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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 TV Man (Te(L)o Comando) Patrick Foley The Valley of Hearts Delight William Curzon Sign Your Name Jason Knight In Absence James Learoyd As A Joke Jason Knight Antithesis Patrick Foley A Wanderer's World Jason Knight Witchez are Bitchez Nina Romain The Dog Matt Trapp Man on the Hill Patrick Foley Lost And California William Hemingway The Reveal James Learoyd Shazmine: The Life of a Popstar Jason Knight The Sweater William Curzon Ellipsis in Writing Patrick Foley Is This The Bed We Lie In? Holly Baker Solers United William Curzon The Craftsman Jason Knight Milk, Rice, and the Blood Nina Romain Hatred Holly Baker The Solitude of the Tennis Ball Chris Buick Feldsher William Hemingway Trip Report by a Psychonaut William Curzon Last One Standing, Castleward Jason Knight Shelter 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 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. TV Man (Te(L)o Comando) It is bold of Italian screenwriter Leonardo Valenti to look back on work from as far back as 1997. Most of us can barely face looking at Facebook photos from 10 years ago, let alone a zero-budget homemade project inspired by indies of the time such as Clerks. But that is exactly what he has done with TV Man (Te(L)o Comando in its native tongue). This re-examination and re-release of his earliest work shows the eye of a filmmaker and scriptwriter was present at the genesis of his career – even if the edges on display are rough. The film follows Marco, a young man getting ready for a big date who starts to realise that a man inside his television is talking to him. Dismissing his conversation as a hallucination, Marco starts to follow the advice of his new partner as he begins to realise that he knows little about how to win over women. But the help doesn’t come without a bargain… TV Man is a fascinating rediscovery of a project from an age of indie filmmaking that has fallen out of prominence. Kevin Smith’s name is known today as a pioneer of indie cinema, but it is not until films like TV Man are looked back upon until his influence becomes clear to see. The irreverent humour, layabout everyman protagonists, inventive, raw dialogue and lo-fi atmosphere are all present in this Italian short project in which Leonardo Valenti directly credits Smith as an influence. And all stand out as strengths of the film as well. The odd framing around a self-aware, TV bound relationship allows for insightful commentary on relationships and self-growth that resonate when coming from a hungry young filmmaker. Naturally a lot of the film looks rough, an understandable and obvious byproduct of handheld cameras from the 1990s being the primary mode of shooting. Given that the film was only released in 2025 for a wider audience, it is a striking reminder how far modern films fall when trying to recreate the specific look and vibe of indie films shot at the time. Where some of the look gets distracting, and the inherent limitations of camera quality impact on the visuals (particularly during scenes with the ‘TV man’ himself), there is an undeniable charm and fascination with this film from another time. The film really isn’t much of a narrative as much of a vehicle for young filmmakers to pursue creative visual storytelling and push their meagre resources as far as they can. The obtuse plot, much like many of its genre, leads into strange and meandering territory designed to speak more of human nature than a defined journey. But TV Man is much more than the sum of these elements. Despite all its rough edges, it is clear why Valenti felt a pride in sharing such an original piece of work that could have easily been left in the vault. It is a sign that large budgets cannot trump creative vision and inspiration, and Valenti’s subsequent success should be inspirational to the young filmmakers of today wondering where their upstart projects could ever lead. Now watch Patrick's review on our YouTube Channel - https://www.youtube.com/watch?v=lq_T-wkwrks VIEW REVIEW The Valley of Hearts Delight The Valley of Hearts Delight follows a young man fresh out of high school, Tyler (Taj Cross), on his way to Silicon Valley to start an internet company circa 1997 to sell cars. As regret begins to loom over him, a good Samaritan helps him find his spirit and drive to move on. The narrative adopts a road trip approach as Tyler embarks on a journey of self-discovery and longing in his quest to fulfil his dreams. The piece focuses on the relationship between Tyler and his girlfriend through flashbacks, as it slowly reveals his ambitions through the people who had a profound impact on him throughout his journey. Firstly, the viewer is placed directly in the wilderness of the California desert with a lack of context provided to Tyler’s characterisation or direction, an almost fish-out-of-water scenario as the narrative switches from current events to flashbacks to heighten Tyler’s purpose. This aspect is a positive and a detriment to the experience, as you can always appreciate filmmakers not spoonfeeding their themes to the audience; however, the short runtime and lack of thematic flair certainly impact the emotional resonance and investment within the story. The formal elements of the piece soar, however, as the musical score is almost immediately endearing with its low-key themes that fit the coming-of-age tone superbly. Mike Timm’s direction is another major standout as it is engaging, and the use of blocking is a sight to behold in the film's more intimate moments. There is very little to critique in its edit as it flows incredibly smoothly into scene changes, allowing dialogue or moments of stillness to play out suitably for audiences to admire the steady pacing. The central performance from Taj Cross is serviceable at best, sadly, thanks to the screenplay not giving him much to showcase in his acting chops alongside the supporting cast. However, his chemistry with the supporting players, such as his girlfriend Julie (Claire Hinkley), is natural and provides the audience with more insight into his desire. The actor who portrays younger Tyler (Caz Sumner) is a standout of the cast as the narrative explores the relationship between Tyler and Elbert the Janitor (Matthew Blood-Smyth) in his elementary school. The narrative feels aimless and ultimately meanders to an abrupt conclusion; an extended runtime would have aided the overall experience substantially, with there not being much to chew on at all outside of the formal prowess. While the use of flashbacks is commendable and does enrich the thematic drive, some further context to Tyler’s past would have amplified the conclusion, as this almost feels like a third act to a feature-length narrative. The premise is refreshing and original; it just desperately requires deeper characterisation to further draw the viewer into the life of Tyler after high school and what motivates him to want to sell cars. The Valley of Hearts Delight is a solid road trip piece anchored by its terrific formal choices and a solid central performance from Taj Cross. Although the narrative does conclude abruptly, and the fulfilment is minimal, there is a suggestion of hope for Tyler’s character arc, which may leave the viewer satisfied as he ventures into the road ahead in his journey; it's just a shame the buildup to the conclusion leaves a lot to be desired for the conclusive moments to feel more earned. VIEW REVIEW Sign Your Name From the producers of the award-winning film The Kingfish 2 , comes this short drama written and directed by Tab Edwards and starring Jordan Webber, Xavier Edwards, Omar Long and Ursula Augustine. This project is loosely based on the struggles of American singer and songwriter Sananda Maitreya (formerly Terence Trent D'Arby). The story takes place in Philadelphia, where acclaimed signer Artist X (Edwards) is in the middle of a tour, along with fellow music artist and girlfriend, Cupcake (Webber). They are currently in a hotel room and receive an unexpected visit by music producer, Omar (Long), who is not happy. He is displeased because he has found out that Artist X plans to transition from Pop R&B to Rock music and Omar believes that R&B will make more money. Faced with this disapproval, Artist X struggles to hold on to what he wants. This story centres on an individual who has had an epiphany, who has reached a point in their life where they want a complete change, to go down a different path. The confrontation comes in the form of Omar, who detests the singer's idea of pursuing other genres and demands that he remains on his current objectives. With Cupcake's support, Artist X holds maintains his inner strength and continues to follow his goal. Since the plot involves acclaimed singers and is inspired by the experiences of an actual music artist, it probably would not be surprising that there are segments where the film becomes a music video and they work well, with the songs Stronger and Sign Your Name adding significant value. The appearance of slow motion was apparently done with the intention of elevating the drama, however, it mostly succeeds in making the scenes awkward. One other awkward element would be the sight of fish and frogs. What is their significance? Another downside is the acting, which is not convincing in general. Although this film is not intended to be a true story, Artist X seems to be a character that represents Maitreya in certain ways, as for one thing, he physically resembles him and for another, both Maitreya and Artist X went through a crucial phase of self-identity. Cupcake is the young artist's rock, a young woman who supports him and believes in his ambitions. Omar's character represents the dark side of the music industry, a greedy, manipulative and inconsiderate producer who focuses solely on profits. This short serves as a commentary about the music industry, particularly the challenges that surround the life of a pop star, particularly when it comes to artists being pressured against their will in the interest of profit. Born from the real-life experiences of a singer, this story explores fame, self-discovery, self-esteem, free will, support, manipulation and greed. A short about a singer who wants to change their life. The acting might be poor, however, it does not prevent this film from getting its point across. It also acknowledges the struggles of Maitreya and the footage of him is a plus. VIEW REVIEW In Absence It would honestly be quite difficult to fault Paul Nevison’s In Absence for really any aspect relating to the technical department. One might even be tempted to say that every frame of this 24-minute drama is perfect – at least from an audio-visual standpoint. We follow a young boy who has recently lost his mother. His family is Christian, and thus, this untimely death results in the father questioning his very faith in the good. Yet it’s the young boy whose perspective the audience experiences this story. His confusion and sorrow as he navigates his place within the familial-religious chaos of mourning. Conceivably, it would more be the screenplay – its plotting and its characters – which could receive any kind of scrutiny from a less favourable critic. But even that would be a case of personal preference; not as a result of any thematic or structural inconsistencies. In Absence is a masterpiece. A cinematic marvel and deeply moving. I’d like to first draw your attention to Bjorn Amundsen – the director of photography for this picture – for this is a flawlessly lit movie. Characters bathed in gold light, blue light; everything stylistically impressionistic yet somehow natural and motivated. Not only is every shot perfectly balanced in terms of light and shadow, but entire rooms are also lit up from multiple artificial sources – a mix of daylight and domestic impressions – giving the film a lived-in, exploratory aesthetic wherein the viewer can feast their eyes all about the frame. Flawless lens-work. And in collaboration, of course, with director Nevison, I – as a filmmaker myself – was quite inspired by how the film oscillates between these extremely wide-angled lenses (often placed at high angles in the corner of a room – perhaps formally symbolic of God’s omniscience) and these sharp, clean medium lenses which provide the frame so much depth and the subject’s face so much detail. This is award-worthy work from Amundsen as their work seemingly redefines just how good a short film drama can look in this age. I’m talking superior to the majority of feature-length studio products you see in your local multiplex. I’d also be remiss not to mention the effective on-location sound recording and resonant sound design, in addition to the striking set design and the fact that every performer is more than pulling their weight. To surmise, what we have here is a truly refined work of visual storytelling; one told with passion and awesome technical and aesthetic prowess. I’ll conclude by mentioning a director whose works have a lot in common with this short alone... Since the passing of one of our greatest filmmakers, Terence Davies, I’ve written many pieces about his films (particularly his early shorts) and their significance to independent film. It is a stupendous compliment, therefore, that I thought of his films constantly while watching In Absence , since it is that they share many concerns relating to broken faith, feelings of desperation and disillusionment in trying times, and how these manifest within the family setting. Not only this, but Nevison’s dedication to craft and evoking mood through imagery, evoked much of Davies’ groundbreaking style. VIEW REVIEW As A Joke A short dark comedy written by Natalie Hay, Bri Power, directed by Phoebe Critchlow and Natalie Hay and starring Ben Xiao, Ru Gupte, Estee Poichot and Thomas Tricerri. Owen (Xiao) has found himself in quite a situation: he has just murdered his best friend (Tricerri). Apparently, there had been an altercation between them in Owen's apartment and he shoved his friend roughly, causing him to fall and die on the kitchen floor. Now owen is panicking and does not know what to do. By accident, he grabs the attention of his smart home device and proceeds to ask advice regarding getting rid of the dead body. The aftermath of a terrible incident, leading to an awkward interaction between a young man and an electronic device. The story starts off as a serious thriller, before turning into a darkly comical situation involving the disposal of a corpse. Owen desperately and repeatedly asks for the device's advice on what to do and he is given it, as he has tricked the device in to believing that he wants to learn how to get rid of a body as a joke. Dark humour, gore, drama and gruesomeness dominate this film. The narrative is intriguing and amusing (as far as dark humour goes), however it ends in a sort of cliffhanger, which is OK, still though one might think that the story could had carried on beyond that point. Xiao delivers an entertaining performance. His character is a naive (and as it turns out: bad-tempered and disturbed) guy who has suddenly found himself having to cover up his crime, all while being assisted by a device with a female voice (Gupte provides the voice for the device and it is named Mimi), like a child asking their mother for help to clean up their mess. In the blink of an eye, he turns into a killer and body mutilator. This is a story about murder and consequences, desperation and it also serves as a comedic commentary about how much people rely on technology these days. Three-and-a-half minutes of dark humour. A viewing that will most likely be amusing to those who enjoy dark comedies with very dark humour. VIEW REVIEW Antithesis Maddie Cobb’s Antithesis places a manipulative relationship at its centre, asking complex questions of its audience as it follows a young woman longing for a first love whose toxic traits threaten to derail her ambitions. Claire (Mackenzie Cain) is an aspiring writer who meets Aaron (Owen Correll) at a house party. Quiet and reserved by her nature, Claire is swept up by Aaron’s charisma and roguishness. Throwing caution to the wind and embracing the spontaneity Aaron propagates, she is quickly mesmerised by this new love who fuels her creativity. But over time, Aaron’s unpredictability and disregard for Claire’s priorities shows a different side to his character. Antithesis is an impressive and wizened examination of young relationships. Owen Correll’s Aaron is a poster boy for the type of boyfriend that teenage girls dream about. Exciting, magnetic, mysterious and boasting Chalamet-esque good looks, he is perfection on the surface for a romantic like Claire. Their love story gets off to the perfect start, but even in their early encounters there are red flags flying. The passion and unpredictability that romances her in their early encounters slowly reveals itself as selfishness and indifference for anyone’s wants but Aaron’s own. Maddie Cobb allows the viewer to unravel Aaron’s true self along with Claire – viewers will themselves sense his appeal in the film’s early stages and think that their relationship is something that can be rectified until late in the narrative. Mackenzie Cain proves a fantastic choice as Claire. Her intelligence, drive and creativity fuel her dream of authorship, yet Aaron’s force of personality convince her to make rash decisions well outside of her character. Cain captures the character dilemma between hesitancy and yearning for excitement, an essential element to show that even the smartest of us are vulnerable to emotional manipulation when the circumstances are right. Even as Aaron’s worst tendencies begin to show, she struggles with casting him aside, torn even when he shows up at her house late at night after ghosting her for hours. Owen Correll is similarly brilliant as Aaron, his attractive qualities clear to see but carrying also a vulnerability that acts as a shield even when his behaviours turn into unacceptable territory. The film is shot functionally and some scenes are allowed to stand out thanks to their staging – one in which Claire and Aaron speak in Aaron’s bed after she spends the night is a cleverly staged moment that first gives clues that this new mysterious love interest may not be all he sets out to be. A cool tint sits over the film that drains some of the life out of the short – an interesting decision that creates an overtone that events are not as pure and exciting as they initially appear to be. However as we experience the film through Claire’s eyes, it feels like a missed opportunity not to add energy and vibrancy with a bolder palette, at least in the early stages of the film. Antithesis is an accomplished short film that is destined to move audiences who know the confusion and confounding emotions of a troublesome first love. Lesser filmmakers would opt for a more straightforward presentation of its characters than Maddie Cobb opts for. But the presentation of Claire and Aaron’s complicated lives is what allows this film to thrive. VIEW REVIEW A Wanderer's World A wonderful short documentary about nature, made entirely thanks to the hard work and dedication of Kamil Trzebiatowski. Trzebiatowski is a long-distance hiker with impressive achievements. Over the course of seven years, he has travelled extensively around the British countryside, exploring its vast beauty. He documented much of his journeys on camera and now he tells his story to others, filming himself as he walks through the countryside. Over the course of 40 minutes, Trzebiatowski takes the viewer on a mesmerising and thoughtful journey, revealing the beauty of British landscapes and explaining the reasons that motivated him to start journeying through nature. His footage certainly captures the wonderness of landscapes, showing mountains, moors, fields and lakes. And he spends a great deal of time filming himself as he hikes through the countryside and talks about his experiences and his perspective regarding nature. The shots of nature are fantastic, his words are meaningful and the experience is supported by the terrific music by Dreyma, Daniel Ran and Fantasy Meditations. Focusing on Kamil now. As mentioned, he is solely responsible for the creation of this documentary and the results of his efforts are very rewarding. He is also the only person in the film and he comes across as rather friendly and the way he expresses himself makes it evident that he has great passion for nature and exploring. Throughout the film, Kamil utilises quotes from a variety of famous individuals, including Heraclitus, Helen Keller, Lucy Maud Montgomery, Johann Wolfgang von Goethe and Thomas Merton in order to support his theories about the power of nature and the value of solitude. These quotes appear in words in a variety of wonderful paintings of landscapes and are quoted verbally. Obviously, nature is the main subject here, its beauty and how mesmerising it is and how uniquely people can experience the physical world in solitude. Moreover, this film is also a commentary about pursuing a passion, being motivated, exploration, self-reflection and of course, hiking. People who view this documentary will be rewarded with beautiful landscapes and will have the pleasure of becoming familiar with an inspiring individual with unique thoughts about the significance of nature and the ways people connect with it. And they might even be inspired to set off on their own adventure. VIEW REVIEW Witchez are Bitchez A comedic horror buzz not to be taken too seriously. This 15-minute comedy focuses on revenge and dating in a world of modern-day witches who use smartphones as well as spells, and zips exist on buxom wenches’ bustiers. Fraya (writer and producer Jazmine Cornielle) is “the ugliest witch in town” looking for love and also collects male genitalia in a jar for her collection. Taking a breather from swiping left on non-matching potential suitor warlocks on her smartphone, she visits a cobweb-strewn bar for a drink. Here she hits on Dalvin (Ryan Marko), the self-proclaimed town “warlock-saviour”, who deals fearlessly with dragons; he’s also a conceited womaniser, all flowing neo-gothic shirts and designer stubble. Despite Fraya promising him a good time (“I can take care of that wand of yours,” she purrs seductively) to her annoyance, he turns her down. In revenge, Fraya puts a curse on him, causing Dalvin to lose his warlock powers unless he fancies her, so he is forced to turn up to her lair and beg her to have sex with him in return for his powers back. The action takes place on the cheap in a Halloween-themed bar, and according to the entertaining YouTube behind-the-scenes short with leads Cornielle and Marko, it was in fact completed in two overnight shoots in a Long Island bar finishing at 6 am. The acting is vampishly hammy, and could be toned down along with the non-stop fart jokes, but viewers can tell working on the vampy production was fun, like an R-rated Hocus Pocus with more knob gags and witchy saucy banter. There’s also a streak of visual comedy as when one of Delvin’s ladyfriends/conquests demands payment in gold coins, which end up being chocolate pieces instead of cash, and promptly starts eating them. Like a Halloween-themed cocktail laced with cheap green-dyed tequila and pumpkin-shaped chocolate, Witchez are Bitchez is a fun horror buzz not to be taken too seriously. VIEW REVIEW The Dog A dark, brooding atmosphere underpins Danielle Baynes’ The Dog, a complex character study perfectly realised in a tight 12 minutes. The short follows a vet played excellently by Kate Walsh, who is struggling with the emotional burden of her job and the enormous expectations placed upon her. Baynes confronts a variety of challenging themes head-on in a unique and affecting way, delivering an empathetic and hopeful thesis which is still cognisant of a darker reality. The Dog succeeds in putting the audience into a subjective space where they can empathise wholly with Walsh’s character from the start. It begins with the camera lingering on her face as she stares at her phone, the intense blue light uncomfortably illuminating an unemotional stare as she reads online reviews of her clinic from grieving ex-pet owners. Later, she attempts to regain composure in front of a bathroom sink, and the audience are given the opportunity to peek behind the curtain and see the emotional burden she is carrying entirely unmasked. It’s a testament to Walsh’s performance as well as Baynes’ direction in that so many thoughts and feelings are conveyed in these moments, hidden behind layers of worn down stoicism. A particular stand out is Justin Amankwah as Joe, a trainee vet who exudes warmth and kindness whilst also appearing convincingly hesitant in his role; he embodies an earnest quality that juxtaposes the lead vet’s exhaustion. Perhaps Walsh’s character was once like Joe, and his fate is to be worn down just as she is. Strong editing and sound design choices enhance the subjective experience as the vet is seemingly haunted by the sounds of dogs barking, hinting at some unspoken trauma that overwhelms her when she’s alone with her thoughts. It’s a compelling internal struggle, made all the more significant when externalised later in a scene that brings the underlurking horror to the surface. Baynes presents the veterinary clinic with a sense of unease, tapping into elements from horror to create an eerie and upsetting tone. This is helped in great part thanks to cinematography by Stefan Duscio, who shoots the clinic with strong contrast and shadows. The sound design is deliberately oppressive throughout, giving the clinic a harsh soundscape. The dissonant sounds of buzzing, weeping, and whining fill the clinic halls with a depressing cacophony. The filmmakers have constructed an environment that feels entirely crushing, an exaggeration of a real veterinary clinic perhaps, but one that captures exactly how that environment feels to be in. The film is edited confidently and maintains this carefully constructed sense of atmosphere, even as the tone switches to being more dreamlike in a particular sequence. In this short scene, the lighting switches from the film’s usual colour palette towards colder, ghostly pale blue tones. It’s immediately understandable that something has shifted in the atmosphere when the vet finds herself face to face with the titular dog (voiced by Nicholas Hope). While the clinic felt absent of warmth before, this scene’s use of colour and shadow pushes the short into a much more emotionally chilling place. The effect is mesmerising, appropriately putting the characters and audience in an eerie and vulnerable space for the climax. Baynes is clearly a confident filmmaker, and The Dog is a breathtaking short that viewers will find hard to shake. It’s a testament to the quality of the film that, while one could easily imagine it being expanded into a feature, its length is by no means a hindrance to the storytelling. Baynes presents challenging themes without pulling any punches, delivering a short that points the camera towards the carers in our society, who are so often not afforded the same care that they are expected to give. VIEW REVIEW Man on the Hill The sacrifice of young men thrown into the meat grinder of World War One and the hollow differences between soldiers of both has been pondered endlessly through cinema history. World War Two is more commonly seen through an unequivocal lens – obviously due to the genocidal intent of the Nazi regime. Man on the Hill examines two soldiers from opposite sides of the conflict who end up bonded by their experience. During Operation Overlord, a British platoon stranded behind enemy lines is picked off one by one. Jim (Michael Tait) is the last man standing and is confronted by lone German soldier Oskar (Alexander Clark). After a fight breaks out, Jim takes Oskar hostage and marches him back towards British encampments. But on their journey, Jim discovers that there is more to Oskar’s story than he could have predicted, and his commitment to the German cause is not one formed by ideology alone. Perhaps contemporary international politics have conspired against Man on the Hill . ‘Just following orders’ has long been a lamentable excuse for Nazi atrocities during World War Two, but one would have thought the passage of time would allow for more nuanced approaches to the moral centre of those who served under Hitler, not less. As it is, watching masked stormtroopers on American streets, Russian troops in Ukraine and a genocide unfold in Gaza mean that understanding and sympathising with the other side feels a long way down the list of priorities for those who care about democracy and liberty – the bedrock of the ethos of the Allies in World War Two. Oskar may not care for Hitler’s racial theories, but his commitment to nationalism and willingness to look the other way permit them. And asking an audience to have empathy or consideration for him may be tough for some to swallow – even if he does invite his enemy round for dinner. The plot itself is straightforward, focusing on the unexpected bond between two men who find themselves in grave danger. Each man discovers the other’s nobility in a well-paced manner triggered by gripping enticing events that are dripping in tension. It gets a little far-fetched at times, and some of their decisions stretch credibility in what is meant to be a combat setting, but the emotional drive comes through. The ending is pure Sunday afternoon schmaltz, tear-shedding for the John Lewis crowd but vomit-inducing for others. There are other highlights, such as Michael Tait’s performance as Jim as well as impressively strong design across the film that largely convincingly recreates the Second World War despite a lower budget. Writer/director Jacob Stockton has clearly given some thought to plot holes and logical inconsistencies that, whilst still present in some areas, are addressed in others – such as why Oskar doesn’t run when German troops are present. But it is that central conundrum around the film’s moral core that prevents it from fully working. Oskar’s love of his country may be his motivator, but for most, a Nazi is a Nazi. And where reconciliation and forgiveness are essential for healing the wounds of the past, moments in which the two men feel like they are being placed on equivalent moral footing are a misfire. The holocaust, inextricably linked to the German war machine, is barely given a passing mention in the film. And where Jim may be willing to offer Oskar an olive branch, it does not feel like it is his to offer on behalf of the viewer. Those looking for a quick shot of sentimentality will leave Man on the Hill satisfied, but anyone with more than a passing interest in the war will find its narrative difficult. It is a shame, because the direction, performances and story structure are largely fine. Ultimately, it’s about the wrong war. VIEW 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 Springsteen: Deliver Me From Nowhere average rating is 4 out of 5 TV Man (Te(L)o Comando) average rating is 3 out of 5 The Valley of Hearts Delight average rating is 3 out of 5 The Hand That Rocks the Cradle average rating is 3 out of 5 Sign Your Name average rating is 3 out of 5 B.O.O.B.S: The Mockumentary average rating is 3 out of 5 In Absence average rating is 5 out of 5 I Slay On Christmas average rating is 1 out of 5 Love + War average rating is 4 out of 5 As A Joke average rating is 4 out of 5 Antithesis average rating is 4 out of 5 Agent Jayne: A Woman With A Mission average rating is 3 out of 5 The Latest Film Trailers MOVIE TRAILERS Eternity Kontinental '25 Anniversary Kenny Dalglish Is This Thing On? Springsteen: Deliver Me From Nowhere Filmmaker Interviews INTERVIEWS

Springsteen: Deliver Me From Nowhere film review by UK film critic George Wolf. Starring Jeremy Allen White, Jeremy Strong, Paul Walter Hauser directed by Scott Cooper. HOME | FILMS | REVIEWS Springsteen: Deliver Me From Nowhere Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 23, 2025 Directed by: Scott Cooper Written by: Scott Cooper, Warren Zanes Starring: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser My sister-in-law Ellen still tells the story of when she bought Bruce Springsteen’s new album Nebraska in 1982. She was a college student, and was ready to rock out in her dorm room with the guy who was coming off the top ten singalong smash “Hungry Heart.” What she got was a collection of stark, acoustic songs about murder, desperation and dead dogs. Not much to dance to. Why would a rock star on the verge of global superstardom make such an unexpected move? Writer/director Scott Cooper explores that question with Springsteen: Deliver Me From Nowhere , a heartfelt and emotional story of a man caught between the echoes of his past and the promise of his future. Jeremy Allan White is sensational as Bruce. The look is right, and White’s playing and singing often get eerily close to the real thing. But even more than that, White captures the tortured soul of a rising phenom seemingly terrified of the success he knew was suddenly within his grasp. Adapting Warren Zanes’s 2023 book, Cooper revisits some themes from his Oscar-winning Crazy Heart and makes the film a collection of small moments that capture a pivotal snapshot in the life of a living legend. And none of it pushes too hard. Glimpses of a Flannery O’Connor book, the movies Badlands and Night of the Hunter , and the Suicide song “Frankie Teardop” quietly tell us much about Bruce’s inspirations for the album. Black and white flashbacks to Bruce’s childhood with a troubled father (Stephen Graham) and a protective mother (Gaby Hoffmann) take a similarly understated approach, effectively layered as the lingering memories they were. Bruce’s relationship with fictional girlfriend Faye (Odessa Young) begins as an awkward choice amid all this attention to detail, but the device ultimately gives us some insight into his fear of any happiness he felt was undeserved. Lighter moments do come, almost always with the reactions to Bruce’s new direction. Manager Jon Landau (yet another terrific supporting turn from Jeremy Strong) gently tries to steer him toward the songs that would become Born in the U.S.A ., while a record exec (David Krumholtz) throws up his hands in exasperation. And through it all, everyone (including Marc Maron as longtime engineer Chuck Plotkin) keeps wondering where the case is for Bruce’s cassette of homemade demos. Bruce fans know well that those demos became the album, one now regarded as a seminal statement of untold influence. Those longtime followers will appreciate Cooper’s respectful approach that doesn’t feel the need to explain who people like Jon Landau are and where they fit in. Because even for people who haven’t listened since 1982, Deliver Me From Nowhere presents a richly satisfying story of inspiration, artistic passion, and finding an inner peace that has long eluded you. And yes, there’s a bit of “Born to Run” in here, too. About the Film Critic George Wolf Theatrical Release < 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. 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 The Road Back 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

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 Springsteen: Deliver Me From Nowhere Read Review average rating is 3 out of 5 TV Man (Te(L)o Comando) Read Review average rating is 3 out of 5 The Hand That Rocks the Cradle Read Review average rating is 4 out of 5 Love + War Read Review average rating is 4 out of 5 Antithesis Read Review average rating is 3 out of 5 The Whip Read Review average rating is 2 out of 5 Man on the Hill Read Review average rating is 3 out of 5 Helloween Read Review average rating is 2 out of 5 A Tooth Fairy Tale Read Review average rating is 1 out of 5 Lost And California Read Review average rating is 1 out of 5 Ellipsis in Writing Read Review average rating is 4 out of 5 Chain Reactions 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.

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 4 out of 5 Springsteen: Deliver Me From Nowhere Read Review average rating is 3 out of 5 TV Man (Te(L)o Comando) Read Review average rating is 3 out of 5 The Valley of Hearts Delight Read Review average rating is 3 out of 5 The Hand That Rocks the Cradle Read Review average rating is 3 out of 5 Sign Your Name Read Review average rating is 3 out of 5 B.O.O.B.S: The Mockumentary Read Review average rating is 5 out of 5 In Absence Read Review average rating is 1 out of 5 I Slay On Christmas Read Review average rating is 4 out of 5 Love + War Read Review average rating is 4 out of 5 As A Joke Read Review average rating is 4 out of 5 Antithesis Read Review average rating is 3 out of 5 Agent Jayne: A Woman With A Mission Read Review average rating is 3 out of 5 The Whip Read Review average rating is 5 out of 5 A Wanderer's World Read Review average rating is 2 out of 5 Clocking the T Read Review average rating is 3 out of 5 Witchez are Bitchez Read Review average rating is 5 out of 5 The Dog Read Review average rating is 2 out of 5 Man on the Hill Read Review average rating is 3 out of 5 Helloween Read Review average rating is 2 out of 5 A Tooth Fairy Tale Read Review average rating is 1 out of 5 Lost And California Read Review average rating is 3 out of 5 The Reveal Read Review average rating is 3 out of 5 Shazmine: The Life of a Popstar Read Review average rating is 4 out of 5 The Sweater Read Review average rating is 1 out of 5 Ellipsis in Writing Read Review average rating is 5 out of 5 Is This The Bed We Lie In? Read Review average rating is 4 out of 5 Solers United Read Review average rating is 4 out of 5 Chain Reactions Read Review average rating is 4 out of 5 Gaza: A Story of Love and War Read Review average rating is 3 out of 5 Code is Law Read Review average rating is 4 out of 5 Delivery Run Read Review average rating is 3 out of 5 Deathstalker Read Review average rating is 5 out of 5 The Craftsman Read Review average rating is 2 out of 5 Milk, Rice, and the Blood Read Review average rating is 3 out of 5 Hatred Read Review average rating is 3 out of 5 The Solitude of the Tennis Ball Read Review average rating is 1 out of 5 Feldsher Read Review average rating is 2 out of 5 Mothers, Lovers & Others Read Review average rating is 2 out of 5 Remat Read Review average rating is 4 out of 5 Anemone Read Review average rating is 4 out of 5 Trip Report by a Psychonaut Read Review average rating is 4 out of 5 Last One Standing, Castleward Read Review average rating is 1 out of 5 A Blissful Filmmaker Known As Karl Marx Read Review average rating is 2 out of 5 Coyotes Read Review average rating is 3 out of 5 Good Boy Read Review average rating is 4 out of 5 Psiblingz - Till We're Found Read Review average rating is 3 out of 5 Amy and Sophia Read Review average rating is 1 out of 5 A Conceptual Artist Called Karl Marx Read Review average rating is 2 out of 5 Shelter Read Review average rating is 3 out of 5 Sands of Purgatory Read Review average rating is 2 out of 5 Two Minutes Read Review average rating is 2 out of 5 Time Travel Is Dangerous Read Review average rating is 3 out of 5 Purgatory (2025) Read Review average rating is 3 out of 5 Wives' Tale Read Review average rating is 4 out of 5 Strange Journey: The Story of Rocky Horror Read Review average rating is 5 out of 5 One Battle After Another Read Review average rating is 1 out of 5 Lost Phoenix Read Review average rating is 4 out of 5 Your Emergency Read Review average rating is 4 out of 5 Dead of Winter Read Review average rating is 4 out of 5 Alien Love: With Neil Doncaster Read Review average rating is 3 out of 5 Contamination Read Review average rating is 3 out of 5 507 Read Review average rating is 4 out of 5 The Ice Tower Read Review average rating is 1 out of 5 The Drowned Read Review average rating is 3 out of 5 Mr Blake At Your Service Read Review average rating is 2 out of 5 Raquel's Legacy Read Review average rating is 3 out of 5 The Man In The White Van Read Review average rating is 4 out of 5 Pillion Read Review average rating is 4 out of 5 Sunday at Il Posto Accanto Read Review average rating is 4 out of 5 Puddle Man Read Review average rating is 3 out of 5 Him Read Review average rating is 2 out of 5 Don Q Read Review average rating is 3 out of 5 Pickle Vision Read Review average rating is 4 out of 5 On The Nose Read Review average rating is 3 out of 5 Daylight Saving Time Read Review average rating is 5 out of 5 Wavelength Read Review average rating is 2 out of 5 Waiting For Magic Hour Read Review average rating is 5 out of 5 The Black Rock Read Review average rating is 3 out of 5 Sand Parade Read Review average rating is 3 out of 5 The Carer Read Review average rating is 4 out of 5 The Baltimorons Read Review average rating is 2 out of 5 Domestic Bliss Read Review average rating is 4 out of 5 What We Wished We Could Be Read Review average rating is 3 out of 5 Hugo Read Review average rating is 4 out of 5 Derelict Read Review average rating is 3 out of 5 Tape Read Review average rating is 3 out of 5 The Long Walk Read Review average rating is 3 out of 5 Somnium Read Review average rating is 4 out of 5 Don't Look Read Review average rating is 4 out of 5 Banter Read Review average rating is 5 out of 5 Strangers Read Review average rating is 3 out of 5 Mammoth: Adventures In Gnomeman's Land Read Review average rating is 1 out of 5 Pursued Read Review average rating is 5 out of 5 The Voice of Hind Rajab Read Review average rating is 5 out of 5 Make Believe Read Review average rating is 4 out of 5 Bad Man Read Review average rating is 2 out of 5 Strangers Invitation Read Review average rating is 4 out of 5 The Smashing Machine Read Review average rating is 3 out of 5 The Cut Read Review average rating is 3 out of 5 What Tomorrow Brings Read Review

Frankenstein film review by UK film critic Jack Salvadori. Starring Oscar Isaac, Jacob Elordi, Mia Goth directed by Guillermo del Toro. HOME | FILMS | REVIEWS Frankenstein Film Review average rating is 2 out of 5 Critic: Jack Salvadori | Posted on: Aug 30, 2025 Directed by: Guillermo del Toro Written by: Guillermo del Toro Starring: Oscar Isaac, Jacob Elordi, Mia Goth Guillermo del Toro’s Frankenstein is the cinematic equivalent of watching a child let loose in a toy shop: you can’t deny the glee, but you can question whether he actually needed all the toys. This is clearly his passion project, his gothic playground, his shrine to Mary Shelley. And while it’s undeniable that he adores the aesthetics (he probably stuffed his living room with most the props), perhaps one shouldn’t play so lovingly with one’s heroes. Sometimes devotion smothers invention. The film is slavishly faithful to the book, at least at first, quoting Shelley verbatim like a student too nervous to paraphrase. But in its eagerness to cram the entire novel into two and a half dense hours, the film never gets the chance to breathe. The protagonists, played by Oscar Isaac as the mad scientist and Jacob Elordi as his revitalised creature, speak in solemn Victorian maxims that clang on screen like museum plaques. And that leads to a vast, creaking cliché, strangely devoid of original touch. We have the classic, as well as countless remakes… did we really need yet another version that has nothing to add? Worse still, del Toro snips out one of the novel’s most vital beats: the creature’s murder of a child. Not for pacing, not for brevity, but seemingly out of reluctance to stain his beloved monster. While the trick worked with arguably all his previous works, the dedication to sympathise with the monster is, quite frankly, redundant in Frankenstein. Without that act of brutality, the creature loses his contradictions, his tragic duality. He becomes a simplistic hollow statue of sorrow, robbed of the layers Shelley carved into him. So what we’re left with is just stuffed flesh: a lifeless, decomposed work, dead at birth. A Frankenstein film so interested in the aesthetics of thunderstorms and steampunk mechanics that, ironically, forgets to spark itself alive. About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

TV Man (Te(L)o Comando) film review by UK film critic Patrick Foley. Starring Marco Marianucci, Laura Pileri, Fabio Fieri directed by Leonardo Valenti. HOME | FILMS | REVIEWS TV Man (Te(L)o Comando) Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 22, 2025 Directed by: Leonardo Valenti Written by: Leonardo Valenti Starring: Marco Marianucci, Laura Pileri, Fabio Fieri It is bold of Italian screenwriter Leonardo Valenti to look back on work from as far back as 1997. Most of us can barely face looking at Facebook photos from 10 years ago, let alone a zero-budget homemade project inspired by indies of the time such as Clerks. But that is exactly what he has done with TV Man (Te(L)o Comando in its native tongue). This re-examination and re-release of his earliest work shows the eye of a filmmaker and scriptwriter was present at the genesis of his career – even if the edges on display are rough. The film follows Marco, a young man getting ready for a big date who starts to realise that a man inside his television is talking to him. Dismissing his conversation as a hallucination, Marco starts to follow the advice of his new partner as he begins to realise that he knows little about how to win over women. But the help doesn’t come without a bargain… TV Man is a fascinating rediscovery of a project from an age of indie filmmaking that has fallen out of prominence. Kevin Smith’s name is known today as a pioneer of indie cinema, but it is not until films like TV Man are looked back upon until his influence becomes clear to see. The irreverent humour, layabout everyman protagonists, inventive, raw dialogue and lo-fi atmosphere are all present in this Italian short project in which Leonardo Valenti directly credits Smith as an influence. And all stand out as strengths of the film as well. The odd framing around a self-aware, TV bound relationship allows for insightful commentary on relationships and self-growth that resonate when coming from a hungry young filmmaker. Naturally a lot of the film looks rough, an understandable and obvious byproduct of handheld cameras from the 1990s being the primary mode of shooting. Given that the film was only released in 2025 for a wider audience, it is a striking reminder how far modern films fall when trying to recreate the specific look and vibe of indie films shot at the time. Where some of the look gets distracting, and the inherent limitations of camera quality impact on the visuals (particularly during scenes with the ‘TV man’ himself), there is an undeniable charm and fascination with this film from another time. The film really isn’t much of a narrative as much of a vehicle for young filmmakers to pursue creative visual storytelling and push their meagre resources as far as they can. The obtuse plot, much like many of its genre, leads into strange and meandering territory designed to speak more of human nature than a defined journey. But TV Man is much more than the sum of these elements. Despite all its rough edges, it is clear why Valenti felt a pride in sharing such an original piece of work that could have easily been left in the vault. It is a sign that large budgets cannot trump creative vision and inspiration, and Valenti’s subsequent success should be inspirational to the young filmmakers of today wondering where their upstart projects could ever lead. Now watch Patrick's review on our YouTube Channel - https://www.youtube.com/watch?v=lq_T-wkwrks About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Indie Feature Film < All Reviews Next Film Review >

The Hand That Rocks the Cradle film review by UK film critic George Wolf. Starring Maika Monroe, Mary Elizabeth Winstead directed by Michelle Garza Cervera. HOME | FILMS | REVIEWS The Hand That Rocks the Cradle Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 22, 2025 Directed by: Michelle Garza Cervera Written by: Micah Bloomberg, Amanda Silver Starring: Maika Monroe, Mary Elizabeth Winstead Even at its most fun, 1992’s The Hand That Rocks the Cradle was a bit of a guilty pleasure. Hulu’s new update strips away the overdone pulp for a more focused, and more primally scary tale. Caitlin (Mary Elizabeth Winstead) is an L.A. lawyer who diligently screens her children’s food for sugars and aims to get a new stop sign for her neighborhood. Working at a tenants rights group, Caitlin helps Polly (Maika Monroe) with a landlord problem, and when the two cross paths again at a local market, fate seems to have dealt a good hand. Polly has experience as a nanny, and she comes with a glowing recommendation from her last employer. She looks like the perfect choice to help Caitlin and her husband Miguel (Raúl Castillo) with young Emma (Mileiah Vega) and baby Josie (Nora and Lola Contreras). Caitlin chooses poorly. Screenwriter Micah Bloomberg (Sanctuary ) updates the original story with some important twists, and director Michelle Garza Cervera sets a pace that lets the gaslighting, secrets and lies simmer nicely before boiling over. Cervera crafted an impressive maternal nightmare three years ago with her feature debut, Husera: The Bone Woman . Here, she trades the religious imagery for symbols of upwardly mobile success, while still toying with anyone eager to check boxes of good mother/bad mother. Winstead and Monroe are both terrific, bringing their characters into a dance of identity with menacing dread. There is more to Caitlin than her liberal guilt, and as Polly twists the knife with increasing sociopathy, Cervera’s instincts for a modern horror thriller are again solid. Is any remake truly “necessary?” Debatable. But even back in ’92, the original film seemed like one that wouldn’t age particularly well. The questionable decisions remain, and one or two story beats are foreshadowed too heavily, but by the time all secrets are revealed, this Cradle rocks with some newly relevant bloodletting. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

The Valley of Hearts Delight film review by UK film critic William Curzon . Starring Matthew Blood-Smyth, Taj Cross, Claire Hinkley directed by Mike Timm. HOME | FILMS | REVIEWS The Valley of Hearts Delight Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Oct 22, 2025 Directed by: Mike Timm Written by: Ryan Rea, Mike Timm Starring: Matthew Blood-Smyth, Taj Cross, Claire Hinkley The Valley of Hearts Delight follows a young man fresh out of high school, Tyler (Taj Cross), on his way to Silicon Valley to start an internet company circa 1997 to sell cars. As regret begins to loom over him, a good Samaritan helps him find his spirit and drive to move on. The narrative adopts a road trip approach as Tyler embarks on a journey of self-discovery and longing in his quest to fulfil his dreams. The piece focuses on the relationship between Tyler and his girlfriend through flashbacks, as it slowly reveals his ambitions through the people who had a profound impact on him throughout his journey. Firstly, the viewer is placed directly in the wilderness of the California desert with a lack of context provided to Tyler’s characterisation or direction, an almost fish-out-of-water scenario as the narrative switches from current events to flashbacks to heighten Tyler’s purpose. This aspect is a positive and a detriment to the experience, as you can always appreciate filmmakers not spoonfeeding their themes to the audience; however, the short runtime and lack of thematic flair certainly impact the emotional resonance and investment within the story. The formal elements of the piece soar, however, as the musical score is almost immediately endearing with its low-key themes that fit the coming-of-age tone superbly. Mike Timm’s direction is another major standout as it is engaging, and the use of blocking is a sight to behold in the film's more intimate moments. There is very little to critique in its edit as it flows incredibly smoothly into scene changes, allowing dialogue or moments of stillness to play out suitably for audiences to admire the steady pacing. The central performance from Taj Cross is serviceable at best, sadly, thanks to the screenplay not giving him much to showcase in his acting chops alongside the supporting cast. However, his chemistry with the supporting players, such as his girlfriend Julie (Claire Hinkley), is natural and provides the audience with more insight into his desire. The actor who portrays younger Tyler (Caz Sumner) is a standout of the cast as the narrative explores the relationship between Tyler and Elbert the Janitor (Matthew Blood-Smyth) in his elementary school. The narrative feels aimless and ultimately meanders to an abrupt conclusion; an extended runtime would have aided the overall experience substantially, with there not being much to chew on at all outside of the formal prowess. While the use of flashbacks is commendable and does enrich the thematic drive, some further context to Tyler’s past would have amplified the conclusion, as this almost feels like a third act to a feature-length narrative. The premise is refreshing and original; it just desperately requires deeper characterisation to further draw the viewer into the life of Tyler after high school and what motivates him to want to sell cars. The Valley of Hearts Delight is a solid road trip piece anchored by its terrific formal choices and a solid central performance from Taj Cross. Although the narrative does conclude abruptly, and the fulfilment is minimal, there is a suggestion of hope for Tyler’s character arc, which may leave the viewer satisfied as he ventures into the road ahead in his journey; it's just a shame the buildup to the conclusion leaves a lot to be desired for the conclusive moments to feel more earned. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Sign Your Name film review by UK film critic Jason Knight. Starring Jordan Webber, Xavier Edwards, Omar Long, Ursula Augustine directed by Tab Edwards. HOME | FILMS | REVIEWS Sign Your Name Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 22, 2025 Directed by: Tab Edwards Written by: Tab Edwards Starring: Jordan Webber, Xavier Edwards, Omar Long, Ursula Augustine From the producers of the award-winning film The Kingfish 2 , comes this short drama written and directed by Tab Edwards and starring Jordan Webber, Xavier Edwards, Omar Long and Ursula Augustine. This project is loosely based on the struggles of American singer and songwriter Sananda Maitreya (formerly Terence Trent D'Arby). The story takes place in Philadelphia, where acclaimed signer Artist X (Edwards) is in the middle of a tour, along with fellow music artist and girlfriend, Cupcake (Webber). They are currently in a hotel room and receive an unexpected visit by music producer, Omar (Long), who is not happy. He is displeased because he has found out that Artist X plans to transition from Pop R&B to Rock music and Omar believes that R&B will make more money. Faced with this disapproval, Artist X struggles to hold on to what he wants. This story centres on an individual who has had an epiphany, who has reached a point in their life where they want a complete change, to go down a different path. The confrontation comes in the form of Omar, who detests the singer's idea of pursuing other genres and demands that he remains on his current objectives. With Cupcake's support, Artist X holds maintains his inner strength and continues to follow his goal. Since the plot involves acclaimed singers and is inspired by the experiences of an actual music artist, it probably would not be surprising that there are segments where the film becomes a music video and they work well, with the songs Stronger and Sign Your Name adding significant value. The appearance of slow motion was apparently done with the intention of elevating the drama, however, it mostly succeeds in making the scenes awkward. One other awkward element would be the sight of fish and frogs. What is their significance? Another downside is the acting, which is not convincing in general. Although this film is not intended to be a true story, Artist X seems to be a character that represents Maitreya in certain ways, as for one thing, he physically resembles him and for another, both Maitreya and Artist X went through a crucial phase of self-identity. Cupcake is the young artist's rock, a young woman who supports him and believes in his ambitions. Omar's character represents the dark side of the music industry, a greedy, manipulative and inconsiderate producer who focuses solely on profits. This short serves as a commentary about the music industry, particularly the challenges that surround the life of a pop star, particularly when it comes to artists being pressured against their will in the interest of profit. Born from the real-life experiences of a singer, this story explores fame, self-discovery, self-esteem, free will, support, manipulation and greed. A short about a singer who wants to change their life. The acting might be poor, however, it does not prevent this film from getting its point across. It also acknowledges the struggles of Maitreya and the footage of him is a plus. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >