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Star rating: 5/5 Writer: Sophie- Dominique Parea Director: Sophie- Dominique Parea Starring: Ana Parvu, Damian Reyes- Fox This beautiful romantic drama written by Sophie- Dominique Parea asks the audience, softly: what do they think love is? Play Pretend is an incisive, wonderfully simple portrait of true emotional intimacy. This is done with a cast of two. Charlie and an unnamed female character (this is a problem) are our characters: two twenty-somethings who have been friends for some time and share their thoughts about navigating today’s dating world in a city, possibly London. They are the only characters in this sparse, thoughtful and precise script, in which we see the characters go through a huge, puzzling change in their bond. When an energy shifts in a deep relationship, it is hard to grasp and inhabit. Play Pretend portrays this fact of love and life really powerfully. ‘Relationships are trial and error’, says Charlie. The point is whether those errors can be surmounted. Our female character, on the other hand, does not believe in 'happily ever after' and is more about bottling perfect but ephemeral moments if she could. What will they conclude as they chat for a long time over wine, before she goes on a date? Ana Parvu and Damian Reyes-Fox give us brilliant, paced, get-under-your-skin performances to take us on this journey. In a humorous, original scene, the characters start mixing English with the languages of their heritage- in which they say things that are not contrary to but go even deeper than what they are saying to each other in this dialogue. Brilliant, original writing that makes sense as Charlie and his friend know each other since young and are therefore familiar with but cannot fully understand or speak each other’s ancestral languages. Technically, Play Pretend showcases brilliant simplicity- this is a less is more approach. It features an eye-catching full length shot of Charlie smoking outside his front door, and this is brought full circle in the final scene. The locations are homely, fully in tune with the script’s intimacy: Charlie’s front door, his kitchen and his living room, and the cinematography is warm. The film also features inspired use of sound at the very end, almost as the credits roll, to suggest the real conclusion to the conversation we have been witnessing between our characters. A word also on the choice of title- which creatively poses the question, what are our characters pretending? To love, or not to love? In any case, that is always the question.

Star rating: 5/5 Writer: Sam Winterton Director: Sam Winterton Starring: Sam Winterton, Helen Regan and Anthony Wright Duskman is a superhero film with a difference. Jim, an ordinary lad with a job he doesn’t very much enjoy and doesn’t pay well, and a music side-hustle, finds relief within his imagination- what his counsellor would describe as ‘a coping mechanism’ in the face of trauma. From the opening scene, which features a cartoon- style animation of a city sweetly reminiscent of Townsville from Powerpuff Girls, the viewer is gripped and entertained. ‘Sometimes I need the city more than it needs me’, says Duskman- Jim’s superhero alter-ego. The superhero’s love for his town and its people is a principle in every story of the genre, but in Jim’s case it is different, because he seems to need to re-assess his relationship with the place he lives, a place where, according to one of the villains, ‘bad things happen all the time’. Duskman features a brilliant cast playing really memorable characters. It’s delightful to see two really well defined and strong female characters, Jim’s friend Ellen, and his counsellor. They are the ones he seems to trust the most, who are truly present. There is a lovely scene between Jim and Ellen portraying a spontaneity that is unusual between friends in 2025. These female characters are also really well brought out by a wonderfully dynamic, rhythmical script. Duskman is written in such a way that the characters’ struggles and imagination are consistently interwoven, bringing their stories to life with a huge level of creativity. Technically this is a brilliant film, seamlessly switching between cinematic, drama genre style and the superhero genre style of shots and lighting, giving it a genuinely original voice. Added to this technical attention is the inspired choice of locations: alleyways, Jim’s unloved work office, time-worn redbrick buildings, railway bridges, walls covered in colourful, meaningful graffiti art. The contrast between this unmistakably British town setting- Leicester to be precise- and the Townsville of Jim’s imagination is attention- grabbing in a brilliant, almost comic-like way and makes this a really atmospheric film. The costume and make up departments deserve a huge shout out, especially for the superhero scenes- they are imaginative and bold and blend consistently in with the locations. A word also about the great original score. Both musically and lyrically they make real justice to the film. In today’s world, we really need humorurs, sincere and genuinely entertaining films like Duskman.

Star rating: 5/5 Writer: Marshall Malone Director: Marshall Malone Starring: Jaron Wallace, Aimee Ortiz and Jas Abramowitz ‘That’s what family does’ is the resounding phrase of this warm, giggly short comedy narrated in the ‘mockumentary’ format. Mockumentary is a brave choice of genre, having such a rich comedic heritage including The Office and This Country, but this film is beautifully done. Starring Jaron Wallace as the weighed-down protagonist, and Aimee Ortiz and Jas Abramowitz as his burdened family, The Weight is a comedy for our times exploring mental health and emotional responsibility. Family is a lot of things, above all the group of people who knows us inside out, the light and the shade, and this is brilliantly showcased in this piece which features funny, sincere performances by its whole cast. Aimee’s performance expressing uncertainty and affection in equal measure is particularly brilliant, accessible work. Internal turmoil, fear, mental health challenges, experienced by so many people but understood seemingly by very few, is explored here not in a dramatic way, but from a more ordinary, even mundane point of view: the way it erupts on the everyday, on routines, on ways of living, and the way it disrupts assumptions about the home, and shared spaced more generally, and ultimately makes us see the world differently than we otherwise might. ‘Normally I would just let it go to voicemail’ is a usual response from people to those suffering with a mental health crisis when they call. But in The Weight, a change occurs. The audience gets taken through The Problem, the Reaction, and the Solution. We see clear cinematic influence here in the use of a narrative structure reminiscent of the documentary. Technically the film is very dynamic, with great close-up and birds-eye-view shots we might see in documentaries, making it a coherent piece. The family home, including the garden, is the only location of the film, as this is a great set up in which to tell this story- we are being ‘let in’, the way documentaries let us into knowledge and experience. ‘Knowledge is your ally’, the protagonist is told by his brother. In the real world, which art and film aim to reflect, it is increasingly more evident that connection with our physical surroundings, being present in each moment, and belonging to a community are key tools to surmounting crises, of almost any kind- including emotional and psychological. Because certain situations in life turn out like a film, but some turn out like the bloopers at the end of this particular one which are a delightful addition. Hooray for heartwarming, tender films like The Weight.

Film Feature by Chris Olson January. It’s that time of year when the festive cheer has been packed away, the weather is resolutely grey, and the cinematic landscape, traditionally, becomes a dumping ground for the films studios have little faith in. It’s the ‘January curse,’ where the high-quality prestige pictures have just finished their December award-qualifying runs and the summer blockbusters are months away. But for those of us who live and breathe cinema, the first month of 2026 is set to break that mould entirely, offering a phenomenal slate of must-see releases that demand we shake off the New Year's lethargy and head straight to the picture house. If 2025 was a year of gentle recovery for the industry, January 2026 is poised to be a month of confident statement-making. We’ve got high-octane sequels, much-anticipated literary adaptations, and a sprinkling of the best in independent genre cinema. This is less of a post-Christmas slump and more of a starting pistol for a year of genuinely thrilling releases. The first massive date circled in red on my calendar is Friday, January 16th, which sees the arrival of a sequel that has been talked about for what feels like an eternity: 28 Years Later: The Bone Temple . The third chapter in one of the most beloved British horror franchises, this instalment promises to take the terrifying 'Infected' narrative into a startling new direction. While details are, quite rightly, being kept under lock and key, the pedigree of the creative team suggests a return to the visceral, heart-stopping tension that made the originals modern classics. This is a film you simply must see on the biggest, loudest screen you can find. It’s the kind of cinema that seizes you by the throat and doesn't let go until the final credit