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Film Feature By Chris Olson The short film format is the crucible of cinematic genius. It demands not only a singular vision but a ruthless efficiency of storytelling. For a film to earn a five-star rating from UK Film Review is to declare it a masterpiece—a work of art that is as flawless as it is unforgettable. This year, the quality of submissions has been staggering, yielding a definitive list of 20 short films  that represent the absolute pinnacle of global and independent filmmaking. Still from short film Wish You Were Here These films are not mere stepping stones; they are complete, powerful statements that traverse every genre, from brutal social commentary to haunting folk horror. If you want to know where the most exciting talent is operating right now, this list is your guide. Emotional Depth & Character Studies These films find universal truth in the most intimate human experiences, using brevity to amplify emotional resonance. 29 de Febrero : Chris Buick  called this poignant Spanish short a "rare blend of emotion and drama" that is a "sobering depiction of the harshness of growing well past your best years," balanced by a sense of hope. Falling Rocks : Chris Buick  also championed this authentic drama, praising its focus on strained friendships in rural Northern England and its ability to capture "that palpably growing distance" between old friends. Hidden Wounds : Jason Knight  highlighted this powerful drama about a war veteran who, though home, is mentally "still in the battlefield," acknowledging the film’s powerful commentary on post-war trauma. Make Believe : Jason Knight  celebrated this drama about a young mother and daughter struggling in England, noting how the film captures the difficulty of their lives and the depth of their bond. Safe : Jason Knight  praised this "powerful short drama" for exploring complex social issues through the eyes of a helpline counsellor, emphasizing the vital work and important subject matter addressed. Social Commentary & Cutting Satire The short film is an ideal vehicle for cultural critique, delivering powerful messages with wit and uncompromising focus. Bury Your Gays : Holly Baker  deemed this a "terrific satire" that cleverly dismantles a damaging queer trope, using irony and comedy to highlight cinematic injustice. Wish You Were Here : Chris Buick  celebrated this for delivering a "delightfully dark and humorous twist on our perceptions of modern-day internet culture," starring an adorable pensioner whose online actions make the viewer feel "oddly complicit." Is This The Bed We Lie In? : Holly Baker  reviewed this as a controversial but tender exploration that "questions marital values," using "delicate performance styles" to explore the complexities of love and personal freedom. Good Luck Fuck Face : Chris Olson  highlighted this film as a hilarious "tale of relationship revenge" where two friends plot the downfall of a cheating husband, finding humour in modern relationship breakdowns. The Secret Assistants : William Curzon  hailed this short as a "scathing indictment of the film industry and how it continuously exploits underprivileged artists," showcasing a fierce power play in a job interview setting. Genre & Horror Excellence From psychological dread to folk terror, these films proved that high-concept genre stories can be masterfully executed in a short runtime. The Dog : Matt Trapp  praised this "complex character study" of a vet struggling with her emotional burden, noting the "dark, brooding atmosphere" and horror elements used to build a "crushing" institutional environment. Grima : Jason Knight  hailed this as a "very well-made short with plenty of scares," driven by a terrifying teacher and the primal dread of the sound of nails on a chalkboard. Honey : Jason Knight  noted this short psychological horror thriller, set in 1978 Wales, succeeds in creating atmosphere and suspense through its isolated location and eerie premise. The Lantern Man : Patrick Foley  reviewed this as a "short horror based on English folklore" where the protagonist is haunted by visions, leaving the viewer to ponder whether the true terror is real or in the mind. The Axe Forgets : Patrick Foley  highlighted this short for its profound depth, noting that it takes inspiration from an ancient African proverb to examine those who cause destruction but move on without consequence. Technical & Visual Masterpieces These films earned their five stars through spectacular technical execution, innovative form, or flawless conciseness. A Wanderer's World : Jason Knight  celebrated this documentary for its visual triumph, calling it a "mesmerising and thoughtful journey" that captures the vast, "wonderful" beauty of the British countryside. The Craftsman : Jason Knight  lauded this as a "beautiful short animated film" that tells an inspiring, true account of a great-grandfather's creative achievements with remarkable artistry and voice-over. Wavelength : James Learoyd  found this to be one of the "more beautiful animated short films this critic has ever seen," calling it a "transcendent fusion of poetry and design" that is highly evocative. In Absence : James Learoyd  stated that it would be "difficult to fault Paul Nevison’s In Absence  for really any aspect relating to the technical department," calling the 24-minute drama on memory and loss "perfect" from an audio-visual standpoint. Flying : Jason Knight  noted this as a triumph of conciseness, a three-minute short that "tenderly explores the relationship between a woman and her son" using a simple conversation about superpowers to great emotional effect. These 20 five-star short films  from 2025 are a powerful indicator of the talent emerging in independent cinema. They are films that deserve to be seen, studied, and celebrated. We urge all discerning viewers to dive into our archives at UK Film Review and experience the full force of these unmissable works. (Films Included In This List Were Selected from January 2025 up to November 13th).

Star Rating: 3/5  Writer: Sean Wilkie Director: Sean Wilkie Cast: Jennifer Byrne, Matt McLure, Ilaria Nardini, Chris Somerville, Sean Wilkie, Gareth Hunter, Ross Maxwell, Carmen Pieraccini.  The horror genre is potentially the hardest genre in which to create great cinematic work. Like with romance, the temptations to fall into cliches are many and consistent.  The Bench does showcase some examples on how this happens. On the other hand, it does contain some elements of the best horror works.    The main highlight is the setting. We've seen the group of friends in the cabin in the woods, middle of nowhere story before, but in the case of The Bench, it is not ghosts that lurk to threaten these characters- none of whom are as innocent as they seem- but very real threats.   With most of its elements resembling Americana, complete with a road trip sequence, petrol station scenes and very simple dialogue, The Bench is a good evocation of 2007 aesthetics, but also youth and the relationship styles of that time.   In the noughties, relationships tended towards stereotypical attitudes and gender roles, such as a young woman having to bluntly state to men that they are 'actually quite smart', like Lisa does in this film. Jarring in 2025, despite a revival of stereotypical approaches to relationships currently taking place.  At its best, the horror genre tells stories about trauma and how (badly) humans navigate it. This film is a good example of this, with the young characters carrying quite a lot of trauma: bullying, failing university exams, even time in a youth offenders' institution. We even get a glimpse of male on female violence, in the form of a slap. This definitely belongs in a horror movie.    This group of friends is struggling not just with these sort of traumatic experiences, which are perhaps what they are running away to the woods from, but very physical threats too as the story goes on. Not a bad metaphor for the experience of having to find yourself.   The Bench has more than its fair share of gore, which could have been brought into balance with a deeper exploration of the actual stories we come across. The viewer is left craving for greater exploration of the coming-of-age elements of it, a deeper glimpse into what led them to that cabin, in that wood, before the strong plot twist at the end.

★★★★★ Starring: #IonaChampain, #FrankieWilson, #EleanorGrace Directed by: #JamesArden Short Film Review by: Alexandra James James Arden director of short film Sitter  presents the audience with a chaotic and messy protagonist, one with which you cannot trust to do the simplest of tasks such as taking care of a cat. This short is a very realistic portrayal of what it’s like when you start to question yourself, whether this be life choices or just your character in general. Am I a good person? What am I doing with my life? And why do I fall for the same mistakes repeatedly? For main character Aurora, these are questions that she needs to answer. A self-reflective film that escalates intensely but becomes a hard-hitting reality check that forces Aurora to face her true demons and make some crucial changes to her life. The storyline to this short is simple, however, its one that has deeper connotations and very character based. It’s interesting to see a character spiral into chaos. What seems like a casual and mundane night watching a small cat, can eventually lead to such a messy and troubled night in more ways than one. For Aurora, this night is one she won’t forget and must face the music in terms of the direction her life is going. Boozing, drugs and partying leads her to make reckless and potentially self-harming decisions, but the biggest thing is losing her close friends and eventually isolating herself due to her poor life choices. I think what is great about this short is the imperfect characters. There is so much to explore with a flawed character, the complexities surrounding them, the audience become curious about their backstory and question how they ended up being so wild. We become invested and instantly want to protect them or have hope for them to be a better person and get their life together. I really enjoyed the way this short was filmed, to feed into the chaos there were a lot of tight close ups to Aurora which created an uncomfortable feel and much like her we remain present within the stress of the situation. Unable to escape her dilemma, she is forced to deal with the consequences of losing a friend for neglecting her cat. Even the music playing in the background added to the stress of the scene, everything was fast paced and stopped Aurora from focusing and clouded her best judgement, it was a clever technique that helped to elevate the messiness of it all. A completely engaging short film that highlights the realities of facing your true self, focusing on the downward spiral of a character and makes the audience wonder how she is going to escape this toxic and reckless pattern.

★★★ Starring: #AshtonPulis, #LolaCooley, #JoshuaMiles Directed by: #GriffinPeters Short Film Review by: Alexandra James Boil  is a short film directed by Griffin Peters; it follows a frustrated character and his strong passion for cooking. He has a dream to open a restaurant with his friend and show case their wonderful and unique skills, experimenting with flavours but the bond between them is really what makes them a strong pair. However, his partner is offered an amazing new role, leaving him in a state of resentment. This is a short that explores themes of friendships and relationships but also the struggles with egoism. Boil focuses on our bitter protagonist as he battles to repress his emotions in turn ruining his friendships, as well as push away those close to him that believe in him as well as support his dreams in life. One aspect to really admire of this short film is the experimental editing techniques. It was wonderful to see a combination of unique shots and swift cutaways that highlight the friend’s enjoyment of cooking and the vibrancy that comes with sharing food and recipes with friends. It certainly gave this short film an exciting and comforting feel and highlighted the fun and light nature of the pair’s friendship. It’s always good to experiment and explore new and interesting editing styles. However, one thing to note is to not shy away from the long takes. Occasionally, it would have been good to stay with some of the characters a little longer, to really feel some of their reactions and to become locked into their emotional state, especially when the protagonist has had such a huge blow to his dreams. Some shots could have remained as a long take to get the full intensity of the scene. Nevertheless, the cooking scene as well as the pool scene were both noteworthy, one scene was incredibly fun and light whilst the other had deep and powerful connotations that evoke heartbreak and loneliness. Unfortunately, the audience and the characters around our protagonist can see that ego and perfectionism cloud his perception. Unable to see what he has in front of him and the people that support his dreams and aspirations even before their own. Boil  allowed the audience to view the life of an egotistical character, it gave an interesting outlook as we watch his girlfriend, and friends push him to be the best chef he can be. However, he is too narrowminded and wrapped up in his own narcissism to see this support. Boil  was a compelling short film and a great story, showing how self-destruction and rage can blind a person’s perception entirely.

★★★★ Starring: # JadenWolfe , #AliceLowery, #LukeCampanella Directed by: #AshtonPulis Short Film Review by: Alexandra James City of Lights  is a crime fuelled short film that hits the audience hard with action, danger and passion. The short begins by introducing the first two characters amid a fight and a brutal one at that. Main protagonist Jaden is being punched and hit repeatedly due to an unpaid debt outside a bar; however, he is spotted by a lady inside who is interested in who he is and his story. Passion between the two sparks and soon they become entailed in a crime spree, hoping to leave their life behind and move to Paris to carry on with their love affair. Unfortunately, for Christian, Millie is keeping a very dark secret, and the story takes a very big turn, just who can you really trust when wrapped up in the world of crime. Directed by Ashton Pulis, this thrilling short proves to the audience you cannot trust anyone. The film begins in a bar, and this is where we are introduced to protagonist Christian, it’s clear that his involvement in dodgy dealings and putting trust in the wrong people turns him into a huge target and very inapt for the world of crime. Getting into fights and owing some big people a lot of money, it’s amazing that he is still walking around with his head still attached to his shoulders! Nevertheless, Christian manages to catch the eye of Millie, her mysterious aura and curiosity for Christian’s lifestyle only made his attraction towards her stronger, soon they began sharing their true desires and decided to join forces. Their careless attitude towards society and living life on the edge enflamed the passion towards one another. However, all good things come to an end and for this young couple it certainly ended abruptly. I think that the notable aspects to focus on is the cinematography and acting. There were undoubtedly some exceptionally detailed shots and the colour used within certain scenes really helped to lift the story and create a sensation of mystery and tension. For example, the shot of Millie and Christian resting in bed, and that cold blue light covering her face, was a beautiful and alluring take that portrays her as very emotionless and calculating character. The character Marco played by Luke Campanella; successfully conveyed a very dark and boss like presence, he was able to make other characters such as Christian feel inferior and weak as soon as he stepped into a room. City of Lights is a perfect combination of lust, crime and dreams. Unfortunately for Christian, this combination brings him to his impending downfall. This short shows the dangers of trusting the wrong people and how the life of crime is not cut out for everyone.

Star Rating: 4/5 stars Director: Mark Mcauley Writer: Mark Mcauley Starring: Mark Mcauley Film Review by: Joyce Cowan ' Father ' is a direct and raw portrayal of the complexities of father-son relationships, showcased by some brilliant acting and noticeably actor-directed. The character of the father, in particular, expresses the full range of emotions that can take hold of anybody with his affliction, from frustration to confusion to fear and anger, with nuanced precision. His heartbreaking confession about his son, 'I don't recognise him', illuminates the immediate conflict which hides many more conflicts in the background. In essence, conflicts are caused by the remorseless power of unprocessed hurt, regrets, and things left unsaid.    In this key, the film also explores a huge theme: men coming head-to-head with their feelings, their story, and their identity. While watching this film I was reminded of some of the best works of art in other disciplines, exploring this, such as Sam Fender's albums, in music, and in literature the 1999 novel Man and Boy by Toni Parsons.  The script makes at once subtle and direct, even obvious, portrayal of this.  The son taking a sip of liqueur as he arrives at his childhood home and sees the true extent of his father's state, for example, is clear and obvious.    The setting of this story in a typical Irish rural home heightens the sharpness of the themes and the narrative, which is a brilliant choice by the author. In the silence of the country, thoughts and feelings seem to scream.  It is this setting that also allows for heartwarming use of symbolism through the presence of a horse in the story. As well as being beautifully sensitive and intuitive animals, horses symbolise strength, freedom and communication. It is riding his horse after many years that finally grounds the son's character.  This is what this story is getting at: that the healing power of accessing and processing the deepest pain and going back to the roots, however difficult, is undeniable and in many ways, inevitable.

Directed by: Sen Lam, Antonio Tam Written by: Antonio Tam Starring: Anthony Chau-Sang Wong as Pastor Leung, George Au Chun-hoi as Ah Lok, and Sheena Chan as Ching Leung Film Review by: Nina Romain ⭐️⭐️⭐️ In Valley of the Shadow of Death (2024) , Pastor Leung (Anthony Chau-Sang Wong) runs the church of Faith and Love, where he deals out no-nonsense advice along with food to the homeless. In an opening scene, he advises a local unfortunate briskly to “stop taking drugs” while providing a hot dinner. During this act of charity, he takes in a local homeless young man, Ah Lok (George Au Chun-hoi) to help in the church in return for food and shelter. Grateful for somewhere to stay, the young man works hard and settles into his new life, but mentions to the Pastor that he feels guilty about something for which he served time in jail. His crime is revealed to be the rape of the pastor’s only daughter three years ago, teenager Ching (Sheena Chan), who later took her own life as a result. Pastor Leung and his wife (Louisa So) are obviously struggling to deal with their loss; Ah Lok wants to be forgiven, and although the Pastor is unsure and his wife is angry, he manages with difficulty to forgive the younger man. Relieved, Ah Lok says he can now “forgive” Ching. It’s revealed that he was bullied at school by Ching, which is interesting, but the narrative fails to point out why, as she just tells the schoolboy that she’s like that with everyone. Did the couple know this flaw of their daughter, but choose to remember her as perfect? There’s a good deal to reflect on as Pastor Leung struggles to forgive Ah Lok, and his wife makes it clear that she won’t be able to. The audience wonders how much they would be willing to forgive. Does Ah Lok’s new way of life – helping in the church, playing with the local toddlers, talking a young pregnant woman out of taking her own life from desperation – mean he should be forgiven? The deliberate pace and dimmed, sedate colouring of Valley of the Shadow of Death , created by director of photography Shek-Keung Wong let the three main characters grapple with moral dilemmas washing over from their past while trying to do the right thing in the present. Although not an easy watch, it’s thought-provoking.

Film Feature by Chris Olson As the nights draw in and the first dusting of festive cheer settles across Britain, the film industry traditionally saves its heaviest hitters for December. It is a period when the multiplexes transform into a crucial battleground, hosting both the big-budget tentpoles designed to dominate the Christmas box office and the prestige dramas aiming for Oscar glory. For those of us at UK Film Review, this is arguably the most exciting month of the calendar, offering a staggering wealth of choice for every cinematic palate. December 2025 looks set to be a truly spectacular affair, combining beloved franchises, high-concept original thrillers, and serious, thoughtful fare guaranteed to spark spirited debate around the dinner table. So pour yourself a hot drink, grab a mince pie, and let us walk you through the very best films demanding your attention in UK cinemas this Yuletide, with some of the most epic film trailers on offer too. The biggest news dominating the pre-Christmas schedule, and frankly the global film discourse, is the long-awaited return to Pandora. James Cameron unleashes the latest chapter in his epic saga on the 19th of the month with Avatar: Fire and Ash . Following the colossal commercial success of The Way of Water , expectations are astronomically high. While plot specifics remain cloaked in secrecy, we anticipate Cameron once again pushing the technological boundaries of filmmaking, delivering an immersive 3D experience unlike any other. The title alone suggests a darker, more volatile turn for Jake Sully and Neytiri, potentially forcing them to confront new and devastating environmental or military conflicts. For sheer spectacle and jaw-dropping visual majesty, this is the undisputed cinema event of the year, providing a perfect, transportive escape from the damp British weather. Arriving a week earlier, on the 12th, is a film that offers a very different kind of blockbuster thrill, one defined by dialogue and deception rather than explosions. The return of writer-director Rian Johnson’s super-sleuth Benoit Blanc is here in Wake Up Dead Man: A Knives Out Mystery . The previous two instalments proved that contemporary whodunnits can be both fiendishly clever and supremely entertaining, and this third chapter promises to maintain that deliciously witty tone. With an entirely fresh, star-studded ensemble cast trapped in a new, luxurious location, we are eager to see the sartorial detective, with his idiosyncratic drawl, dissect another complex web of lies and privilege. The Knives Out  franchise has become the gold standard for modern mystery cinema, and this is a sure-fire hit that offers the perfect antidote to traditional festive schmaltz. Beyond the behemoths of franchise cinema, December also gifts us a host of genre entries that look set to keep us on the edge of our seats. Kicking off the month on the 5th is Five Nights at Freddy's 2 . The surprise success of the original demonstrated the massive appetite for video game horror adaptations, and the sequel is poised to continue that dark, animatronic nightmare. It lands perfectly for younger audiences on their school holidays, seeking a sophisticated, jump-scare-laden thrill. Later in the month, around Boxing Day, look out for The Housemaid , a psychological thriller that appears to follow a young woman taking a seemingly fresh start in a new, high-status job, only for the environment to become increasingly oppressive and terrifying. Directed by a filmmaker with a surprising pedigree in comedy, this adaptation is generating considerable buzz for its claustrophobic tension and chilling atmosphere. The heart of December, however, is always dominated by the films designed to impress the major voting bodies. This year, the awards contenders are particularly strong, mixing literary adaptation with true-life musical drama. Leading the charge is Hamnet , scheduled for release on the 12th. Based on the acclaimed novel, the film presents an imagined, poignant story of Agnes Hathaway, the wife of William Shakespeare, as she navigates the crushing loss of their young son, Hamnet. Set against the backdrop of late sixteenth-century England, this promises to be a deeply moving, beautifully shot historical drama, exploring themes of grief, creativity, and the hidden lives of women in history. Expect stellar performances, meticulous period detail, and the kind of quiet emotional power that lingers long after the credits roll. Towards Christmas Day, a pair of biopics and dramas should be on your radar. Marty Supreme , which lands on the 25th, is said to be loosely inspired by the life of the flamboyant and legendary pro ping pong player Marty Reisman. While the sport itself may seem an unlikely subject for big-screen drama, the film is described as a character study rich in period detail, exploring the drive, showmanship, and personal complexity behind an unorthodox sporting career. Simultaneously, Song Sung Blue  offers a captivating music-focused drama, based on the true story of two down-on-their-luck musicians who unexpectedly find harmony by performing the works of Neil Diamond. With high-profile stars attached, this film looks set to be the sort of feel-good, yet grounded, musical offering that the Christmas holidays often thrive on—a perfect blend of melancholy and joyous performance. Finally, Christmas simply isn't complete without a dose of pure, unadulterated escapism. The 26th of December sees the UK release of The SpongeBob Movie: Search for SquarePants . The animated adventures of the residents of Bikini Bottom are always a treat, offering ludicrously surreal humour that manages to entertain children and adults alike. It’s an ideal outing for a foggy post-Christmas afternoon. Equally, while the notion might raise an eyebrow, the reboot of Anaconda , described as a comedic adventure, offers another piece of festive, schlocky fun on Christmas Day. The original film has achieved a cult status, and if this new take can lean into the inherent absurdity of chasing the world's largest snake, it could be a highly enjoyable piece of escapism. December 2025 looks to be one of the most creatively and commercially vibrant months for British cinema in years. Whether you crave high-octane fantasy, cerebral mystery, sensitive historical drama, or an all-out family cartoon, the offerings this month are exceptional. Do make sure you support your local cinema and experience these films where they belong: up on the big screen. And remember to subscribe to the UK Film Review Podcast for the latest movie reviews , film banter, and all other good things.

The digital silence was broken today by the bone-chilling ring of a familiar rotary phone. Paramount Pictures finally dropped the official trailer for Scream 7 , and for fans of the enduring horror franchise, it felt less like a teaser and more like a necessary homecoming. After months of intense speculation and tabloid conjecture, we have absolute confirmation: Sydney Prescott, played by the incomparable Neve Campbell, is back, and the stakes in the fictional town of Woodsboro—or wherever this new nightmare is set—have never been higher. This isn't just another modern whodunit; this is a deeply personal, brutal continuation of a saga that started nearly three decades ago. Horror film fans have watched this series evolve, often brilliantly, and this new footage suggests the creative team fully understands the weight and gravity of bringing the original ‘final girl’ back into the fray. The palpable excitement surrounding this picture is entirely warranted; from the two-minute footage alone, it is clear that the 2026 release date is going to deliver a genuinely terrifying cinematic experience that respects its legacy while forging a devastating new path. The trailer opens with a deceptively quaint, almost rustic #horror atmosphere, immediately establishing a new kind of setting for the familiar terror. We hear a voice remarking on a rather macabre choice of accommodation: "This is it. I can't believe we're staying at the psycho killer B&B." It's a classic Scream meta-moment, acknowledging the genre trope even as the characters walk right into the trap. The initial tension is quickly ratcheted up by the iconic sight of a motion detector being triggered, leading us into the inevitable phone call. And what a phone call it is. The voice on the other end, distorted but instantly recognisable as Ghostface, cuts through the casual dialogue with horrifying familiarity: "Hello, Sydney. Did you miss me?" This single line confirms the film’s central conceit: the killer's focus is laser-sharp, bypassing the usual ensemble cast to strike right at the heart of the franchise’s matriarch. The new location is described as a "nice little town," an immediate throwback to the Woodboro of the original films, and the threat is immediate, including a spine-chilling reference to Sydney’s "pretty daughter," Tatum. The idyllic small-town setting is thus instantly contaminated by the terror that Sydney thought she had left behind for good. Neve Campbell’s presence throughout the preview is, frankly, electric. Her return is the emotional anchor the film desperately needed after the departures in recent entries. Sydney is no longer the traumatised teenager or the wary adult; she is a mother forced to become a warrior once more. When she finally engages with the killer, the emotional weariness is replaced by a fierce, primal maternal protectiveness. Her initial response to the killer is a tired yet defiant call-out: "Wow, you sure know a lot about me for another arsehole hiding behind a voice changer." But the killer’s reply is deeply unsettling: "Oh, I'm not hiding, Sydney. Not this time." This single sentence shifts the dynamic entirely. The film is setting up a conclusive showdown, not a desperate hunt. The most poignant and arguably the most devastating emotional moment of the trailer comes from her daughter, Tatum, who says, "Mom! I want to be a fighter, like you." It's a truly heartbreaking line that encapsulates Sydney’s horrific legacy—her trauma is now the blueprint for her child's survival. This cycle of violence and strength forms the narrative backbone of the entire preview. Furthermore, the inclusion of Courteney Cox as Gale Weathers, even in brief flashes, suggests the original trio—or what remains of them—will finally be united against an existential threat. This reunion is something British fans, who cherish the original programme, have been demanding for years. The villain in Scream 7 is presented as perhaps the most brazen iteration of Ghostface yet. The claim of "I'm not hiding, Sydney. Not this time," implies a significant departure from the masked killer’s usual modus operandi of blending in and maintaining perfect secrecy. This Ghostface wants Sydney to know who they are, or at least that their intentions are purely focused on her destruction and the demolition of her life. The classic, cynical Scream wit is present in the line, "All your friends die for just being near you," a morbid, accurate summary of Sydney's entire life story. This is a killer weaponising Sydney's history against her to maximum effect. The motivation seems to be more than just a media spectacle; it is personal vengeance of the highest, most horrifying order. The final minute of the official trailer for Scream 7 is a masterclass in tension building. We transition from dialogue to high-stakes action as Sydney is desperate to save her daughter. In a terrifying and ingenious sequence, Sydney must coach Tatum on how to survive a Ghostface encounter in real-time. "He's trying to find another way in. We’re going to do this together. You’re going to have to shoot him through the wall... Shoot him now! Do it now!" The breathless urgency of this moment is palpable, turning a standard horror sequence into a thrilling parental sacrifice play. The relief is instantaneous but short-lived: "Oh, you got him. He's dead." But the trailer doesn't let us rest for a second. The familiar voice returns with a chilling, instructional warning: "You need to make sure you shoot him in the head." It is the ultimate rug-pull, confirming that the initial victory was a momentary lapse of attention. This Ghostface is relentless and perhaps a more cunning foe than ever before. The final shots, including the killer proclaiming, "This is gonna be fun," leaves us with a genuinely unsettling and frightening feeling. This is precisely the trailer the franchise needed. It confirms the long-awaited return of its matriarch, raises the emotional and physical stakes to an unprecedented level, and promises a film that is both a loving tribute to the past and a terrifying vision for the future. The quality of the production looks exceptional, the performances seem utterly committed, and the central premise—Sydney Prescott, the mother, facing her ultimate demon—is gold-plated horror territory. Scream 7 has managed to feel fresh and vital while leaning heavily on the nostalgia that gives it such emotional weight. If the full picture can maintain this level of gripping, personal terror, we may just have the definitive final word on the legendary Ghostface saga when it hits cinemas in 2026. This is essential viewing, and we simply cannot wait. Watch the Official Trailer for Scream 7 Below

Directed by: Kiarash Dadgar Written by: Kiarash Dadgar - Ali Narimani 'Every frame a painting’ is a maxim that many film-makers have adhered to over the decades, and this director is no exception. Steak is a very painterly piece, rich in symbolism. The narrative is clear and simple: a child’s birthday party is interrupted in the most horrific way imaginable. The context, only ever seen from inside the house- a brilliant narrative choice- is war and political violence. From this premise of a child’s birthday at home in the middle of violent chaos, the film makes masterly use of juxtaposition, both narrative and visual, throughout. Visually and sonically, the film is a feast of dualities. The colour palette is earthy and light, contrasting with the red of the stake that is cooking. The child holds a yellow balloon, a symbol of childhood and innocence, in a way reminiscent of the most well-known graffiti art in deep contrast to the noise of violence outside, a contrast almost jarring. This in turn opposes with the only noise made by a character in this film: whistling. The space of the kitchen and the action of cooking inside the house are juxtaposed to the chaos and destruction outside. Thematically, this film speaks painfully to our times and the experiences that a growing number of children in the world are facing. Ordinary people going about their lives while violence, not of their making, rages outside is defining of this generation, in every continent. And here the lack of dialogue is revealed as a sharp creative choice, not just the simple overlap of silence inside and chaos outside, but perhaps a reference to the crushing silence to which people and society more generally is increasingly forced in the face of difficulties, injustices and, as in this piece, extreme violence- in this case perpetrated against women, by men. In particular, the exquisite 360-pan shot at the end is an inspired expression of life’s vertiginous and many times violent nature. Again in the language of contrasts, a sharp change in rhythm from the static frame beginning. An expression of the distortion piercing through this story. There is a spiritual quality to this film. A portrayal of fragility, a sequence where security is in the heart and mind. Even if life ravages and the balloon floats away, feelings, thoughts and memories, even the simplest one like a childhood birthday, cannot be killed.

Directed by: Jeffrey Obrow Written by: Jeffrey Obrow, Julie Pifher Starring: Maddison Lawlor, Sam Trammell, Molly Ringwald Film Review by: James Learoyd ⭐️⭐️⭐️ Pursued is one fascinatingly mixed bag of a film. Following the sudden death of her father, teenager Lark (Madison Lawlor) begins to suspect her mum’s new boyfriend, whom she’s never met, of being a murderer... until she doesn’t. When it comes to narrative intentionality, this is a truly confusing movie, and therefore slightly difficult to reckon with. What is set up here is not entirely understood until the payoff of the movie, and this is the result of screenplay and pacing inconsistencies. Then again, you can’t help but thinking, do these issues even matter so much when a movie looks this good? The answer is... kind of. There is a real budget to this film, which thankfully shows. The cinematography is undeniably gorgeous, with the only conceivable complaint being its very digital sheen. However, when digital works, it works. Its focus remains stunning and the lighting is frequently spectacular. There’s a softness to these compositions which many in the film world will appreciate, not to mention quite beautifully framed subjects. An unexpected achievement in terms of aesthetics, and the standout aspect of the filmmaking. There’s a real contrast, sadly, between the structural integrity of the visuals and that of the story. Whether this folly took place during pre-production, production or post, something has resulted in scene transitions feeling incredibly jarring, as well as characters’ intentions making seemingly little sense. Readers, be warned, I’m about to encroach on spoiler territory. One feels okay doing this since it wasn’t so obvious, to this critic anyhow, that this was entirely meant as a twist. So, in the first act Lark suspects her mum’s boyfriend is a murderer; but she quickly comes to the bizarre conclusion – based on an Instagram photo – that she’s mistaken and that it’s a different man. Nevertheless, she continues to investigate said murder and in the third act she discovers – much to her surprise for some reason – that she was right originally. This is an unfortunate example of a good idea meeting weak execution; perhaps the most obvious example of the film’s shortcomings regarding story construction. The characters, as stated, often appear unrealistic. But you could argue that this is in no way the fault of the performances themselves. Additionally, the film is also filled with many stars, from Molly Ringwald as the mum to the sadly departed Paul Sorvino (Goodfellas, and father of Mira Sorvino) as our protagonist’s friend’s grandfather. This certainly provides the picture some dramatic power and production value – especially in the case of Sorvino. The man could hold the attention of the camera, and personally, I could spend 100 minutes watching his reaction shots alone. Viewers are sure to enjoy this movie, even if it’s purely from a visual standpoint – which, after all, is the cornerstone of cinema. And even with so many narrative inconsistencies, one is never really bored due to the unique mixture of tones at play. To surmise, this is an imperfect yet admirable effort from all involved. An intriguing fusion of thriller and investigative sub-genres, leading to some incredibly suspenseful set pieces. Watch the official trailer for Pursued below:

Directed by: James Marquand Written by: James Marquand Starring: Morgane Polanski, Frederick Schmidt, Agata Kulesza Film Review by: Holly Baker ⭐️⭐️⭐️ Directed by James Marquand, this biographical spy-thriller is based on the true story of Krystyna Skarbek. Skarbek was a Polish-British intelligence agent during the Second World War. The Partisan (2024) tells the story of her conquest to fight back against Nazi Germany, as she intercepted Nazi soldiers and fought back against their occupation of Europe. Retrospectively described by her peers as ‘the bravest of the brave’, Skarbek was sadly murdered by a stalker several years after the war ended. Despite her tragic death, James Marquand sought to keep her legacy alive with his feature film, detailing her personality and conquests in the most honourable light. Skarbek is not only characterised as fearless, but also incredibly glamorous, which many of her colleagues also remember her as. Morgane Polanski’s performance as a strong minded woman who will achieve anything she puts her mind to is astounding. Polanski does not miss a beat, we see a range from her being her most vulnerable to her most bold as she takes on several personal and political challenges to achieve her goals. The film’s pacing starts excellently, echoes of Schindler’s List are in the air as we see war-torn Poland shredded to pieces. The use of location shooting adds to the film's gruelling realism, as viewers are shot back in time to the horrifying world Skarbek, as well as millions, were constantly threatened by. Upsetting depictions of the senseless destruction of an innocent country are enhanced through the psychopathic characterisation of several of the soldiers, their crudeness and cruelty are especially disturbing as the film does not shy away from the extremities at play in how they would harm innocent civilians, both physically and psychologically. Skarbek was forced to navigate the nuances involved with her vulnerability. Throughout her time as a spy, she knew exactly what side she was on, yet, she could not trust anyone. In a way, she herself is corrupted and often torn between her own values and that which she is working for. Polanski acts out Skarbek’s moral inconsistencies beautifully, allowing the complexities of Skarbek’s position to take the spotlight to present not only a hero, but a real-life human. As the film goes on, its pacing starts to lose its grip. By honing in on several important moments in Skarbek’s life, the film’s continuity lacks a clear shape or build up and viewers may find themselves drifting away from what is occurring on screen. The film’s constant time shifting means that, unlike other notable films set during the holocaust such as Steven Spielberg’s Schindler's List and Jonathon Glazer’s The Zone Of Interest, there is little time for the viewer to ponder on the gravity of the events at play. The Partisan therefore lacks the depth these two other examples possess, as the tragedies of the war are never highlighted as the story moves quickly from moment to moment. The film’s genre of a spy thriller perhaps excuses this flaw, however, there are instances of heavy-handedness when the film seems to try and touch on a certain feeling of dismay that only World War Two elicits. For instance, a shot of numerous coffins being piled into a lorry, which are all clean and neatly piled is a depiction that feels tidy and censored - far away from the abysmal reality of what occurred, which perhaps no film can capture, though Schindler’s List and The Zone Of Interest certainly made much better attempts. Overall, the film is an interesting delve into an important aspect of history which many may not be aware of until discovering this review and, perhaps, watching the film. Krystyna Skarbek comes across as iconic and refreshingly bold, impressively defying prejudices of the time and honourably acting against one of the most terrifying political forces in history. During her time as an agent, she also inspired the hiring of more women as intelligence agents, a notable accomplishment which most definitely contributed to the Nazis’ eventual defeat. Though being let down on the minor aspect of its weak structure and pacing issues, as well as its poor attempt at capturing the horrors of the Second World War, The Partisan is without a doubt an important film for women’s history, an enjoyable spy thriller, as well as a detailed and compelling biography. The Partisan arrives on digital 27 October 2025, followed by DVD release 15 December, courtesy of High Fliers Films.