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Film Feature by Chris Olson In the landscape of contemporary short-form cinema, few films have carried as much weight or resonated as deeply as Rock, Paper, Scissors . Following its triumphant BAFTA victory, the announcement that Franz Böhm’s powerful drama has been shortlisted for Best Live Action Short Film at the 2026 Academy Awards feels less like a surprise and more like a necessary recognition of a vital piece of art. At UK Film Review , we have long championed stories that transcend the screen to become part of a larger cultural conversation, and this film is a definitive example of cinema as an act of profound resistance. Read my Rock, Paper Scissors film review . Written and directed by Franz Böhm, the film is based on a harrowing true story that grounds the abstract horrors of conflict in a deeply personal struggle. The narrative follows a seventeen-year-old boy trapped with his father in a frontline hospital. When soldiers arrive, they are thrust into a claustrophobic moral vacuum, forced to make an impossible choice that defines the thin line between survival and sacrifice. It is a lean, devastating piece of storytelling that demands attention. However, the power of the film is inseparable from the extraordinary circumstances of its production. The lead performance by Oleksandr Rudynskyi is nothing short of remarkable, though the story behind it is tinged with tragedy. Rudynskyi was granted rare and specific permission to leave Ukraine during martial law to participate in the project—a testament to the perceived importance of this narrative. Cruelly, on the very day he arrived in the United Kingdom to begin work, he received news that his best friend had been killed in the ongoing war. This immense personal loss did not just shadow the production; it profoundly shaped and sharpened his performance, lending the film an authenticity that is as rare as it is painful to witness. The film's journey to the Oscars has been paved with an almost unprecedented level of official support. Backed by the Office of the President of Ukraine, the production received a wartime commendation that places the work within Ukraine’s national cultural memory. This is not merely a film about a war; it is a document of a people’s resilience. To secure this high-level support and ensure the story was told with absolute urgency, the film's producer twice entered active warzones. This level of commitment from a production team is almost unheard of in the short film world, highlighting a collective belief that some stories simply cannot wait for peace to be told. As we look toward the 2026 Academy Awards, Rock, Paper, Scissors stands as a frontrunner not just for its technical brilliance or its BAFTA pedigree, but for its soul. It is a film that reminds us that art is often the most effective weapon against silence. For the Academy to shortlist this work is a nod to the bravery of its creators and the undeniable power of Ukrainian storytelling on the world stage. It is a triumph for Franz Böhm and his team, and a haunting reminder of the human cost that remains at the heart of the headlines.

Star rating: 4/5 Writer: Chamara Prasanna Kodithuwakku Director: Ranga Bandaranayake Starring: Hemarisi Liyanage, Ramya Wanigasekara and John Dinesh Sandrawan Rightful Vision is an intelligent, caring piece of cinema. Written by Chamara Prasanna Kodithuwakku and directed by Ranga Bandaranayake, this story set in Sri Lanka showcases a very specific, crucial moment in a father and son relationship, where ambition and background, heritage and modernity, work and ethics all come to a head, and the son has crucial, life-changing choices to make. Starring Hemarisi Liyanage, Ramya Wanigasekara and John Dinesh Sandrawan, the script brilliantly explores the change in dynamics between mother, father and son as the son’s character makes decisions which are observed by his parents, and which affect them profoundly. The characters in Rightful Vision are well-written and memorable, with very well-defined character arcs, and they are brought to life with concise, intentional performances that express the story wonderfully. There is clearly much love for the material from these actors. Technically, the film is really strong, in the way independent films are. The beginning consists of beautiful documentary style moving shots, and dynamic TV segments. The predominantly rural and small-town locations are sumptuous, colourful, and full of sound, which makes them almost a character unto themselves. Sound, which is crucial to the film as it contains quite musical scenes throughout, brings the setting and cultural significance of the story to life. Even the introduction, which also contains music and is a memorable part of the film as was the fashion in decades gone by, gives it a ‘retro’ feel which, as the viewer will realise by the end, speaks to the story. Watching Rightful Vision from a non-Sri Lankan background and being, admittedly, ignorant of much of Sri Lanka’s history and current affairs, one cannot help feeling that more knowledge of the context would allow for even richer interpretation of the film, but this is through no fault in the film and equally serves to make the piece shine in a particular, truly stand-alone way for an audience member like me. The above being said, the universality of Rightful Vision’s story is undeniable. Heritage, personal choices, professional ethics, and the navigation of generational differences are recognisable experiences throughout humanity, throughout history. As the final (at points almost too sentimental) scene in this film portrays, with love and true consciousness, all of these can be lived through in a way that can make us stronger and better.

Christmas Film Reviews by Chris Olson The festive season in the United Kingdom is often presented through a lens of forced sentimentality. From the moment the first high-street department store advert airs in November, or the festive drinks from chain coffee shops starting even earlier every year, we are bombarded with a specific brand of cinematic cheer that demands our total emotional compliance. For many, this onslaught of sugary, predictable narratives is less of a holiday treat and more of a seasonal endurance test. However, cinema is a broad church. Even within the festive sub-genre, there are films that operate on a different frequency—films that embrace the messiness, the weirdness, and the sheer irritation of the holidays. If you find yourself rolling your eyes at the mention of a certain red-nosed reindeer or a predictable romance in a snow-covered village, this list is for you. These five films offer something different. They are the cinematic equivalent of finding a forgotten bottle of gin in the back of the cupboard when the sherry has run out. They are unconventional, occasionally unsettling, and frequently misunderstood. Love the Coopers (2015) (also known as Meet the Coopers ) We begin with a film that captures the absolute chaotic reality of the family reunion. Love the Coopers is often dismissed as a standard ensemble comedy, but look closer and you will find a remarkably cynical core. Directed by Jessie Nelson, the film follows four generations of the Cooper clan as they converge for their annual Christmas Eve dinner. What follows is not a celebration of family unity, but a slow-motion car crash of secrets, lies, and deep-seated resentments. For the Christmas hater, there is a distinct pleasure in watching Diane Keaton and John Goodman portray a couple on the brink of divorce, desperately trying to maintain a facade of domestic bliss for the sake of a tradition they both clearly find exhausting. The film excels when it leans into the awkwardness: the shoplifting, the unexpected hospital visits, and the bitter arguments over the dinner table. It acknowledges that the holidays often act as a pressure cooker for familial tension. It is messy, overstuffed, and at times genuinely bleak, making it a perfect antidote to the pristine perfection of a Hallmark original. The Polar Express (2004) Robert Zemeckis is a pioneer of motion-capture technology, but with The Polar Express, he inadvertently created one of the most unsettling festive films in history. While intended as a magical journey to the North Pole, the film has become a cult favourite for those who find the traditional "magic" of Christmas somewhat creepy. The "uncanny valley" effect—where animated characters look almost, but not quite, human—gives the entire production a dreamlike, bordering on nightmarish, quality. Tom Hanks voices multiple characters, including the conductor with his hauntingly rigid movements and the mysterious hobo who haunts the roof of the train. For a viewer who finds the relentless cheer of the season to be a bit "off," The Polar Express provides a visual experience that matches that internal unease. It is a technical marvel that feels more like a psychological thriller than a children’s adventure. The sequences involving the abandoned toys and the steep, icy mountain passes are genuinely tense. It is a film that captures the isolation and the coldness of winter far more effectively than it captures the warmth of the holiday. Read my The Polar Express film review . Klaus (2019) If your primary grievance with Christmas films is their reliance on tired tropes and lazy CGI, Klaus is the film that will change your mind. Directed by Sergio Pablos, this film is a visual masterpiece that utilises a unique hand-drawn animation style to tell a grounded, grittier origin story for Santa Claus. It avoids the cloying sweetness of most origin myths by starting in a place of genuine animosity. The protagonist, Jesper, is a spoiled, lazy postman sent to a frozen island above the Arctic Circle where the locals are engaged in a perpetual, bitter blood feud. There is no initial magic here; there is only spite and cold. The relationship that develops between Jesper and the reclusive carpenter Klaus is built on a foundation of mutual benefit rather than holiday spirit. It is a film about how kindness can be a byproduct of selfish intentions, which is a far more honest take on human nature than most festive fare allows. The animation is breathtaking, creating a world that feels tactile and lived-in. It earns its emotional moments through character development rather than seasonal obligation. Read our Klaus film review . Deck the Halls (2006) Many people hate Christmas films because they hate the consumerism and the performative nature of the holiday. Deck the Halls is a film that leans so heavily into these negative traits that it becomes a fascinating, if unintentional, satire of suburban madness. The plot revolves around a literal "size matters" competition between two neighbours, played by Matthew Broderick and Danny DeVito, as they fight to have the most elaborately decorated house in the neighbourhood. Broderick’s character is a man obsessed with order and tradition, while DeVito represents the chaotic, excessive side of the holidays. Their escalating warfare involves high-voltage electricity, stolen livestock, and a level of pettiness that is truly impressive. It is a film about how the desire to "celebrate" can turn people into monsters. While the film was not well-received by critics upon release, it holds a special place for those who enjoy watching the festive spirit collapse under the weight of ego and commercialism. It is loud, obnoxious, and utterly ridiculous—much like the holiday itself can be. Jack Frost (1998) Finally, we arrive at Jack Frost, a film that sits comfortably in the "bizarre" category. Michael Keaton plays a touring musician and somewhat negligent father who dies in a car accident on Christmas Eve, only to be reincarnated a year later as a snowman through the power of a magical harmonica. On paper, it sounds like a sweet family tale; on screen, it is a surreal meditation on grief and the terrifying implications of the supernatural. The visual of a talking, moving snowman with Michael Keaton's voice is undeniably strange, and the film oscillates between slapstick comedy and genuine tragedy in a way that feels deeply uncomfortable. For the cynic, the film is a fascinating look at the lengths to which filmmakers will go to shoehorn a "miracle" into a story. It captures the sadness of the season—the empty chair at the table and the lingering pain of loss—but wraps it in a premise so outlandish that you can't help but watch in disbelief. It is a film that refuses to be ignored, representing the weird, often clunky attempts we make to find meaning in the midst of winter. The beauty of cinema lies in its ability to reflect our varied experiences. While the majority of Christmas films aim for the heart, these five films—whether by design or by accident—aim for something else entirely. They acknowledge the friction, the oddity, and the occasional misery of the final month of the year. For those of you who prefer your eggnog with a dash of cynicism, these films provide the perfect viewing schedule. They allow viewers to participate in the season without having to buy into the myth of perfection.

★★★ Starring: #LilyFawn, #PaulKannuspuro, #SethMacdonald, #AdamZonnis, #AndreaZonnis Short Film Review by: Alexandra James This review is based on a music video for the song Black, played by the band Zonnis. This rock roll band includes couple Adam and Andrea Zonnis, and their message is to share songs of friendship and happiness, exploring the highs and lows of life and their passion for music. This is a great song, with beautiful harmonies and coupled with a fantastic guitarist. The energy and soul within this music video is apparent and the song itself is very catchy and enjoyable to any music lover. The song was very captivating and was a great way for the band to showcase their talent and message. To elevate the piece further, it would have been great to allow the band to have that centre stage they deserve. A dark room and lighting towards the band would have allowed the audience to remain invested throughout. An empty room allows focus on just the band and brings the lyrics to the forefront of the video which ultimately creates a perfect platform to showcase their abilities. Moreover, a similar vibe for the band would have visually been more appealing. It’s clear that each band member brings with them their own flare and uniqueness which needs to be present. However, even just wearing a similar colour such as black, which fits perfectly with the song, would have made all members look connected. To have one member of the band in a completely different colour and style creates a disconnect there. Nevertheless, the song itself and the harmonies from signer Andrea Zonnis, were a perfect combination and showed the amount of talent within the band. I really enjoy watching bands perform as it’s amazing to see the passion for music unfold on stage. To be able to hold an audience in such a way is pure magic and each member showed dedication to the show. This was a fantastic music video that evoked emotion, passion and full of energy. A rock and roll lovers perfect combination! Hopefully, Zonnis will produce more exciting songs and continue to express their message of peace and love through music.

★★★★★ Starring: #AishaHemissiLiu, #LucyMynard, #LyudHristov, #MichaelJames, #JoannaNsianguana Directed by: #PatrickSheard Short Film Review by: Alexandra James Roundabout is a short film directed by Patrick Sheard that focuses on modern day relationships, whether this be friendship or romantic. The audience are introduced to David and Stella, who wake up together after a heavy night out and are left awkward and uncomfortable after their encounter. After their night together, they part ways, however, this isn’t the last encounter they have. As the story develops, their lives begin to intertwine through connections and friendships with others, and they soon become linked again at a film premiere which looks rather familiar. Sheard displays the realities of adult relationships in its rawest form. In all honesty, no relationship is ever perfect, and navigating through the awkwardness, the excitement and mistakes of it, is all part in parcel of being an adult. Roundabout not only highlights the complexities of relationships but also the struggles of finding your career path or even socialising with friends. This short unpacks it all and clearly shows the realities of the adult world and is a self-reflective film that is intense and deep in every way. The film is set in 2006 and explores the theme of dating in the modern world. The highs and lows and casual experiences we face where you can fall into bed with someone and feel so close and wake up the next morning completely confused and act like strangers the next day. The narrative to this short film is captivating, and it was clever to see how each story intertwined and linked all the characters. Each character was going through their own personal struggle or attempting to find what they want out of life and within a relationship. The story was able to connect with the audience on so many levels its extremely relatable, whether set in 2006 or 2025. Dating, careers and friendships are all as tricky to understand now as it what nearly 20 years ago, no one is wiser! Which makes this short very easy to connect with in every way. Visually, Roundabout was beautifully shot, the colour and warm tones created a retro feel that felt distinctive. The acting was great from all the characters, occasionally the dialogue did not feel completely natural, but the reactions to certain situations such as the awkwardness of the morning after, did feel authentic and a realistic portrayal of that moment. This is a creative short film, brilliantly tying several stories into one to create a charming and real short on the complexities of relationships.

★★★ Starring: #MichaelBurtch Directed by: #ChristopherShoust Short Film Review by: Alexandra James This short film explores art in its purest form, directed by Christopher Shoust, the audience are exposed to the wonderful world of music and art combined. A Tear in the Fabric of Time focuses on a sound sculpture created by Michael Burtch on its 40th anniversary. The sculpture itself is located on the shores of St. Marys River and is made from ‘boat horns’ with a drum containing chimes and gongs standing at twenty-five feet tall. The huge chimes contrast significantly with the delicate sounds of the sculpture which are acoustic and far from overpowering. As the area is becoming increasingly popular, many people can visit and hear the beautiful sounds and become enveloped within its powerful effects. This film shows Michael Burtch playing a mixture of drums in front of the sculpture as it begins to chime simultaneously. The entire film is shot in super 8 which gives the film a mysterious and edgy feel to the piece. It’s a unique and interesting way to capture the sculpture and its musical tones. To add more depth to this short film, there could have been a mixture of shots used to remain engaged throughout. The sounds of the chimes were mesmeric but coupled with the cinematography it almost made the piece eerie in places, perhaps this was not meant to be the overall tone but that’s a message that came across. This is due to the filming style; it’s a unique way to capture the sculpture and this should be commended for experimenting with different filming techniques. It does elevate the short film completely, as well as connecting well with the alluring sounds of the sculpture. This was a fantastically alluring film that highlights the importance, power and influence art can have within life. Shoust creates a space to showcase this wonderful piece, and it’s a perfect way to inspire unique and exciting artwork and creativity from others. It’s crucial that originality and the ability to express yourself stays very much alive within this world.

Film Feature by Chris Olson Boxing Day. It is, without question, a critical day in the entire cinematic calendar for UK distributors. This is the moment when the public, saturated with turkey and family chat, flocks to the multiplexes seeking refuge and spectacle. The release schedule for December 26, 2025, reflects this perfectly. It is a carefully curated platter designed to hit every demographic: a major awards contender, a family animated caper, a psychological thriller for the adults, and a couple of essential niche picks for the prestige audience. It is a masterful piece of counter-programming against the seasonal cheer, ensuring that whether you want high-octane drama or underwater silliness, you have a reason to queue up. Marty Supreme Leading the charge into the festive fray is Marty Supreme , a film that has already generated considerable buzz across the Pond. This is the biopic that absolutely no one saw coming, yet one that seems perfectly tailored for end-of-year awards glory. The film follows the flamboyant life of legendary ping pong player Marty Reisman, a hustler and eccentric who became a champion in a sport often dismissed as a mere pastime. With Timothée Chalamet in the lead role, this movie has the star power to draw in the curious crowd, while the unexpected nature of the subject matter ensures it carries the necessary cinematic weight to be taken seriously by critics. Chalamet, who has a knack for selecting roles that balance prestige with mainstream appeal, is said to deliver a performance full of swagger and meticulous detail. Director Josh Safdie, known for his relentless, high-energy style, promises that this will be anything but a standard sports biopic. We expect a frenetic, character-driven study of obsession and showmanship, a welcome shot of adrenaline for those suffering from post-Christmas lethargy. The Spongebob Movie: Search for Squarepants For the mandatory family outing, we have The Spongebob Movie: Search for Squarepants . While the title may suggest a straightforward animated feature, the SpongeBob films have a long history of delivering some of the most surreal and genuinely clever humour in modern animation, satisfying both children and the adults dragged along to watch it. Following on from the huge success of the companion television series, this new instalment, directed by Derek Drymon, is poised to continue that legacy of zany slapstick and ridiculous world-building. These films are perfect Boxing Day fodder because they offer simple, vibrant escapism. You don't need to engage with complex themes or existential dread; you just need to appreciate the absurdity of a talking sponge and his starfish best friend embarking on a deep-sea adventure. It's safe, fun, and commercially vital to the overall release strategy. The Housemaid (2025) The Housemaid Providing the necessary darkness to balance the Christmas light is The Housemaid , a psychological thriller that looks set to terrify audiences seeking a break from feel-good fare. Starring the formidable pairing of Sydney Sweeney and Amanda Seyfried, the film is an adaptation of a bestselling novel that promises claustrophobic tension. Sweeney plays a struggling young woman who takes a job as a housemaid, only for her fresh start to spiral into an oppressive and terrifying ordeal. What makes this particularly intriguing from a critical perspective is the director, Paul Feig, a filmmaker traditionally associated with comedy. That unexpected pedigree suggests a subtle, character-focused tension, rather than a reliance on cheap thrills. It’s an ideal counter-programming choice, offering a sophisticated, high-stakes thriller that will dominate post-holiday discussions. Sentimental Value Finally, the remaining two spots on our top five list are filled by the kind of specialised, critical films that often thrive in the Boxing Day window as audiences seek out true quality. Mubi is bringing us Sentimental Value , a title that sounds like pure, prestige arthouse cinema. While plot details are usually scarce on these Mubi-backed dramas, the presence of a film titled Sentimental Value on the Boxing Day slate confirms the distributor's strategy of positioning challenging, internationally acclaimed cinema against the multiplex blockbusters. These are the films for the cinephile, the audience member keen to catch up on the year's critical darlings before the award shows kick off in January. Bowie: The Final Act The last of our quintet is Bowie: The Final Act , a documentary that looks to be a must-see for music historians and casual fans alike. Documentaries often perform exceptionally well during the holidays, offering a compelling alternative to fiction. While details on this specific feature are tightly controlled, the title suggests a focus on the final, creatively vibrant period of the legendary musician's life. Distributed by Dogwoof, a name synonymous with high-quality non-fiction, this film has the potential to be a respectful, yet deeply moving, tribute. This Boxing Day selection is arguably one of the most balanced in recent memory. It’s a smart slate that caters to every mood the public might be in after the 25th. Whether you choose the high-stakes ping pong drama, the deep-sea cartoon antics, or the chilling domestic thriller, UK cinemas are ready to welcome the masses with a feast of diverse and compelling content. As a critic, I look forward to the sheer variety—it means there is truly something worth reviewing for everyone. Watch more of the latest film trailers .

Christmas Film Feature by Chris Olson Right, listen up. It’s that time of year again when the air gets crisper, the lights go up, and we, the great British public, collectively yearn for the cinematic comfort blanket that only a truly great Christmas film can provide. But in an age of streaming excess, where do you begin? Fear not, cinephiles. As the resident Christmas curmudgeon-turned-cheerleader here at UK Film Review , I’ve done the heavy lifting. I’ve scoured the digital schedules of Netflix, Disney Plus, and NOW TV for December 2025 to craft the definitive, pre-Christmas viewing schedule. This is not just a list of films; it's an optimised, strategically brilliant 12-day cinematic countdown to Christmas morning. The quality of this line-up speaks for itself. It’s a delightful mix of the established classics, the necessary modern staples, and even a brand new offering from one of our national treasures. So, grab a mince pie, pour a generous measure of something warming, and let’s get this festive season properly underway. "Where to Watch" location correct as of date of publishing for UK audiences Film 1: The New Arrival 16th of December – That Christmas Where to watch:  Netflix We kick off our cinematic advent calendar with a brand-new slice of festive animated cheer, and one penned by the incomparable Richard Curtis, no less. That Christmas  arrives on Netflix with the kind of prestige voice talent—Brian Cox, Fiona Shaw, Jodie Whittaker, and Bill Nighy—that suggests a film with both heart and proper comedic timing. Director Simon Otto, in his feature debut, has the formidable task of translating Curtis’s signature gentle, interconnected storytelling into animation, a format that offers endless visual possibilities. It’s based on a series of short stories, focusing on the small dramas and chaotic love lives of several families in a quaint seaside town. What makes this so compelling is the promise of that quintessential Curtis warmth: the slightly awkward, deeply sincere moments of human connection that define British romance and comedy. We’re expecting something wholly charming, a film that doesn't just feature Christmas but truly embodies the feeling of it—the domestic messiness, the quiet miracles, and the absolute necessity of a giant, cumbersome turkey. Start the 12-day run with a fresh injection of optimism. It sets the tone perfectly. Film 2: The Heart-Warming Retelling 17th of December – Miracle on 34th Street  (1994) Where to watch:  Disney Plus Next up is the 1994 retelling of the absolute cornerstone of Christmas cinema, Miracle on 34th Street . While many hold the 1947 original as sacrosanct, the John Hughes-penned update is a beautiful, glossy piece of nineties nostalgia that deserves its place in the rotation. It’s a film that asks us to simply believe , and sometimes, that’s precisely what we need when the Christmas shopping becomes unbearable. Richard Attenborough is simply magnificent as Kris Kringle, embodying a serene and genuine warmth that is utterly convincing. His performance anchors the story, allowing the drama—the court case to prove his sanity and identity—to feel genuinely consequential. Alongside him, a young Mara Wilson brings a delightful cynicism that melts away beautifully as the magic takes hold. Director Les Mayfield keeps the tone light whilst ensuring the central message—the commercialisation of Christmas stifling true belief—shines through. It’s a beautifully shot, wonderfully acted film, and a sterling example of Hollywood festive filmmaking. Film 3: The Modern Gold Standard 18th of December – Elf  (2003) Where to watch:  NOW TV If you were to poll the nation on the film that most defines the modern Christmas cinematic experience, Elf  would be a frontrunner. Jon Favreau’s 2003 masterpiece is a joyous, relentlessly funny fish-out-of-water story. Will Ferrell’s turn as Buddy, a human raised in the North Pole who ventures to New York to find his biological father, is a career-defining performance of complete, unadulterated, and slightly terrifying sincerity. The script is razor-sharp, delivering absurd comedic moments ("You sit on a throne of lies!") alongside genuinely touching scenes. James Caan, as Buddy's cynical businessman father, is the perfect foil, representing the exhausted, over-worked reality that Buddy’s pure, enthusiastic spirit must overcome. The aesthetic is perfect, blending the whimsical, stop-motion look of the North Pole with the gritty, slightly depressing colour  palette of early-2000s New York. Elf  isn't just a funny film; it’s a brilliant examination of what happens when innocence confronts the apathy of the adult world. It’s a mandatory viewing, and NOW TV has it ready for us. Film 4: The Consumerism Critique 19th of December – Jingle All the Way  (1996) Where to watch:  Disney Plus Let's face it, Christmas is as much about the commercial pressure cooker as it is about goodwill. And no film skewers that particular panic quite like Brian Levant’s Jingle All the Way . Starring Arnold Schwarzenegger as the workaholic father Howard Langston and Sinbad as his obsessive rival Myron, the film is a flat-out, frantic search for the must-have toy, Turbo Man, on Christmas Eve. It’s an action-comedy, yes, but its satire of parental desperation and marketing hysteria is still painfully accurate today. Schwarzenegger, with his wonderfully wooden but utterly committed performance, throws himself into increasingly ludicrous situations, including brawling with a department store Santa and fighting Sinbad's Myron through the streets of Minneapolis. It is a loud, brash, and at times wonderfully silly film. The plot is simple, but the energy is infectious, making it a perfect Friday night watch as we edge closer to the big day. It’s the perfect antidote to the saccharine sweet flicks, offering a necessary dose of explosive holiday stress. Film 5: The Mean One 20th of December – How The Grinch Stole Christmas  (2000) Where to watch:  Disney Plus Ron Howard’s adaptation of the Dr. Seuss classic is a visually astonishing spectacle. It’s also unapologetically dark and strange, largely thanks to Jim Carrey's utterly transformative performance as the titular, green-furred misanthrope. Carrey, buried under some of the most impressive and Oscar-winning makeup of the era, turns the Grinch into a creature of gleeful, vaudevillian malice. The town of Whoville itself is a stunning, sugar-rush explosion of production design, contrasting brilliantly with the Grinch's desolate mountain lair. Whilst the film sometimes struggles with the necessary expansion from a slim children's book to a feature-length production, its central theme remains powerful: the true spirit of Christmas cannot be bought or stolen. The introduction of a backstory for the Grinch, showing how the consumerist obsession of the Whos created his hatred, adds a compelling, albeit tragic, layer to the narrative. It’s a maximalist, high-energy affair, ideal for getting into the full swing of the final festive week. Film 6: The Chaos Classic 21st of December – National Lampoon’s Christmas Vacation  (1989) Where to watch:  NOW TV The Sunday night before Christmas Eve is reserved for the undisputed king of festive calamity: National Lampoon’s Christmas Vacation . Once again, written by the masterful John Hughes, this is the ultimate portrait of a man’s delusional pursuit of the ‘perfect’ Christmas. Chevy Chase’s Clark Griswold is a glorious study in optimistic hubris, a man whose best intentions always pave the road to utter disaster. Directed by Jeremiah S. Chechik, the film ratchets up the domestic chaos to an almost unbearable degree, from the infamous 25,000 twinkle lights debacle to the arrival of the spectacularly uncouth Cousin Eddie (Randy Quaid). It’s an American story, yes, but the anxieties—the forced family togetherness, the disappointment of the year-end bonus, the struggle to carve the turkey—are universally relatable. It’s rude, loud, and utterly brilliant, finding genuine warmth amidst the anarchy. It’s a cultural touchstone that never fails to land its punches and remind us that sometimes, imperfection is the most festive thing of all. Film 7: The Aardman Masterpiece 22nd of December – Arthur Christmas  (2011) Where to watch:  NOW TV Mid-week madness calls for a film that perfectly blends innovative storytelling with classic British charm, and Aardman's Arthur Christmas  is a near-perfect animated feature. Directed by Sarah Smith, this film offers a thrilling, high-tech update on the logistics of Santa’s operation, imagining it as a military-grade, precision-engineered marvel run by Santa's eldest son, Steve (Hugh Laurie). The real hero, however, is James McAvoy’s voice performance as Arthur, the clumsy, over-eager youngest son whose faith in the old ways is reignited when a single present is misplaced. Alongside the brilliant Bill Nighy as Grandsanta, this is a beautiful blend of slapstick, heart, and adventure. It’s a timely reminder that the essence of Christmas is not efficiency or speed, but making every single child feel special. The design is wonderful, the pacing is fantastic, and the vocal performances, particularly Jim Broadbent as a rather tired, modern Santa, are pitch-perfect. It's a hugely underrated festive classic that deserves to be seen. Film 8 (Double Bill Part I): The Rom-Com Kick-Off 23rd of December – Bridget Jones’s Diary  (2001) Where to watch:  NOW TV Now we enter the true home stretch. For the day before Christmas Eve, we’ve opted for a double bill of essential British rom-com. Starting us off is the film that firmly established the career of Renée Zellweger in the UK: Bridget Jones’s Diary . While not exclusively a Christmas film, it starts and ends with those crucial New Year periods and features THAT magnificent reindeer jumper, giving it all the festive credentials we require. Directed by Sharon Maguire, the film is a triumph of relatable chaos. Bridget, in her early thirties, single, obsessed with her weight and finding a man, resolves to take control of her life by keeping a diary. Her romantic tug-of-war between the roguishly charming Daniel Cleaver (Hugh Grant) and the stiff, yet sincere, Mark Darcy (Colin Firth) is cinema gold. The chemistry between the leads is electric, and the supporting cast—Jim Broadbent and Gemma Jones as her well-meaning but overbearing parents—adds necessary warmth. It’s funny, deeply empathetic, and an absolute joy to watch before we shift gears for our second feature of the night. Film 9 (Double Bill Part II): The Great Ensemble 23rd of December – Love, Actually  (2003) Where to watch:  NOW TV/Netflix Could we truly have a UK Christmas countdown without Richard Curtis’s multi-layered behemoth? Love, Actually  is the great debate of British festive cinema—cynical masterpiece or saccharine schmaltz? Regardless of where you land, its presence is undeniable, and its interconnected stories, all set during the frantic month before Christmas, capture the complicated, messy reality of love better than almost any other holiday film. The cast is a who's who of British talent: Hugh Grant’s dancing Prime Minister, Emma Thompson’s heartbreaking betrayal scene, Liam Neeson’s grieving stepfather, and Bill Nighy’s scene-stealing, washed-up rocker Billy Mack. Curtis directs with a sprawling ambition, weaving the narratives together with the kind of emotional manipulation that only he can pull off with such sincerity. It’s a film that asks us to look closely at all forms of love—familial, romantic, platonic, and even self-love—and concludes, simply, that it is ‘actually’ all around. It's the perfect pre-Christmas Eve film: long, star-studded, and deeply romantic. Film 10 (Double Bill Part I): The Ultimate Latchkey Kid 24th of December – Home Alone  (1990) Where to watch:  Disney Plus Christmas Eve is the main event, and we are celebrating with a classic double bill of John Hughes-scripted, Chris Columbus-directed genius. First up is the original, Home Alone . Macaulay Culkin’s Kevin McCallister, accidentally left behind as his family jets off to France, is the ultimate wish-fulfilment fantasy for any child who has ever felt overlooked. The film operates on two levels. Firstly, it’s a sweet, if slightly tear-jerking, story of Kevin learning self-reliance and the true value of his family. Secondly, and more memorably, it is a masterclass in slapstick violence. Joe Pesci and Daniel Stern, as the ‘Wet Bandits’ Harry and Marv, endure a battery of elaborate and utterly ludicrous booby traps that are simultaneously horrifying and side-splittingly funny. The comedy is broad, the stakes are high, and the John Williams score is pure Christmas magic. It’s the perfect warm-up for a night of present wrapping and last-minute tidying. Film 11 (Double Bill Part II): The Big Apple Adventure 24th of December – Home Alone 2: Lost in New York  (1992) Where to watch:  Disney Plus You could argue that Home Alone 2: Lost in New York  is simply a bigger, louder retread of the original, and you wouldn't be entirely wrong. But sometimes, bigger and louder is exactly what Christmas Eve demands. The sequel once again sees Kevin separated from his family, this time boarding a flight to New York City whilst the rest of the McCallisters head to Florida. Armed with his father’s credit card, Kevin turns the Plaza Hotel into his playground. The film benefits hugely from the change of setting. New York at Christmas is a glorious, glittering backdrop for Kevin’s exploits, culminating in an epic showdown with the (now ‘Sticky’) Bandits in an abandoned brownstone. Chris Columbus maintains the same chaotic energy and heartwarming centre, but the booby traps here are even more inventive, and the inclusion of Tim Curry as the concierge adds a fantastic layer of sophisticated comedy. It perfectly complements the original, providing a crescendo of comic action before the quiet anticipation of Christmas morning descends. Film 12: The Grand Finale 25th of December – The Muppet Christmas Carol  (1992) Where to watch:  Disney Plus And finally, Christmas Day. After the presents have been opened, the turkey is resting, and the initial frenzy has subsided, the day demands a film of maximum comfort and undeniable festive quality. There is only one choice: Brian Henson’s masterpiece, The Muppet Christmas Carol . It is, quite simply, the greatest adaptation of Charles Dickens's classic novella ever committed to film. Michael Caine, as Ebenezer Scrooge, plays his role with utter conviction, never once acknowledging the felt and foam creatures surrounding him. His performance grounds the film, allowing the Muppets to inject their signature irreverence and brilliant comic timing without sacrificing the gravitas of Dickens's moral tale. Gonzo, as Charles Dickens, and Rizzo the Rat, are the perfect narrative guides, providing running commentary and much-needed levity. The Paul Williams songs are sublime, particularly the haunting ‘When Love Is Gone’ and the rousing, life-affirming ‘Thankful Heart.’ The film captures the spirit of redemption, generosity, and the joyous transition from cynicism to warmth better than any other. It’s beautifully designed, wonderfully British in its execution, and a film that appeals to every generation watching. It’s a magnificent, perfect piece of Christmas cinema, and the only logical choice to cap off our ultimate festive viewing schedule. There you have it—your full, 12-day, stress-free guide to Christmas cinematic viewing for 2025. It’s a schedule designed to optimise the festive feelings, moving from sweet anticipation through hilarious calamity, and culminating in a moment of pure, heartfelt redemption. Streaming services like Netflix, Disney Plus, and NOW TV offer a marvellous opportunity to curate a perfect holiday season, bypassing the tiresome search and cutting straight to the quality. These films are more than mere entertainment; they are cultural mainstays, the cinematic shorthand for Christmas itself. So, get your viewing schedule pinned up, inform the family of the required viewing dates, and prepare for a Christmas that is truly and properly filled with outstanding British and American filmmaking. From the whole team here at UK Film Review , may your screens be bright, and your heart be light. Merry Christmas. And read more Christmas film reviews here.

Film Feature by Chris Olson The news landed like a tremor in the geekosphere: Peter Jackson’s seminal fantasy trilogy, The Lord of the Rings, is set for a massive return to UK cinemas in January 2026 . For a generation of filmgoers, this is nothing less than a pilgrimage—an opportunity to witness the vast plains of Middle-earth, the epic battles, and the quiet weight of a hobbit’s burden, all in the place they truly belong: the gigantic, light-eating darkness of the big screen. It is an undeniably exciting prospect, one that speaks volumes about the enduring power of cinematic spectacle. But this latest, high-profile re-release begs a crucial question for the industry: should cinemas continue to rely so heavily on cycling popular, decades-old film franchises back into circulation? While the financial benefits are clear, we must consider the artistic cost of dwelling in the past. The immediate and most potent argument in favour of these re-releases is the power of nostalgia and the undeniable communal experience. For many, The Fellowship of the Ring, The Two Towers, and The Return of the King were pivotal events in their lives, perhaps even their first major blockbuster cinema trip. A re-run is not just a film; it’s a time machine, an emotional trigger that fills auditoriums with a shared, fervent appreciation that is often missing from a Tuesday night screening of the latest, lukewarm sequel. Furthermore, these franchises often possess the kind of visual scope and sound design that home viewing, even with the best modern technology, simply cannot replicate. The scale of the Millennium Falcon, the chilling echo of the Balrog’s roar, or the dizzying heights of Hogwarts are all diminished when constrained by a living room wall. Cinemas, at their best, are cathedrals of spectacle, and throwing a beloved classic back onto the silver screen ensures that the film’s original, ambitious vision is preserved and experienced as intended. It also serves a vital function in educating a new generation of film fans, allowing them to experience the works that shaped modern #filmmaking without the distraction of a phone screen or the pause button. Financially, they represent a safe bet, providing necessary revenue streams for exhibitors during traditionally quiet periods or when the theatrical release schedule is looking thin. Yet, this reliance on established intellectual property—even when packaged as a 'classic' event—carries a significant risk. For all the joy a re-release of Star Wars or The Dark Knight brings, every screen dedicated to a twenty-year-old film is a screen taken away from something new. Independent cinema, small-budget features, and emerging filmmakers already struggle immensely to secure even a handful of desirable slots in major multiplexes. When those precious few screens are instead handed over to a known quantity that has already recouped its cost a hundred times over, it chokes the oxygen supply for contemporary, original storytelling. The industry needs to be wary of becoming a museum of past glories. While honouring classics is essential, prioritising them over new voices sends a worrying signal: that the only films worth seeing in a cinema are those already validated by history and massive box office returns. It can also lead to a saturation point, where the special event status of a re-release is diluted. If everything is an event, then nothing is. The balance, as always, is key. The occasional, well-timed, and genuinely meaningful re-release—like the announcement for The Lord of the Rings—is a powerful tool to remind us why we fell in love with cinema in the first place, bringing financial stability and nostalgic comfort. However, if the business model shifts too far towards being an expensive rerun service, it ceases to be a forward-looking industry. Cinemas must continue to champion the new, the bold, and the risky, otherwise, they risk creating a sterile environment where innovation is sacrificed at the altar of comfortable, familiar franchise fanfare. We can cherish the past, but we must invest in the future.

Film Feature by Chris Olson The rumour mill has been churning for months, but a new, deliberately understated poster for Kristoffer Borgli’s 2026 feature, The Drama, has finally given us something tangible to sink our teeth into. And, as expected from an A24 production helmed by the singular talent behind Dream Scenario, the first piece of publicity is far from conventional. It’s an intimate, grainy photograph that speaks volumes about the star power and potentially unsettling tone awaiting us when the film lands on April 3. The poster itself immediately establishes a certain aesthetic. It’s styled like a vintage Polaroid, complete with the slight blurring and warm, saturated colours typical of an old photograph. It’s an immediate signal that this is not a sweeping epic or a glossy blockbuster. It suggests a certain observational intimacy, perhaps a character study, a window into a private life. Front and centre are the two colossal talents the entire project hangs on: Zendaya and Robert Pattinson. Pattinson, sporting a pair of thick-rimmed spectacles and a slightly dishevelled look, leans into the camera with an expression that is half-smirk, half-surprise. He has entirely shed the brooding gothic cape of his early career, having expertly navigated a transition into the world of challenging, auteur-driven cinema. The glasses alone suggest a shift away from physical action towards something more cerebral, perhaps a writer or an academic caught up in the titular conflict. Positioned close behind him is Zendaya, her arm looped around his neck, her hand resting on his chest, a distinctive ring catching the light. She gazes directly at the viewer with a measured, knowing look that is utterly magnetic. The chemistry, even in this static image, is palpable—a mixture of comfort and co-dependence that hints at a complex relationship at the film’s core. It is the kind of image that raises a flurry of questions: Are they a couple? What is the ‘drama’ they are facing? Is the invitation “cordially invited to” an invitation into their private turmoil? Sick of Myself Official Trailer The involvement of Kristoffer Borgli is arguably as exciting as the pairing of the lead actors. Borgli has an established flair for dark satire and the anxieties of the modern age. His previous works, such as Sick of Myself, demonstrate a willingness to dissect the uncomfortable facets of ambition and ego with a surgical precision wrapped in bleak comedy. Knowing this, the seemingly benign intimacy of the poster takes on a subtly unsettling edge. We can expect The Drama to be a far cry from a typical romantic comedy; instead, it is likely to be a darkly comedic dissection of a contemporary relationship under pressure. With the formidable backing of A24, a studio synonymous with distinctive, uncompromising filmmaking, and a director who thrives on boundary-pushing narrative, The Drama instantly vaults into must-see territory for 2026. The new poster is a masterclass in minimalist publicity, achieving maximum buzz through quiet confidence. It doesn't need explosions or a lengthy synopsis; the image of its two brilliant leads, framed so intimately, accompanied only by the director's name and the promise of a date—April 3—is more than enough to have the entire UK critical establishment counting down the days until release.

Star rating: 5/5 Writer: Joe Burden Director: Joe Burden Starring: Ken Ogborn and Paige Kimberley This political, unapologetic film is a strong, thought-provoking and piece. It’s a good moment to reveal to our readers one of my unpopular opinions: brutalist architecture is amazing, and beautiful. The British iteration of the brutalist movement brought with it the concept of ‘neighbourhoods in the sky’, first proposed by Peter and Alison Smithson in the 1960s. The aesthetic result of this idea was immortalised, for example, in the cover of The Beatles’ first album. The Brutalist bring this spirit to life fully. The main character in the film, a middle-aged photographer, rages against the iPhone when a photography enthusiast approaches him and takes pictures with her phone. We discover that he is working on a documentary about brutalist architecture, its functionalities, vision and spirit. He tells the viewers about the social architecture approach, and how the movement considered lived spaces, for ordinary people. There is, we are told, a sharp difference in how society developed in the decades following, a shift that culminated in neo-liberalism and an abandonment of the communal ideas that Brutalism embraced- the Thatcherite turn, we might call it. The film showcases beautiful and imposing shots of a Leicester landmark, the Lee Circle Car Park, opened in 1961, which was the first of its kind in Europe. The photographer manages to make the space the main character; low-angle close ups, wide shots, all bring the huge structure to life. The cinematography of the night-time scene it ends with adds to the film’s message and spirit. The Brutalist is a must-watch for anyone with a particular love for locations, which always include built heritage, and their role in film as an art form. ‘People get what they deserve’, says our photographer. Perhaps, although I would look at it from a different angle: people don’t get what they don’t ask for. The unapologetic energy and far-reaching view of art which The Brutalist expresses is deeply inspiring.

Film Feature by Chris Olson It’s the film that has been quietly dominating film searches on streaming platforms, proving that a brutally effective neo-western can still cut through the noise of blockbuster cinema. Director Nick Rowland’s searing crime thriller, She Rides Shotgun , has been met with significant critical praise and overwhelming audience approval since its release. Now, for film fans across the United Kingdom who have been waiting patiently, the good news is that the picture is readily available. You can watch She Rides Shotgun right now on Amazon Prime Video. Based on the highly-regarded novel by Jordan Harper, the film is far more than your typical 'man on the run' story. It’s an unflinching examination of inherited trauma, the dark pull of a criminal past, and the profound, transformative bond between a father and daughter who are forced together by circumstance. Featuring a pair of astonishing lead performances from British talent Taron Egerton and the truly exceptional young actor Ana Sophia Heger, this is a film that demands to be watched, and its arrival on Prime Video ensures that UK audiences can now fully appreciate its considerable power. The film's pedigree is immediately evident. Nick Rowland, who previously delivered the brooding and excellent Irish drama, Calm With Horses, brings that same commitment to raw emotional truth and gritty atmosphere to the American landscape. As our own George Wolf at UK Film Review noted in his She Rides Shotgun film review , the film shares the same roots of generational violence that propelled Rowland’s earlier feature. Here, however, the focus is shifted to craft sharp edges from the tragically familiar backdrop of the American meth epidemic, a world where the law and the criminal element are often indistinguishable. Rowland's direction is measured and controlled, working levels of camerawork, pace, and performance that give familiar themes relevant, vital life. Taron Egerton stars as Nate McClusky, an ex-convict who, upon his release from prison, discovers he has been marked for death by the powerful Aryan Steel street gang—a consequence of a prison vendetta. Nate’s family are targeted, forcing him to whisk his eleven-year-old daughter, Polly, away from school. With his ex-wife murdered, Nate becomes the prime suspect in a kidnapping and murder investigation, painting a target on his back from the authorities as well as the gang members hunting them down. He must take Polly on the run, cutting and dying her hair to evade the authorities and embarking on a bloody, desperate journey to survival. Egerton’s commitment to the role is absolute; he delivers a passionate performance as the desperate man who has one last shot at redemption. He is intense, taut, and terrific, channelling a barely controlled violence that is always underpinned by his fierce, singular desire to keep his daughter alive. Yet, the true discovery of the film is Ana Sophia Heger as Polly. She is, quite simply, the one audiences will be talking about long after the credits roll. George Wolf highlighted her work as one of the most impressive child performances in years. Polly is precocious and wary, thrown into an adult world of violence and fear, yet she does not shrink from it. As the film progresses, the dramatic intensity increases, and Heger simply amazes, displaying a wonderfully authentic chemistry with Egerton that shines in their quiet moments of bonding. We watch as the father teaches the daughter how to survive, and in turn, she teaches him about unconditional love. The film’s emotional climax is delivered through a gradual, extended close-up on Heger, a sequence that leaves you astonished at her level of emotion and control. It is a gripping reminder of the boundless potential of this young actor and elevates the entire picture beyond its genre trappings. Adding to the tension is the formidable presence of John Carroll Lynch. The reliable character actor digs into the role of the crooked Sheriff Houser, the self-proclaimed “God of Slabtown,” who facilitates the local criminal enterprise. Lynch is superb, mining tension and terror through a measured commitment to brutality, providing a suitably chilling adversary for Nate and Polly. She Rides Shotgun is a raw, modern noir, where violence and tenderness are intertwined, set against the unforgiving canvas of the American Southwest. It is a privilege to have a film of this quality so accessible for UK audiences. Whether you are drawn in by the explosive action and neo-western atmosphere or by the powerful, complex performances, She Rides Shotgun is an essential addition to your Prime Video queue. It’s a film that works on all cylinders, providing both an exhilarating ride and a deeply moving emotional core.