rolls. Another high-stakes sequel is landing just a week earlier on January 9th. For those who enjoy their adrenaline rushes with a side of global disaster, Greenland 2: Migration  continues the journey of the Garrity family as they navigate a ravaged world. The original was a surprisingly intimate and grounded take on the cataclysm genre, focusing on human connection over special effects spectacle, and the migration element in this follow-up suggests a wider scope and an even more emotionally resonant story. It’s a sure-fire bet for anyone needing their fix of large-scale action drama early in the year. The January 23rd slot is reserved for genre devotees with the UK release of Return to Silent Hill . The atmospheric dread of the classic Konami source material has always translated well to the big screen, and with the new team promising a deep dive back into the psychological horror that made the games so compelling, this is a film that could truly define the month's horror output. It’s one for the cinephiles who appreciate atmosphere and genuine terror over simple jump scares. The first month of the year is also when many of the big US festivals and late 2025 releases finally make their way across the Atlantic, meaning we in the UK often get treated to films that are already attracting serious awards chatter. The clear heavyweight champion in this category is Chloé Zhao’s adaptation of Maggie O’Farrell’s novel, Hamnet , arriving on January 9th. This film, which looks at the life of William Shakespeare’s wife, Agnes Hathaway, and the devastating loss of their son, has generated immense buzz. Starring Jessie Buckley and Paul Mescal, Zhao’s signature contemplative, visually stunning filmmaking style is expected to be a perfect match for the deeply emotional and historical material. This is cinema as art—a profound exploration of grief, creation, and enduring love. It promises to be a gorgeous, moving picture that will likely be dominating the conversation right up until the BAFTAs. Adding to the prestige line-up, the latter half of the month brings Mercy  on January 23rd. While details are still emerging, this major studio fantasy-drama is tipped as a visual masterpiece, bringing together a stellar cast for a tale that looks to be part mythological epic, part contemporary character study. Expect grand scale and complex themes—the perfect counterpoint to the January gloom. What makes a cinema calendar truly great is the depth of its offerings, and January 2026 is rich with fascinating smaller titles. Kicking off the month on January 1st, alongside the intriguing release of Saipan , is Song Sung Blue , a title that suggests a more intimate, perhaps British-centric drama. New Year's Day releases often carry a quiet confidence, and this could well be the unassuming gem that catches everyone by surprise. For the genre enthusiasts, the AI horror picture SOULM8TE  on January 9th looks set to tap into modern anxieties. Following a man who acquires an Artificial Intelligence android that goes lethally wrong, this is a James Wan-produced thriller that promises to be a slick, sharp exploration of loss and technology. It’s exactly the kind of smart, scary genre picture that flourishes early in the year. The Voice of Hind Rajab Meanwhile, the documentary landscape is well-represented, with Altitude Film Distribution bringing the important The Voice of Hind Rajab  to cinemas on January 16th. These releases are often the most urgent and thought-provoking, and this one looks certain to offer a powerful, essential viewing experience that shines a light on vital global issues. We also see the arthouse distributor MUBI bringing the critically acclaimed No Other Choice  on the 23rd, ensuring that there is no shortage of challenging and diverse international cinema for those who seek it. Finally, a nostalgic treat: January 16th also sees a limited re-release of a stone-cold classic, The Lord of the Rings: The Fellowship of the Ring . There is simply no substitute for seeing Peter Jackson's sprawling epic on the big screen, where it belongs. It’s a welcome reminder of the shared, immersive joy of the cinema experience. In short, 2026 is starting with a bang. This January, don't stay in. From the high drama of Hamnet  to the terrifying spectacle of 28 Years Later: The Bone Temple , the UK film slate is bursting with reasons to grab a ticket. Get out there and support the big screen—you won’t regret it.

Manor of Darkness (2025) Directed by: Blake Ridder Written by: Blake Ridder Starring: Kim Spearman, Mirella Camillo, Stacey Edward Harris, Louis James Indie Film Review by: Holly Baker ⭐️⭐️⭐️ Directed by Blake Ridder, Manor of Darkness (2025) is a feature-length horror film which plays on satirical horror, borrowing from cliches within the meta-horror genre. Containing effective scares and well-built characters, the film grips viewers' attention both visually and narratively. Moments of gore are delivered with care and skill, and the visual effects are highly realistic, keeping the viewer convinced and engrossed in the horror aspects of the film. Meanwhile, its comedy is entertaining and maintains the film’s light, humorous feel. The film incorporates several conventions of horror, the main one being the time loop, which drives the narrative. The film moves from scene to scene well, with smooth transitions and satisfying pacing, which keeps viewers invested in all elements of the story. After a Halloween-esque opening, looming over a luxurious manor wherein most of the film’s action takes place, we are introduced to our main characters. Laura (Kim Spearman) and Chris (Louis James) are brother and sister. Over the course of their lives, these siblings have bonded over their love for the supernatural as well as their law-breaking tendencies. Their love for the mysterious world beyond the veil has led them to this ‘Manor of Darkness’, where they, along with Chris’ girlfriend Lisa (Sarah Alexandra Marks) and newfound friend Andy (Rui Shang), become stuck in a time loop which only Laura is aware of. This time loop tortures her both physically and psychologically, as she must work with Lucas (Stuart Wolfe-Murray), the estranged owner of the manor, to find a way to escape the loop alive.  The film’s backstory and setup for the main narrative are well executed and detailed. Each setting, from coffee shop sequences to flashbacks of Laura and Chris’ crimes, is made up of well-rounded scenes with significantly realistic and extravagant world-building and patient character establishment. There are also several moments of horror during this build-up, such as depictions of mysterious creatures which are genuinely terrifying, as well as blood-filled, uncomfortable episodes used to present psychological turmoil.  Although the film’s story is gripping and the horror elements are strong, all the performances could have benefited from a slight improvement. Much of the line delivery lacks variation or conviction. Whilst this works to an extent, as the film is more of a light, comedic horror than one to be taken in absolute seriousness, viewers may appreciate more differentiation in moments of distress for each character, as there is little change in tone between certain characters’ reactions to the manor lacking any cell phone service and their response to witnessing a death. This partly comes down to the film’s poor script, which contains many unimaginative lines. Luckily, the film’s feisty visuals and entertaining storyline make up for this.  A true passion for film is easily detected in this film’s attention to detail, as well as its moody lighting and consistent visual variation from scene to scene. This makes the film an easy, enjoyable watch, enhanced by its use of satire as it plays on meta horror clichés, which fans of Cabin In The Woods will certainly appreciate. As well as this, the film works as part of the haunted house genre, using the permeating nature of time and the claustrophobic sense of being trapped to incite fear. Manor of Darkness is a lively, well-executed film with an integral adoration for horror, which viewers will appreciate as they are taken on a mysterious, enthralling journey from which they may never escape.

Star Rating: 4/5 Director: Aaron Martinez Writer: Guy Pooles Starring: Zander Faden Trauma is one of the horror genre's areas of expertise but it can also explore deeply held, present (not always real) fears, as well as pain. Dirty Laundry, starring a brilliant performance by Zander Faden in the role of Sam, is a really good case in point.  This is a heartfelt, imaginative piece exploring the emotional struggles that are possible in childhood; a difficult subject matter, but this film pulls it off well, with understated simplicity, and cuteness- a particular achievement for the horror genre in terms of tone. There are well known examples of horror movies exploring the theme of childhood- The Orphanage, directed by J. A Bayona, being a particular stand out for me.   Dirty Laundry is very different in that it does not deal in a story to re-discover or a truth from the past to be faced. It deals in the here and now. Fear is represented by the dirty laundry in the basement, which the protagonist, Sam, having run out of clean clothes and unable in the opening scene to connect with his mother who is in the grip of a depression, has no choice but to go and deal with- triggering the plot. We see this is mixed with the pain of school bullying, so prevalent in American society which the film explores. Overwhelm, abandonment and broken communication are all portrayed, from Sam's point of view.    The question throughout the film is whether Sam will find the strength to communicate. The vulnerability of early life is subtly brought out by greatly precise direction. Not only do the shots convey powerful points of view, but also the way Sam struggles to make eye contact, is inspired performance direction.    Visually, this piece is recognisable horror- with a muted, cold colour palette and making good use of sound and silence contrast. The basement scenes in particular showcase some brilliant cinematography. As well as being technically very solid, Dirty Laundry features some beautiful locations- a great tool in horror films as contrast to the plot and the action, for a more textured result. In particular, the school, where even the teacher gets bullied, is nonetheless a place of architectural and natural beauty.  The locations are also big spaces, in contrast to Sam who is young and small. This may have to do with it being set in a country where space, both natural and built, is ample, but can be seen as a great creative choice.    'Do you have a hero?' Sam is asked by his teacher after a candid chat after class. By the end of Dirty Laundry, we get to see who Sam's hero really is.

Film Feature by Chris Olson It is a rare pleasure when an independent film achieves the kind of universal critical acclaim and emotional resonance that Eve Leonard-Walsh ’s feature debut, Because We Are Too Many , has generated. Having championed the film across our pages, UK Film Review's James Learoyd was delighted to sit down with the writer, director, producer, editor, and star to discuss her powerful drama, which is now available to stream on Amazon Prime. The film, which we have lauded as a moving and essential piece of modern British cinema, centres on the intense experience of a single mother caring for her autistic child during the COVID-19 lockdown. Leonard-Walsh revealed that the film’s motivation was deeply personal, serving as a platform to draw attention to the often-unseen struggles of carers, whilst simultaneously acting as a cathartic outlet for herself. Having filmed the project during the lockdown period, the director was processing her own son's autism diagnosis and the challenging behaviours that came with it, including self-harm and severe sleep deprivation. The exhaustion of this reality is palpable, lending the performance an uncompromising authenticity that a professional actor might have struggled to replicate. The raw honesty of the film’s subject matter is matched by its unconventional and intellectually stimulating structure. Leonard-Walsh intentionally crafted a non-linear narrative, eschewing conventional plot progression to better reflect the protagonist's fractured mental state. This approach was designed to show how past experiences, past trauma, and even generational trauma are not neatly filed away but are constantly brought to the surface by the pressures of motherhood. The #filmmaker notes that this fluid perspective on time—a concept even addressed in the film's opening lines—allows the past to continually merge with the present, granting characters a richer emotional relevance. Leonard-Walsh's vision is one of collective consciousness, which she achieves by integrating diverse cultural and artistic elements. The title itself is a quote drawn from Thomas Hardy’s Jude the Obscure , and she speaks of weaving in poetry, and the distinctive urban artistry of Glasgow, specifically citing the work of graffiti artist Monk, whose "Somebody loves you" motif was recreated for the film. This integration of exterior art forms is used to convey a central philosophy: to challenge the dangerous tendency of viewing individuals through the restrictive lens of "demographics." Instead, she uses her unique blend of reality and dream sequences to reveal the inner lives, dreams, and complexities of people who might otherwise be dismissed by society. Given its indie status, the film’s exceptional technical quality is a surprise, particularly the cinematography. Leonard-Walsh discusses her collaborative (and sometimes conflicting) dynamic with her Director of Photography, Kieran Kahun, who also happens to be her husband. She identifies their synergy as key: her passion for experimental European cinema pushing boundaries, whilst his background in American cinema provides the logical professionalism. This friction results in striking visual choices, such as her preference for extremely tight interior angles—a technique used to condense the space, reflecting the reality of people living literally "on top of each other." The film’s grading is equally bold, with Kahun teaching himself the process specifically for the project. Leonard-Walsh's aesthetic preference lies in primary colours and high contrast, emphatically rejecting pastel or soft tones. This results in a jarring, but highly effective, use of colour: the present-day lockdown scenes are desaturated and grimy, successfully evoking the emotional stagnation of that period, whilst memory sequences burst with intense, rich saturation. This choice illustrates the idea that memory can feel more intense and vivid than reality itself, highlighting the rich emotional life that lies beneath the exhaustion of the present. Finally, the filmmaker touched upon her duty as an artist to tell the stories that media and governments often choose to ignore. Her decision to self-direct was ultimately a commitment to honesty, ensuring the film spoke directly and authentically to fellow carers. For an independent feature created under such challenging conditions, Because We Are Too Many  stands as a testament to the power of artistic purpose, technical resourcefulness, and emotional truth. Watch the interview, in full, below:

Film Feature by Chris Olson The end of 2025 is approaching, and the UK film landscape once again shifts its focus to the horizon. And what a spectacular horizon 2026 promises to be. After a 2025 that felt like a bridge between the old and new eras of filmmaking, 2026 arrives not with a whisper, but with a colossal bang. From franchise heavyweights and much-anticipated literary adaptations to high-concept sci-fi thrillers, the next twelve months look set to remind us exactly why the big screen experience remains utterly unbeatable. Get your calendars ready, because 2026 is going to be a year for the ages. Release dates correct as of publishing. The new year kicks off with a chilling dose of high-stakes horror and disaster. While the first week often remains quiet, January 9th sees two major releases vying for our attention. One is SOULM8TE , the latest from the James Wan stable, which promises a terrifying update to the 'evil doll' trope, swapping a child’s toy for a sentient partner-bot that goes rather horribly wrong. Alongside this, we have the Gerard Butler-led sequel, Greenland 2: Migration , which delivers more comet-dodging family drama. Butler excels in this kind of earnest, gritty survival action, and the promise of a global trek for safety is sure to draw a sizable crowd. The horror continues a week later on January 16th with the eagerly awaited continuation of the post-apocalyptic saga, 28 Years Later: The Bone Temple . Danny Boyle and Alex Garland’s return to the franchise has generated immense buzz, and this second part in the new trilogy is expected to deepen the mythology of the Rage Virus, all while delivering the raw, kinetic terror we’ve come to expect. It’s arguably the most significant horror event of the early year. February, usually the quiet month for big-hitters, provides a fascinating split. For genre fans, February 27th sees the release of Scream 7 , which aims to further cement the franchise’s legacy in a post-modern age. However, February 13th brings a starkly different, but equally compelling, offering: a new cinematic adaptation of Emily Brontë’s classic novel, Wuthering Heights . Starring Margot Robbie and Jacob Elordi, this retelling promises to inject gothic romance with a modern-day star power. It’s the perfect counter-programming for Valentine's Day, swapping jump scares for tempestuous Yorkshire moors drama. This is one for those of us who appreciate the enduring power of a beautifully shot, emotionally brutal drama on a grand scale. March and April offer a dazzling mix of auteur-driven science fiction and beloved animated fare. March 20th brings the Ryan Gosling vehicle Project Hail Mary , adapted from Andy Weir's smash-hit novel. This is big-ticket sci-fi, with Gosling as an astronaut who wakes up with amnesia and is tasked with saving humanity. Given the success of Weir's The Martian , expectations are stratospheric. It’s exactly the kind of smart, high-stakes original concept we need in the multiplexes, promising both intellectual puzzles and spectacle. Before that, March 6th introduces a fresh take on classic horror with The Bride! , Maggie Gyllenhaal’s reimagining of the Frankenstein mythos. April 3rd delivers a family-friendly juggernaut with The Super Mario Galaxy Movie . Following the phenomenal success of the last outing, this sequel will take Mario and Luigi’s adventures into outer space. It's guaranteed to be a colourful, exuberant experience that'll dominate the Easter holiday period. Later that month, April 24th sees the long-anticipated arrival of Michael , the Michael Jackson biopic. This has all the hallmarks of a prestige picture, chronicling the life of one of music's biggest and most complex figures. It will be fascinating to see how the film handles the King of Pop's legendary career and controversial life, and it’s a definite contender for awards buzz come the end of the year. The summer months of May, June, and July are traditionally reserved for the biggest tentpole releases, and 2026 is no exception. May 22nd belongs entirely to a galaxy far, far away with The Mandalorian & Grogu . The Disney+ sensation jumps to the cinema screen, and this promises to be the kind of sweeping, epic Star Wars  adventure that’s best experienced with a packed, cheering crowd. Toy Story 5 Photo by Courtesy of Disney - © Disney June 19th brings Pixar back into the fold with Toy Story 5 . While the narrative well might seem dry to some, Pixar has an uncanny ability to craft emotionally resonant stories, and the return of Woody and Buzz will be a generational event. It’s a guaranteed box office smash and a must-see for audiences of all ages. The real summer cinematic event, however, arrives on July 17th. The Odyssey , the latest project from the inimitable Christopher Nolan, hits cinemas. An adaptation of Homer's ancient Greek epic, the film stars Matt Damon as Odysseus and features an astonishing ensemble cast. Nolan tackling a mythic action epic on this scale, with his characteristic non-linear structure and IMAX obsession, is arguably the most exciting proposition of the entire year. Expect philosophical depth, stunning visuals, and a runtime that demands an early dinner reservation. Just a fortnight later, on July 31st, Sony unleashes its webslinger once more with Spider-Man: Brand New Day , which will inevitably swing in to dominate the remainder of the summer holidays. As the year winds down, the sheer scale of the final quarter releases is breathtaking. The horror genre gets another look-in with the September 18th release of a new Resident Evil  instalment, a series that always performs well with UK audiences eager for a dose of video game-inspired mayhem. However, the final, undeniable, earth-shattering cinematic event of 2026 is set for December 18th: Avengers: Doomsday . Marvel’s penultimate film in the current saga promises to be the culmination of years of storytelling, a true global cinematic moment that will dominate headlines and box office charts in the lead-up to Christmas. For those of us who prefer their entertainment less overtly heroic, there’s also the promise of a sequel to the Dune  trilogy's conclusion, with the third film in the saga tentatively scheduled for the same month. From the intimacy of a British-produced thriller like Crime 101  starring Chris Hemsworth and Mark Ruffalo to the sheer maximalist spectacle of the superhero blockbusters, 2026 is a year where there truly is something for everyone. This line-up demonstrates a confidence in the cinematic experience that is infectious. Grab your popcorn, settle into your seats, and prepare for twelve months of unforgettable film. The best seats in the house await.

Star Rating: 4/5 Writer: TharunDirector: Tharun Starring: Chaitanya Nair and Abhinandan Sethi Desmond & Molly is a lovely exploration of communication between human beings- of the process and effort of putting the intangible, unexplainable ('different', she says) into words. The dialogue here is simple, to the point and wonderfully rhythmical. The closeness of the characters is plain to see, while we sense and feel honesty shaping up between them. The dialogue is also intelligent, offering a really open exploration of the line in human experience and behaviour between genuinely not having clarity, and deliberately lying, as well as situations where assumptions take place by the other person. 'You are telling me how I feel' is a phrase that stands out within the script. The performances here are brilliant so I'd really highlight the talent of the actors, whose grounded performance of a simple script is much easier said than done. It is a wonderful creative choice to set a deeply candid conversation in a public space. Desmond & Molly is a brilliant reflection of real life, where we are all surrounded by each other's situations and stories playing out in the open, all while the world turns. Exactly, we could say, like a film- like this film.

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

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

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