Diary of a Ghost film review by UK film critic Lee Sinden. Starring Genevieve Chenneour, Alfie Noble and Mia Rodgers. directed by Caroline Hajny. HOME | FILMS | REVIEWS Diary of a Ghost Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Sep 23, 2026 Directed by: Caroline Hajny Written by: Maren Koenigs Starring: Genevieve Chenneour, Alfie Noble and Mia Rodgers. “ Our Story was meant to be longer than a year; it was meant to be a lifetime”. This is a short film looking at grief and how one young woman, Sage Evans, is coping a year after her boyfriend’s death. This was her first love, and we see how she struggles as grief impacts every part of her daily life. She battles to keep him close but is overwhelmed by the reminders of what happened that tragic day. To cope, she writes chapters in her diary, which help bring her lost love to life. Is this healthy, or is this taking her down a dark hole? It is amazing what can trigger a memory: a sound, a picture or even a smell. The film shows all of this. Genevieve Chenneour plays Sage Evans, and she does a remarkable job keeping the audience engaged. This is an achievement, as so much of the film focuses solely on her. With minimal dialogue, Chenneour successfully conveys the character’s sadness through her facial expressions and body language. Her actions make the audience feel the pain of loss as they follow her through every emotion. This powerful performance will speak to many who have experienced the pain of grief. Alfie Noble gives a sincere performance as Riley Leeks, the boyfriend who has been lost far too soon. He and Genevieve Chenneour have strong chemistry as they bring comfort and sadness to the main roles. His character delivers an important message that it is time to move on. There are disturbing moments, but they give the audience a gritty reality outside of Sage's mind. Caroline Hajny directs and has experience developing stories with a female lead. In this film, she has created a beautiful story that will have a lasting effect on its audience. The locations support the actors’ portrayal of loneliness, and the close-up camera work helps the viewer understand how the main characters feel. The musical score is well chosen to reflect the sadness in each scene, particularly those involving Sage and Alfie. Music can play a pivotal role in emphasising emotions and developing a film's many layers. Some words will leave an imprint on the audience, and that comes down to the writer's talent. Some of the script is pure poetry with a beautiful insight into how a person can feel when someone close has died. It is impossible to know what people are going through, and the writer delves into the loneliness that accompanies grief with a powerful closing message. The words are delivered softly but with conviction, making them even more thought-provoking. I think every part of this film will tug at the heartstrings and allow viewers to reflect on their own feelings of loss and grief. The cast's performances are highly impactful and show that grief can affect everyone around you. Film can make a real impression and play an important role in people’s lives by giving them characters they can connect with. This film certainly does that. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

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. Pearls - Rosscoe Frantz Finn O'Toole Ahead (Music Video) James Learoyd Postcards Nina Rawlingson Super Duper Lee Sinden Peekaboo James Learoyd Ghosts Madeleine Lavers It's Not Goodbye - December Fades Official Music Video Chris Buick Return to Elenore Matt Trapp TELEPROMPTER - Late Night Television Matt Trapp Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3, 2025 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

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. Diary of a Ghost “ Our Story was meant to be longer than a year; it was meant to be a lifetime”. This is a short film looking at grief and how one young woman, Sage Evans, is coping a year after her boyfriend’s death. This was her first love, and we see how she struggles as grief impacts every part of her daily life. She battles to keep him close but is overwhelmed by the reminders of what happened that tragic day. To cope, she writes chapters in her diary, which help bring her lost love to life. Is this healthy, or is this taking her down a dark hole? It is amazing what can trigger a memory: a sound, a picture or even a smell. The film shows all of this. Genevieve Chenneour plays Sage Evans, and she does a remarkable job keeping the audience engaged. This is an achievement, as so much of the film focuses solely on her. With minimal dialogue, Chenneour successfully conveys the character’s sadness through her facial expressions and body language. Her actions make the audience feel the pain of loss as they follow her through every emotion. This powerful performance will speak to many who have experienced the pain of grief. Alfie Noble gives a sincere performance as Riley Leeks, the boyfriend who has been lost far too soon. He and Genevieve Chenneour have strong chemistry as they bring comfort and sadness to the main roles. His character delivers an important message that it is time to move on. There are disturbing moments, but they give the audience a gritty reality outside of Sage's mind. Caroline Hajny directs and has experience developing stories with a female lead. In this film, she has created a beautiful story that will have a lasting effect on its audience. The locations support the actors’ portrayal of loneliness, and the close-up camera work helps the viewer understand how the main characters feel. The musical score is well chosen to reflect the sadness in each scene, particularly those involving Sage and Alfie. Music can play a pivotal role in emphasising emotions and developing a film's many layers. Some words will leave an imprint on the audience, and that comes down to the writer's talent. Some of the script is pure poetry with a beautiful insight into how a person can feel when someone close has died. It is impossible to know what people are going through, and the writer delves into the loneliness that accompanies grief with a powerful closing message. The words are delivered softly but with conviction, making them even more thought-provoking. I think every part of this film will tug at the heartstrings and allow viewers to reflect on their own feelings of loss and grief. The cast's performances are highly impactful and show that grief can affect everyone around you. Film can make a real impression and play an important role in people’s lives by giving them characters they can connect with. This film certainly does that. VIEW REVIEW Every Time I See A Yellow Car Every Time I See a Yellow Car (2026) follows protagonist Olly as he is troubled by his childhood trauma and recent sexual assault. His declining mental health causes him to spiral, as his older brother attempts to protect him in violent ways. Their different approaches to healing cause a large rift between the brothers and as their methods of overcoming emotional distress contradict each other, more pain is forced upon the pair. This short film is beautifully written; the voiceover explains enough, yet not too much, keeping you engaged and curious throughout. Audiences can enjoy the buildup of tension before the twist in the narrative changes everything. The film tells the story in a non-linear way that is composed of delicate sound work and interesting cinematography. The use of colour, especially the reinforced meaning behind the yellow (which seems to forcefully display a never-ending cycle of trauma), is tactically placed, enhancing the flashbacks to Olly’s childhood. The performance of Ty Tennant (previously known for his 2022 work in House of the Dragon ) was exceptional, full of depth and emotion without an ounce of melodrama. His exhibition of mental health was subtle yet deeply moving and his voiceover elements were executed with such conviction. The act of displaying trauma and sexual assault through the journey of brotherhood was a unique approach, one that ensured the audience could empathise with the characters without needing to know every small detail of their previous hardships. The shots of the young boys playing the game ‘yellow car’ definitely aid in the amount of sympathy felt by audiences. It is a breath of fresh air that the film ensures viewers understand the characters as more than what has tragically happened to them. One of the most breathtaking shots that stands out is the choreography of the hands coming out of the yellow car, an eerie sight when you begin to understand the symbolism behind the use of the colour yellow. Another creative choice that was intelligently produced is the reveal that the ‘therapy’ session with Olly is being watched by what seems to be investigators. This helps round off the narrative and ensures audiences have a moment where everything clicks into place for that satisfying ‘aha’ moment. Overall, this short film is produced with great professionalism; all technical elements seem to be of the highest quality. The non-linear structure and fast-paced montages keep viewers engaged throughout, and the performances in such a touching story are admirable. VIEW REVIEW Midnight Bloom Midnight Bloom follows the friendship between two young fathers, Aaron (Raphael Santiago) and Jamie (Tyler Astley), as it deepens into a powerful, fragile romance. The two men meet in an isolated car park night after night, and by day, the love for their families calls them back. As Aaron grapples with split loyalties, he wonders if he can maintain his relationship with Jamie before he loses everything. What is perhaps most compelling about Midnight Bloom is how the filmmakers delicately pull the audience into the lives of Aaron and Jamie. Despite the lack of characterisation and context surrounding the central characters' encounters, the dialogue is incredibly compelling, profoundly capturing the growing sense of yearning and guilt between them. It's an uplifting depiction of queer love, as Aaron and Jamie’s relationship is heartwarming while also tragic, as they are forced to hide their feelings for each other in an isolated car park. The script, wonderfully written by Jake Williams, explores the deeply intriguing themes of desire, guilt and queer love, weaving them seamlessly into the personalities and experiences of its central characters. While these themes and ideas could have been more fleshed out in an extended runtime, the film leaves the viewer wanting more without overstaying its welcome. Despite the film's brisk runtime, you can easily root for Aaron as the narrative delves into his struggles with fatherhood. The dialogue compellingly explores themes of melancholy and love, and its dramatic beats resonate throughout. While the film could have explored more of Jamie’s personal life beyond his relationship with Aaron, his performance subtly conveys the depth of his feelings. The narrative also briefly explores Aaron’s relationship with his child, which is one of the most compelling aspects of the script and the emotional crux of the conclusion (without venturing into spoiler territory). The technical aspects of Midnight Bloom are incredibly impactful, thanks to its incredible cinematography and tight editing. Joshua Ighodaro serves as the film's cinematographer and does a wonderful job framing each scene. The piece primarily utilises extreme close-ups in the more intimate scenes as the characters grapple with the isolation and guilt of their relationship. The camera also shifts to wide framing within the confines of the car park to convey the desolation of the location. Hector Miller serves as the film's editor and does a tremendous job seamlessly cutting between the central characters' meet-ups and personal lives, intertwining them throughout with some incredible dissolves. The two central performances from Raphael Santiago and Tyler Astley, portraying Aaron and Jamie respectively, are incredibly compelling. They both convey their characters' guilt-stricken personalities with remarkable depth while simultaneously preserving the tenderness and warmth that develops between them in isolation. Their magnetic chemistry makes for an incredibly thrilling experience. It's also difficult to watch as Jamie desperately craves more reciprocation from Aaron, longing to take their relationship beyond the confines of the car park. Midnight Bloom is an emotionally resonant short film steeped in melancholy and desire, anchored by two remarkable central performances. While its brisk runtime may come at the expense of deeper characterisation, it remains a worthwhile effort, elevated by exceptional editing and striking cinematography. VIEW REVIEW Khemerican This is a short film looking at Cambodian Gang life in the USA. The title is an amalgamation of Khmer which is the ethnic group of Cambodia and their official language and American. The film opens up with two young Cambodian-American teenagers discussing their future while setting up for the morning shift at the family Donut shop. Soon their peace is destroyed by the very life they are both trying to escape from. This is an introduction to the world of Cambodian gangs. This is an adrenaline-charged picture that really makes the audience fear what will happen next. The score starts softly and then slowly builds to a heavy beat to complement the pace of the action that is unfolding. This is an emergency situation which is being driven by a pretty scary individual with a formidable presence. The performances throughout are outstanding. The audience will really believe what is happening and fear for those involved. The tension amongst the main characters is palpable as barriers develop; so does the fear. This appears to be a debut film for David Klaut as Sovankary, the teenager trying to keep a clean life in helping his father run his Donut shop. This is a mature performance showing great skill in reacting to everything that is going on. Klaut is able to convey the stress that his character is under as the situation becomes more and more perilous. This is supported by the performance of Sam Puefua, who plays the gang member Monk. Puefua shows real menace with this character, helped by his physical presence in each scene. The danger they all face feels real, and there is no let-up in the action. The physical aspects of each performance are choreographed well, and the audience is treated to each character's viewpoint, as the camera moves around the scene. Overall, this is superb casting. The director Jimmy Chhiu skilfully navigates each scene in what is a claustrophobic environment. The close-up camera work adds to the tension, making the action that much bigger and elevates the threat that each character is under. The opening scene develops the background of the two teenagers. The character Bountha is striving to improve his life, and Sovankary is resigned to a future at the shop because this is the only life for those born of refugees. What starts off as an everyday shift soon derails into violence. Chiuu works the script well and has a good eye for location for both internal and external sets. The choice of musical score is perfectly chosen. The writer is able to present a snapshot of what life is like for gang members in the U.S. They have developed each character, and in a short time we learn their background. Even those who don’t make it on screen have an impact on the situation. The audience learns about the family dynamic and the battle Sovankary has to stay on the right side of the law and away from danger. The dialogue sounds authentic, which really helps the actors deliver on their performances. This is a well-polished film with some superb performances. It is a mixture of relentless action where the audience will struggle to catch their breath and calm, thoughtful dialogue. It is a scene from your worst nightmare, and, unfortunately, scenarios like this are all too common. The viewer will have plenty to contemplate when the film stops rolling. VIEW REVIEW Cancer Kid Cancer Kid is a dark comedy about a schoolyard prank that keeps Elliot (Charlie Zeltzer) spiralling down into a health anxiety hole. His life seems over as he tries to understand his own mortality. Throwing us right back to our school days, we follow innocent, naive Elliot navigating school life and bullies. Without going into spoilers, the set-up of the prank is so nostalgic. This was one that went round every school and caused panic but also, upon reflection, carried a lot of weight. Adulthood and so many serious issues are touched upon in this but through a comedic sense of wonder about the world. It uses children’s innocence to open up a wider conversation whilst balancing a lightheartedness. The children’s performances are strong; they don’t really understand the gravity of the situation and how to properly comfort Elliot in such a vulnerable moment. They are, as to be expected, very childlike responses and matter-of-fact, which really pushes the comedy element. Their lives consist of going out to play and their biggest worry being what’s for tea tonight? Even his own family can’t believe what he is saying. Battling his own demons, but he doesn’t quite understand them himself. We see Elliot going through Google searches, misspelling serious terminology, reading and frightening him, all adding to the health anxiety. One scene in particular shines through when he’s going through his mum’s medication drawer and picks the option he does, completely clueless but hilarious. His solution to this life-altering prank is extreme and he doesn’t quite understand the consequences, writing out a letter to his family that’s heartfelt but naive. The quality is apparent in this film: well shot, clean audio, and sound design throughout. The sound, especially, is used as an effective device to portray Elliot’s emotions through shock, sadness, and disgust, and helps to strengthen the comedic timing during dialogue. The relationships are well established in this film: the easygoing friends, the annoying older brother, and the unaware mother. It grapples with growing up and that ever-looming thought process of self-awareness and existence. Most age ranges could watch this and take something away from it. From an adult audience, it hits so many relatable marks, having grown up with the same elements of childhood and how we learn lessons the hard way. The ending just solidifies that point, and it’s really well executed, leaving Elliot in a state of disarray and relief. It’s no wonder that Cancer Kid has won Best Short Film at the Blue Mountain Film + Media Festival, Toronto Independent Film Festival, and Vancouver Island Short Film Festival, and was an Official Selection at the Austin Film Festival. It’s an independently produced dark comedy made by brothers Vasili and Dimitri Manikas. This project alone proves the brothers’ dedication to filmmaking and creates excitement for any future endeavours. VIEW REVIEW Hindsight Directed by Remi R.M. Moses, Hindsight follows a young man called Jamal as he buys his first car. Initially an energising novelty among his group of friends, the unexpected caveats of extensive repairs, occurrences of prejudice, and an increase of mundane family errands, make Jamal’s newfound freedom more of a chore than a joyride. This entire short-film is presented through a sequence of carefully framed match cuts looking from the front of the car’s bonnet inward, a fantastic framing device that challenges the writer to convey a clear vignette of the protagonist’s life purely within the confines of a car. This is made even more impressive by the discovery that most, if not all, of this film was shot on a virtual stage. With a high potential of looking cheap or unnatural, this production manages to utilise the virtual shooting space to its highest effect, and one could easily mistake the car’s location for a tangible one. “When done correctly, virtual production not only solves logistical problems, but also provides a more liberated canvas on which to paint with light and to craft gorgeous cinematic images” remarks V Studio’s VP supervisor/ head of studio Kate Phibbs in relation to this shoot, which is clearly reflected here through the high level of preparation and precision on display from director of photography Fola Abatan. At the core of the story lies four fantastic central performances from Josh Tedeku, Jude Carmichael, Denzel Baidoo, and Joshua-Alexander Williams that all feel effortlessly relatable, each bringing their own unique energy and humour to their respective roles. This is testament not only to the spot-on casting, but also Moses’ ability to direct actors with such ease and freedom that it plays to the audience as if each moment were entirely candid. What could easily stick to being a comical tale about four friends and their first car is also laced with deeper themes as Jamal experiences viscerally true-to-life trials such as being racially profiled by police officers, drifting from friends over time, and being suffocated by financial burdens. All of this culminates in a surprisingly hard hitting coming-of-age story that any adult, no matter what demographic, sex or religion they belong to, can sympathise with. Hindsight is a wild ride and drives the thin road between humour and sincerity to outstanding success, all the while showcasing originality, innovation and talent from all the creatives involved. I have no doubt we will be seeing a lot more exciting work from this team in future. Hindsight premieres at the BFI London Film Festival in October. VIEW REVIEW Homeless Homeless is a short film released in 2025, directed and written by Rikhiil V Bahadur. Throughout it’s 18 minute runtime, the short follows Roufus (Rocco the Adorabull) as he leaves his current life behind and bonds with Fred (Blakely David), a homeless man he encounters outside of a coffee shop. The heartwarming relationship formed between these two protagonists allows for a deeper, feel good approach towards the content. Exploring such topics is cleverly enhanced through the use of this canine star, shifting focus onto their raw connection rather than dialogue which provides unnecessary exposition as to how the pair feels. Theory of mind between our deuteragonist Fred and those viewers with pets will not come difficultly, as it is very easy to place yourself in his human perspective of the camaraderie. We begin with an insight into Roufus’ home life, in which he is practically shunned away for simply seeking positive affirmations from his owners, Katie (Sam van Goph) and Linda (Evelyn Tran). This instantly informs the audience that Roufus is a sympathetic and endearing character, rather than an outright disobedient dog. His home life difficulties are shown to lead to some destructive behaviour, however his owners clearly fail to see how this can be traced back to their own argumentative and dismissive behaviour. Upon partnering with Fred as he is left by his disengaged carers, Roufus instantly receives food, water, and friendly remarks - these are all rarities within his own home and is even later repaid by the dog as he find food for him and his new friend to eat. It is very clear that the duo see reflections of themselves within the other, strengthening their bond and helping them both through their trauma together. In the latter half of the short film, this teamwork is demonstrated beautifully as Fred even puts his life on the line during a robbery to ensure our main characters safety (once more, this is later reciprocated as Roufus refuses to leave Fred’s side upon his previous owner’s return). The juxtaposition between his newfound life in contrast to his previous neglect is able to subvert expectations and stereotypes for those with versus without stable housing, displaying how a truly formed attachment will prevail throughout adversity. The story ends peacefully, open-ended as to where Roufus and his mankind counterpart will be taken in the future. Only one thing is for certain: they have each other. A large portion of the production of the short was largely under the influence of Rikhiil V Bahadur, however other notable figures include co-producer and Shahchi Sharma and cinematographer Dan Barham. The visual style largely takes inspiration from the wondrous city of Vancouver, Canada and the film itself was made possible by the Vancouver Indie Film Community. One specific quote from Bahadur himself tells how the creation of Fred and Roufus were directly encouraged by a homeless man and his “beautiful dog”, alongside a comfy duvet outside the director’s apartment in the very same city. A noticeably warm colour palette mirrors the flourishing affection these two characters form throughout, whilst some scenes depict a harsher grey-ish scale to display brief moments of despair. Choosing to close up toward Roufus’ eyes in various shots, assist in humanising the character and translate his emotions as this is sometimes a simpler guide to gaze upon rather than body language. The acting of this talented pooch cannot be understated, hitting each mark and remaining eloquent throughout some tough to watch scenes as to retain Homeless’ comforting nature. Cleverly placed and quirky sound design also ensures the tone of the film remains light-hearted rather than strictly mean spirited, as that could dampen the overarching message. The short dedicates itself to animals without a permanent home with a written message after the narrative, a smart chronological choice following the engaging hypothetical viewers are met with. The zero budget short movie made a DirecTV network debut on 31st May 2025, followed by international streaming release to Amazon Prime on 1st June 2025. Overall, the serious message of Homeless is wrapped neatly and delivered carefully under layers of optimism which shine throughout. It is recommended to those who may need to reignite a feeling of deep connection within their own life as it lends out it’s positive nature. A small budget could have assisted in displaying some of the adventures our loving pair engage in following these events, perhaps in a follow up short or extended version of the original. This may have meant minor issues could have been avoided also, such as slight continuity errors and a lack of severity when dealing with Roufus’ abandonment which in turn would reinforce the relief of unity between him and Fred; these hardly hinder the message of the film, however, as it remains impactful within it’s own right. Those behind the scenes and on camera were able to come together and share an important anecdote relating to animal and human welfare alike in the absence of a true home. Even through troubling times, everybody deserves someone to form a deep-rooted and loving connection to, and this short ensures you do not leave unaware of this fact. VIEW REVIEW Head of a Camel Shannon Lee’s Head of a Camel is an experimental, circuitous animated film about a Korean-American woman who tries to reconnect with her cultural roots by conjuring a mystical creature from an ancient Daoist recipe. Head of a Camel is closer to a visual poem than a conventional film: it has no on-screen actors, little narrative, and a minimal score. The sounds mainly consist of a narrated recipe describing the anatomy of an Asian dragon. The film’s greatest strength is its visual style. It opens with poem-like text, each line appearing on screen as though thoughts are being set down on a page. These words describe the physical distance between the narrator’s mother and sister, as well as the difficulty the narrator and her father have communicating. To reconcile her Western identity with her cultural heritage, the narrator turns to an ancient recipe. As she recites it, images of its animal ingredients flash rapidly across the screen, which include a frog’s belly, a hawk’s claws, a carp’s scales, and, of course, a camel’s head. I particularly liked how the parts appear to be cut from the animals in a papier-mâché-like style. The rapid sequence of photographs also recalled the opening of Gaspar Noé’s Enter the Void, though Lee’s imagery is more ethereal and dreamlike. She created the effect by placing photographs directly beneath the camera. When the recipe reaches the camel’s head, the narration slows, deepening the dreamlike mood. Despite the strange imagery and measured delivery, the sequence is engaging and almost hypnotic, as if something is truly being conjured. Sounds resembling stones grinding together further enrich the atmosphere. This short film will not appeal to everyone, and some viewers may struggle to follow its narrative. Its abstract ideas and four-minute runtime leave its theme, reconnecting with one’s culture from halfway across the world, feeling underdeveloped. Those who prefer conventional storytelling may also find its unconventional approach off-putting. Overall, Head of a Camel is an abstract, cryptic film whose striking visuals and Foley effects create a dreamy, hypnotic experience. Its lack of a cohesive plot and dialogue may leave some viewers confused, but it remains an engaging four-minute watch. VIEW REVIEW Silence SILENCE is a Ukrainian short film written and directed by Pavlo Shpegun. The film stars young, fresh-faced actors, with Hryhoriy Naumov as Luka and Iolanta Bohdiun as ‘Mia’. Set in the war-torn country of Ukraine, SILENCE poses intriguing questions about identity and time, using almost exclusively indoor, intimate shooting styles to create a dreamlike array of sequences with surreal characters. The film incorporates political dark humour and relies on the impeccable chemistry between Naumov and Bohdiun to carry most of the narrative. It all begins when Luka’s stand-up comedy act has a very disappointing reception, enjoyed only, and wholeheartedly, by a mysterious nameless woman, who requests to stay over at his place. Shpegun’s short had a tremendous run at the 83rd International Venice Film Festival, receiving the newly established prize of the Airone della Laguna- International Collateral Award. One of its many achievements is in the film’s ingenious title; a play on words, as the writers parallel the significance of silence in a comedian’s terms- a marker of their death- to the indefinite silence of the tragic lives lost to the conflict in Ukraine. Whilst bringing avid awareness to the monstrosities occurring in the current political world, SILENCE is mostly a lighthearted film, and fits, though atypically, within the romance genre. Luka and Mia’s first interactions do not present an immediate spark the way viewers may expect within a meet-cute. Their conversations are slightly awkward and Luka even seems uncomfortable with the forwardness of Mia’s intrusion. However, as the film goes on, the two characters are brought together by an emotional connection, more specifically a shared understanding of the devastating world they are living in. This acknowledgement seems to bring them both some comfort, as they both recognise that their hopelessness brings them a sense of freedom. Mia is characterised very similarly to Kate Winslet’s Clementine Kruczynski as seen in Eternal Sunshine of the Spotless Mind, fitting into the manic pixie dream girl trope with her mysterious and unpredictable personality. Similarly to Charlie Kaufman’s 2004 sci-fi romance, there is intrigue in the clear temporality of Luka and Mia's relationship, and in the way the characters seem not to fully understand one another, or the world around them, but still have a distinct and unique connection which audiences feel transfixed by. Along with its surreal feel and alluring characters, SILENCE contains important commentary about modern relationships, particularly in concordance with the patriarchy and the way that women are taken advantage of. Some nuances of this are seen in the subtle shot choices during Luka and Mia’s sexual exchange, as there is no attention drawn to intimacy or pleasure; it is a purely loveless act, posing the way that sex is seen as an expectation in dating nowadays, rather than an act of passionate connection. With many strong ideas about the political state of the world, touching characters, and incredibly artful uses of lighting and handheld camera work, SILENCE is an excellent example of genre-blending filmmaking, with an incredibly memorable finish to fully bring the film’s message home. VIEW REVIEW A Few Moments of Happiness A Few Moments of Happiness is a stark work of filmmaking. As unusual as it is uncompromising, the film takes the form of a series of screen-recordings, phone calls, audio clips and phone camera footage, all of which either capture or refer to the horrific, and continuing attacks on Lebanon by the Israeli military. All of these glimpses of footage are edited together with enough thought and patience that a purposeful cinematic approach reveals itself (though not one of sequencing or cinematography in any regular sense). As well as obviously being about the indisputable, genocidal evils Israel is currently committing – and just one example of a people and a place currently suffering genuine horrors, it manages to also be a meditation on how one processes these horrors, or distances oneself from them, through the context of our digitally connected world. I find it slightly dispiriting that the top Letterboxd review of this film argues that what we’re watching here cannot be considered filmmaking. And as valid as it is to criticise the form this piece takes, the fact is that a film can be anything. There’s also no better way to experiment with an idea like this than in the form of a short film – because, no, this would not be effective or interesting as a feature. But a short allows it to be an exercise in something; a unique abstraction of real life without being bound by the grander expectations of an entertainment-based medium. Whilst I’m uninterested in the idea of continuing to use screen recordings on smartphones to constitute a ‘film’, one must concede that when there’s a deliberate point to doing so – whether it be spectatorial or information-based – we don’t have to like it, but we should be open to the creative vision. I’ve used the term ‘documentary’ broadly; however, this is a short film which is using its form to document reality – and so despite the lack of scenes, shots or conventional form, the fact that the medium of cinema has been selected is a significant and deliberate decision to consider. For instance, the filmmaker is well aware of the fact that during the recorded phone calls, the audience will be staring at a black screen. Here, the absence of an image is just as relevant as if there were images to look over; it leads the viewer – or in this case, listener – to isolate these crackled voices, place yourself in the frightened, focused perspective of our documentarian, and observe the truth in the words. It’s also helped that the use of sound design and editing in this 17-minute piece is incredibly immersive. A Few Moments of Happiness is a revealing work about the ways in which social media can connect you with the suffering in the world or in your home, or – on the flip side – numb you to it. This is illustrated in the high point of the short film. The pace of the editing increases dramatically as we cut back and forth between phone footage of people dancing and partying as a form of escapism, and the visceral truth of the continuing bombings and chaos ensuing in Lebanon. There’s some powerful messaging taking place here, even when it’s simply drawing a line between one thing to another – but to me, that’s called editing, and therefore filmmaking. VIEW REVIEW

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! 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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 4 out of 5 Diary of a Ghost Read Review average rating is 3 out of 5 The Stunt Driver Read Review average rating is 5 out of 5 Every Time I See A Yellow Car Read Review average rating is 4 out of 5 The Incomer Read Review average rating is 3 out of 5 Never After Dark Read Review average rating is 3 out of 5 Bloody Tennis Read Review average rating is 4 out of 5 Visceral Images Read Review average rating is 4 out of 5 Midnight Bloom Read Review average rating is 4 out of 5 Khemerican Read Review average rating is 4 out of 5 Cancer Kid Read Review average rating is 5 out of 5 Hindsight Read Review average rating is 3 out of 5 Homeless Read Review average rating is 3 out of 5 Head of a Camel Read Review average rating is 4 out of 5 Silence Read Review average rating is 4 out of 5 A Few Moments of Happiness Read Review average rating is 3 out of 5 Crooked Miles Read Review average rating is 2 out of 5 The Heir Of Time Read Review average rating is 4 out of 5 Leaving Ealing Read Review average rating is 3 out of 5 Sunny Dancer Read Review average rating is 5 out of 5 Baby Doe Read Review average rating is 3 out of 5 Goody Goody Read Review average rating is 4 out of 5 The Weight Read Review average rating is 4 out of 5 FarEye Read Review average rating is 3 out of 5 Resident Evil Read Review average rating is 4 out of 5 Shaun the Sheep: The Beast of Mossy Bottom Read Review average rating is 2 out of 5 Knightfall Read Review average rating is 5 out of 5 Lasagna Run Read Review average rating is 4 out of 5 Shadows of Beirut Read Review average rating is 5 out of 5 Pearls - 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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 3 out of 5 The Stunt Driver Read Review average rating is 4 out of 5 The Incomer Read Review average rating is 3 out of 5 Never After Dark Read Review average rating is 3 out of 5 Bloody Tennis Read Review average rating is 2 out of 5 The Heir Of Time Read Review average rating is 3 out of 5 Sunny Dancer Read Review average rating is 5 out of 5 Baby Doe Read Review average rating is 3 out of 5 Goody Goody Read Review average rating is 4 out of 5 The Weight Read Review average rating is 3 out of 5 Resident Evil Read Review average rating is 4 out of 5 Shaun the Sheep: The Beast of Mossy Bottom Read Review average rating is 2 out of 5 Knightfall 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.

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 Diary of a Ghost Lee Sinden Every Time I See A Yellow Car Madeleine Lavers Midnight Bloom William Curzon Khemerican Lee Sinden Cancer Kid Nina Rawlingson Hindsight Finn O'Toole Homeless Lewis McLeod Head of a Camel Callum Ewing Silence Holly Baker A Few Moments of Happiness James Learoyd The Heir Of Time William Hemingway Leaving Ealing James Learoyd FarEye William Curzon Lasagna Run James Learoyd Mothmama Chris Olson Underpass William Curzon Golden Years William Hemingway Loving Silence William Curzon The Long Spring Holly Baker Dogbone Madeleine Lavers Good Guy William Hemingway Egg Thomas Manning 175 Jason Knight Hereafter Madeleine Lavers Midnight Rot 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.

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. LATEST MOVIE REVIEWS 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 Diary of a Ghost average rating is 4 out of 5 The Stunt Driver average rating is 3 out of 5 Every Time I See A Yellow Car average rating is 5 out of 5 The Incomer average rating is 4 out of 5 Never After Dark average rating is 3 out of 5 Bloody Tennis average rating is 3 out of 5 Visceral Images average rating is 4 out of 5 Midnight Bloom average rating is 4 out of 5 Khemerican average rating is 4 out of 5 Cancer Kid average rating is 4 out of 5 Hindsight average rating is 5 out of 5 Homeless average rating is 3 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Paper Tiger Ink The Social Reckoning Focker-in-Law Heart of the Beast Klara and the Sun Filmmaker Interviews INTERVIEWS

Every Time I See A Yellow Car film review by UK film critic Madeleine Lavers. Starring Sam Buchanan, Ty Tennant, Henry Everett directed by Matt Chandler. HOME | FILMS | REVIEWS Every Time I See A Yellow Car Film Review average rating is 5 out of 5 Critic: Madeleine Lavers | Posted on: Sep 23, 2026 Directed by: Matt Chandler Written by: Matt Chandler Starring: Sam Buchanan, Ty Tennant, Henry Everett Every Time I See a Yellow Car (2026) follows protagonist Olly as he is troubled by his childhood trauma and recent sexual assault. His declining mental health causes him to spiral, as his older brother attempts to protect him in violent ways. Their different approaches to healing cause a large rift between the brothers and as their methods of overcoming emotional distress contradict each other, more pain is forced upon the pair. This short film is beautifully written; the voiceover explains enough, yet not too much, keeping you engaged and curious throughout. Audiences can enjoy the buildup of tension before the twist in the narrative changes everything. The film tells the story in a non-linear way that is composed of delicate sound work and interesting cinematography. The use of colour, especially the reinforced meaning behind the yellow (which seems to forcefully display a never-ending cycle of trauma), is tactically placed, enhancing the flashbacks to Olly’s childhood. The performance of Ty Tennant (previously known for his 2022 work in House of the Dragon ) was exceptional, full of depth and emotion without an ounce of melodrama. His exhibition of mental health was subtle yet deeply moving and his voiceover elements were executed with such conviction. The act of displaying trauma and sexual assault through the journey of brotherhood was a unique approach, one that ensured the audience could empathise with the characters without needing to know every small detail of their previous hardships. The shots of the young boys playing the game ‘yellow car’ definitely aid in the amount of sympathy felt by audiences. It is a breath of fresh air that the film ensures viewers understand the characters as more than what has tragically happened to them. One of the most breathtaking shots that stands out is the choreography of the hands coming out of the yellow car, an eerie sight when you begin to understand the symbolism behind the use of the colour yellow. Another creative choice that was intelligently produced is the reveal that the ‘therapy’ session with Olly is being watched by what seems to be investigators. This helps round off the narrative and ensures audiences have a moment where everything clicks into place for that satisfying ‘aha’ moment. Overall, this short film is produced with great professionalism; all technical elements seem to be of the highest quality. The non-linear structure and fast-paced montages keep viewers engaged throughout, and the performances in such a touching story are admirable. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Short Film < All Reviews Next Film Review >

Designed by Preeti film review by UK film critic Lee Sinden. Starring Rashmi Rustagi, Jay Charan, Shavya Samala directed by Gayatri Bajpai. HOME | FILMS | REVIEWS Designed by Preeti Film Review average rating is 3 out of 5 Critic: Lee Sinden | Posted on: Sep 13, 2026 Directed by: Gayatri Bajpai Written by: Rashmi Rustagi, Wendy Moulton-Tate, Yashna Malhotra Starring: Rashmi Rustagi, Jay Charan, Shavya Samala After decades of marriage, Preeti (Rashmi Rustagi), with the support of some of her friends, decides enough is enough. No longer can she accept being controlled in the relationship, and no longer can she accept her husband's infidelity. It is clearly a very tough decision because it means starting all over again, which is not easy to do later in life. But an instance of violence is beyond what she can take. Preeti is part of the Indian/Asian community, and some of her friends' cultural views mean she is expected to continue being part of the marriage, but she remains strong and resolute even though there are doubts along the way. Rashmi Rustagi is the actress playing Preeti, and she also forms part of the writing team. Rustagi is able to convey the difficulties her character has in starting again at a mature age. We see how difficult it is, and she is able to show the emotions of fear and guilt, along with regret. The character has led a life where she has not been allowed to be herself, follow her dreams, or do day-to-day activities without her husband's permission. Her husband's controlling nature even has a major impact on Preeti's relationship with her daughter. Rustagi performs brilliantly in the role that holds a great deal of responsibility. As a member of the audience, you really champion the decisions that Preeti has made and empathise with her feelings and emotions. This cannot happen without a strong performance from Rashmi Rustagi. Jay Charan portrays the husband Ajay, and he truly delivers as the husband who will go to any lengths to stop his wife from living the life she wants. He is excellent at pushing the emotions of the audience as the believable villain of the piece. There is nothing to like about this character, and the audience will no doubt dislike him intensely, which is a credit to Charan. The director has experience directing films that depict the life of Asian women. She clearly has a passion for telling the story of women who have failed marriages and women who have to go it alone after loss. Designed by Preeti portrays a very important message, and it is done with great sensitivity and knowledge. It was also balanced with some light moments, particularly amongst the female characters in the film, the comedy making it a more rounded, and therefore enjoyable watch. The music is also upbeat, which gives the audience a break from the heavy subject matter. All the writers have a passion for bringing difficult subjects to their audience, many of which are brought from Asian culture. It is clear that on this occasion they are promoting the message of being in a controlling marriage and that women can move on and be successful on their own. This is an important message and will likely resonate more deeply with anyone who is experiencing this type of relationship. The characters and story become symbols of courage and hope. When people say “why don’t they just leave?”, it is clear that they don’t understand the effect of an abusive relationship. This story answers those questions, offers strong insight, and provides the audience with many strong female perspectives from different walks of life. The audience will enjoy this impactful story with its elements of comedy and hope. This is clearly a story of success with some real emotion along the way. Sometimes fear is not of the outside world but what is happening in the place where you should feel the safest: the home. Buy UKFR Banner Space About the Film Critic Lee Sinden World Cinema, Indie Feature Film < All Reviews Next Film Review >

The Stunt Driver film review by UK film critic George Wolf. Starring Jay Baruchel, Ed Helms, Ben Foster directed by Michael Dowse. HOME | FILMS | REVIEWS The Stunt Driver Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 23, 2026 Directed by: Michael Dowse Written by: Michael Dowse Starring: Jay Baruchel, Ed Helms, Ben Foster If you’ve seen the underrated 2011 hockey comedy Goon , you’ll understand why I was stoked for The Stunt Driver. It reunites writer/director Michael Dowse with star Jay Baruchel for another based -on-true-events look at a rough and tumble lug fighting to stand out in the crowd. Back in the 1970s Ken Carter was known as “The Mad Canadian,” a cross-eyed, bushy-haired high school dropout who made his name through high-flying car stunts. So, when Evel Knievel’s Snake River Canyon jump fizzled out in ’74, Carter hatched a plan to show him up. He would jump over the St. Lawrence river in a “rocket car,” taking off in Canada and landing a mile away in Ogden Island, New York. In Carter’s view, Evel was “a nerd and a coward,” and the St. Lawrence jump would put the stunt driver glory – don’t call him a “daredevil!” – where it belonged. As Carter, Baruchel delivers a career-best performance. Stunt driving is all Carter knows and the passion to “leave his mark” is felt throughout the years-long journey toward the jump. When doubt and even fear creeps in, Baruchel makes sure both are just shades of a completely human character we want to succeed. Much like Goon , the commitment to character drives the film. Dowse surrounds his Mad Canadian with interesting people on all sides. From Carter’s long-suffering wife (Laurence Leboeuf) to his engine designer (Ed Helms), his protege (Marc Beaupré) and his promoter (Dan Bakkedahl), we get a series of fleshed-out personalities to bring a perfectly 70s aesthetic to life. And when producers on ABC’s Wide Wide of Sports insist on bringing Evel himself (Ben Foster) on as a tech consultant, the relationship between Knievel and Carter instantly becomes a deadpan delight. Dowse takes inspiration from the 1981 doc The Devil at Your Heels. He juggles different film stocks and aspect ratios throughout the film’s 99 minutes, which makes the use of real jump footage feel seamless, and bolsters the hardscrabble appeal of Carter’s entire persona. Even when the tonal path starts to wobble in the second act, The Stunt Driver again shows Dowse and Baruchel can find heart, soul and authenticity in the life of a true sports underdog. Maybe Ken never got as famous as Knievel, but it’s a good bit of absurd fun getting to know him. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema, Indie Feature Film < All Reviews Next Film Review >

The Incomer film review by UK film critic Hope Madden. Starring Domnhall Gleeson, Gayle Rankin, Grant O'Rourke directed by Louis Paxton. HOME | FILMS | REVIEWS The Incomer Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2026 Directed by: Louis Paxton Written by: Louis Paxton Starring: Domnhall Gleeson, Gayle Rankin, Grant O'Rourke The Incomer , acclaimed short filmmaker Louis Paxton’s first feature, opens as a sort of fairy tale. A woman’s voice begins a narration about two gulls, brother and sister, and their obligation to protect themselves and their island from incomers. What follows is a charming, funny, endearingly odd and oddly endearing story of isolation and community. Isla (Gayle Rankin, glorious) and her brother Sandy (Grant O’Rourke, dear) have lived alone on Auk Isle, a remote Scottish island, since they were children. And, like the tale, they organize their days around certain tasks including training for the invasion if incomers. They get their chance to test that training when Daniel (Domnhall Gleeson, awkward perfection) comes to call. Daniel works for the government, who’s recently learned that this uninhabited island is, indeed, inhabited. Daniel’s been sent to evict and relocate the siblings. Their time together devolves into an often absurd and silly but always intelligent and empathetic struggle: between the incomer and the gulls, between loneliness and community, and between fear and optimism. Paxton’s somewhat miraculous script never dismisses Isla and Sandy, even when it’s laughing at them more than with them. And Gleeson is the ideal choice to bridge “normal civilization” with the mythical fantasy alive on this island. A lonesome darkness anchors the film that gives the absurdity substance, and Gleeson’s endless tenderness keeps you emotionally invested in the story. And O’Rourke’s soft-headed vulnerability makes for a delightfully sweet character. Back on the mainland, a small ensemble of sharply drawn comic foils (Michelle Gomez and Emun Elliot, in particular) serves as a wonderful balance for the trio on the island. But Rankin owns this film. Isla’s ferocity and naivete both reflect an incredible intelligence, and Rankin brings all three to bear in a performance that commands attention. Because of this powerful performance, The Incomer is more than funny, more than clever. It’s a reminder that we are each the agent of our own destiny. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Never After Dark film review by UK film critic Hope Madden. Starring Moeka Hoshi, Tae Kimura, Kento Kaku directed by Dave Boyle. HOME | FILMS | REVIEWS Never After Dark Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2026 Directed by: Dave Boyle Written by: Dave Boyle Starring: Moeka Hoshi, Tae Kimura, Kento Kaku Who doesn’t like a good ghost story? And a Japanese ghost story at that! Writer/director Dave Boyle (Man from Reno ) generates spooky tension with Never After Dark , his tale of a traveling psychic hired to help the dead leave this plane. Airi (Moeka Hoshi, TV’s Shōgun ), the quietly no-nonsense medium, arrives at an isolated little inn recently purchased on auction by a widow (Tae Kimura) and her son (Kento Kaku). Odd things are happening at the property. It’s hard to place the period for the film. Landlines, sweater vests and shoulder pads suggest early 90s (a sweet spot for J-horror). The analog vibe suits the film’s dreamy pace. This is a slow burn, sometimes perhaps slower than necessary, but it’s still effective. Boyle immediately introduces a worn-out genre trope only to expose it, using the gimmick as a tool for the narrative at hand. It works surprisingly well. Images throughout the film feel familiar more than borrowed, and Boyle’s framing and use of light give scenes a lovely but spooky quality. Hoshi delivers a fascinating central performance: a loner who’s not alone, a polite misanthrope more comfortable with the dead than the living. The balance of the small cast impresses with memorable characters, but the tension grows because of Hoshi. Airi’s petulant defiance of sound advice, her occasionally reckless behavior, and her utter isolation coalesce as the entity in the inn is more fully revealed. When the violence does come, it’s unsettling. But Boyle has spent more than an hour slowly drawing your interest and almost reluctant affection for these characters, and that’s where the tension really comes from. Never After Dark delivers on its earliest promise of a stylish supernatural thriller, but Boyle isn’t afraid to get nasty here and there. The combination gives the horror a little substance and the style a nice punch. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >