The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease.. Brand new film trailers. Game We see a lot of trailers. Some are forgettable, some are a bit rubbish, and a very small number manage to get under your skin and stay with you. The trailer for the film GAME , set for release in November 2025, falls squarely into that last category. It's two minutes of pure tension, leaving you with more questions than answers and a palpable sense of unease. The trailer kicks off with a chilling voice-over: "I watched someone die before." This immediately sets a dark, sombre tone, which is then jarringly undercut by the revving of a car and the sudden switch to a pulsing electronic score. This is not a horror film in the traditional sense, but something far more psychological, and this trailer makes it clear that the film will play with our expectations. We're thrown into a high-speed car chase on a winding country road. A figure in a black balaclava is the focus, both behind the wheel and later, on foot, being pursued through a forest. The action is frantic and kinetic, culminating in a violent car crash where the vehicle flips dramatically. This segment is pure adrenaline, but what's the purpose of the chase? Is it a game, a hunt, a revenge story? The trailer's genius lies in its ambiguity. The second half of the trailer takes a surprisingly different turn. The electronic music fades, replaced by a haunting folk song about a poacher. This shift is brilliant. It slows everything down, allowing us to absorb a series of quick, evocative shots: a beautiful pheasant, a watchful fox, and intimate moments between the characters. The juxtaposition of the thrilling chase with the pastoral imagery and folk music is what makes this trailer so unique. It suggests a complex story at play, one that's perhaps not just about a high-octane pursuit, but also about something primal, something rooted in nature and survival. GAME appears to be a film that defies easy categorisation. It's got the action of a thriller, the character intimacy of a drama, and the atmospheric dread of a psychological horror. The final reveal of the title and the release date is a final punch, a simple, one-word name that feels both a little menacing and incredibly intriguing. The UK premiere will be on 16 October 2025 at the opening night of Mayhem Film Festival in Nottingham, the hometown of Jason Williamson, who will be in attendance along with Marc Bessant, John Minton, Geoff Barrow and Rob Williams. Tickets will be on sale shortly. Other festivals and Q&As will be announced in due course. 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.

Making Beethoven Proud film review by UK film critic Jason Knight. Starring Sebastian Rohn, Cindy Henkin, Debrah Neal directed by Brian Naughton. HOME | FILMS | REVIEWS Making Beethoven Proud Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 14, 2022 Directed by: Brian Naughton Written by: Samuel Breedlove Starring: Sebastian Rohn, Cindy Henkin, Debrah Neal A high school boy with a passion for playing the piano suffers damage to his hearing and finds a way to overcome his disability. Benji (Rohn) is a teenager who loves piano music. Unfortunately, he is being bullied and after a relentless act by his tormentors, Benji's ability to hear is severely sabotaged. As a result, his world begins to fall apart, until he finds salvation in the form of his greatest strength: the piano. This emotional short drama follows the life of a young man who is pursuing his dreams of becoming a pianist. Then suddenly, all that collapses and he has found himself living an empty life, unable to play music, enjoy life or just communicate. The atmosphere turns rather bleak while he struggles with his loss and then things look hopeful and take a turn for the better as he realises that he can still play the piano. The story is seen through Benji's perspective and it is heartbreaking watching his world fall apart after his hearing becomes impaired. His passion for piano is clearly shown as he plays and so is his determination to hold on to it. His character has similarities to the great German composer and pianist Ludwig van Beethoven, who also suffered hearing loss. The film's title could be referring to Benji's determination to continue pursuing his music ambitions despite having a disability that is similar to Beethoven's. Benji does not speak throughout the film, indicating that music is his language, his way of communicating with the world. One of the features that stands out the most are the sound techniques. After the terrible incident, all sounds become muffled, giving the audience an idea of Benji's current hearing state and making them feel quite sorry for him. As the title suggests, this is a story that involves piano practising, therefore, unsurprisingly, there is a great deal of wonderful piano music to be heard throughout and composer Peter Naughton does a superb job. Brandon Hoeg delivers beautiful cinematography and Marcus Aubin is creative with the editing, especially during a dramatic sequence that involves parallel editing, moving between the present and a scene that might be imaginative or taking place in the future. This is a moving film that explores the magic of music and the power of the human spirit. It examines how one's passion and determination can get them out of a seemingly hopeless situation. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Silence film review by UK film critic Jason Knight. Starring Malkanthi Ranasinghe, Divya Shakira Pigera, Kamala Sri Mohan, John Dinesh Sandaruwan directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS The Silence Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 24, 2023 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Malkanthi Ranasinghe, Divya Shakira Pigera, Kamala Sri Mohan, John Dinesh Sandaruwan A young woman gets a lift and ends up having a conversation about people disappearing. The story takes place in Sri Lanka, in an area where multiple disappearances have occurred. In the countryside, a man (Sandaruwan) is driving a tractor with a middle-aged woman (Ranasinghe) as a passenger into town. They are stopped by a man on a motorbike, who requests that the young woman with him (Pigera) is also given a lift into town. As the journey continues, the two women, along with a third middle-aged woman (Mohan) who hops on later, engage in a dramatic conversation regarding young men going missing, two of which are sons to the middle-aged women. The main thing in this short drama is how the disappearances of two male youths have affected their mothers. The two mothers know each other and both are carrying a framed picture of their offspring. Their children were apparently abducted and have been missing for many years and they explain to the young woman how devastated they are by not knowing what has happened to their loved one and they blame people's ignorance and the government for what they are going through. However, the young woman does not sympathise with them and appears to be more concerned about the mobile phone that she lost during the journey. Bandaranayake directs very well and creates shots that capture the beauty of the surrounding nature and the presence of the Monument for the Disappeared is quite emotional and adds significant value to the film. Lahiru Madiwila makes a good contribution with the melancholic music that includes wonderful piano melodies. One obvious goal of this short is to raise awareness of abduction and the effects this terrible occurrence has on the missing person's loved ones. As far as the story goes, this is an emotional one that contains dramatic dialogue and effectively explores the pain that the characters are going through. The serious issues that this film deals with make it a thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Barbados Project film review by UK film critic Jason Knight. Starring Cherah Belgrave, Brandon Blackman, Ishmall John, Frank Gilkes, Stockton Miller, Dwayne Gibbs directed by Stockton Miller, Thomas Burke. HOME | FILMS | REVIEWS The Barbados Project Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 16, 2022 Directed by: Stockton Miller, Thomas Burke Written by: Stockton Miller Starring: Cherah Belgrave, Brandon Blackman, Ishmall John, Frank Gilkes, Stockton Miller, Dwayne Gibbs A monstrous entity is terrorising people in Barbados. This found footage science fiction horror has a tense story that evolves around the idea that a large monster has emerged in Barbados in the late 2010s, creating chaos. After footage appears that apparently shows the creature, a TV crew set off to discover the truth, putting their lives in danger. The plot bears similarities to the 2008 monster movie Cloverfield , as it concerns a huge monster attacking people. Unlike Cloverfield though, the action is limited, with the screenplay focusing instead on individuals talking about the threat and trying to understand its origins. The TV crew's efforts to learn what is going is the main storyline and the feature is presented as a mockumentary, with news footage of the monster and scenes filmed via smartphones. There isn't really a main character and some of the other characters include a man who appears to have a great deal of knowledge regarding the creature, a scientist and an online influencer. The action primarily takes place during the late 2010s and is briefly moved to the eighties. The monsters (it is indicated that there are many) look terrifying, deadly and otherwordly and have multiple forms. Their time onscreen is limited and the movie does not provide a thorough explanation regarding where they came from, making their existence more mysterious. The entities are arguably the highlight of the movie. The image often appears scratched and damaged, giving the impression that the film is genuine. Texts appear regularly, providing information about significant events. Burke also worked on the editing and does a great job. The sound effects are interesting and so is the music. This hour-long feature is most likely to appeal primarily to fans of the found footage genre. The plot is not very original but is intriguing nevertheless. Still though, the film probably would have gained further if it had shown more of the monsters. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Barefoot Empress film review by UK film critic Jason Knight. Starring Karthyayani Amma, Sathi Krishnan directed by Vikas Khanna. HOME | FILMS | REVIEWS Barefoot Empress Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 26, 2022 Directed by: Vikas Khanna Written by: N/A Starring: Karthyayani Amma, Sathi Krishnan A short documentary about a very elderly woman in India who begins school. This astonishing documentary introduces the audience to Karthyayani Amma, an elderly Indian woman, who did not go to school as a child, grew up in poverty and lived a very difficult life and was finally able to begin education in her mid-nineties thanks to the interference of Sathi Krishnan, an educational instructor. After an introduction to Amma, during which talks about her rough past, the film goes on to show her beginning her journey into education, going to school with regular students. It is unusual watching someone begin eduaction at such a late age and it is also inspiring to see what people who are so elderly can achieve. Amma pursues her education and through a lot of studying, she succeeds in her goals. Aside from Amma, the documentary also includes interviews of her daughter Ponnamma and her examiner. There is also news footage that involves protests in India over women's rights. The film is wonderfully shot and the filmmakers utilise slow motion to great effect and the addition of Omee Ganatra's terrific cinematography makes the images look even better. Beautiful Indian music is heard throughout and it creates a powerful atmosphere. This inspirational and dramatic documentary introduces the world to a kind and gentle individual, who manages to get educated at a very late age. Her story proves that it is never too late for people to achieve great things and offers hope and support to viewers. The film also addresses issues regarding women's rights in India and being aware of that makes Amma's triumph even more impressive, because she was able to do what she did in a country where women face inequality. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

High Heat film review by UK film critic George Wolf. Starring Olga Kurylenko, Don Johnson, Kaitlin Doubleday, Chris Diamantopoulos directed by Zach Golden. HOME | FILMS | REVIEWS High Heat Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Dec 15, 2022 Directed by: Zach Golden Written by: James Pedersen Starring: Olga Kurylenko, Don Johnson, Kaitlin Doubleday, Chris Diamantopoulos Ana (Olga Kurylenko) is a high end chef with a particular set of skills leftover from her past, so High Heat also offers a slice of Taken . But honestly, Die Hard is just easier to have pun with. Okay, I’m done. And there is some shoot ’em up fun to had with this film, you just have to wait for Ana’s old KGB partner to show up. But first, it’s opening night at the restaurant Ana co-owns with her husband (not her Dad) Ray (Don Johnson). It’s a pretty successful debut, until some mafia goons show up to burn the place down and settle Ray’s massive debt with an insurance payoff. And before you can 86 the sea bass, Ana’s dispatching the hitmen so quickly that big boss Dom (Dallas Page) has to call in some mercenary backup. But Ana has a friend to call, too. It’s Mimi (Kaitlin Doubleday), who’s still mad about being ghosted when Ana (or is it “Anya?”) left the Russian spy game. Mimi might be more inclined to hurt Ana than help her, but she’s on her way, along with her getting-in-touch-with-his-feeling hubby Tom (Chris Diamantopoulos) and their teenage twins (Bianca and Chiara D’Ambrosio). And it’s that nuttily contrasting family dynamic that delivers on the promise of director Zach Golden’s breezy, stylishly throwback opening. Doubleday and Diamantopoulos supply the chemistry here, and along with Jackie Long as a mob masseuse in way over his head, give the film the jolt it needs to avoid being completely forgettable. Even so, James Pedersen’s debut screenplay feels slight. High Heat struggles to find enough padding for even an 84 minute running time, and will probably fade from the menu pretty quickly. But when it does, maybe Golden and Pedersen will recognize the potential in their side dishes. Re-tool this project into some cable-ready episodes starring Mimi, Tom and the twins, and you might really get something cooking. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

When Cotard Comes film review by UK film critic Swati Verma . Starring Mona Afkhami, Paria Latifi directed by Shayan Naghibi. HOME | FILMS | REVIEWS When Cotard Comes Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Sep 14, 2024 Directed by: Shayan Naghibi Written by: Shayan Naghibi Starring: Mona Afkhami, Paria Latifi The writer-director Shayan Naghibi utilises the mystery genre to explore and educate the audience regarding Cotard’s syndrome and how it affects the person suffering and their loved ones. Mona Afkhami and Paria Latifi play significant roles in When Cotard Comes to increase the degree of viewer’s interest and attention from the very beginning of the narrative. The plot of the short film revolves around a woman who suffers from Cotard’s delusion and thinks she is dead until a mysterious woman walks into her house. The short film starts with a close-up shot of a woman sleeping on the floor getting up only when she hears the doorbell ring i person’s identity at the door isn’t revealed initially to utilise the mystery element to keep the audience hooked to the content. The set design, the black, white, and blue tint colour pallet, dim lighting, camera angles, sound, dialogues, costume, hair, makeup, and props are designed brilliantly to elevate the subject matter the movie wants to shed light upon. Shayan Naghibi and his creative team had a very well-written one-to-one conversation in the narrative therefore adding emotional depth/sensitivity, realism, and relatability to the storyline as well as the character arcs of the two female leads. In terms of performance, Mona Afkhami plays the mysterious woman who comes to visit the person leading pretty mundane life suffering from Cotard’s syndrome struggling to survive every day. Afkhami with her portrayal maintains his ladylike poise while she tries to comfort this woman. Afkhami understands the nuances of the subplot and so alters her voice modulation, body language, facial expressions, and eyes according to the situation in the screenplay. Paria Latifi plays the role of a patient going through a tough time dealing with Cotard’s syndrome. Paria Latifi brilliantly illustrates the void, the constant internal battle to follow the day-to-day routine. The actress with her acting skills manages to build a heart-to- heart relationship with the viewers helping them learn a lot from the movie. Latifi’s body language, facial expressions, and voice modulations assist her in communicating her mental status thus making the portrayal real. When Cotard Comes talks about the hardships when dealing with mental health issues. The pain one goes through when he or she isn’t able to understand what’s happening with them feeling alienated most of the time. The short film reiterates the fact that the family and friends of those people battling this condition should handle the situation with utmost care, love and always find time to listen to them whenever they want their loved ones to lend an ear to their worries. The cinematic piece highlights the challenges the care givers/ family/ friends tend to experience. The creative piece explores the sense of helplessness in the minds of everyone who loves the patient and wants to see them happy and fully satisfied with life. To Conclude, I would like to thank the makers for handling the subject matter with a lot of sensitivity and providing us an opportunity to learn from the film in different ways. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Intern film review by UK film critic Joe Beck. Starring Isaac Jay, Richard Riehle, Arianna Papalexopoulos directed by Elena Viklova. HOME | FILMS | REVIEWS Intern Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 4, 2023 Directed by: Elena Viklova Written by: Elena Viklova Starring: Isaac Jay, Richard Riehle, Arianna Papalexopoulos We’ve all had that dream job that we’ve really wanted, and can imagine doing anything for. Whether motivated by money, ambition or idyllicism it is beyond the bounds of possibility that most people would do irrational and possibly unreasonable things to find themselves getting that job. Though ‘Intern’ first skews towards that angle, it later pivot presents a far more revealing reality, one that, though formulaic, is also funny, witty, and, ultimately an interesting narrative twist. We’re introduced to a group of hopeful interns vying for a position in some big business’ office. This includes the former “summa cum laude” graduate, Seth (Isaac Jay), who is nervously pushing himself to become the front-running candidate amongst a slew of hopefuls, many of whom are older and possess more experience than him. Stuck in a surprisingly well-lit basement for weeks, Seth carries out a number of inane tasks, such as changing the mayor’s approval ratings from 35% to 95%, and filling out report after report in the hope that he’ll finally get his seat on the table. Eventually, Seth’s two weeks are up, and, having completed a report and portfolio outlining his skills and capabilities for the role, he is desperate to finally get his shot at the big time. However, try as he might to get an opportunity to speak to the man upstairs (Richard Riehle) he constantly finds himself blocked. Even when a man comes in, dressed mysteriously and suavely like Alain Delon in ‘Le Samouraï’, saying that ‘he’ - referring presumably to the mayor - will speak to Seth, he remains consigned to what seems like eternity in the basement. Forced to take matters into his own hands, Seth comes up against a rude secretary (Arianna Papalexopoulos), who is far too committed to her job, and takes preventing Seth from seeing her bosses far too seriously. The secretary is an interesting character, hellbent on serving her bosses out of loyalty for them, over any kind of respect for herself, and presumably on a reasonably low wage. The most immediately striking aspect of ‘Intern’ is the lighting, shot with green and yellow hews in dim lighting, that really bring out the colours in a visually striking way. Elena Viklova’s direction is exceptional, giving the film its witty, irreverent edge - not too dissimilar from a Wes Anderson film - particularly towards the film’s conclusion. Each shot feels meticulously framed and lit, giving the film a thoroughly professional feel, and instilling a confidence in Viklova’s direction that is sustained throughout the entirety of the film. This is matched, for the most part, through Viklova’s writing, which maintains the irreverent tone of her directing, with dialogue stilted, though at times a little too stilted, often lending itself to the comedic side of ‘Intern’ rather than its darker, dramatic edge. Although ‘Intern’ may at times feel a little too on the nose, and perhaps a little too irreverent, it is nonetheless an exquisitely directed film, with something to say about society, and a culture of people who will bow down to the elite without questioning the ethics of their decisions. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Standing On The Edge film review by UK film critic William Hemingway. Starring Lisa Michelle Sanders, Mike Brenneman, Mark Ilian directed by Garrett Brenneman. HOME | FILMS | REVIEWS Standing On The Edge Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jun 21, 2025 Directed by: Garrett Brenneman Written by: Garrett Brenneman Starring: Lisa Michelle Sanders, Mike Brenneman, Mark Ilian A woman has to take stock of her life and admit to herself that she has a problem with alcohol before her life completely falls apart around her, or worse. Carolyn (Sanders) has a drinking problem. Unfortunately, she’s not ready to admit it to herself yet, even though her husband, Richard (Brenneman) has moved out and taken their son, Axton (Ilian) with him. When we first meet her, Carolyn is looking after Axton for the one hour a week she has been allowed due to her circumstances. Even now she is zoning out and paying little attention to her son, which is probably why he seems to be very immature in his manner and play. Looking like he’s somewhere around eleven, but being played as though he is more like six years old, Axton is a four-and-a-half-foot tall baby who likes to whoosh monster trucks through the air pretending that they’re aeroplanes. Carolyn does her best to re-engage when pressured to do so by her son, but otherwise her mind is always on the demon drink. When Richard turns up to take Axton home with him again, Carolyn is left alone with her own thoughts and her own feelings about herself. Initially believing that she is being wronged and misrepresented at every turn, she takes a drink in defiance and in an attempt to calm her nerves. Naturally, one thing leads to another and soon enough Carolyn is drinking at all hours of the day, doing all she can to numb her pain, and trying her best to keep the voices at bay. Unfortunately, once the voices take hold properly, Carolyn finds herself on the roof of her building, ready to do something drastic to stop it all from becoming too much to bear. All throughout Standing On The Edge , we are very aware that what we are watching is a very amateur production. Writer and director, Garrett Brenneman uses economy in all of areas of his film to give us this family’s story, seriously reducing the cinematic feel needed for it to be relayed on screen. The acting from all leads is poor, almost to the point of looking unrehearsed, and it seems difficult for Mike Brenneman as the father to get his words out sometimes. When this happens, it would be down to the director to stop, reset, and try again, but (Garrett) Brenneman doesn’t bother with that and just leaves the fumblings and mumblings in his scenes. Sadly, Lisa Michelle Sanders doesn’t fare any better as the mother, vaguely grasping at the emotions she is supposed to be portraying, whilst going wildly over the top at turns, risking the whole production being turned into a farce. She isn’t helped by the grand overtures of DeWayne Adcock’s orchestral score, which blast out over her tears and grief as she gurns herself into submission, nor by the rest of the sound design which doesn’t always fit in with the characters or the images. It is commendable that Brenneman has decided to take on such a difficult theme for his story, and it’s obvious he has some real investment in getting the message out about the ‘behind closed doors’ realities of alcoholism. Showing the need for Carolyn to come to terms with her own problems, to then accept the help that is being offered by those who care for her, is a noble and forceful reason for creating a film like Standing On The Edge . Unfortunately, the shoehorned religious element, complete with misspelled bible quotation, really feels forced at the end and only serves to alienate some viewers who will undoubtedly feel as though they’re being preached to. Alcoholism is a real-world problem, not one that has to be attributed to the devil. In the end, Standing On The Edge falls short at every hurdle in terms of its production, and lands as a damp squib of a story when it could so easily have had a depth of emotion and understanding of character just from the scenario it portrays. Rather than being a professional project, Standing On The Edge is more of a family affair, looking like it was created for an amateur showing in the local church group, meaning that the issues it wants to tackle are not entirely represented in the way they should be. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Monkey film review by UK film critic George Wolf. Starring Theo James, Christian Convery, Colin O'Brien directed by Osgood Perkins. HOME | FILMS | REVIEWS The Monkey Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 20, 2025 Directed by: Osgood Perkins Written by: Osgood Perkins, Stephen King Starring: Theo James, Christian Convery, Colin O'Brien Why is it that so many kids’ toys are creepy? Not that you should call The Monkey a toy. You should not, ever. Because this windup organ grinder monkey, with its red eyes and horrifyingly realistic teeth, is more of a furry, murder happy nightmare. The film itself is a match made in horror heaven. Osgood Perkins (Longlegs , Gretel & Hansel , The Blackcoat’s Daughter ) adapts and directs the short story by Stephen King about sibling rivalry and the unpredictability of death. The delightfully low-key Christian Convery (Cocaine Bear ) carries the first half of the film as young Hal and Bill, twins who discover their dad’s old closet full of knickknacks and collectibles, one of which will indiscriminately kill a lot of people. They boys eventually believe they’ve eliminated the beast, but decades later, the adult brothers (played with deadpan precision and one impressive mullet by Theo James) must contend with bloody monkey business once more. Perkins surrounds his deliberately low energy leads with bizarre, colorful characters—even more colorful when they catch fire, explode, are disemboweled, etcetera. The film is laced with wonderful bursts of Final Destination -like bloodletting, as the Monkey’s executions are carried out via Rube Goldberg chain reactions that quickly become fun to anticipate. Yes, fun. And funny. There is a different tone at work here for Perkins. It’s one that is somehow both bone dry and silly, creating a dark humor that wallows delightfully in the pulpy carnage. His usual aesthetic of dreamy Gothic beauty is replaced by a more grimy, Earth tone palette that seems purposefully at odds with the stated time stamps. And yet, underneath all of it you’ll find a meaningful layer that speaks to absentee fathers and generational trauma. There are disjointed moments, but only a few, thanks mainly to grounded reminders about the monkey’s shoulder-shrugging mantra: “everybody dies.” Indeed. And if sometimes they need a little help, well, you can always wind up Furious George and take your chances. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Voice of Hind Rajab film review by UK film critic Jack Salvadori. Starring Saja Kilani, Motaz Malhees, Amer Hlehel directed by Kahouter Ben Hania. HOME | FILMS | REVIEWS The Voice of Hind Rajab Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: Sep 5, 2025 Directed by: Kahouter Ben Hania Written by: Kaouther Ben Hania Starring: Saja Kilani, Motaz Malhees, Amer Hlehel This is not an easy review to write. Normally, I might lace my words with humour, but here that feels impossible. How can you even rate a work like this? How do you measure a film that is less an entertainment than an act of witness? When I first heard about The Voice of Hind Rajab , I’ll admit I was sceptical. Festival line-ups so often include political works that are celebrated more for their message than their artistry, and that has always troubled me. Cinema, at its best, should be for everyone, not reduced to a vessel for ideology, however just the cause may be. I feared this might be another “quota” selection, applauded for its subject before the film had even been seen. But I could not have been more wrong. What unfolds here is cinema in its purest, most urgent form, a devastating fusion of documentary and fiction in which nothing feels staged, because nothing is. The actors do not perform so much as re-enact what truly happened, and at the very centre is Hind Rajab herself. She is five years old. Her family has been killed. She is trapped in a car, surrounded by their bodies, just eight minutes away from safety. And she cries for help, lost, unable to understand why no one can reach her. We, watching, cannot understand either. Her small voice whispers in terror, confessing she is more afraid of the darkness than of the tanks outside. On the other end of the line, the rescuers plead and strategise, desperately trying to carve a path for an ambulance that never comes. What makes this so difficult to bear is that we hear Hind’s real voice- her actual calls to the Crescent Moon rescue centre, woven into the film. She is not performing, and we never see her. We only hear her words, while a photograph of her is pinned to the wall. The film plays out almost in real time, and the effect is shattering. It is not a tear-jerker, but a vice that tightens with every passing second. Suspense arises not from plot twists, but from impotence. You sit paralysed, unable to help, as minutes stretch and hope withers. Around me, people sobbed openly; some fled the theatre, unable to endure it. And still the screen held its gaze, insisting we bear witness. For us, it is ninety minutes. For Hind, it was eternity. It is impossible to watch The Voice of Hind Rajab and remain unchanged. This is not only the strongest contender for the Golden Lion, it is the film that, above all others, demands to be seen. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

IN CINEMAS IN THE UK & IRELAND 30 JULY 2021. Brand new film trailers. Limbo Trailer MUBI, the global distributor and curated film streaming service, has released the official UK trailer for Ben Sharrock’s critically acclaimed British debut feature Limbo, which will be released in cinemas in the UK and Ireland on 30 July 2021. Written and directed by Ben Sharrock and starring Amir El-Masry (The One, Industry, Jack Ryan, The Night Manager), Limbo is a wry, funny and poignant cross-cultural satire that subtly sews together the hardship and hope of the refugee experience. Set on a fictional remote Scottish island, it follows a group of new arrivals as they await the results of their asylum claims. Among them is Omar (Amir El-Masry), a young Syrian musician struggling with the guilt, regret and grief that comes with leaving his former life behind. This deadpan comedy-drama from a bold new voice in British cinema shines a light on the hearts and lives of those at the centre of a crisis that is mostly only experienced through the headlines. Reflecting the complexity of the movement of people across borders has been a long-held passion for Sharrock, who spent time working for an NGO in refugee camps in southern Algeria, and living in Damascus shortly before the outbreak of the Syrian civil war. There, he formed a network of friends whose personal stories inspired Limbo. Amir El-Masry is joined by Vikash Bhai (The Stranger, Flack), Ola Orebiyi, and Kwabena Ansah. Sidse Babett Knudsen (The Duke Of Burgundy, Borgen) and Kais Nashif (Tel Aviv On Fire) round out the supporting roles. Limbo also features non-actors in supporting roles and as extras, including refugees who have made their home across Scotland and locals from the Outer Hebrides. Limbo formed part of the Cannes 2020 selection and has received widespread acclaim following its World Premiere at the Toronto International Film Festival, its European Premiere at the San Sebastian International Festival, where it won the Youth Jury Award, and the BFI London Film Festival. Other festival wins include the Golden Pyramid award for Best Film at Cairo International Film Festival along with the Henry Barakat Award and the FIPRESCI critics’ prize. The film also picked up Best Film and Best Screenplay at Macau Film Festival. Limbo is nominated for Outstanding British Film and Outstanding Debut for the 2021 BAFTA Film Awards. Writer/Director Ben Sharrock, producer Irune Gurtubai, and Amir El-Masry were also named BAFTA Breakthrough 2020 honorees last year. Gurtubai won the Breakthrough Producer Award at 2020 BIFA Awards where El-Masry was nominated in the Best Actor category. LIMBO WILL BE RELEASED BY MUBI IN CINEMAS IN THE UK AND IRELAND ON 30 JULY 2021 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. 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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.