Dark Glasses film review by UK film critic Hope Madden. Starring Ilenia Pastorelli, Andrea Zhang, Asia Argento directed by Dario Argento. HOME | FILMS | REVIEWS Dark Glasses Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 10, 2022 Directed by: Dario Argento Written by: Dario Argento, Franco Ferrini Starring: Ilenia Pastorelli, Andrea Zhang, Asia Argento Giallo is the soap opera of horror, and you have to embrace that to appreciate it. Emotion and drama, tension, fear and sexuality are amped up to a ludicrous degree, with sense and sensibility tossed out the window. Few have ever done this as well as Dario Argento. I’d argue Mario Bava, but many consider Argento the king of giallo, and with good reason – his landmark 1977 film Suspiria may be the high-water mark for the entire genre. After a decade away from filmmaking in general and longer still since his last giallo, Argento returns to form with Dark Glasses . Passions run high and bad decisions are rampant as Diana (Ilenia Pastorelli) attempts to evade a serial killer. But wait, it’s more complicated than that! You see, she’s also blind and has sort of kidnapped this kid. It’s better if you don’t ask. Though the score is not from Goblin, composer Arnaud Rebotini’s electronic soundtrack conjures classic giallo. Indeed, between those recognizable chimes and an early throat severing, you’d think you were watching Argento of old. But the filmmaker does have a couple new ideas in store, and marginally less misogyny onscreen. Diana’s a harder-edged protagonist than what you find in other films from the Italian maestro. A high-end sex worker, she’s nonplussed about her line of work and disinterested in anyone else’s opinion of it. She’s a peculiar central character and Argento, who co-wrote the script with frequent collaborator Franco Ferrini (Opera , Phenomena ), gives her more to do than elude victimization. She develops skills and bonds in the second act that feel reasonable and realistic, sometimes even tender. It helps ground the film in character before those characters step into a den of watersnakes and remind you that you are essentially watching a soap opera. There are some inventive kills, gore aplenty, and loads of reminders of why Argento has developed such a boisterous following. This is by no means his best film, but it’s by no means his worst, either. Everyone yells when they shouldn’t yell, everyone pauses when they shouldn’t pause, everyone talks when they shouldn’t talk, but who cares when the blood is this red and free-flowing? Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

The Bride! film review by UK film critic Hope Madden. Starring Jessie Buckley, Christian Bale, Annette Bening directed by Maggie Gyllenhaal. HOME | FILMS | REVIEWS The Bride! Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 4, 2026 Directed by: Maggie Gyllenhaal Written by: Maggie Gyllenhaal Starring: Jessie Buckley, Christian Bale, Annette Bening One part Metropolis , one part Bonnie & Clyde, just a touch of Bride of Frankenstein and yet somehow entirely writer/director Maggie Gyllenhaal’s own, The Bride! deserves that exclamation point. Jessie Buckley is a force of nature in a dual role—sort of a triple role, really: an unhappy Chicago gangster’s moll; Mary Shelley, silenced far too soon; and a monster, chaotic, unruly, unburdened by memory and guided by peculiar fury. The likeliest lock for Oscar in the 2026 race for her breathtaking turn in Hamnet , Buckley is perfectly paired with Christian Bale (that hack!), a unique image of Frankenstein’s monster. He is tender, lonesome, adoring, and very anxious. Frank has a serious anxiety issue, which is mainly calmed by watching his favorite movie star, the song and dance man Ronnie Reed (Jake Gyllenhaal). To watch Buckley and Bale, two masters of their craft, work off each other is a treat, each of them tearing through Gyllenhaal’s inspired and intelligent script with dark joy. The leads are surrounded with memorable, noir-esque characters: Annette Bening as our mad scientist, Peter Sarsgaard as the gumshoe with some secrets, Penélope Cruz as the brains behind the investigation, John Magaro as the spineless gangster. Great as they are, and they all are, the star here is Maggie Gyllenhaal. Her tale is hyperliterate with surreal flourishes, dazzlingly filmed, constantly surprising and yet charmingly inevitable, and fueled by a glorious, contagious rage. There are dance sequences (an absolute blast) and shoot outs, a deep vein of dark humor, opportunities for redemption, and delightful easter eggs. (Ida’s nemesis is a gangster named Lupino; silver screen star Ida Lupino turned to directing, and one of her most cynical and impressive efforts was a 1963 episode of the TV show Thriller called “The Bride Who Died Twice.”) The Bride! delights with an anarchic energy, but its underlying plot is tight, its characters clearly drawn and beautifully performed, and its aesthetic wondrous. In just her second feature, after 2021’s sublime The Lost Daughter , Gyllenhaal’s cemented her spot as one of the most exciting filmmakers working. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Bottoms film review by UK film critic Hope Madden. Starring Rachel Sennott, Ayo Edebiri directed by Emma Seligman. HOME | FILMS | REVIEWS Bottoms Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 1, 2023 Directed by: Emma Seligman Written by: Emma Seligman, Rachel Sennott Starring: Rachel Sennott, Ayo Edebiri Bottoms essentially follows a traditional teen comedy path, from the first day of senior year (with the high expectations of finally turning your popularity and romantic luck around) through that fraught homecoming football game. Our underdogs hatch a scheme to win the affections of the hot cheerleaders. But if you saw co-writer/director Emma Seligman and co-writer/star Rachel Sennott’s uncomfortably brilliant 2020 comedy Shiva Baby , you have some idea of what you’re in for. Expect a chaotic, boundary pushing satire unafraid to offend. PJ (Sennott) and Josie (Ayo Edebiri, so funny earlier this summer in Theater Camp ) are their high school’s ugly, untalented gays. PJ is always scheming to get some cooch, and this will be their year. Her idea? Start a fight club for the girls in the school. Or, you know, a self-defense club. Where you wrestle around and hit and get excited and sweaty and close. Josie is not down with this, but PJ usually gets her way and the next thing you know –well, you saw Fight Club, right? Because those men were only convincing themselves they were being pushed around, bullied and disempowered. Part John Hughes, part Jennifer Reeder, part Chuck Palahniuk, Bottoms exists in a bizarre world of deadpan absurdism so littered with smart, biting commentary that you’ll need to see it twice to catch all of it. Sennott and Edebiri are as fun a set of besties as Beanie Feldstein and Kaitlyn Dever in Booksmart . Maybe even as fun as Beanie Feldstein and Saiorse Ronan in Lady Bird . Nicholas Galitzine is a riot as the quarterback, Jeff, and Ruby Cruz delivers as the one earnest lesbian hoping to empower and create solidarity with this club. Seligman’s tone, her image of high school and high school movies, is wildly, irreverently funny and fearless. It’s hilarious, raunchy, and so much fun. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Watch The Night Out at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. The Night Out Listen to our review on the film podcast What our film review said: READ FULL REVIEW Fun and yet foreboding, The Night Out is a true example of excellent filmmaking within the short film genre. With the importance of young women being made to confront the dangers of the real world as they reach adulthood, this directorial debut by Jordan Burbank is sure to strike a chord with anyone who watches it. Proudly supporting MediCinema for our 2022 film festival.

Limits film review by UK film critic Finn O'Toole. Starring Holly Higbee, Joe Flynn, Sedar Keskin, Dorentina Bajrami. directed by Iona Judge. HOME | FILMS | REVIEWS Limits Film Review average rating is 2 out of 5 Critic: Finn O'Toole | Posted on: Jul 6, 2026 Directed by: Iona Judge Written by: Holly Higbee Starring: Holly Higbee, Joe Flynn, Sedar Keskin, Dorentina Bajrami. Directed by Iona Judge and written by/ starring Holly Higbee, Limits follows the story of Becca – a young woman figuring out how to traverse her own life while simultaneously managing her brother Rhys’ reemerging addiction, considering if she is able to manage it at all… A profound and visceral story on paper, one of the major constraining elements of this concept that is otherwise grounded in realism is the inclusion of unnatural dialogue. Throughout the piece characters say exactly how they feel at all times with little room for subtext which, in contrast to people’s behaviour in real life, comes off as artificial. Lines such as “you’re my baby sister” from Rhys to Becca, read more like exposition to the audience rather than something that two close siblings would genuinely say to one another. In this particular case the information being conveyed is something viewers would be able to pick up on through the context already presented, resulting in a screenplay that doesn’t seem to trust its own audience. While the aforementioned simplistic dialogue leaves the performances with little room for nuance, Holly Higbee’s portrayal of Becca elevates the text significantly. With superb acting choices and a sensitivity that hides behind the character’s facade of having everything together, Higbee grounds the narrative by providing us a character to truly connect and sympathise with. For such a meditative subject matter, the editing can feel rather jarring at points, cutting between shots too quickly where the scene would benefit from focussing on a particular subject. This leaves the story seeming unsure of what to concentrate on. However the editing does have its moments, such as in Rhys’ freakout scene, cutting between his and Becca’s separate reactions in a really unique and fascinating creative choice. Speaking of which, the cinematography by Sivan Gharib stands out as one of the main strengths of the piece with striking frames, created in moments such as Rhys and Becca’s hallway row and the later bedroom scene, using high contrast and limited lighting to heighten the emotional impact in these instances. There is also a profoundly delicate employment of symbolism throughout the piece in which Rhys gifts Becca sunflowers that slowly wilt as their relationship deteriorates, only to be eventually replaced with flowers of her own choosing. While it is hard to pinpoint the exact artistic intention of Limits , and the themes/ characters seem distracted, there are real saving graces within the strong central performance, powerful symbolism and brilliant uses of visual storytelling – the latter of which this short would have benefited from a stronger focus on. Ultimately this story carries heavy themes with sincerity and will provide a thought-provoking viewing experience to anyone watching. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Something To Do With Purpose film review by UK film critic Patrick Foley. Starring Ellis Evason, Aaron Ward, Tyler Beckles directed by James Short. HOME | FILMS | REVIEWS Something To Do With Purpose Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Oct 11, 2021 Directed by: James Short Written by: James Short Starring: Ellis Evason, Aaron Ward, Tyler Beckles Family ties and ideology are set on a collision course in Something To Do With Purpose, a short film feature from director James Short with an appropriate title, as it fails to build upon its own themes or tell a clear and coherent story with the intriguing questions it ponders. Undercover MI5 agent Zayn (Ellis Evason) is tasked with gathering information on a terrorist cell led by his own brother Colin (Aaron Ward). Colin’s paranoia and fanaticism are already causing problems with group members Dan (Tyler Beckles) and Sam (Damon Ravenscraft). But when Zayn’s secret is revealed, it leads to a standoff between the pair over whether loyalties should lie with family, or purpose. Something To Do With Purpose aspires to be an explorative film weighing personal and familial bonds against ideological callings. But underdeveloped plot and dialogue leave this effort hamstrung. The nature of the terror group is unexplained – beyond vague hints at far-right anarchist beliefs – and this makes Colin’s unwavering devotion to his cause difficult for the audience to understand (even if they were to still find it reprehensible). Meanwhile Zayn’s conflict is similarly difficult to relate to. Beyond being Colin’s brother, we see little to establish their bond as especially tight or close. It is expected that the audience will just assume the choice to turn on family will be a difficult one, based on their status as brothers alone. More characterisation would have been welcome to demonstrate the pair’s relationship. The film’s script is expository and unnatural, with characters blurting out plot points and background as though ticking off a checklist. Barely any exchanges feel legitimate, and the overall staginess of the film hurts the chemistry between the actors – particularly Evason and Ward whose characters desperately need it. Colin’s outbursts feel especially forced when confronting his own (apparently) lifelong and trusted friends – again resulting from an unprompted and convenient need to move the plot along. When the film delves into more philosophical territory towards the end, it does find some sense of rhythm – and one gets the sense this pivotal conversation between the brothers is the film the director really wanted to make. Performances of the main cast are lacking and fail to provide much in the way of emotional connection for the audience. It’s hard to pinpoint whether this is the result of the quality of the script or the performers themselves, but beyond basic line delivery, there isn’t much for viewers to relate to. It’s perhaps to be expected for a lower budget film, however for a story that is largely character driven, it is a shame that execution is so poor – especially given that there is clearly appreciation from the director of a need to individualise the cast. Production is also uninspired, with little in the way of filming techniques or cinematography to help the film stand out or reach a deeper connection to its themes. Beyond a black and white presentation, there is little in the way of risks or innovation with the production, and the camerawork at times feels awkward and insipid. Seemingly unintentional shaky-cam is also notable, and feels more like a shoddy oversight than fly-on-the-wall. Again, some imperfections are to be expected with a lower-budget film, but these issues are more than just kinks to be ironed out. There isn’t much more to Something To Do With Purpose than an undercooked story and themes which do not receive enough exploration. The film really should have found its own purpose, before embarking on Zayn and Colin’s. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film < All Reviews Next Film Review >

Sissy film review by UK film critic Hope Madden. Starring Aisha Dee, Hannah Barlow directed by Hannah Barlow, Kane Senes. HOME | FILMS | REVIEWS Sissy Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Hannah Barlow, Kane Senes Written by: Hannah Barlow, Kane Senes Starring: Aisha Dee, Hannah Barlow Horror is especially preoccupied with the doppelganger nature of social media – how you can lose yourself in the make-believe world of the “you” you present online. Co-writers/co-directors Hannah Barlow and Kane Senes dig into that duality with their Aussie horror, Sissy . Sissy – or as she’d rather be called now that she’s a grown up, Cecilia (Aishe Dee) – feels blessed. Thanks to her 200k followers and the products she gets paid to work into her videos, she has a fulfilling life. She is loved. She is enough. She is doing her best. Maybe she’s not really doing that well, actually. She even hides when she spies her childhood BFF at the grocery store, but Emma (Barlow, who also stars) sees her anyway. She even invites Cecilia to tonight’s big bachelorette party, and tomorrow’s drive out to the country for a weekend-long celebration! If you’ve seen Bodies Bodies Bodies or, indeed, any horror movie, you know that second part is not going to go well for everyone. Like Halina Reijn’s gruesome comedy, Sissy plays around with genre expectations and spotlights the ins and outs of Gen Z. Dee works wonders as a woman trying to practice what she preaches, earn from what she practices, and find fulfillment in online followers when friends IRL are less welcoming. The cast that surrounds her is universally strong, each one manipulating the sly, darkly funny script to shock and delight. Barlow and Senes never entirely abandon the old-fashioned slasher, either. Sissy delivers starling gore FX that feel simultaneously in keeping with the black comedy and somehow too disturbing to fit. Well done! The filmmakers tease the new terrain of a world populated with virtual personalities. Who’s the good guy? Who isn’t? Is anybody? Sissy doesn’t break new ground here, but thanks to a knowing script and a lead performance that sells itself, you’ll enjoy the show. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Kalimba film review by UK film critic Joe Beck. Starring Raiany Silva, Sheila Ball. Joana Cruz directed by Robbie J. Atkinson. HOME | FILMS | REVIEWS Kalimba Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 10, 2023 Directed by: Robbie J. Atkinson Written by: Robbie J. Atkinson, J.E. Atkinson Starring: Raiany Silva, Sheila Ball. Joana Cruz It’s well known that the greatest horror is generally psychological. The horror within can inspire fear far greater than anything that resides outside the corporeal, and often is the cause of such external horrors as spiders or snakes or sharks. Our mind is the source of all human fear, whether directly or indirectly, and as psychology and scientific understanding has become more developed, so have horror films and, perhaps more significantly, horror literature, to focus more on a psychological terror and how that is linked to the fears that exist outside our own bodies. ‘Kalimba’ blends the psychological and the physical fears exquisitely, creating a short horror film high on thrills, full of nervous tension, and with some excellent direction. The film focuses on a young woman, Cassidy (Raiany Silva), and her haunted psychological state, as she battles a sleep paralysis demon. Cassidy’s reality and dream state converge more and more, becoming blended and more confused, as her terrors transfer to her reality, leading her to the black sheep of the family to try and solve her troubles. Perhaps the aspect about ‘Kalimba’ that is most immediately striking is the sound design. Beginning with the sound of heavy breathing, and the deep, intimidating voice of a demon saying ‘look at me’ the sound design is always going to be immediately apparent, but in ‘Kalimba’ it is sustained to a high quality throughout. Sound is used excellently to create suspense and and to the terror of a scene, and even in the quiet scenes, in which there is no horror, at least no horror of note, to be found, the sound design continues to be impressive. Another aspect of ‘Kalimba’ which is exceptional is the directing by Robbie J. Atkinson, who handles the camera with the right balance of verve and composure in order to set up a number of thrills and suspenseful moments. Atkinson’s use of jump shots to create horror are surprisingly effective, where so often they can be comical and come across as cheap, and the use of lighting is genuinely phenomenal. Dim purple, yellow, and green lighting with the silhouette of Cassidy dancing, or screaming in the dark, outline the dreamlike state perfectly, whilst adding to the creepy atmosphere of Cassidy’s home, which she shares with her mum (Sheila Ball), who is largely absent and distant from her daughter. ‘Kalimba’s quality further grows through its script, which is dynamite, both in terms of dialogue, and in terms of authenticity. The dialogue zings between characters, particularly in the interactions between Cassidy and friend Esther (Joana Cruz), which is both integral to outlining the breaking down of reality and psychological barriers, as well as playing as extremely funny - to the credit of the two young actresses whose chemistry is extremely strong. Indeed, the acting throughout is compelling, with Raiany Silva giving a particularly captivating performance in the lead role as Cassidy, handling both lighter moments, and those that require bursts of emotion to engaging effect. This is what happens when good actors are given a good script to work with - excellent performances in a good horror film. ‘Kalimba’ is an excellent psychological horror. High on thrills and suspense, and complete with excellent direction and an intriguing script, with a superb lead performance. ‘Kalimba’ soars in its exploration of sleep paralysis and its breaking down of reality, and outlines the quality of its filmmakers in its technical aspects. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Domestic Bliss film review by UK film critic Patrick Foley. Starring Douglas Everett Davis, Elissa Piszel, Sabrina Seidner directed by Freddy Cintron, Ben Van Bergen. HOME | FILMS | REVIEWS Domestic Bliss Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Sep 10, 2025 Directed by: Freddy Cintron, Ben Van Bergen Written by: Ben Van Bergen Starring: Douglas Everett Davis, Elissa Piszel, Sabrina Seidner Ben Van Bergen’s Domestic Bliss describes itself as a socially awkward comedy. And it will definitely make viewers feel awkward. Sometimes as a result of clever observations about the uncomfortable and unavoidable friction that is inherent in NYC rental life. Sometimes as the result of filmmaking misfires that make this short feel like too rough of a feature to work. Bill Dupree (Douglas Everett Davis) awakens after a night of debauchery with girlfriend Carla (Elissa Piszel) in his rented New York City apartment. But this morning turns into one like no other, as his ex-wife Wendy (Sabrina Seidner) shows up at his front door. Turns out Wendy has rights to the lease, and needs somewhere to stay. Bill’s life is turned upside down as he and Carla take the fight to Wendy – but unforeseeable circumstances mean the trio end up in each others domestic lives in ways they didn’t expect. Domestic Bliss is a dark, mature comedy about the impossibilities of rental life in the world’s most famous metropolis. Gone are the days of Jerry, George, Elaine and Kramer having their own place, or the ‘Friends’ gang living in relative mansions in trendy Manhattan suburbs. New York, and so many other cities just like it, is a hellscape of rental warfare and dictatorial landlords. Domestic Bliss is set amongst this rat race, and finds the humour and tragedy in the social dynamic. Wendy’s opening salvo towards Bill in completely understandable in this context – and all of the main cast will earn the audience’s sympathies as a result. Much of the film’s humour comes from the childishness the cast displays. Douglas Everett Davis plays up the wannabe-playboy elements of Bill Dupree’s character – a carefree, responsibility-shirking rolling stone of a man for whom the bright lights of New York are beginning to dim. Whilst the trio provide the story, but many of the best lines come from the supporting side characters. Thomas Mcmahon’s Detective Gracie, Andrea Sooch’s Magyar the wi-fi installer and Brian Coll’s security guy all have highlights as unknowing agents of a system that could drive anyone into madness. The film is a low-budget independent production and is admirably ambitious given this. Shot across multiple locations around NYC and with a reasonably extensive cast, it outperforms its finances in scale. But production falls flat in other areas – notably sound design where some of the film’s best lines are imperceptible as volume drops, whilst other vocals blast out at discomforting volume. Some scenes are clearly first-take-or-bust as cast members provide flat line deliveries that do not live up to what is actually quite an incisive script. And the editing and shot design can also be unimaginative and visually boring. You can always allow a little extra road for upstart productions, and Domestic Bliss gets a lot more right than wrong given its lofty goals for a film of its size. But one wonders if it has spread itself a little too thin in key areas. There’s a lot to like about Domestic Bliss and its skewering of the broken housing system in New York that is now plunging entire new generations into domestic chaos. There are a lot of rough areas in its production that detracts from a solid script that invokes a lot of laughs. A little more refinement would have let these moments stand out more – whereas they get lost amongst visual and audio shortcomings in this final feature that risk being the audience’s bigger takeaways. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Watch the EVERYBODY'S TALKING ABOUT JAMIE trailer - coming to cinemas in 2021 from Disney. For more movie trailers head to our website https://www.ukfilmreview.co.uk/movie-trailers. Brand new film trailers. Everybody's Talking About Jamie trailer Watch the EVERYBODY'S TALKING ABOUT JAMIE trailer - coming to cinemas in 2021 from Disney. For more movie trailers head to our website https://www.ukfilmreview.co.uk/movie-trailers Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

The Maiden's Dauber film review by UK film critic Jason Knight. Starring Siyu Lu, Joey Smelik directed by Luke Couch. HOME | FILMS | REVIEWS The Maiden's Dauber Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 26, 2022 Directed by: Luke Couch Written by: Luke Couch Starring: Siyu Lu, Joey Smelik A rapport develops between a painter and a young woman while he paints a portrait of her. A young painter (Smelik) is alone in his studio, working on a painting of a woman. A young Asian woman (Lu) enters the room, wearing the same dress as the figure on the artist's canvas. She is his subject. She sits on a chair, facing him. He appears to be having trouble concentrating as he is painting, so she speaks to him and tries to make him feel more comfortable. This short is roughly six minutes long and during that period of time it manages to offer a thoughtful and pleasing experience. The plot is about a person who attempts to find his creativity with the help of another. The painter appears to be rather talented, however he also seems to be lacking self-esteem and the woman reaches out to help him by talking to him and suggesting that he smokes his pipe. The interaction between them results in breaking the ice and they become friendlier with each other. This drama is a tender, beautiful and poetic story that explores themes of self-discovery and self-expression. Dialogue is limited and the two protagonists rely primarily on body language in order to give personality to their character. The man appears nervous as he tries to work, giving the impression that he is performing a task he is not used to. The woman is very calm and observant and seems to know how to read people's feelings. The whole narrative takes place inside the studio and the mise-en-scene consists of a painting studio that has been thoroughly utilised. There is paint everywhere, plenty of paintbrushes, the artist's palette and all the other equipment usually found in such an environment. The woman wears a beautiful Asian-looking dress and the painter's clothing give the impression that they belong in the 19th century, making this film a period drama. Couch directs beautifully and Ewan Thomas delivers great cinematography. Rory Laws makes an outstanding contribution with the music, which includes wonderful piano and violin work. This is a viewing that contains emotion, beauty and art. It had a great deal of work put into it and the visuals are pleasing to watch and the score is a joy to listen to. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Heavy Eyes film review by UK film critic William Curzon. Starring Chloe Ledger, Hector Moss, Wendy JT Simeon directed by Leonardo Graziosi. HOME | FILMS | REVIEWS Heavy Eyes Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Apr 30, 2026 Directed by: Leonardo Graziosi Written by: Leonardo Graziosi Starring: Chloe Ledger, Hector Moss, Wendy JT Simeon Heavy Eyes follows Emily (Chloe Ledger), a young woman struggling with the aftermath of her recent abortion, as she’s confronted with vivid dreams of a beating red heart and a wooded path. Deeply drenched in melancholy and grief, the piece is a challenging psychological horror that tackles ambiguity and surrealism in an incredibly brisk runtime. The piece heavily focuses on visual storytelling, which is a refreshing aspect as it genuinely trusts its audience to follow along with its dense narrative. Despite being incredibly ambiguous in its dream sequences, it allows the viewer to piece together aspects of symbolism and the brief context provided during dialogue-heavy scenes. While the piece was made on an astoundingly low budget, the visuals are arresting and stunning to witness. The deep red photography, in particular, is haunting and evokes a sense of terror and ambiguity in the film’s central ideas and themes. Brandon Quan, serving as the film's cinematographer, primarily utilises extreme close-ups to evoke intimacy during moments of surrealism and dialogue, feeling heavily influenced by Ridley Scott’s Blade Runner (1982) in specific scenes. It's an impactful way of framing both central characters, as it feels like a mirror into their grief and love for one another. Its surreal and haunting visuals sink their teeth into the viewer instantly, and it may stick with them long after the credits roll. Theodore Sandberg, serving as the film's composer, delivers an undoubtedly sombre and melancholic musical score accompanying the central themes aptly. The use of sound and score creates a profound level of tension, making the experience deeply haunting and uncomfortable to witness. The piece explores themes of grief and separation, which are briefly examined; however, the film unfortunately feels too ambiguous to a fault and never fully explores the implications of these ideas. The ambiguity can feel alienating; however, it's a rather challenging aspect of the piece that tries something unique with its concept. While the film can be confusing to piece together at times, the formalism on display makes the experience deeply rewarding despite its pitfalls. The psychological horror aspects, in particular, feel executed incredibly confidently, even with its raw production value. Both central performances from Chloe Ledger in her portrayal of Emily and Hector Moss’ portrayal of Liam are incredibly impactful. They both convey a profound level of restraint and nuance in their performances as Emily is dealing with the aftermath of her abortion and the vivid dreams haunting her. Liam attempts to understand her pain; however, he can never truly understand the impact and severity of the situation, as the physical and mental toll on Emily haunts her. It's incredibly difficult to witness, and both performances elevate the material incredibly well. Whilst the conclusion to the narrative amounts to fairly minor, its execution and ideas are promising, leaving the viewer to make up their own mind about the implications the conclusion suggests. It's ultimately frustrating, as the narrative and themes are mostly apt, but it just isn't given enough time to flesh out its conclusion and characterisation. Heavy Eyes is a rather challenging piece of indie filmmaking that trusts its audience to follow along despite its ambiguity and surrealism. Assisted by two terrific performances from Chloe Ledger and Hector Moss, Heavy Eyes is an uncomfortable and visually stunning experience. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >