Runaway film review by UK film critic Swati Verma . Starring Amanda Lau, Hazel Chung directed by Amanda Lau. HOME | FILMS | REVIEWS Runaway Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 21, 2023 Directed by: Amanda Lau Written by: Amanda Lau Starring: Amanda Lau, Hazel Chung The writer-director Amanda Lau is young and talented person who is making videos since 2020 working tirelessly to spread awareness as well as some happiness with creative imagination to get her mother land China get through the bad days through the female protagonist Ching (Hazel Chung). The plot of Runaway revolves around a runner and her trainer and how their relationship evolves over time to bring out the best in both of them. In the opening scene of the short film the camera pans up into Ching diligently working towards improving his running skills at the race course and quickly switches to a mid-shot where Ching is battling the cold and sneezes while she desperately wants to revive her career. The cinematographer Amanda Lau and Icey Shek are showcasing a lot of details from the life of the central character as they want to quickly appeal to the audience and build the desired emotional connection with the content because there is limited runtime of the film. The combination of mid-shot and close-up shot of the ticking clock and cross mark on the calendar provides the audience a sense of urgency and responsibility in mind of Ching to achieve a set goal without any barrier in her path. The set design, colour pallet, lighting, costume, hair, and makeup has been kept natural to complement the subject matter and also elevate the key messages so that the viewers can incorporate the same life lessons into their life and make changes that is for a better future. In terms of performance, Amanda Lau plays the role of a trainer who is passionate to motivate all the sports people training under her to recognise their full potential no matter what the situation is. Lau portrays a strict yet understanding teacher through her body language, voice modulation, facial expressions and eyes. The writer, director and actor Lau does most of heavy lifting of the film successfully switching a well written script to the screen and also communicating the essence of the movie. Hazel Chung plays Ching who is professional runner who is trying to come to her form but there are lot of problems occurring because of the ongoing pandemic in China. Chung effectively depicts the physical as well as emotional trauma the female protagonist is going through yet the thought of never giving up despite all the negativity is commendable and very inspiring for the audience. Runaway talks about learning the art of persistence when one wants to achieve what one aspires for. The short film reiterates the significance of a teacher and student relationship in shaping up the present and future of the student and also talks its audience regarding what a good role model looks like. The cinematic piece highlights the struggles people are enduring daily as they are continuously combating Covid 19 in China. The creative piece teaches the viewers the importance of self-belief which helps one stay in a positive time frame to face every challenge life throws at us. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Score film review by UK film critic James Learoyd. Starring Dani Moseley, Sofia Antonia Milone, Alastair G Cumming, Yasmine Holness-Dove, Adele Nicoll directed by Christopher Hewitt. HOME | FILMS | REVIEWS The Score Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 10, 2024 Directed by: Christopher Hewitt Written by: Christopher Hewitt Starring: Dani Moseley, Sofia Antonia Milone, Alastair G Cumming, Yasmine Holness-Dove, Adele Nicoll The Score is a deeply ambitious movie. An ensemble chamber piece set in a bar, yet with a twist: all the characters can hear the dramatic score (the non-diegetic turned diegetic music) for the film they're featuring in. As the story progresses, the soundtrack begins to affect more and more the development of the plot and the decisions of the crew of kooky characters. For reference, a comparison could be made to the successful short film The Gunfighter in which the characters can hear and address Nick Offerman's narration; although I'd argue this particular picture is slightly more enjoyable and considerably more inventive... it's just that with all its potential, it doesn't quite stick the landing. It's technically adept and terrifically well-acted, but the metatextual comedy-crime hybrid premise doesn't always feel as elegant or as entertaining as it should - there are a few little reasons for this, although it shouldn't overshadow the movie's direction, editing and sound which are consistently superb. It's a sharp-looking work, lit clearly and carefully. Whilst it's all set in one location and shot in a studio of some kind, the visual construction of the movie feels most dynamic. This is prevalent during the opening scene, arguably the short's best and most arresting moment. We're introduced to an erratic person in a bathroom who's high and talking to herself in the mirror. The cutting and shot sequencing - in terms of how you open a film - is absolutely outstanding. It's kinetic, subjective and places you in the confused, distressed headspace of the subject before we're even aware of what's going on. So why, it must be asked, does the rest of The Score not always maintain this raw, cinematic power...? I'm a big advocate for the 20-to-30-minute movie (this clocks in at 25 minutes); it's a difficult runtime in terms of festival submissions, which is why they're not always successful. However, I always admire a film of that length for a project should be as long or as short as the artist feels necessary. I wish, therefore, that the pacing of The Score was a little tighter, and with its high concept (as opposed to relying on mood, atmosphere or aesthetic), you can't help but wonder whether the meta-comedy would work better were the script more concise. Unfortunately, the film also gets bogged down in the humorously convoluted nature of the in-world crime narrative - a lot of which is very well done - that it often distracts from the actual concept the piece wants to explore. Dialogue can risk feeling unnatural, but thankfully the performers are skilled, devoted and in on the joke. The staging and blocking is fantastic and conducted with an unusual clarity. Casual viewers may not consider just how difficult it is to visually structure dialogue sequences between as many as five characters, but The Score makes it look easy. Throughout the 25 minutes, I never identified any issues relating to direction and cinematography: it's clean and flows nicely and would feel even more virtuosic were the screenplay a tad more elegant. But despite nitpicking, it's a great time and will definitely please audiences. There are also a couple incredible practical special effects which are very convincing and rare to see in smaller movies. I commend the filmmakers on using their base concept to make such a fun romp, and I hope to see more from them in future. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Where the Flowers Bloom film review by UK film critic Patrick Foley. Starring Dina Selimovic, Erik Scilley, Danilo Crovetti directed by Olivia Luying Wang. HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Luke 6:37 film review by UK film critic Jason Knight. Starring Ingrid Marsh, Shelby Lattany, Benjamin Lafayette directed by Remone Jones. HOME | FILMS | REVIEWS Luke 6:37 Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 15, 2024 Directed by: Remone Jones Written by: Remone Jones Starring: Ingrid Marsh, Shelby Lattany, Benjamin Lafayette A dramatic family confrontation is taking place inside a church. Since the title of this short drama refers to a religious passage about condemnation and forgiveness, one can expect that this is a story that involves dramatic scenes and religion (actually almost the whole narrative takes place inside a church). The screenplay is the aftermath of a family get-together that does not go well due to a mother's disapproval of her children's actions. The mother is Carmen (Marsh), a middle-aged woman who she arrives at a church one evening after having stormed away from her two grown-up offspring Joseph (Lafayette) and Jamelia (Lattany). She is very upset and she is soon joined by her children, who are quite unhappy with her behaviour. What follows is a heavy confrontation, during which Carmen expresses her disappointment regarding her son's homosexuality and her daughter getting pregnant, while they accuse her of being unfair. The passage that the title refers to involves judgement, condemnation and forgiveness and in this case, these three heavy actions are addressed to Carmen. The reasons for this are that she is stubborn, harsh and critical towards Jamelia and Joseph and shows no sign of remorse for her cruel words and the reason for this is most likely because she is a deeply religious person. On the other hand, her children do not seem to share her beliefs (religious or otherwise ) and they try hard to make her accept their choices. Jones utilises handheld camera effectively and Tomas Posada deserves a lot of praise for the wonderful cinematography. Unsurprisingly, since the setting is the interior of a church, thanks to the work of Theo Elwell, there is church music to be heard, along with hymns. This short is a dramatic confrontation that mixes family drama with religion. It is about a dysfunctional family whose differences are tearing it apart and the drama rises sky-high thanks to the dialogue and the strong acting by the three leads. Ultimately, the message that the film aims to communicate appears to be the words that are within the passage that the title refers to, which is that people must not judge or condemn and they must forgive instead. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Look Back film review by UK film critic Jack Salvadori. Starring Natsuki Deguchi, Aju Makita directed by Hirokazu Kore-eda. HOME | FILMS | REVIEWS Look Back Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Sep 12, 2026 Directed by: Hirokazu Kore-eda Written by: Hirokazu Kore-eda, Tetsuki Fujimoto Starring: Natsuki Deguchi, Aju Makita The prolific Japanese auteur Hirokazu Kore-eda is back with his second feature of the year. After the disappointing Sheep in the Box premiered in Cannes, he has arrived on the Venetian Lido with something altogether more affecting, and his best film since Shoplifters . A live-action adaptation of Tatsuki Fujimoto’s beloved manga, previously brought to the screen as an anime in 2024, Look Back is, above all, a film about drawing, friendship and the strange ways art can bind two lives together. It is also extraordinarily sweet. Fujino is a young girl celebrated by her classmates for the manga strips she publishes in the school newspaper. Then another artist appears, and her strips steal the Fujino’s spotlight. They belong to the mysterious Kyomoto, an intensely introverted homeschooled classmate who has never been seen in class. Suddenly, Fujino has a rival. When the two finally meet, Fujino discovers that Kyomoto is not a threat at all. Quite the opposite: she is shy, awkward and utterly in awe of Fujino’s work. The rivalry instantly gives way to friendship, and the two begin drawing together, eventually creating successful manga while growing up side by side and becoming co-dependent. There is something deeply affectionate in the way Kore-eda approaches the Japanese manga tradition. Look Back carries a genuine reverence for the craft, carefully accounting for the hours spent drawing, the magic of a collaborative creation, and the excitement of seeing the work finally published. For a while, the film is pure happiness. And, naturally, this being Kore-eda, you should never get too comfortable. The sweeter the film becomes, the more painful its eventual turn. As the girls grow older, their paths begin to diverge. Despite the success of their work together, one of them wants to pursue a different direction as an artist, threatening the collaboration that has defined so much of their life and friendship. And when the tragedy inevitably strikes, Kore-eda uses the rapture to do something quietly devastating. Rather than simply showing us what happens to the two girls, he begins to explore the lives they might have lived had they never met, parallel possibilities branching away from a single friendship and a single moment in time. It is a beautiful meditation on the invisible influence people have on one another. How one friendship can alter the course of an entire life. How much of who we become depends on the people we happen to encounter, especially when we are young. And Kore-eda, whose greatest weapon is not plot but observation, is once again extraordinary with children. The tiny gestures through which affection gradually becomes trust feel so natural that Look Back often seems to unfold like a memory. There is a preciousness to childhood here, but never a sentimental one. Kore-eda understands that children can experience friendship with an intensity adults often lose, that finding someone who shares your obsession can feel like discovering an entirely new universe. And when that universe fractures, everything collapses. The film’s title takes on greater meaning as it unfolds. To look back is not simply to remember childhood, but to consider all the lives that might have existed alongside the one we actually lived. Kore-eda turns nostalgia into something more complicated, simultaneously an act of mourning, imagination and gratitude. With Look Back , Kore-eda has made something tender, authentic and gently moving, and one of the favourites of the 83rd Venice Film Festival. Buy UKFR Banner Space About the Film Critic Jack Salvadori World Cinema, Film Festival < All Reviews Next Film Review >

Whippy film review by UK film critic Patrick Foley. Starring Emun Elliott, Kal John, Aaliyah Iruoesiri directed by James Rooke. HOME | FILMS | REVIEWS Whippy Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Apr 12, 2024 Directed by: James Rooke Written by: James Rooke Starring: Emun Elliott, Kal John, Aaliyah Iruoesiri In Whippy, director James Rooke brings to screen the most intense ice cream war seen since Peter Kay donned his ‘Mr. Softy Top’ wig. This short Scottish send-up of bloody gangland movies is great value for a mini-milk sized comedy that brings a new meaning to brandishing a magnum. Glasgow, 1983. A turf war has erupted around the outer-city tower blocks over an addictive white substance that makes people go crazy when they hear music. Dealers fiercely protect their parks, and when a notorious seller known only as Mr. Sprinkles (Emun Elliott) hears that John (Kal John), a new ice-cream man has been selling 99s on his patch, he takes drastic action. A tense stand-off threatens to spill strawberry sauce, until a demanding customer (Aaliyah Iruoesiri) intervenes… At its screwball centre, Whippy is a fun and clever comedy short that works brilliantly as a short parody of intense gangland bloodbath movies. It uses its central premise of a violent ice-cream turf war to deliver some great gags and play with the genre it upends. Played absolutely straight until the final few seconds, the sheer novelty of hardened Glaswegian accents snarling over the severity of the cornetto market is inherently great. The additional use of ice cream-adjacent props for humour, including one particularly unlucky cone and some surprisingly voluminous sauce is the flake on top of the 99. At only 5 minutes long, the film is a little more Calippo than Ben & Jerry’s in the depth department. It never really aims to be more than a drawn-out gag, a great scenario but one that receives little more development than it requires for its base premise. The last bite of an ice-cream is often the best, whether it’s the bottom of a cornetto or the melted creamy remnants at the end of a McFlurry – and the reason why is because it leaves you wanting more. Whippy ends the same, quickly and neatly running through its story satisfactorily, but leaving plenty on the table. Emun Elliott and Kal John are both menacingly great in their roles, bringing an intensity that is critical for the ridiculousness to land when one remembers that these two grizzled, brutish operators are fighting over desert. No strangers to much more serious projects, the film cleverly makes central the unknown but evident personal rivalry between the pair, and lets the humour flow from audience amusement at the premise rather than forcing gags or needing to explain the farce of their battle. A brilliant quick comedic treat, Whippy will tickle those with love for the gangster genre and beyond. Much like an ice-cream, it comes and goes far too quickly, but is a great ride whilst you’ve got it in your hand. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Fearless film review by UK film critic Jason Knight. Starring Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache directed by Noella Mingo. HOME | FILMS | REVIEWS Fearless Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 30, 2025 Directed by: Noella Mingo Written by: Noella Mingo Starring: Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache A feature-length documentary about six women who moved to Britain following the Second World War. This film was written and directed by Noella Mingo. After World War II, Britains was in great need of people to fill in positions in areas such as transport, manufacturing and healthcare. In response, citizens from Commonwealth countries were requested to come to Britain and contribute to the demanding situation. Among them were these six women: Sheila Daniel, Maggie Kelly and Aileen Edwards from the Caribbean, Nashattar Kang and Nages Amirthananthar from India and Anne Gache from Ireland. These six individuals give interviews in this informative documentary, telling their story, starting from their childhood, how and why they ended up making the move to the United Kingdom, the challenges they faced after arriving and how they have lived since then. Through the interviews, a rich collection of photographs revealing various stages throughout their lives and archival footage (all methodically edited by Ken Mizutani), viewers will become familiar with these wonderful individuals and their inspiring stories and how they built their lives in Britain. All this is supported by a good selection of songs, including Cooking Up A Rhythm by Jonathan Boyle, Shakin' All Over by Johnny Kid & The Pirates and A Mother's Love by Lord Tanamo. Additionally, this feature also provides an account of what life was like in Britain decades ago, with racism and injustice making life difficult. There are several historical facts that are referenced, including the Partition of India, the 1958 Notting Hill Race Riots, the Race Relations Act 1968 and the creation of the NHS, making the viewing dramatic and educational. Dy documenting the lives of several women who moved to Britain not long after WWII and pointing out significant political issues, this feature provides a commentary about reminiscing the past, childhood memories, appreciating achievements, making life-changing decisions, building a life, immigration, racism and inequality. People who view this documentary will become get to know six likeable individuals who moved to Britain for work following WWII and will also get an idea of how things were there during those times. This is an informative film and one that acknowledges the joys of living life. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Society of the Snow film review by UK film critic George Wolf. Starring Enzo Vogrincic, Augustin Pardella, Matias Recalt directed by J.A. Bayona. HOME | FILMS | REVIEWS Society of the Snow Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 4, 2024 Directed by: J.A. Bayona Written by: J.A. Bayona Starring: Enzo Vogrincic, Augustin Pardella, Matias Recalt 2012’s The Impossible proved director J.A. Bayona could recreate a real life disaster with heart-racing precision, and then mine the intimate aftermath to find a touching depth. Since then, he’s had his big screen mind on monsters, with results both miraculous (A Monster Calls ) and mixed (Jurassic World: Fallen Kingdom ). Now, Netflix’s Society of the Snow finds Bayona back in the true adventure business. And his business in Society of the Snow is heartbreakingly, thrillingly, unbelievably good. It’s the latest account of the 1972 Andes flight disaster, a legendary ordeal that has been detailed in several books and films over the last five decades plus. Bayona read Pablo Vierci’s “La Sociedad de la Nieve” while researching The Impossible , bought the rights soon after, and now teams with co-writers Bernat Vilaplana and Jaime Marques for a harrowing and fittingly reverent treatment. Following Vierci’s lead, Bayona makes sure we get to know many of the members of the ill-fated Uruguayan rugby team, who were on their way to a long weekend in Chili when their plane – carrying 40 passengers and 5 crew members – went down among the snowy peaks. After an introduction that endears the young men to us via enthusiastic friendship and youthful naïveté, Bayona pulls us into the crash experience with a spectacular, terrifying set piece almost guaranteed to whiten your knuckles quicken your pulse. It’s a stunner, as it should be, because it anchors the film in a survival mode that will be tested beyond what most people could ever imagine. The ensemble cast, filled mainly with newcomers, is deeply affecting. The survivors will be pushed to their physical, moral and spiritual breaking points, and these young actors make sure not one exhausting second of it feels false. Bayona and cinematographer Pedro Lugue present the Andes as a beautiful monster in its own right, capable of majesty and menace in equal measure. The smaller you feel, the better, so experience this one on the biggest screen you can find. Forget what you know. Even if you’re aware of what these people went through, Society of the Snow will reframe the tale with a deeper level of humanity and courage. And should this legend be new to you, resist the urge to research until after you’ve seen Bayona’s take. It’s one unforgettable journey. Buy UKFR Banner Space About the Film Critic George Wolf Netflix, World Cinema < All Reviews Next Film Review >

The Stones and Brian Jones film review by UK film critic George Wolf. Starring Nick Broomfield, Eric Burdon, Marianne Faithfull directed by Nick Broomfield. HOME | FILMS | REVIEWS The Stones and Brian Jones Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 17, 2023 Directed by: Nick Broomfield Written by: Nick Broomfield, Marc Hoeferlin Starring: Nick Broomfield, Eric Burdon, Marianne Faithfull At this point, it’s a good bet that any Rolling Stones fan who is familiar with the name Brian Jones is 1) dedicated 2) old or 3) both. With The Stones and Brian Jones , documentarian Nick Broomfield aims to add some numbers to that list, reminding all who will listen about Jones’s place in the Stones enduring legacy. It was, after all, guitarist and blues devotee Brian who is credited with forming the band at the age of 19. He recruited Mick, Keith, Charlie and Bill via other groups or local advertisements, and was the Stones figurehead until the Jagger/Richards cocktail of rock charisma and songwriting prowess began to take over. As he did with 2019’s Words of Love: Marianne and Leonard , Broomfield leans on archival footage and interview audio to effectively stamp the time and place. He surrounds us with England in the 1960s, pulling us into the story of a young man whose troubled relationship with his parents drove both his ambition and his self-destructive nature. We hear from other musicians (retired Stone and devoted archivist Bill Wyman serves as a consultant on the film), friends, family and the various girlfriends who bore his 5 children. And while we certainly get a peek behind the rock star curtain (“He just uses people”), Jones’s eventual fade into the background comes off as inevitable. His haircut was mod, his aim to keep the band bluesy was pure and his attention to fan mail was sweet, but he didn’t sing and didn’t write songs. Again, do the math. For music fans, Broomfield has assembled a wealth of audio and video that feels like a must-see scrapbook on the birth of a legend. Ironically, it all casts a spell that’s only broken by the more recent Zoom-like interviews that are included (including Wyman, which only draws more attention to the absence of Mick and Keith). It’s hard not to smile as a young Brian tells a reporter that he’d do it all again “a hundred times,” and wonder if he ever could have imagined that even today, the history of the band he started would somehow still be adding chapters. But Brian’s personal history was cut short, and much like in Words of Love , a parting note from long ago becomes a bittersweet ode to the real lives that got away from the people living them. Mr. Jones may not have been a survivor, but as Broomfield makes clear, he should be remembered as more than a footnote. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release, Documentary < All Reviews Next Film Review >

Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this.. Brand new film trailers. Luca Trailer Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this. 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.

Zero Percent film review by UK film critic William Hemingway. Starring Brandi Botkin, Chris Dettone, Kennedy Hancock directed by J.W. Cox. HOME | FILMS | REVIEWS Zero Percent Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jan 25, 2024 Directed by: J.W. Cox Written by: J.W. Cox Starring: Brandi Botkin, Chris Dettone, Kennedy Hancock Trapped in a dingy basement is Eden (Botkin). She has a thin mattress down on the floor, placed against the back wall, to serve as a makeshift bed and she has nothing save for her underwear and a very thin blanket to preserve her modesty. She has her friend Bacon, a stuffed toy pig, to help keep her company although he can’t, of course, provide her with any advice or physical assistance. The Zero Percent of the title refers to the amount of chance Eden has, as related to her by her captor, a man referred to only as the Pastor (Dettone), of her getting out of the chain around her leg which keeps her prisoner. And so we are thrust into the middle of a dark and dangerous situation, albeit one which has been told many, many times in mostly the same sort of way, as we enter into the story of Zero Percent . So, with strong reminiscences of The Disappearance Of Alice Creed (2009) and Room (2015), along with a slew of other films of a similar ilk, we’re asked yet again to sit through the imprisonment of a young female captive who must do her very best to survive, endure and ultimately escape her desperately dire situation. What writer/director J.W. Cox then does, to inject a smattering of intrigue into the rather well-worn scenario, is to suggest that something else may be going on outside the confines of the four walls of that small prison of a basement. The way that the Pastor talks, introducing ideas of needing to scavenge for supplies, mentioning the ‘end of the world’, and invoking Revelations, is supposed to suggest to Eden, and of course to us, that some catastrophic calamity has befallen society. This ambiguity is then left hanging in the air, with no way of proving or disproving its reality, to Eden or to us, and shifts the narrative slightly, more towards that of another captive/survival/horror movie, 10 Cloverfield Lane (2016). This, however, does nothing to shift the feeling that we’ve seen this sort of thing before. Thankfully, the basement isn’t quite as dingy as it may first appear, with plenty of light streaming in through the windows from up at street level. This allows cinematographer, Matthew Kennedy to capture that light, and the colour that it provides, to create some genuinely good looking shots. Cox’s direction is also steady and sure, being as he is a veteran of more than fifteen shorts over the course of his career, and none of the small details are missed when cutting to characters’ faces or the hidden machinations of Eden. The sound design is effective, except for maybe one short scene, and the score from Jack McCarthy provides a decent brooding atmosphere to keep the viewer firmly grounded in the scenario. The main performance from Brandi Botkin as Eden is also very strong. There may very well be some sort of commentary going on here from Cox about the nature of the church, or religion, or God – what with the captor being a pastor, that Eden is a pretty obvious epithet, and that nobody can legitimately verify if what the pastor is saying is the truth – but unfortunately nothing along these lines really gets explored during the short ten-minute runtime. It would have been nice if there really was something else going on behind the scenes as it would have offered another dimension to what is otherwise a pretty average captive movie with nothing else to add to an already over-saturated genre. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Mom I Am Alone film review by UK film critic Patrick Foley. Starring Erin Dickson, Morgan Black directed by Naveen Sunag. HOME | FILMS | REVIEWS Mom I Am Alone Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 21, 2022 Directed by: Naveen Sunag Written by: Naveen Sunag Starring: Erin Dickson, Morgan Black I wish there was a little more to say about Mom I Am Alone. A minimalist short focusing on loss, an overall lack of anything original or substantive undermines stronger performances and scene construction. The evening before an important presentation, a woman (Erin Dickson) is disturbed by the presence of a visitor at her window (Morgan Black). The young girl pleads with the woman, her mother, to let her into the house. But knowing this is impossible, the woman can only draw the curtains – as the truth of their relationship is revealed. Mom I Am Alone is a short conceptual film about loss, and how those we lose stay with us. But its overall message is confusing and lacking in both originality and gravity. The film carries many traits of a horror – with an eery and discomforting visitor in the night haunting the protagonist, resurrecting her feelings of grief. Yet the film builds to a much more positive message that acceptance of grief and loss is a part of life – and how those we lose stay with us as we move forward. The problem with this is that the main character is not shown receiving this message herself by the film’s story. Her journey from shutting out the visitor, to making her own visit to a resting place, involves too few story beats to drive home the film’s theme or demonstrate any kind of reasoning behind her character development. It feels like an entire middle section is missing from the film – which would have included critical elements of the story. Little else is raised by the plot for viewers to really relate to. There are hints that the mother may be behind the reason why she cannot allow her daughter into the house, but this is not developed or woven into the story beyond a single line of dialogue. Her lack of surprise at the visitor’s appearance conversely is a good example of storytelling – hinting towards this being a regular occurrence that she has yet to learn how to deal with. Erin Dickson gives a strong performance as the mother, torn between embracing the visitor and allowing her into the home, but grounded by the cruel reality she knows she must learn to accept. Morgan Black’s ambiguous and fractured visitor carries an ethereal air – hints to her true nature of being formed of memory and pain. Both performers are well-cast and play their roles well – it’s a shame the story does not give either a little more to portray. So where short films do have to omit depth and lengthy plots, Mom I Am Alone brings too little to the table when exploring its themes. What is left is a concept that allows for some good performances, but not a whole lot else that has not been accomplished better elsewhere. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >