the fourth episode of a documentary series and narrated by actor Gábor Csőre. The idea for the documentary was originally conceived by Dániel Majoros, who invited director Marcell Betlej to join the project as creative director, editor and cinematographer. While the material is fairly simplistic in its attempt to provide the viewer with enough insight into the disappearing professions in forgery, the formalism on display profoundly elevates the piece to impressive heights. Firstly, the drone photography is absolutely breathtaking, and the point-of-view camerawork is visceral and admittedly a sight to behold from co-cinematographer Péter Szögi. The opening of the piece is paced like a creature chasing its prey, with its ferocious camera movement and rapid editing. On the other hand, the sequences of the blacksmith forging are enthralling to witness due to the use of extreme close-ups and frenetic editing choices. It's simply a visual treat and satisfying to endure, accompanied by a remarkable title card drenched in flames from the forgery. The musical score is wonderfully incorporated into the piece, with its incredible motifs matching the forgeries on display. The filmmakers set out to explore the elemental relationship of forgery and the craft that is fading as the years pass due to technological advancements. However, the cultural and symbolic aspects of forgery still live on in the lives of individuals such as Márton Kocsy, who have devoted their careers to this art form. Márton Kocsy offers a unique perspective that is rarely seen in cinema, such as explaining the spirit of blacksmithing and the underestimated necessity for blacksmiths. The dialogue can be delivered at such a brisk pace that it's almost overwhelming to process at times. That being said, this decision is ultimately necessary to provide the audience with enough context due to its tight runtime. This particular episode could have delved more into other blacksmith forges and explored another individual's perspective on how much has changed in the past few years. Gábor Csőre’s voiceover is impactful and provides context for why fewer individuals visit blacksmith workshops in this current climate, as they have become increasingly inaccessible. The use of voiceover also underscores the significance of recognising the blacksmith's work and dedication to the craft, despite technological advancements. The Heart of the Iron alludes to future generations carving a path in this career to ensure the craft stays alive in years to come. Despite the restricted material, the piece never fails to engage the viewer due to the thought-provoking and fascinating dialogue from Márton Kocsy. The pacing rarely lets up, and that's a testament to the material and sublime filmmaking on display. In Search of Forgotten Crafts - The Heart of the Iron is bursting with energy from the first frame to the striking and surreal conclusion. Forged in flames and iron, the filmmakers tackle a profound subject matter that delves into the necessity of blacksmiths and the cultural aspect of forgery that endures for future generations. The piece is a palpable piece of filmmaking beautifully helmed by Dániel Majoros and Marcell Betlej. About the Film Critic William Curzon Short Film, Documentary < All Reviews Next Film Review >

Them That's Not film review by UK film critic William Curzon. Starring Angel Theory, Carrie Compere, Biko Eisen-Martin directed by Mekhai Lee. HOME | FILMS | REVIEWS Them That's Not Film Review average rating is 5 out of 5 Critic: William Curzon | Posted on: Feb 9, 2026 Directed by: Mekhai Lee Written by: Mekhai Lee Starring: Angel Theory, Carrie Compere, Biko Eisen-Martin Them That’s Not follows Andrea “Drea” Stoney (Angel Theory), a Deaf poet, as she feels isolated at her grandmother’s repass, surrounded by a family who disregard ASL. She seeks refuge and purpose in the quiet corners of the house, and her world is shaken when her estranged father, Samuel (Biko Eisen-Martin), temporarily released from prison, returns after many years to mourn his mother. Both Drea and Samuel, bound by grief, must confront their damaged relationship and find a connection before his return to prison. The piece almost immediately feels striking in its presentation due to the boxed-in aspect ratio, which places the viewer in Drea’s point of view and highlights her discomfort. The incredible sound design blocks out the noise as Drea’s point of view is isolating, and her family are deeply uninterested in ASL. Another outstanding stylistic decision is the use of subtitles, which appear muffled as Drea attempts to read lips. The filmmakers do an outstanding job of putting the viewer in Drea’s shoes, and it's incredibly raw and tough to witness her family dismiss her struggles and ambition for poetry. Mekhai Lee, serving as the director of the piece, beautifully directs the ASL conversations with the actors directly facing the camera, greatly anchoring the point-of-view approach. The use of blocking is also astounding as there are many groups of characters in one room at once, and each character is suitably placed in the frame throughout the gathering. Sade Ndya, who serves as the cinematographer, utilises a mix of over-the-shoulder shots during dialogue-heavy sequences and switches to wides that place the camera in the corner of the room, feeling akin to a fly-on-the-wall experience. The tone of the film feels isolating throughout due to Drea’s inner turmoil; however, the moments of stillness are intimate and heart-warming. Angel Theory’s portrayal of Drea conveys a profound level of nuance and restraint, channelling an incredible central performance that makes it hard not to feel sympathy for her despite the restricted runtime. The performances across the board are sensational, in particular Carrie Compere’s portrayal of Aunt Carol, which is deeply complex as she tries to understand Drea’s pain and aspirations. Drea wants to stay true to her vision of poetry, and it's tough to witness her dreams being dismissed, as it's a less practical career path. The evocative musical score enhances the moments of stillness and is suitably placed into the narrative. This is one of the rare examples of a piece of filmmaking that makes incredible use of its tight runtime and budget constraints to deliver a sublime depiction of what it's like to be Deaf and feel out of place. In terms of issues with the piece, it's incredibly hard to find a place where the filmmakers put a foot wrong, and that's a testament to the narrative and phenomenal formal decisions on display. The conclusion to Them That’s Not is beautiful, and the filmmakers wrap up Drea’s character arc in an emotionally satisfying manner, while providing a helping hand of empathy for her struggles and isolation for people who may be in a similar situation to hers. It's a profoundly empathetic piece of filmmaking that consistently leaves the viewer on the edge of their seat. Them That’s Not is an emotionally overwhelming experience that perfectly places the viewer in the point of view of a deeply nuanced central character. Beautifully helmed by Mekhai Lee and led wonderfully by a magnificent performance from Angel Theory, the piece not only deeply sinks its teeth into the viewer but also offers a unique perspective on isolation and staying true to one’s artistic vision. Them That’s Not will screen at the 2026 SXSW Film Festival. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The Air Between Us film review by UK film critic Jason Knight. Starring Jordan Nancarrow, Crayton Cambridge, Andrew English, Bryn Bergwall directed by Newton Mayenge. HOME | FILMS | REVIEWS The Air Between Us Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 6, 2026 Directed by: Newton Mayenge Written by: Lydia Lane Starring: Jordan Nancarrow, Crayton Cambridge, Andrew English, Bryn Bergwall A short drama directed by Newton Mayenge, written by Lydia Lane, and starring Jordan Nancarrow, Crayton Cambridge, Andrew English, and Bryn Bergwall. Tyler (Nancarrow) and Sasha (Cambridge) are a couple who have just moved into a new home. However, all is not well, as Sasha appears to be unwell, being unhappy and experiencing trouble breathing. Does she have an illness? Is she sad about something? Her troubles are damaging her relationship with Tyler and, as concerned as he is, he does not know how to help her. Eventually, on Sasha's request, they separate and Tyler turns to his friend, Jack (English) for comfort and advice. Can they find out what is wrong with Sasha? The screenplay operates kind of like a mystery, with Jack trying to discover what the source of Sasha's misfortunes is, a mystery that might even be concerning him, as he too claims that he feels unwell in their new house. A lot of drama ensues as Tyler and Sasha try to figure things out and when it is discovered why their well-being has been negatively affected, it is an unexpected discovery. Cambridge's role is that of a woman who does not know why she is suffering, why she is constantly feeling gloomy and having trouble breathing. Although she cares for those around her, her unknown condition causes her to isolate herself from others. Nancarrow plays her supportive partner, who wants to help but is unable to, because he does not know what is going on. English and Bergwall are sympathetic as the couple's caring friends. The film is rather efficient when it comes to acknowledging the significance of support, friendship and reaching out for help. Perhaps at its center, it seeks to educate viewers that sometimes the source of one's mental problems, why they are feeling down might be attributed to the air that they breathe, pointing out that unclean air can affect physical and mental health. It discloses that things that are not visible, such as air, can have negative effects on people and it also presents a solution: air filters. An emotional drama that raises awareness of polluted air harming people. It explores a threat that appears invisible and alerts viewers that if they are feeling poorly and cannot figure out why, then the cause might be the air that they are constantly breathing in their homes, or other places where they spend a great deal of time. The fact that this short points all this out, makes it worthy of significant attention. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Iron Lung film review by UK film critic Kieran Freemantle. Starring Mark Fischbach directed by Mark Fischbach. HOME | FILMS | REVIEWS Iron Lung Film Review average rating is 2 out of 5 Critic: Kieran Freemantle | Posted on: Feb 6, 2026 Directed by: Mark Fischbach Written by: Mark Fischbach Starring: Mark Fischbach Iron Lung is the debut feature film from the YouTuber Markiplier, real name Mark Fishchbach. His opening offering is an adaptation of a horror indie game by David Szymanski. In the distant future, humanity is on the brink of extinction due to an event known as “The Quiet Rapture.” A convict (Markiplier) is sent on a mission to explore a blood ocean in a crude submarine. When in the ocean, the convict makes an extraordinary, but disturbing discovery. Iron Lung is already the surprise hit of 2026. It was initially set for a limited release, but was expanded after the release of the first trailer. It has already made a huge profit from its $3 million budget. Iron Lung’s success shows that audiences are craving films from new voices. My screening was busy at 8:30 pm on a Sunday. Iron Lung had an intriguing premise. The idea of The Quiet Rapture was a mix of Lovecraftian horror and Doctor Who (particularly the episodes “Utopia” and “Midnight”). The setup allowed for a lot of essential dread. The opening narration summed up how dire the situation was: “too few to rebuild, too many to feed.” Markiplier ensured his film had a bleak, oppressive tone, and since it was set in a small tube, it was a claustrophobic film. Markiplier clearly wanted to emulate classic sci-fi films like Alien, Silent Running, Event Horizon, and Moon because of the tight, industrial settings. Iron Lung nailed the atmosphere and tune, which made it an effective sci-fi horror experience at times. However, it was also an indulgent film, even with its limitations. It was a staggering two hours, seven minutes long, when the concept would have worked best as a short film. Feature films set in a single location are typically only 90 minutes long. The convict had a limited view of the world, as he was confined to a submarine and spoke to people through a speakerphone. The role required a skilled actor, and well, Markiplier was not a professional actor. It was a film that suffered from world builder’s disease. There was a lot of lore and backstory, which meant there was a lot of exposition. A video game can get away with this because a player could make discoveries and find collectables. These can be rewards for diligent players. The film could have simplified the story by focusing on The Convict’s mission, but simplification probably would have alienated fans of the game. As the film progressed, The Convict did lose his grip on reality, which ended up making Iron Lung overly confusing. It led to thoughts of ‘what the hell is going on.’ There were also mysteries that were set up just to complicate the narrative. The Convict was piecing together the puzzle, a process that would be more interesting if people got to play it rather than watch it. Markiplier shows he does have potential as a filmmaker, and Iron Lung did have some virtue, but it was unable to overcome a thin plot told over a long time. About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Boy film review by UK film critic William Hemingway. Starring Arthur O’Kelly, Abraham Kleinman directed by Ben Rusnak and Ruth Rusnak. HOME | FILMS | REVIEWS Boy Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Feb 4, 2026 Directed by: Ben Rusnak and Ruth Rusnak Written by: Ben Rusnak Starring: Arthur O’Kelly, Abraham Kleinman A young man reaches out for connection and the human touch, but when faced with the reality of his decisions and his desires, he finds that the truth of the situation is not as easy as the longing for it. Danny (O’Kelly) is looking for someone to hook up with. Or at least he thinks he is. He’s young and fairly new to the dating game, especially the swiping and fast-talking kind that dominates mobile phone culture and the rest of gen-z society, and he’s taking the first tentative steps into a new world of connection and instant gratification. He’s found someone on an app and has invited them over to his gaff; well, the place that he’s housesitting in for a couple of weeks, anyway. In amongst the stuffy hallways and the creepy busts littering the windowsills, Danny waits silently until the doorbell rings. At the door is Mark (Kleinman), a thirty-something gentleman in shirt and tie, with a gloriously furry beard on his face. The tension is immediately awkward and Danny almost forgets to invite Mark in, but soon they’re at the dining room table, sipping wine, and getting to know each other. Mark is obviously the more dominant of the two, and every question, look, pause, and picking up of the glass, is charged with electricity as he probes Danny’s need for companionship. The power dynamic only reaches one way as they figure each other out and Danny realises that he’s being sized up like a prize calf, slotted into a very defined box, and gently led to the deflowering of his virginity. There is a lot of heightened tension in directors/producers, Ben and Ruth Rusnak’s thirteen-minute short, Boy . For the time we are with the two main characters much is said in the spaces between them, and more is revealed about their place in the relationship and dynamic by their body language and subtle gestures than is ever said by their words. The atmosphere is charged with sexuality, and with power, and every inch of it escapes through the screen thanks to the main performances from the two actors. The direction and cinematography keep things cool and distant in the background, while filling the close-up scenes with light, colour and connection, really drawing the viewer into the very confined, homely, but slightly dangerous situation. The music from Umberto Guadino and Aleksandra Vilcinska also adds to this tension, scraping strings and hitting percussion at off-kilter moments to keep us off-balance as the two men jostle and settle into their positions. There is a strange fear of dread that leaks from the screen, mostly from Danny, and it feeds into the themes and undercurrents of what Boy is communicating to us, as well as the rounding out of the story. For a film that is so short, Boy expresses everything it sets out to, and does it with style, flair and integrity, with everything feeling real in the situation we are witnessing in front of us. For an uncomfortable thirteen-minutes we are given an insight into the repressed emotions and difficult situations that so many queer and homosexual dating partners find themselves in. There are many statements to be made by writer Ben Rusnak, but they are filed away in the dialogue, the narrative, and the character play, so well that we see them as natural expressions and dynamics on screen. The visual language really describes the emotions at play and the story eschews an exploitative approach for a much subtler, more real sharing to happen. Boy doesn’t mince its words or its message, and hits right at home to the foundations that underpin a lot of the ways queer relationships develop, sharing its voice with us to help us better understand some things that might never change, nor be spoken about in public truthfully. About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >

The Current State of the Backyard Pool Industry film review by UK film critic William Curzon. Starring Gil Damon, David Amadio, Steve Kuzmick directed by Derek Frey. HOME | FILMS | REVIEWS The Current State of the Backyard Pool Industry Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Feb 4, 2026 Directed by: Derek Frey Written by: David Amadio, Gil Damon, Steve Kuzmick Starring: Gil Damon, David Amadio, Steve Kuzmick The Current State of the Backyard Pool Industry follows the Osgood family, who are divided over the fate of their rundown pool, due to a costly repair that may force them to shut it down. However, when a strange visitor named Willy Chamieux (David Amadio) attempts to convince the Osgoods to take one last plunge in the pool, they must decide whether their family togetherness is worth the price of this dilemma. The central theme of the piece is the importance of family and their connection to the backyard pool, which feels like a metaphorical allegory for reconnecting a fractured bond. Derek Frey, the director of the piece, clearly set out to blur the line between surrealism and a music video, utilising an excellent, choreographed dance sequence. Also serving as the cinematographer, the short consists primarily of medium and over-the-shoulder shots in its dialogue-heavy sequences, which maintain the intimate and engaging flow of the piece. Klebe & Davis, a two-man band from Florida, serve as the composers of the piece, delivering an endearing musical score that perfectly accompanies the experience. Despite the film's budget constraints, the opening title card is incredibly creative and drives the viewer into the world of the Osgood family. While the film can suffer from some jarring editing choices and a bizarre tonal shift, the filmmakers clearly have their heart in the right place with a distinct passion for the material. The piece starts rather sluggish in its pacing; however, once the central plot line is introduced, the experience picks up drastically and becomes far more engrossing. One of the biggest detriments to the experience is the lack of chemistry between the Osgood family. While the younger actors are clearly expressing their disinterest in the pool earnestly, their line delivery unfortunately feels wooden and unnatural. The lead performance from Gil Damon in his portrayal of Henry Osgood, however, is mostly impressive and a deeply nuanced depiction of a father struggling with his inner turmoil. Both the comedic and dramatic beats land thanks to Gil Damon’s goofy and naturalistic delivery of dialogue. The film entirely rests on his screen presence and his actions being the driving force of the central plot points. Despite the narrative being fairly straightforward and simplistic in its ideas, the filmmakers never spoon-feed the audience, allowing them to decipher their own interpretations about certain plot elements, which is refreshing. Unfortunately, the conclusion to the narrative amounts to fairly minor despite its uplifting intent; the payoff sadly feels underwhelming thanks to how abruptly everything wraps up. Perhaps the screenplay could have fleshed out its themes of family and emphasis on water more profoundly to stick the landing. That being said, it's still a mostly satisfying experience thanks to how intimate and grounded in scale this feels despite its absurd nocturnal elements throughout. The Current State of the Backyard Pool Industry is a mostly entertaining short piece entirely held together by a solid lead performance from Gil Damon and Derek Frey’s formalism. Despite its pitfalls with the disappointing lack of chemistry between the supporting players, the piece feels like a passion project made with a profound love for the subject matter and characters that shine through its cracks. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Empire of Lies arrives in UK cinemas and on digital platforms on 27th March.. Brand new film trailers. Empire of Lies The arrival of the trailer for Empire of Lies signals a compelling shift for director Matthew Hope. Known for the gritty, tactical pacing of The Veteran and All the Devil’s Men, Hope appears to have traded the high-stakes battlefield for the claustrophobic confines of an interrogation room. This first look suggests a film that is less about external conflict and more about the corrosive nature of grief and institutional distrust. Produced by Magus Films, the project marks a significant milestone as their debut UK theatrical and digital release, scheduled for 27th March. The trailer introduces us to David "Dave" Harris, portrayed by the versatile Joseph Millson. Harris is a man living on the fringes, haunted by the unresolved murder of his daughter. What begins as a standard interview quickly descends into a psychological tug-of-war. Millson, a veteran of high-octane productions like Casino Royale and The Last Kingdom, seems to be operating at a different frequency here. Matthew Hope’s signature exploration of paranoia remains intact, but the aesthetic has evolved. The trailer leans into a "two-hander" structure, focusing heavily on the dialogue and the mounting tension between Harris and his interrogator. It is a more intimate, performance-led approach that prioritises psychological depth over traditional action beats. By partnering with international sales agent Exit 44 Entertainment, Magus Films is clearly positioning this as a high-calibre independent feature with global appeal. If the trailer is any indication, Empire of Lies will be a somber, thought-provoking examination of where truth ends and self-deception begins. Empire of Lies arrives in UK cinemas and on digital platforms on 27th March 2026. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. 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.

Pops film review by UK film critic James Learoyd. Starring Max Ferguson, Alan Drake, Kayleigh-Paige Rees directed by David Thackeray. HOME | FILMS | REVIEWS Pops Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Feb 4, 2026 Directed by: David Thackeray Written by: Sam Bramley, Barry Ryan Starring: Max Ferguson, Alan Drake, Kayleigh-Paige Rees Pops tells the amusing, heartfelt story of a group of foster siblings who begrudgingly reunite after a period of distance. They come together to assist in organising what remains in the home of their shared father – the titular Pops – who has dementia. What makes this story different is our protagonist: an aspiring documentary filmmaker hoping to capture on camera the ongoing arguments, reflections and dynamics. What he may not anticipate, however, is just how much hostility there will be in response to the film being made, causing him to question his passion and role within the family. This is a sincere film which wishes to explore family issues with a specific yet light touch, and visually it is a gorgeous-looking world to exist in. With top-notch cinematography and sound; as well as a focused and often moving narrative; there is much to love about Pops . You may be surprised to hear that the tone of the piece is relatively heightened and comedic – at least in its first two acts. There is an argument to be made that, in its former half, these characteristics of drama and comedy are competing; and for a while, comedy is the dominant force. The only problem one can identify with this picture is the fact that the dramatic elements feel slightly neglected at first – or, let us say, we are not given further reason to care about these individuals. By the end, though, we have plenty of reasons; and the comedy feels more naturally fused with the behaviours of the personas at play. One aspect which filmmakers especially will love about Pops is how accurately it incorporates varying filmic formats and techniques, often with the intention of making a joke. This can be seen in the hilarious opening montage of our protagonist Nathan’s past documentaries. There remains an attention to detail – a real care for aesthetics –through the humour. But this all comes down to the fact that this is a technically accomplished and consistent work. A standout in the technical department is the lush colour grading. Despite the film’s mostly one-apartment, interior setting, there is such a vibrancy in the colouring; a richness in the shadows, comprised of subtle pinks and yellows. This can only be successful because of the balance and precision already present in the lighting and focus. It is an all-encompassing formal win. This critic would argue that the most engaging sequence in the movie is that of an extended piece of dialogue between Nathan (Max Ferguson) and the character of Anthony (Alan Drake) as they sit in a stationary car after an argument has transpired between the group. With a worse script, a conversation as long as this would grind the story to a halt; but the fact that these two performances are as transfixing as they are, and the dialogue as well-considered as it is, means that we could stay in that car forever and I would be no less pleased. If you enjoyed the recent dramedy His Three Daughters on Netflix, then this may provide you that style of story but with a decidedly British sense of humour. Director David Thackeray, and screenwriters Sam Bramley and Barry Ryan, have managed to bring their talents together and construct something special: a film with personality and visual flair. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Equal Opportunity film review by UK film critic Jason Knight. Starring Amani Alnababteh, Nezim Mmegwa, Miguel Zapon, Francesco Nuzzi directed by Rick-kendy Noziere. HOME | FILMS | REVIEWS Equal Opportunity Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 4, 2026 Directed by: Rick-kendy Noziere Written by: Rick-kendy Noziere, Francesco Nuzzi Starring: Amani Alnababteh, Nezim Mmegwa, Miguel Zapon, Francesco Nuzzi A short comedy directed by Rick-kendy Noziere, written by Noziere and Francesco Nuzzi and starring Amani Alnababteh, Nezim Mmegwa, Miguel Zapon and Nuzzi. Three HR managers, Emma (Alnababteh), Jack (Mmegwa) and Marc (Zapon) are sitting in a boardroom. They have been told by their boss (Nuzzi) to wait there for further instructions. Soon, he contacts them via the phone and through the speaker, he informs them that five people are being considered for a top role in the company and in fifteen minutes he will be meeting with a potential investor and during that time, it is up to the three managers to decide which of the five candidates should get the position. So the three managers get to work. They have the candidates' resumes and relevant paperwork All five candidates have qualifications of equal standards. How will they decide then? They attempt to do that by considering the applicant's race, gender, sexual orientation, religion and disabilities. They contemplate whether the company has certain staff shortages that involve these traits, for instance, whether an Asian woman should be hired because the company has few (or none) of such individuals. In other words, instead of work experience, they focus on characteristics that can be used to discriminate, with the obvious goal to show that the company is against discrimination. So Emma, Jack and Marc discuss, question and argue what is the trait that stands out the most (if there is one) and should a decision be made on the basis of how significant a person's characteristic is or because the company does not have an individual with a specific trait? As the three of them sit and analyse all this, it makes an interesting conversation that has its fair share of humour. Regarding the technical aspects of this seven-minute short, commendations go to the use of split screen and the light-hearted music by Kevin Lynch adds to the atmosphere. Alnababteh, Mmegwa and Zapon portray experienced office workers, who are of different races. Emma appears to be from the Middle East and comes across as considerate. Jack is an African-American and gives the impression that he is the most serious one in the room. Marc is a guy who looks Hispanic and is more cheerful that the other two. One thing these three seem to have in common is that they cannot decide which trait should matter the most. Although Nuzzi only acts via brief voice work, he manages to present the head of the company as a narcissistic man. It is intriguing to see the way this film explores how people are perceived because of of traits involving race, gender, religion etc. and asks whether some traits are more significant than others. The story has a lot to do with discrimination and equality and appears to be pointing out that a people should not be appraised for job positions based on the characteristics mentioned above. A viewing that is amusing and, more crucially, rather thoughtful due to the subjects that it deals with. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Animus film review by UK film critic Patrick Foley. Starring Fenn Leon, Chris Hardy directed by Jamie Murray. HOME | FILMS | REVIEWS Animus Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 3, 2026 Directed by: Jamie Murray Written by: Jamie Murray Starring: Fenn Leon, Chris Hardy Jamie Murray’s short Animus uses an original psychological framing to test the boundaries of morality between doctor and patient. It’s a fine example of how to raise tension and leave audiences on edge. Imprisoned in a facility after committing a violent assault, a mysterious, animalistic man (Fenn Leon) is interviewed by a clinical psychologist (Chris Hardy) who tries to identify the cause of his threatening nature. Over the course of a tense interview, the psychologist’s perspective on the world is warped by his patient’s – and his outlook on man and nature reverts to a state of nature that both men find some sense of common ground on. Animus engages its audience in a thought-provoking moral battle between its two subjects that is enlivened brilliantly by the talents of filmmaker Jamie Murray. Set on a shadowy psych-ward and interspersed with archival footage of animal behaviour and AI animated transfigurations of animal evolution, the battle of wills between Fenn Leon’s Animal patient and Chris Hardy’s doctor feels so much more pivotal than a basic evaluation. In this near- futuristic world, Murray creates a sense that mankind’s very nature is on the line. The gripping perspectives we are given of the two men will leave viewers feeling the same sense of growing danger that the Doctor does in the room, until he himself feels no choice but to lash out – much like the cornered animal both character and audience have become. Fenn Leon convinces as the ‘Animal’, a brutal and unpredictable antagonist but one who is able to convey a twisted view of the world through his perspective on animal behaviours. His worldview is explored patiently, and whilst the character themselves has a sense of threat and danger from the beginning due to the framing of Murray, Leon’s performance walks a delicate line that means the Doctor’s engagement with him never feels unfathomable. Chris Hardy’s showing as the patient and understanding doctor is another successful casting – the moment in the film where viewers sense his loss of control over proceedings is brilliantly subtle on the actor’s behalf. His own loss of control however does feel a little sudden and unnatural (and not in a good way). The film controversially uses generative AI in cutaways that show animated animal evolution, such as moments where dogs evolve into wolves or apes into humans. The use in the film is effective and does help invigorate the moral conflict and visualise the ‘animal’ argument. But whether this is worth the cost of the use against the impact the technology has on the film industry as a whole is ultimately one for the viewer to decide. The film’s strengths are not dependant on the technology by any means, and one may have sympathy with the filmmaker’s argument that it is the only method that could allow for the exploration of some of the film’s themes visually within the budget available. But others will see its involvement as a worrying inclusion that ultimately means an artist somewhere has lost work. And ultimately all creators are part of a food chain that has AI at the top – something a film with the themes Animus has should understand. Aside from its AI usage that is down to the audience to come to their own conclusion on, Animus is an intriguing and original work that explores interesting moral space. Murray’s ability to keep viewers on edge is its biggest strength, and this old-fashioned character development and visual storytelling should be celebrated. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Dracula film review by UK film critic Hope Madden. Starring Caleb Landry Jones, Zoë Bleu, Christoph Waltz directed by Luc Besson. HOME | FILMS | REVIEWS Dracula Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 3, 2026 Directed by: Luc Besson Written by: Luc Besson, Bram Stoker Starring: Caleb Landry Jones, Zoë Bleu, Christoph Waltz There are those who would call Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula a masterpiece. The score is undeniable, the costuming and set design glorious, the use of shadow, the creature design, the pulsing sensuality, Gary Oldman—all of it is exquisite. The entire balance of the ensemble? Terrible. There, I said it. Still, it’s a memorable take—for many, a beloved all-timer—on Stoker’s vampire classic. I will assume that French filmmaker Luc Besson (Léon: The Professional, La Femme Nikita ) is a fan. While his Dracula delivers much in the way of new ideas, the source material for his script is less Stoker’s novel than Coppola’s film. He’s not hiding it. He even borrows—homages—bits and pieces of Wojciech Kilar’s score. Caleb Landry Jones is Vlad the Second, Count Dracul. He loves his wife, Elizabeta (Zoë Bleu). He fights the Crusades to eradicate Muslims for God. But God does not protect his Elizabeta, so he curses God and searches the endless centuries, hoping for his loves return. This storyline is 100% Coppola, not in the novel at all. Landry Jones is a talented actor, and versatile. See Nitram . But his performances tend to be somewhat interior, and you cannot help but compare his anguish over Elisabeta with Oldman’s in the ’92 film. Landry Jones comes up short. And though Besson manages one pretty impressive wide shot of the Vlad armies, the earth burning behind them, nothing can compare to the macabre puppet masterpiece Coppola brought to the same scene. But, after Act 1, the film settles into some new territory. France! No Renfield, no Van Helsing, no fight for Lucy’s hand, no Demeter. Christoph Waltz (a little bit autopilot here) is a priest whose order has been tracking vampires for 400 years. With this storyline, Besson, who wrote the script, forges some new ideas. Newish. And Matilda De Angelis is a particular joy as Dracula’s helper. Fresh ideas aside, Besson doesn’t bring much Besson to the film. There’s too little action here, and most of it is carried out by little CGI gargoyles, more comedic than thrilling. One scene doesn’t naturally lead to the next, characters feel disconnected to the plot, and, worst of all, it’s very talky and a bit dull. I’d call it a fanciful period piece before I called it horror. It’s OK to borrow. What’s hard is to come up with anything original, because no fictional character has been on screen more often in the history of film than Dracula. Even Jesus hasn’t been depicted as often in film. So, it’s fine to borrow as long as you can do something new to merit another go. Besson just about accomplishes that. Just about. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >