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Short film reviews from some of the best movies in the UK. Read reviews from some of the best short film critics. Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed More Film Reviews Fervor Lawrence Bennie Cursed Memory William Hemingway Behind the Pose William Curzon Raindog Matt Trapp Starboy Jason Knight A Week William Curzon For You, The Disappeared Jason Knight An Ríomh Patrick Foley Trust Me Jason Knight Essentially Amy Lawrence Bennie Lampros Holly Baker Lunavom Patrick Foley Jake & Pete’s Christmas Special William Curzon Far From Water Jason Knight Just the Usual James Learoyd The Big Pelvis William Hemingway Candy Heart Heist Jason Knight If I Could Get You To Stay William Curzon In Need Of Seawater William Hemingway Marion’s Lilies Patrick Foley Blowing Up Jason Knight CATACLYSM William Curzon Letters of Love Chris Olson A Tight Squeeze Lawrence Bennie Counterpart William Hemingway Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.

Read music video reviews by film critics at UK Film Review. Submit your music video for review by clicking Get Reviewed at the top of the website. Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. CATACLYSM William Curzon Psiblingz - Till We're Found William Curzon Mammoth: Adventures In Gnomeman's Land William Hemingway Flesh Wanting Blood William Hemingway Lovin' You James Learoyd To Be Frank Chris Olson The Wanderer Matt Trapp The Sanctity of Faith Patrick Foley 2024 Patrick Foley Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Jun 6, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Mar 17, 2024 2 min read Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Sheep F-cked In the Head Short Film Review alexjames96 Nov 16, 2023 2 min read Service for The King short film review Theo Aug 1, 2022 2 min read More Film Reviews

Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 3 out of 5 Fervor Read Review average rating is 4 out of 5 Cursed Memory Read Review average rating is 5 out of 5 Behind the Pose Read Review average rating is 5 out of 5 Raindog Read Review average rating is 3 out of 5 Rotten Society Read Review average rating is 4 out of 5 Starboy Read Review average rating is 3 out of 5 A Week Read Review average rating is 3 out of 5 For You, The Disappeared Read Review average rating is 4 out of 5 An Ríomh Read Review average rating is 4 out of 5 Influencers Read Review average rating is 3 out of 5 Silent Night, Deadly Night Read Review average rating is 3 out of 5 Trust Me Read Review average rating is 4 out of 5 The Caretaker Read Review average rating is 3 out of 5 Essentially Amy Read Review average rating is 4 out of 5 Lampros Read Review average rating is 1 out of 5 Lunavom Read Review average rating is 4 out of 5 Forever Young Read Review average rating is 4 out of 5 Roadman: The Pilot Read Review average rating is 3 out of 5 Armstrong: Dark Secrets Read Review average rating is 3 out of 5 Tripping Beneath The Spring Clouds Read Review average rating is 4 out of 5 Eraserheads: Combo on the Run Read Review average rating is 3 out of 5 Jake & Pete’s Christmas Special Read Review average rating is 3 out of 5 Merrily We Roll Along Read Review average rating is 5 out of 5 Hamnet Read Review average rating is 3 out of 5 Far From Water Read Review average rating is 4 out of 5 Just the Usual Read Review average rating is 1 out of 5 The Big Pelvis Read Review average rating is 3 out of 5 Princess of the Murder Read Review average rating is 3 out of 5 Hot Box Read Review average rating is 2 out of 5 The Ezzera & Gore-Girl Horror Anthology Read Review average rating is 3 out of 5 Tangled Up in Christmas Read Review average rating is 4 out of 5 Fearless Read Review average rating is 2 out of 5 The Wildman of Shaggy Creek Read Review average rating is 4 out of 5 Candy Heart Heist Read Review average rating is 4 out of 5 If I Could Get You To Stay Read Review average rating is 4 out of 5 Wake Up Dead Man: A Knives Out Mystery Read Review average rating is 4 out of 5 Zootopia 2 Read Review average rating is 3 out of 5 In Need Of Seawater Read Review average rating is 4 out of 5 Marion’s Lilies Read Review average rating is 3 out of 5 Blowing Up Read Review average rating is 3 out of 5 CATACLYSM Read Review average rating is 4 out of 5 Letters of Love Read Review average rating is 3 out of 5 A Tight Squeeze Read Review average rating is 4 out of 5 The Silver Screen Dreams Cafe Read Review average rating is 3 out of 5 Counterpart Read Review average rating is 3 out of 5 PN & Friends: Algore Read Review average rating is 3 out of 5 Extricate Read Review average rating is 3 out of 5 The Whispers Read Review average rating is 4 out of 5 Peter Hujar's Day Read Review average rating is 4 out of 5 Jay Kelly Read Review average rating is 2 out of 5 Keeper Read Review average rating is 3 out of 5 Planet Hope Read Review average rating is 4 out of 5 Wicked: For Good Read Review average rating is 4 out of 5 The Young Mozart Read Review average rating is 3 out of 5 Reawakening Read Review average rating is 3 out of 5 Pelverata Read Review average rating is 3 out of 5 Jujji Read Review average rating is 4 out of 5 The Edge of Existence Read Review average rating is 4 out of 5 Testimony Read Review average rating is 3 out of 5 M: Beyond The Wasteland Read Review average rating is 2 out of 5 Baby Teeth Read Review average rating is 3 out of 5 Men Behind Closed Doors: Stories For Survival Read Review average rating is 4 out of 5 Where There Is Love, There Is No Darkness Read Review average rating is 4 out of 5 The Last Dance Read Review average rating is 2 out of 5 Confessions in Static Read Review average rating is 3 out of 5 The Last Joke Read Review average rating is 3 out of 5 The Death of the Centurion Read Review average rating is 3 out of 5 The Pause Read Review average rating is 5 out of 5 Bury Your Gays Read Review average rating is 3 out of 5 Sahurda Read Review average rating is 3 out of 5 One Day This Kid Read Review average rating is 3 out of 5 A Fighting Legacy Read Review average rating is 3 out of 5 L'Aube Dorée Read Review average rating is 5 out of 5 Grima Read Review average rating is 3 out of 5 Predator: Badlands Read Review average rating is 2 out of 5 Odyssey Read Review average rating is 3 out of 5 Lost & Found in Cleveland Read Review average rating is 3 out of 5 Major Tom Read Review average rating is 3 out of 5 Take Off Read Review average rating is 4 out of 5 TERRA Read Review average rating is 4 out of 5 Good Friday Read Review average rating is 3 out of 5 Christy Read Review average rating is 4 out of 5 Guillotine Read Review average rating is 2 out of 5 Mother Bhumi Read Review average rating is 4 out of 5 Mr Burton Read Review average rating is 4 out of 5 Cake Read Review average rating is 4 out of 5 La Mort Pourpre Read Review average rating is 2 out of 5 Intruder Read Review average rating is 4 out of 5 Stan Ritchie Read Review average rating is 3 out of 5 In Waves and War Read Review average rating is 3 out of 5 Lost in Time Read Review average rating is 3 out of 5 Snare Read Review average rating is 3 out of 5 Stitch Head Read Review average rating is 2 out of 5 Anniversary Read Review average rating is 3 out of 5 I Really Love My Husband Read Review average rating is 2 out of 5 Arena Wars Read Review average rating is 2 out of 5 Kontinental '25 Read Review average rating is 5 out of 5 The Secret Assistants Read Review average rating is 4 out of 5 There's Something I Have to Tell You Read Review average rating is 4 out of 5 Springsteen: Deliver Me From Nowhere Read Review

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 4 out of 5 Cursed Memory Read Review average rating is 4 out of 5 An Ríomh Read Review average rating is 4 out of 5 Influencers Read Review average rating is 3 out of 5 Silent Night, Deadly Night Read Review average rating is 4 out of 5 The Caretaker Read Review average rating is 1 out of 5 Lunavom Read Review average rating is 4 out of 5 Eraserheads: Combo on the Run Read Review average rating is 3 out of 5 Merrily We Roll Along Read Review average rating is 5 out of 5 Hamnet Read Review average rating is 1 out of 5 The Big Pelvis Read Review average rating is 3 out of 5 Hot Box Read Review average rating is 3 out of 5 Tangled Up in Christmas Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Fervor Johanna Martinez and Timothy Roarke star in this short, sharp two-hander from Guatemalan director Enrique A. Mendoza. A young Latina woman called Fernada (Martinez) takes a drive seemingly out into the middle of nowhere. However, we find out that she has an unexpected passenger (Roarke) to whom she relates a painful story of survival and violence, centred around the lives of two brothers in a remote village. The opening 38 seconds of Fervor could not be more different from what comes next as we follow Fernada’s journeys out into the wilderness to the tune of upbeat rock. Suddenly, the journey stops, so does the music and so does Fernada. She steps out of her vehicle, takes a call that we cannot hear and sits alone, contemplating, or even waiting for something or someone. We soon find out what. Or rather who. A bruised, battered older man is hurled out from the truck. Fernada appears to be an unlikely kidnapper. The man makes a lucky break for it, but it’s no good. Fernada responds violently and her story immediately turns darker. “Things can get rough in my neighbourhood, but we endure. That’s until we have no other option but to leave, to escape”. The stranger’s role starts to become apparent. He was an oppressor. The hunter who has become the hunted. The roles have reversed and so it is Fernada who is now the hunter. Unflinching, ruthless and tough. At least from what we see. When she drives away at the film's ending, after her bitter, hard-hitting monologue, there’s a striking change and we see the real Fernada. Sensitive, scared and shaken by what’s just happened, at the brutality she has unleashed and unveiled to herself. She breaks down. In waves of relief? In tears of sweet revenge? Or in revulsion at becoming the hunter herself? Fervor is a solid accomplishment for both Martinez and Mendoza. Martinez keeps the viewer entrenched with the film’s only speaking role and her character’s softening in its closing seconds is an impressive transition to the extent that one comes away with a sense that there is a third performance within the film - that of Fernada herself masquerading her new-found menance and wrath before her powerless captive. For Mendoza, it’s a fine encapsulation of the director’s own mantra to tell stories that "actually stay with people". Thanks to its simplicy and sincerity, Fervor does. VIEW REVIEW Cursed Memory In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. VIEW REVIEW Behind the Pose Behind the Pose follows Masha (Ksena Samborska), a teenage Eastern European model on the brink of losing her contract. She must redeem herself in one last photoshoot while being pushed to the edge by her teacher, Katerina (Natalia Volk), under threat of sexual exploitation and deportation. The piece tackles mature themes of power and exploitation, serving as a scathing indictment of the fashion and modelling industry and its abuse of power with young female talent. Behind the Pose opens with beautiful, surreal photography that feels heavily influenced by Sofia Coppola’s filmography, as the camerawork is haunting and melancholic. Focusing entirely on the female experience, it is a powerfully nuanced way to shoot the actors with a plethora of extreme close-ups lingering on Masha as she feels her youth being ripped away from her. Daniel Cho’s cinematography is one of the substantial standouts of the piece as it primarily anchors the material and never feels intrusive. The pacing feels urgent, and the propulsive dialogue exchanges feel overwhelming to witness as a viewer, due to the central conflict that consistently leaves you on the edge of your seat, fearing for Masha’s future. While the runtime is extremely sparse, the film's engaging and evocative material never fails to hook you in and get under your skin. It's a daring character study that subtly draws you into Masha’s journey and doesn't let up until the credits roll. The performances are terrific, particularly Ksena Samborska’s portrayal of Masha, who conveys a profound sense of vulnerability despite the restricted runtime. It's the type of performance that sticks with you, thanks to her expression of the pain and manipulation she endures through her facial expressions alone. The supporting cast, including Natalia Volk and Rick Irwin in his portrayal of Freddy the photographer, is also unforgettable in their limited screentime. One of the most striking aspects of the film is Masha and Freddy’s relationship, which starts as something endearing, thanks to their absorbing chemistry, then slowly descends into something much more sinister. The narrative is profoundly nail-biting and unpredictable, and would not have worked as well without the cast's commitment to their performances. While it is a tough viewing due to the mature themes it depicts, these are essential topics and a glimpse into the world of the fashion and modelling industry. The director/writer Sally Lomidze clearly has a keen eye for the suitable way to depict the topics of body image, as the film feels understated in its direction and never exploitative of Masha’s characterisation. The conclusion doesn't convey much closure to Masha’s further journey beyond the credits; however, perhaps that is the point, as the narrative is infused with ambiguity and the filmmakers evidently wanted to leave the viewer with something to chew on instead of a melodramatic conclusion. Behind the Pose is a terrific film that exposes how disgusting the fashion and modelling industry can be, and how people in power can push younger female talent to the limit in order for them to achieve stardom. Elevated by an unforgettable performance from Ksena Samborska and Sally Lomidze’s formalism, the film is an insightful piece of filmmaking that evokes discussion regarding body standards and how unfairly women are picked apart in the industry. VIEW REVIEW Raindog If one singular hot button issue has dominated 2025, it’s AI. What once was a trope limited to science fiction is now seemingly reality, and that reality is closer to dystopian than we may like it to be. Raindog taps into the dizzy excitement of the AI boom, while gesturing at something more sinister and uncomfortable beneath the surface. In doing so, writer and director Euan Munro successfully navigates a minefield of clichés to deliver something that feels entirely original: a short and punchy science-fiction film that will have audiences desperate for a rewatch and hopefully questioning the world around them. The premise of Raindog is elegant in its simplicity: roommates Eli (Munro) and Stuart (James Crutcher) have developed a weather forecasting Large Language Model (LLM, more commonly known in reality as AI) that may be able to predict more than just the weather. The two are giddy in their excitement, keen to test the limits of their new creation, until they begin to question the fabric of their reality. The film is shot entirely from the perspective of their computer screen, putting the audience in the proverbial shoes of the LLM named Raindog. The camera never shifts from this position, and it's through this lens that the entirety of the film is viewed. It’s interesting as a literal framing device, but what elevates Munro’s short is how this perspective begins to take on narrative and thematic purposes in a delightfully clever twist. Few stones feel unturned in Raindog ’s intriguing premise that evolves in a truly unpredictable direction, and there’s no doubt that audiences will be kept on their toes watching Eli and Stuart wrangle with their creation. The filmmaking on display may appear on the surface as quite minimalistic, but the creative choices all coalesce to give the short a great sense of energy. Munro and Crutcher give naturalistic and compelling performances, with a lot of the film’s success riding on them. Raindog feels play-like in its presentation, with most of the runtime taken up by the two lead actors sharing a fairly compact stage. It’s fortunate then that the two leads are able to handle the drama, and it’s a credit to them that the stakes feel personal and infinite at the same time. Combined with stellar editing, sound, and music, Raindog feels very competently put together, moving confidently through its scenes to deliver a well earned and satisfying climax. Raindog may take place in a world somewhat unlike our own, but like a bite-size Twilight Zone, it reveals something about our reality. AI is a technological marvel and has the capacity to change the world in so many positive ways, but it must be used responsibly, and the cost of this technology could be earth-shattering. There are personal costs too, of course, and many would do well to remember that life exists way beyond the boundaries of screens. VIEW REVIEW Starboy A short drama written and directed by A.R. Ugas and starring Malcolm Kamulete, Mina Andala, and Akai Coleman. Marcus (Kamulete) is an up-and-coming rapper in London, and it is probably only a matter of time before his career launches. One day, he is convinced by his manager (Michael Salami) to attend and perform at a birthday party for a young fan, Joshua (Coleman). Marcus arrives at the location, an apartment filled with attendees, including Joshua's mother, Samantha (Andala), however, Joshua is nowhere to be seen. Then Samantha produces a tablet via which Joshua appears and interacts with the party guests. This unconventional method is used because Joshua is currently in prison, serving a lengthy sentence, and a shocked Marcus struggles immensely to deal with this situation. This short film could be categorised as a mix involving family drama, music, and crime drama. The narrative begins more or less lightheartedly, with Marcus reluctantly going to the party, and things take a sharp left turn when Joshua's incarceration is disclosed. From that moment on, the screenplay turns into a whirlwind of emotions, as Marcus experiences massive self-reflection and bitterly argues with Samantha regarding why she requested his presence and whether Marcus is to blame for her son's imprisonment due to the lyrics in his songs. Kamulete vividly portrays a young musical artist who goes through significant character development, beginning in ambition and carefreeness, then suddenly entering a world of sorrow where he finds himself forced to face the fact that his music might have played a part in a person going down the wrong path. Initially, he refuses to acknowledge that that might be the case; however, he gradually seems to think otherwise. With her dramatic performance, Andala plays a mother who is evidently doing her best to try to cope with the tragedy that occurred involving Joshua, attempting to bring some joy to him, even while he is in prison. She clearly wishes for honesty and dignity. Coleman's character is an individual who may or may not be a victim of music influence. This film follows the aftermath of a terrible event, exploring its consequences, including the suffering it caused and the lives that have been affected. Additionally, influence is another major theme, particularly musical influence and the extent to which it could impact people, particularly youngsters. From a different perspective, this short also serves as a commentary about fame and being a rapper. Can music about violence affect people in negative ways? Can it affect them enough to commit crimes? Two dramatic questions that this story ostensibly asks. An emotional and thoughtful viewing. VIEW REVIEW A Week A Week follows Rebecca (Neva Leoncini), a waitress working at a diner, as she finds herself grappling with maintaining a peaceful job while also dealing with the consistent interference from her husband (Amir Yassami). Divided into days of a singular week, as the title suggests, Rebecca must confront her inner turmoil and do what it takes to ensure her husband pays for his sins. One of the most impressive aspects of A Week is how much it accomplishes within its limited runtime, boasting a narrative structure that is rather unique and keeps the pace engaging. While the narrative is intentionally repetitive as the husband repeats absurd acts to interfere with Rebecca's workflow, it never overstays its welcome. The piece doesn't lose sight of how simple the story is at heart, accompanied by frenetic pacing that rarely lets up until the credits roll. The film deals with mature themes such as domestic abuse and emotionally abusive relationships, and provides a helping hand of empathy towards Rebecca and women like her who have been in the same situation. Juan Catalano’s musical score effectively builds nail-biting tension to pervade the atmosphere throughout the bleaker aspects of the narrative. Unfortunately, the tone feels uneven at times, from a light-hearted tone within the diner to a much sinister vibe whenever the husband is on screen. While jarring tonal shifts are effective, this sadly feels awkwardly executed as it's clearly a serious subject matter with darkly absurd elements. The writer/director Tony Rakshith also makes some bizarre choices within the direction, as many of the formal decisions feel out of place, and the performances rarely elevate how stilted the material feels. There's also incomprehensible ADR that feels awkward, and pieces of audio are completely cut out between pauses of dialogue, which may take the viewer out of the experience. These moments are detrimental to the narrative and the conflict brewing between the three central characters. Thankfully, the narrative is wildly unpredictable as the husband commits different acts whenever he enters the diner, and it keeps the audience on edge throughout the entirety of the runtime. However, certain events that unfold appear confused, as bizarre time jumps occur, which make no sense in the context of what is being depicted on screen. The DP Albert Baker utilises a plethora of unique choices within the camerawork with close-ups of the actors and low-angle shots of the characters in discomfort, making the experience visceral throughout. Sadly, the performances across the board are robotic and stilted in their delivery. Neva Leoncini, who portrays Rebecca, is clearly trying her hardest to anchor the material with a profound level of nuance; however, Tony Rakshith’s inadequate direction doesn't do her any favours. While the conclusion amounts to just minor, it's ultimately satisfying for Rebecca’s character arc and feels earned in its execution. A Week is a fascinating attempt at an idiosyncratic narrative structure that rarely overstays its welcome and makes suitable use of its budget restraints and limited runtime. It may suffer from a wide variety of issues within the technical department and artificial performances throughout; however, the piece is consistently engaging and never loses sight of its one-location setting and the mature themes it tackles. VIEW REVIEW For You, The Disappeared A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. VIEW REVIEW An Ríomh Eleanor Shannon’s debut feature An Ríomh is an inventive and atmospheric reimagining of Irish folklore and its treatment of women, set in the modern age and framed around contemporary dilemmas and dangers. The film follows Aine (Shannon), a young woman excited by her upcoming meeting with Ciaron (Jack Watson). Matched up by a dating app, Aine quickly relaxes in Ciaron’s presence and nerves are overtaken by excitement. When Ciaron reveals that he is not all he seems, a hidden supernatural presence reveals itself as well. And in a flash, the hunter becomes the hunted… An Ríomh brilliantly uses the misrepresentation of women in historic Celtic mythology to engage with modern blights of violence towards women, abuse and sexual slavery. Women in many of these tales have been distorted, originating as righteous justice-seekers before being morphed over time into cackling, vengeful and malevolent spirits. Shannon seeks to reclaim elements of these stories from sexist reimagining, showing clearly in this short that Ciaron’s horrifying intentions are what brings about the wrath of the spirit that comes to inhabit Aine. The non-linear structure helps hammer home this point further. Ciaron’s predicament is a mystery to the audience at first, and his panic alone is enough to have some sympathy for him. But as Aine’s story is told, it becomes clear the truth we are initially presented with is not what it seems. It is a clever way to demonstrate how stories become distorted and muddied – one of the film’s key themes – in a way that can be as true in 2025 as at any point in history. Those who get their story out first are usually the ones who are believed, and in cases of violence or hierarchical gender-based abuse, it is often men who benefit from this. As the star as well as writer and director, Eleanor Shannon demonstrates a whole range of talents – easily immersing into the role of Aine. Her initial romantic swooning over Ciaron’s flirtatious texts is sickly-sweet and charming, but she just as easily convinces as the embodied vessel of vengeance that becomes of Aine – carrying a powerful degree of menace. Jack Watson similarly excels as Ciaron, an affable charmer with a dark side. His personality switch is jarring in just the right way, and when he becomes prey for the darker side of Aine and the film accelerates into full-blown folk horror mode, he makes for a brilliant target. An Ríomh ’s originality and boldness are its biggest strengths. It is not afraid to ask questions of its audience or flip their expectations, and uses historical precedents that surround the myths that inspire it to great effect. It is remarkable that this is a debut feature, and Eleanor Shannon is certainly someone to watch – not only as a performer but even more so as a writer and director with great depth of understanding around layering her stories with true substance. VIEW REVIEW Trust Me A short psychological drama directed by Marc-Antoine Turcotte, written by Lydia Hopgood and starring Hopgood, Fraser Adams and Maeve O'Haire. Emma (Hopgood) and Matty (Adams) are a young couple living together in a smart house by themselves. For a while they have been trying for a baby, however, so far, they have been unsuccessful. As Emma becomes distraught by her apparent inability to conceive, she discovers that her partner might be up to something sinister. This story begins as a drama about having a baby and later turns into a thriller about betrayal. The primary focus is Emma, how the struggle that she is facing in her efforts to become pregnant is affecting her psychology and creating waves in her relationship with Matty. The screenplay is heavy regarding drama and the life-changing discovery brings the atmosphere to a whole other level. Talking about the discovery, without any spoilers, although it appears that it will lead to a major confrontation, the ending is not very conclusive, leaving question marks and some might find that disappointing. Emma is a sort of tragic figure. Even though she lives in a nice, big house, with a partner who ostensibly cares deeply for her and they plan to have children, due to not being able to conceive, her life has taken a wrong turn, leading her to a situation where she feels miserable and alienated as she is keen on becoming a mother. The presence of the song Captive emphasises the isolation that Emma is feeling and the fact that it is sung by Hopgood provides more depth to her character. Matty is physician and seems to be a supportive partner but also gives the impression that he is man who might not understand when he is wrong. Chris (O'Haire) has the role of Emma's bestie, a person who is there for her and willing to listen to her problems. Self-reflection, anxiety, self-esteem, control and betrayal all play a key role in this story. Perhaps more heavily though, this film explores the subject of having a desire to become a parent, how it could affect people's mental health. Moreover, it is indicated that individuals who work in the medical sector could take advantage of their knowledge in order to manipulate others. This is a dramatic film, one that relies on the perspective of a young woman in order to tell a story and explore its themes and it does so effectively. VIEW REVIEW Essentially Amy Colorado-born director Ari Groobman's short comedy-drama Essentially Amy takes the viewer back to a time that feels both sureally distant yet also significantly recent: the pandemic. Amy (Stacy Chu) is a competent supermarket supervisor who almost single-handedly runs the show, along with her pleasant but somewhat preoccupied colleauges Norm (Seyi Ayorinde) and Mia (Brenda Valencia). Elsewhere, the aloof manager Mr Park (Hidekun Hun) is even more of an absence, whilst there is little solace for Amy at home. Amy lives with her parents; her biogted Mum (Ping Liu) is weary of the African-American community, her father is crucially ill and hooked up to a ventilator whilst Amy herself has completely stalled on her application to study medicine. Back in the store, tensions mount when an angry customer (Jim Todd) launches a foul-mouthed, racist tirade over the Covid catastrophe with Amy as the target. Groobman's opening scene immediately jolts the viewer back into the sudden reality of post-lockdown. On the one hand, the regime of enforced mask wearing and rigid social distancing feels like it just didn't happen (five years on). On the other, the scene feels only too recognizable as we recall how the everyday suddenly became tainted with the alien. Another contrast is served up directly by Groobman in the jarring contrast between Amy's work and home-life. At work, she faces frustrating but familiar challenges - serious staff shortage, the looming threat of reduced hours and, worst of all, ignorant customers. Yet, she is no-nonsense, self-assured and in control. But she's not where she should be. It's all simply a stop-gap before her medicine programme. And, unlike at the store, she hits a wall at home. Her father is sick (perhaps as a result of Covid), is unseen and unresponsive, her mother is frustrated at her academic ambitions taking a plunge and her motivation to break away and get where she needs to be just isn't there. Clocking in at exactly 15 minutes, Groobman’s script doesn’t take any particularly surprising turns. Her brush with brutality is the catalyst for self-realisation and reconnection. For all the troubles, Amy learns to put aside the problems and focus on what’s important. It’s a familiar resolution yes, but it’s a story told with skilful restraint and wonderfully authentic performances that we really do believe in the drama that we're watching. Essentially Amy may not be essentially memorable, but its warmth and intimacy are a welcome reminder of a time when the human touch was missed and sorely needed. VIEW REVIEW

Fervor film review by UK film critic Lawrence Bennie. Starring Johanna Martinez, Timothy Roarke directed by Enrique A.Mendoza. HOME | FILMS | REVIEWS Fervor Film Review average rating is 3 out of 5 Critic: Lawrence Bennie | Posted on: Dec 15, 2025 Directed by: Enrique A.Mendoza Written by: Enrique A. Mendoza Starring: Johanna Martinez, Timothy Roarke Johanna Martinez and Timothy Roarke star in this short, sharp two-hander from Guatemalan director Enrique A. Mendoza. A young Latina woman called Fernada (Martinez) takes a drive seemingly out into the middle of nowhere. However, we find out that she has an unexpected passenger (Roarke) to whom she relates a painful story of survival and violence, centred around the lives of two brothers in a remote village. The opening 38 seconds of Fervor could not be more different from what comes next as we follow Fernada’s journeys out into the wilderness to the tune of upbeat rock. Suddenly, the journey stops, so does the music and so does Fernada. She steps out of her vehicle, takes a call that we cannot hear and sits alone, contemplating, or even waiting for something or someone. We soon find out what. Or rather who. A bruised, battered older man is hurled out from the truck. Fernada appears to be an unlikely kidnapper. The man makes a lucky break for it, but it’s no good. Fernada responds violently and her story immediately turns darker. “Things can get rough in my neighbourhood, but we endure. That’s until we have no other option but to leave, to escape”. The stranger’s role starts to become apparent. He was an oppressor. The hunter who has become the hunted. The roles have reversed and so it is Fernada who is now the hunter. Unflinching, ruthless and tough. At least from what we see. When she drives away at the film's ending, after her bitter, hard-hitting monologue, there’s a striking change and we see the real Fernada. Sensitive, scared and shaken by what’s just happened, at the brutality she has unleashed and unveiled to herself. She breaks down. In waves of relief? In tears of sweet revenge? Or in revulsion at becoming the hunter herself? Fervor is a solid accomplishment for both Martinez and Mendoza. Martinez keeps the viewer entrenched with the film’s only speaking role and her character’s softening in its closing seconds is an impressive transition to the extent that one comes away with a sense that there is a third performance within the film - that of Fernada herself masquerading her new-found menance and wrath before her powerless captive. For Mendoza, it’s a fine encapsulation of the director’s own mantra to tell stories that "actually stay with people". Thanks to its simplicy and sincerity, Fervor does. About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Fervor average rating is 3 out of 5 Cursed Memory average rating is 4 out of 5 Behind the Pose average rating is 5 out of 5 Raindog average rating is 5 out of 5 Rotten Society average rating is 3 out of 5 Starboy average rating is 4 out of 5 A Week average rating is 3 out of 5 For You, The Disappeared average rating is 3 out of 5 An Ríomh average rating is 4 out of 5 Influencers average rating is 4 out of 5 Silent Night, Deadly Night average rating is 3 out of 5 Trust Me average rating is 3 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Mother Mary Ready Or Not 2: Here I Come Shelter People We Meet On Vacation Doctor Plague Wake Up Dead Man: A Knives Out Mystery Filmmaker Interviews INTERVIEWS

Behind the Pose film review by UK film critic William Curzon. Starring Ksena Samborska, Natalia Volk, Rick Irwin directed by Sally Lomidze. HOME | FILMS | REVIEWS Behind the Pose Film Review average rating is 5 out of 5 Critic: William Curzon | Posted on: Dec 15, 2025 Directed by: Sally Lomidze Written by: Sally Lomidze Starring: Ksena Samborska, Natalia Volk, Rick Irwin Behind the Pose follows Masha (Ksena Samborska), a teenage Eastern European model on the brink of losing her contract. She must redeem herself in one last photoshoot while being pushed to the edge by her teacher, Katerina (Natalia Volk), under threat of sexual exploitation and deportation. The piece tackles mature themes of power and exploitation, serving as a scathing indictment of the fashion and modelling industry and its abuse of power with young female talent. Behind the Pose opens with beautiful, surreal photography that feels heavily influenced by Sofia Coppola’s filmography, as the camerawork is haunting and melancholic. Focusing entirely on the female experience, it is a powerfully nuanced way to shoot the actors with a plethora of extreme close-ups lingering on Masha as she feels her youth being ripped away from her. Daniel Cho’s cinematography is one of the substantial standouts of the piece as it primarily anchors the material and never feels intrusive. The pacing feels urgent, and the propulsive dialogue exchanges feel overwhelming to witness as a viewer, due to the central conflict that consistently leaves you on the edge of your seat, fearing for Masha’s future. While the runtime is extremely sparse, the film's engaging and evocative material never fails to hook you in and get under your skin. It's a daring character study that subtly draws you into Masha’s journey and doesn't let up until the credits roll. The performances are terrific, particularly Ksena Samborska’s portrayal of Masha, who conveys a profound sense of vulnerability despite the restricted runtime. It's the type of performance that sticks with you, thanks to her expression of the pain and manipulation she endures through her facial expressions alone. The supporting cast, including Natalia Volk and Rick Irwin in his portrayal of Freddy the photographer, is also unforgettable in their limited screentime. One of the most striking aspects of the film is Masha and Freddy’s relationship, which starts as something endearing, thanks to their absorbing chemistry, then slowly descends into something much more sinister. The narrative is profoundly nail-biting and unpredictable, and would not have worked as well without the cast's commitment to their performances. While it is a tough viewing due to the mature themes it depicts, these are essential topics and a glimpse into the world of the fashion and modelling industry. The director/writer Sally Lomidze clearly has a keen eye for the suitable way to depict the topics of body image, as the film feels understated in its direction and never exploitative of Masha’s characterisation. The conclusion doesn't convey much closure to Masha’s further journey beyond the credits; however, perhaps that is the point, as the narrative is infused with ambiguity and the filmmakers evidently wanted to leave the viewer with something to chew on instead of a melodramatic conclusion. Behind the Pose is a terrific film that exposes how disgusting the fashion and modelling industry can be, and how people in power can push younger female talent to the limit in order for them to achieve stardom. Elevated by an unforgettable performance from Ksena Samborska and Sally Lomidze’s formalism, the film is an insightful piece of filmmaking that evokes discussion regarding body standards and how unfairly women are picked apart in the industry. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

A Week film review by UK film critic William Curzon. Starring Neva Leoncini, Amir Yassami, James Tolley directed by Tony Rakshith. HOME | FILMS | REVIEWS A Week Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Dec 13, 2025 Directed by: Tony Rakshith Written by: Tony Rakshith Starring: Neva Leoncini, Amir Yassami, James Tolley A Week follows Rebecca (Neva Leoncini), a waitress working at a diner, as she finds herself grappling with maintaining a peaceful job while also dealing with the consistent interference from her husband (Amir Yassami). Divided into days of a singular week, as the title suggests, Rebecca must confront her inner turmoil and do what it takes to ensure her husband pays for his sins. One of the most impressive aspects of A Week is how much it accomplishes within its limited runtime, boasting a narrative structure that is rather unique and keeps the pace engaging. While the narrative is intentionally repetitive as the husband repeats absurd acts to interfere with Rebecca's workflow, it never overstays its welcome. The piece doesn't lose sight of how simple the story is at heart, accompanied by frenetic pacing that rarely lets up until the credits roll. The film deals with mature themes such as domestic abuse and emotionally abusive relationships, and provides a helping hand of empathy towards Rebecca and women like her who have been in the same situation. Juan Catalano’s musical score effectively builds nail-biting tension to pervade the atmosphere throughout the bleaker aspects of the narrative. Unfortunately, the tone feels uneven at times, from a light-hearted tone within the diner to a much sinister vibe whenever the husband is on screen. While jarring tonal shifts are effective, this sadly feels awkwardly executed as it's clearly a serious subject matter with darkly absurd elements. The writer/director Tony Rakshith also makes some bizarre choices within the direction, as many of the formal decisions feel out of place, and the performances rarely elevate how stilted the material feels. There's also incomprehensible ADR that feels awkward, and pieces of audio are completely cut out between pauses of dialogue, which may take the viewer out of the experience. These moments are detrimental to the narrative and the conflict brewing between the three central characters. Thankfully, the narrative is wildly unpredictable as the husband commits different acts whenever he enters the diner, and it keeps the audience on edge throughout the entirety of the runtime. However, certain events that unfold appear confused, as bizarre time jumps occur, which make no sense in the context of what is being depicted on screen. The DP Albert Baker utilises a plethora of unique choices within the camerawork with close-ups of the actors and low-angle shots of the characters in discomfort, making the experience visceral throughout. Sadly, the performances across the board are robotic and stilted in their delivery. Neva Leoncini, who portrays Rebecca, is clearly trying her hardest to anchor the material with a profound level of nuance; however, Tony Rakshith’s inadequate direction doesn't do her any favours. While the conclusion amounts to just minor, it's ultimately satisfying for Rebecca’s character arc and feels earned in its execution. A Week is a fascinating attempt at an idiosyncratic narrative structure that rarely overstays its welcome and makes suitable use of its budget restraints and limited runtime. It may suffer from a wide variety of issues within the technical department and artificial performances throughout; however, the piece is consistently engaging and never loses sight of its one-location setting and the mature themes it tackles. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Meet the film critics at UK Film Review. The people behind some of your favourite film reviews. About UK Film Review Founded in 2012 by Chris Olson, UK Film Review found its niche amongst the indie filmmaking community by providing reviews of independent cinema, as well as promoting crowdfunding and kickstarters for movie projects. In 2015, Olson took on several new UK film critics in order to expand the scope and reach of the film website, covering theatrical releases, DVD & Blu-ray films, short films, animation and documentaries. The site also conducts interviews with filmmakers, providing an even greater insight into the movie industry from the perspective of those making movies. The team of film critics then grew to over 20 contributors mostly in the UK, as well as the U.S. and Europe. UK Film Review Podcast In 2016, UK Film Review launched the UK Film Review Podcast. Guest movie critic Andy Furlong was the main producer of episodes, along with Chris Olson and Alfie Shaw providing numerous episodes along the way. The Podcast achieved a position in the top 10 of the iTunes Film & TV category. The Film Podcast was then reborn in March 2021 with a new team of film critics at the helm and was launched on Spotify - making it easier for fans to listen to the episodes, which are themed around a different film topic or filmmaker. UK Film Festivals In 2017, UK Film Review began partnering with several notable UK film festivals, becoming their official Media Partner. These included the London Independent Film Festival (LIFF), High Peak Indie, and Grimmfest. By 2019, UK Film Review had become the official Media Sponsor for over 10 film festivals in the UK and internationally. UK Film Review Awards In 2018, UK Film Review launched its very first UK Film Review Awards. The categories included: Best Film Best Short Film Best Indie Film Best Documentary Best World Cinema Best Animated Film Best Superhero Film Best LGBTQ Film Best Director Best Performance The winners of the first UK Film Review Awards included Avengers: Infinity War, Roma, indie film Pledge, short film Cotton Wool, female director Stella Velon, and actor Friederike Hammer. UK Film Channel Originally a section of the website where films were embedded to watch online, UK Film Review launched in 2019 a dedicated sister site for UK Film Channel. This VOD platform for short films and indie features combined the love for independent cinema that makes UK Film Review so popular amongst the filmmaking community plus the desire amongst the readership to have a dedicated place to see some of these rare gems. Chris Olson Editor-in-Chief Chris Olson Jack Bottomley Hannah Sayer Darren Tilby Rachel Pullen Andrew Young Brady Clark Hope Madden George Wolf Rachel Willis Matt Weiner Cat McAlpine Brandon Thomas Christie Robb Chris Buick Shrubaboti Bose Alexandra James Sarah Smeaton Brian Penn Charlotte Little Benjamin Schofield Jasmine Holly Bullock Nathanial Eker Will Girling Amber Jackson Ieuan Walker Bruna Foletto Lucas Corey Bulloch Kirsty Asher Taryll Baker Owen Herman Alfie Kaye Albert Sowerby-Davies Chris Rose Aaron Gillingham

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