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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. Help Me Patrick Foley Everything I Hate About You Matt Trapp Dead City Punx Chris Olson RAUNCHADELIC Matt Trapp CATACLYSM William Curzon Psiblingz - Till We're Found William Curzon Mammoth: Adventures In Gnomeman's Land William Hemingway Flesh Wanting Blood William Hemingway Lovin' You James Learoyd 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

Immaterial film review by UK film critic Patrick Foley. Starring Holly Higbee, Samuel Greco, Veronica Rose directed by Alexandra Healy. HOME | FILMS | REVIEWS Immaterial Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 24, 2026 Directed by: Alexandra Healy Written by: Alexandra Healy Starring: Holly Higbee, Samuel Greco, Veronica Rose Alexandra Healy’s Immaterial is a bleak short that takes a look at cycles of grief and addiction. A strong leading performance guarantees viewer investment, but clunky dialogue and lack of conclusion will make the harrowing watch a difficult one for some. Naomi (Holly Higbee) lives a lonely existence on a London council estate. As her mother battles a serious illness, Naomi battles a drug addiction that prevents her from being by her side. Unrequited longing for ex-girlfriend Lily (Verona Rose) leads her to selling herself for drugs to Jack (Samuel Greco), and old traumas start to spill out as she hits rock bottom. Immaterial ’s presentation of trauma cycles that inextricably link to poverty is a powerful mirror to endless true stories that push people to the brink. It cleverly links Naomi’s battles to demonstrate how impossible it can be to escape from destructive patterns. Her drug abuse prevents her being close to her ill mother, which in turn pushes her towards toxic people, which could have been prevented were she not distant from her religion due to her sexuality. A powerful throughline of important people being removed from her life ties isolation into these factors also – and a late revelation shows how malicious individuals have used this to destroy her self-worth from years before. It shows that those struggling with addiction rarely end up in the battle without reasons outside of their control. The story structure is strong; yet the delivery is lacking in finesse. Holly Higbee’s performance is moving and vulnerable, packed with nuance and silent indicators of defeat. However, even she struggles in moments with the script, which demands lines of blunt exposition be handling gracefully in a manner which feels impossible. Lines of vulgarity also feel forced, as though they have been included to emphasise Naomi’s working-class credentials or provide a semblance of grit and edge. Instead, they land awkwardly and feel included for their own sake. The movie is at its best when it is tender and understated, allowing silence or words unsaid to stand out amidst the dialogue. Audiences looking for an uplift from the film or lesson to be learned from the anguish of Naomi’s story will also be left longing. An authentic portrayal of poverty cycles would include many a story without a happy ending, granted. But this film’s depressing journey for its protagonist borders on nihilism, offering little in the way of light or salvation. A 15-minute story of a woman being met by closed doors, manipulators and a descent into darkness was never going to be a barrel of laughs, but viewers will expect a greater meaning or purpose behind such a feature. It’s not immediately obvious what this is beyond evidencing the factors that come into play that derail lives. It’s a story told many a time, but a deeper layer is really required to make such an experience tolerable or insightful. The lack of this in Immaterial means audiences will come away questioning how they are really meant to process the film’s events. There is undoubtable power in Immaterial , stemming from Holly Higbee’s strong showing and Alexandra Healy’s talent at direction which forms a strong bond between viewer and protagonist. More refined dialogue and a grander purpose to Naomi’s story would have allowed this short to truly thrive, and without it instead it feels deeply cynical and pessimistic – without the depth necessary to make such a story sufficiently perceptive. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

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 Koko Suzanne Jason Knight Julius William Curzon Last Notification William Hemingway ASKING4IT Chris Olson The Last Laugh William Curzon I Like It Rough Jason Knight Back to 20-21 Jason Knight Proxy William Hemingway Hierophany William Curzon The Liars of Black Mountain Road Matt Trapp A Maze in Truth Jason Knight Astraea India Gwyn-Williams Breaking and Entering and Humping James Learoyd Molly Jason Knight Behind The Reflection William Hemingway Jujuman William Curzon Who Are You, Nanu? Jason Knight Michael Solace James Learoyd 20 Euros William Curzon Cheers India Gwyn-Williams Self+Tape Jason Knight G(l)ory Days William Hemingway Beyond the Sea Patrick Foley Hamza Ali Helps People William Curzon Bitter Tides William Curzon 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. Immaterial Alexandra Healy’s Immaterial is a bleak short that takes a look at cycles of grief and addiction. A strong leading performance guarantees viewer investment, but clunky dialogue and lack of conclusion will make the harrowing watch a difficult one for some. Naomi (Holly Higbee) lives a lonely existence on a London council estate. As her mother battles a serious illness, Naomi battles a drug addiction that prevents her from being by her side. Unrequited longing for ex-girlfriend Lily (Verona Rose) leads her to selling herself for drugs to Jack (Samuel Greco), and old traumas start to spill out as she hits rock bottom. Immaterial ’s presentation of trauma cycles that inextricably link to poverty is a powerful mirror to endless true stories that push people to the brink. It cleverly links Naomi’s battles to demonstrate how impossible it can be to escape from destructive patterns. Her drug abuse prevents her being close to her ill mother, which in turn pushes her towards toxic people, which could have been prevented were she not distant from her religion due to her sexuality. A powerful throughline of important people being removed from her life ties isolation into these factors also – and a late revelation shows how malicious individuals have used this to destroy her self-worth from years before. It shows that those struggling with addiction rarely end up in the battle without reasons outside of their control. The story structure is strong; yet the delivery is lacking in finesse. Holly Higbee’s performance is moving and vulnerable, packed with nuance and silent indicators of defeat. However, even she struggles in moments with the script, which demands lines of blunt exposition be handling gracefully in a manner which feels impossible. Lines of vulgarity also feel forced, as though they have been included to emphasise Naomi’s working-class credentials or provide a semblance of grit and edge. Instead, they land awkwardly and feel included for their own sake. The movie is at its best when it is tender and understated, allowing silence or words unsaid to stand out amidst the dialogue. Audiences looking for an uplift from the film or lesson to be learned from the anguish of Naomi’s story will also be left longing. An authentic portrayal of poverty cycles would include many a story without a happy ending, granted. But this film’s depressing journey for its protagonist borders on nihilism, offering little in the way of light or salvation. A 15-minute story of a woman being met by closed doors, manipulators and a descent into darkness was never going to be a barrel of laughs, but viewers will expect a greater meaning or purpose behind such a feature. It’s not immediately obvious what this is beyond evidencing the factors that come into play that derail lives. It’s a story told many a time, but a deeper layer is really required to make such an experience tolerable or insightful. The lack of this in Immaterial means audiences will come away questioning how they are really meant to process the film’s events. There is undoubtable power in Immaterial , stemming from Holly Higbee’s strong showing and Alexandra Healy’s talent at direction which forms a strong bond between viewer and protagonist. More refined dialogue and a grander purpose to Naomi’s story would have allowed this short to truly thrive, and without it instead it feels deeply cynical and pessimistic – without the depth necessary to make such a story sufficiently perceptive. VIEW REVIEW Koko Suzanne A short Lingala-speaking drama directed by Zach Bandler, written by Bandler and Emmanuel Epenge and starring Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani and Emie Mokonzi. Based on true events, this film was shot in Kinshasa, the capital of the Democratic Republic of the Congo, with a cast that consisted of Congolese people. Prisca (Lotawa) lives with in Kinshasa, in relative poverty, with her parents, Jean-Pierre and Vanessa (Assani and Mokonzi) and her grandmother, Suzanne (Liluku). Suzanne has been behaving very erratically, causing Prisca's parents to believe that she might be under the influence of witchcraft. This theory proves to be false when the poor woman is taken to the hospital where she is diagnosed with dementia. This heartbreaking story is told primarily through the eyes of Prisca, a little girl whose childhood innocence is pushed aside as she witnesses her beloved granny gradually deteriorate, behaving in a variety of incoherent ways, such as attending the local market in order to purchase unneeded charcoal, easily losing her temper or accusing her relatives of trying to harm her. Although things are seen through Prisca's perspective, it is Suzanne who gets the spotlight because of what she is going through and what she is going through is the core of this film: the effects of dementia. From the beginning, right until the devastating ending, Suzanne's condition gets worse and worse and it is not just her who suffers, it is also Prisca and her parents. Bandler directs beautifully and his work is primarily visible in the establishing shots. The dramatic atmosphere is enhanced by Charles Humenry's sombre but beautiful music. Since this short concerns dementia to a high degree and Liluku's character is the one who has it, her performance is crucial in order for the film to deliver its messages and she succeeds oustandingly in portraying a person suffering from this condition. As Prisca, Lotawa is quite dramatic as grandchild forced to witness a relative going through terrible times. Although Prisca barely speaks, the emotional pain that she is experiencing is very evident. Adding to the drama are Vanessa and Jean-Pierre, who are struggling to deal with the situation. This short serves as a commentary about the healthcare system of Congo and theories involving witchcraft. What it concentrates on the most is dementia, how it affects those who have it and how it also affects their loved ones. A poignant short drama about dementia and family. As well as telling a meaningful story, this film aims to acknowledge Dr. Emmanuel Epenge's (one of Congo's few neurologists) efforts to raise awareness and provide support to the families of people living with dementia. VIEW REVIEW Julius Julius follows a Union veteran, Jim Brennan (Bryan Mittelstadt), as he desperately searches for a war orphan he has promised to adopt. Set in Georgia in 1865, the piece tells the story of a pivotal moment in American history, marking the transition from the end of the Civil War to the promise of justice and freedom for slaves. One of the most astounding aspects of the piece is how distinct the presentation feels for the time period of 1865. Firstly, the black and white photography is immaculate; every frame feels like a painting, as if the audience has been transported back to a specific point in time in American history. Sheldon J. Walker, serving as the film's cinematographer, primarily utilises tracking shots when following the protagonist in his search for the titular character, and switches to fixed framing in dialogue-heavy sequences. It's an impactful way to frame the piece, as it feels incredibly lived-in with some impressive production value, despite its budget constraints. The backdrop of ravaged Georgia feels incredibly raw and places the viewer in a visceral fly-on-the-wall experience, which is impressive to witness throughout. Alienor Duplessis and Wilhelm Kuhn, serving as the film's editors, do a commendable job of maintaining a fluid presentation, keeping the narrative engrossing despite its occasional sluggishness. While the pacing is stagnant throughout as the narrative unfolds at a leisurely pace, it's hard not to be in awe of the technical prowess on display, used to demonstrate the themes and premise of the film. These are mostly apt; however, the narrative never really truly explores the implications of the Civil War beyond its surface level. Perhaps a more prolonged runtime could have delved more into the impacts of the Civil War and the effect it had on the innocent and the vulnerable. Whilst the formal aspects of the piece are jaw-dropping, the screenplay sadly leaves a lot to be desired. The piece is described as a short photoplay, which is appropriate given how each frame feels like turning over the page of an old American history book with its distinct visual flair. The performances across the board are phenomenal throughout, in particular, Aaron Kingsley Adetola’s portrayal of the titular character. Despite his limited screentime, he conveys so much with his vocal performance and nuance throughout. Another standout in the cast is Bryan Mittelstadt’s portrayal of Jim Brennan. He portrays the character's stubbornness incredibly well as he stops at nothing to find Julius in an attempt to adopt him. Both central performances are compelling and drive the narrative to its conclusion. Whilst the narrative unfortunately amounts to fairly minor, it's a solid piece of filmmaking with flashes of incredible filmmaking on display, which elevate the barebones material. The conclusion, unfortunately, is abrupt and doesn't feel fully developed, leaving the viewer wanting a more satisfying resolution to the prolonged setup. There are not many compelling thematic elements to chew on, and it's a shame because the formal elements profoundly work. Julius is a gorgeous-looking short piece, boasting some incredible black and white photography on display. Despite its shortcomings, it's a well-made piece of indie filmmaking with its heart in the right place and a delicacy for the raw material. VIEW REVIEW Last Notification A young woman lives with the fear of being watched and stalked, while her phone becomes a way for the attacker to enter into her life. In Last Notification , there’s not a lot of time for anything to get explained or given background detail. At six-and-a-half-minutes long, with no credits or title sequence to speak of, we just have to get on with it and hope that things become clear as we go along. Unfortunately, we’re forced to wait as writer/director, Shaghul Mecheri leads us into the story gently, using the first minute-and-a-half to get our unnamed protagonist (Chelsia) up the stairs, into her flat, and onto the bed to take her shoes off. Once settled in at home, the young woman gets herself into the shower, saying nothing as there’s no-one else around, leaving the film completely devoid of dialogue. There’s no inner voice, no self-chat, no monologue or reaction to TV or phone, only the chime of a notification and a subtitled message of ‘You are being watched…’ pinging up on her screen. Once that message has been received, however, things start getting very creepy outside the window and around the flat, for the young woman. The memory of the old ghost story, and the introduction to Scream (1996), begins to come to mind, where ‘the call is coming from inside the house’, as the shower switches itself back on and odd sounds keep happening. There’s a shadowy, hooded figure standing out in the street, but maybe, just maybe, he’s made it into the flat, too. For what is an extremely simple, and heavily replayed, concept, Last Notification does everything it can to try and up-the-ante and stylise what it’s showing on screen. As such, Mecheri has chosen to shoot in black-and-white, giving a certain noir feel to the proceedings, while the lack of dialogue presumably aims to keep things arthouse and concept driven. The concept though, is still only one of home-invasion in a slasher flick style, but perhaps Mecheri was trying to reach for something more through the way the attacker enters the young woman’s life. The idea that she’s let him in somehow through her mobile phone could be an intriguing concept to follow, if it was at all addressed by Mecheri in the narrative. The phone is the only point of contact between the two characters initially, but with no dialogue, inner or outer, and no reference through visuals, we as the audience just have to make things up for ourselves. This is a real shame, as without any concrete details or guided reference to follow, there’s just not enough in Last Notification to explain what’s going on. When the attacker (Babu) does finally show up, he is deeply menacing and creepy in a way that is reminiscent of Killer Bob in Twin Peaks (1990-1992), making him pretty terrifying but still unaccounted for. There are hints that he might not be real, or a figment of the woman’s imagination, but nothing is for certain, and as an audience we’re left looking for answers. While Last Notification works well enough in the scares department, there’s not enough in the narrative to work with in order to get the whole picture, and so the viewer is left out somewhat from fully enjoying what could have been. VIEW REVIEW ASKING4IT A body-swap short film, written and directed by filmmaker Emma Jesse, utilises this powerful storytelling technique to explore concerning themes of consent, sexism, and objectification. Dave (Aaron Blake - brilliant in His Hands ) wakes to a startling discovery. Looking back at him in the mirror is not the man with facial hair he is used to, but instead a “smoking hot” female (Antonia Whilans). After jiggling his chest a little and making a quick exit from the apartment he’s in (to the sounds of the female occupant calling the police, who clearly went to bed with a man the night before and woke with a woman), Dave hits the town to taste life as a woman. Whilst the benefits draw initial appeal - free savaloys and quick entry into a club - the downsides quickly become apparent. From lewd comments and unwanted attention to much worse, Dave’s journey becomes increasingly hostile and dangerous. With a strong production quality and impressive performances, ASKING4IT is a worthy short film to seek out. Blake handles the majority of the screen time, putting in a well-balanced performance that feels bold and refreshing. He handles the film’s lighter moments of comedy brilliantly, such as trying on clothes and flirting with perverts, and is more than capable when things get dark. Deliberately provocative, the idea of blame is highlighted, and the script purposely muddies the water to ensure audience debate will rage. By living out his own male fantasy, should Dave’s attempts to dress sexily and skip queues (and paying) be met with the consequences he faced? Is he indeed asking for it? Or is the culture of unsolicited sexual advances so ingrained in our lives that we have become numb to the abject horror of it? The pacing of the short film is quite frenetic. Dave steams quickly into the experiment of his body swap without questioning the reasoning behind it. The majority of ASKING4IT feels like a night out montage, and the moments of reflection and pathos are perhaps too few and far between. Had Dave as a character been explored more, in terms of his social standing and community, we could have felt a deeper connection to his female journey and how different his experience is as a woman. Overall, though, a powerful and moving short film that feels as tragically relevant as it is potent. Whilst the comment section wars continue, ASKING4IT feels like a creative and fresh perspective to offer audiences, enabling them to get a mirror held up to them, if only for 16 minutes. VIEW REVIEW The Last Laugh The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. Both central performances from Samuel Lawrence in his portrayal of the police officer and Zachary Coleman’s portrayal of the clown are mostly impressive. Samuel Lawrence, in particular, conveys a profound level of restraint when trying to diffuse the situation and decipher the clown’s intention. Zachary Coleman, on the other hand, is deeply haunting and manipulative as he attempts to play mind games with the police officer about his plans as a criminal. Both performances complement one another incredibly well, and it's one of the most impressive aspects of the piece, given the limited material they were given to work with. While the film would’ve benefitted deeply from a prolonged runtime to flesh out the central characters more profoundly, the filmmaker’s intent was clearly in the right place, as the minimal ideas are executed aptly despite its shortcomings. The Last Laugh is a bizarre and questionable experience that throws the audience into a state of conflict between two opposing characters with a severe lack of context. Whilst there is minor material to latch onto outside of the central conflict, the lack of spectacle may have been intentional and instrumental in helping the filmmakers execute the idea they envisioned with this short piece. VIEW REVIEW I Like It Rough A short adult dark comedy from Ireland written and directed by Natasja Schaafsma and starring herself and Keith Anthony Murphy. A young couple, consisting of Ciara (Schaafsma) and Jordan (Murphy) enter a bedroom, hugging and kissing and it is obvious that things are going to get much more intimate. Things to go further, however not in a way one would expect. Ciara states that she likes it rough and she seems to be literal as she encourages Jordan to physically harm her and she reciprocates. A situation begins with romantic expectations before becoming a wrestling match. Over the course of approximately three minutes, the couple punch, kick and throw each other around, whether on the bed or around the bedroom. And the use of a dildo as a weapon occurs as well and so do attacks to the groin. Just adding that both participants are fully clothed. It is crucial to acknowledge that this activity is consensual and both characters are participating in their own free will. The comedy comes in the form of the performances and the fighting, the choreography of which is credited to the work of James Cosgrave. Ciara is the one who seems to be enjoying this...unusual occurrence and it is evident that it was her idea. She grins as she strikes and seems to enjoy being hurt. The same could not be said about Jordan who is hesitant and does not appear to be taking a liking to physical pain. Nevertheless, the fight goes on, accompanied by amusing music by Nelson M. Olivares Alfaro. The fun is not restricted to the brawling, with the cheeky opening and closing credits adding to the humour and there are plenty of cartoonish sound effects when strikes occur. So what does the content of this film mean? It seems to be exploring unconventional sexual desires, particularly sexual gratification via violence, maybe sadomasochism? As an intended sexual encounter turns into a fight where receiving and inficting pain is being playfully enjoyed, this viewing could be perceived as a comedic commentary about this derivation of pleasure. Two youths beat each other up in a comical fashion. Sex and violence. A fun adult comedy, although some people might find the violence uncomfortable. VIEW REVIEW Back to 20-21 A short low-budget drama from India, written and directed by Ashish Bisht and starring himself, Kanchan Rawat, Anjali Bisht and Shoban Singh Rawat. The setting is India and the coronavirus pandemic has caused global lockdowns. One man (Ashish Bisht) lives in an apartment with his sister (Anjali Bisht) and his wife, Sapna (Rawat). The three of them are currently in quarantine, waiting. The man spends his time watching the news and being influenced by all the bad news, be it warfare between countries or the pandemic. Being less keen on a narrative, this film concentrates on the anxiety that the man is going through because of the outbreak, being constantly worried about what might happen. Forced to be in his household, he contemplates the world's current unfortunate situation and when he goes out for some shopping, he is faced with the harshness of sanitising, being cautious not to touch anything. Numerous films (both short and feature) have been made that deal with the COVID-19 pandemic. This one focuses on how the media affect people, utilising words that cause them to live in fear. Ashish Bisht's character represents the everyday person who becomes more and more anxious due to the virus and generally because of the negative messages that are communicated to him via news media or other individuals such as the shopkeeper who condemns his apparent irresponsibility when it comes to preventing the disease from spreading. He is a victim of fear generated by the media. His sibling and primarily his partner are more confident and do not let themselves be victims to the effects of news reports and social media. This short explores how the media can affect people in negative ways, causing them to feel fear, frustration and anxiety and of course, this film is also a commentary about the coronavirus lockdown and what it involves, such as isolation, sanitising and mental health issues. Another film about the COVId-19 pandemic. This project acknowledges the pcychological effects that outbreaks and the media have on people and this makes it a viewing worthy of attention. VIEW REVIEW Proxy A single man desperately wants to upgrade his AI girlfriend experience, and hires a body proxy for her to inhabit so that they can both get down to some real-world jiggy-jiggy, without either of them realising the real-world consequences of their actions. Somewhere in the near/alternative future, AI girlfriends are all the rage and can be materialised in real-time, as a sort of hologram, through a cerebral implant. This function still has its limitations though, with touch and sensation still beyond the ken of the programming, leaving only the emotional and communicative aspects of relationships still open to the user, even though they can see their chosen partner right in front of them. Despite the obvious frustration of this set-up, business seems to be booming, however, Clyde (Souza) is still not satisfied. With a little bit of technical wizardry and know-how, Clyde has already upgraded his AI girlfriend, Alora (Neave), in his spare time, giving her extra, illegal code, that makes her more personal, individually tailored, and loving towards him. Together they have concocted a plan to transfer Alora’s memory into a Proxy , a living host who will take on all of the implanted memories and personality that Clyde has built up in Alora, but who will be someone flesh and blood that he can touch and make love to. The fact that the Proxy looks completely different to the girlfriend he has created and loves, somehow doesn’t seem to faze Clyde at all, and so when Renata (Lockhart) is delivered to his door, all steely-eyed, distant, and submissive, there’s only really one thing on his mind. Looking for all intents and purposes like an episode of Black Mirror (2011-2025), Proxy takes the idea of the uses of modern technology and extrapolates a little into the future to present us with a cracked version of what might be. At only fifteen minutes long, it doesn’t have the luxury of explaining everything in detail, or settling us into the scenario completely, before getting on with things, but as a proof of concept for what is intended to be a full feature film, it gets enough of what is needed into the narrative to let us understand the themes and drive of the movie. With that, the techno-babble at the beginning is a little light on specifics, and the double talk of AI girlfriends, holograms, cerebral implants, proxies, and so on, can get a little confusing to the uninitiated. Once our Proxy has been delivered, however, most things slot into place and the themes become the driving factor of the story and character play. These themes, unfortunately, seem to be very one-dimensional, poorly thought out, surface level, and even a little crass, as they set about painting men as sick abusers and heartless animals who only think about their sexual appetite. The entire dynamic of the threesome is one set upon male dominance and exploitation of women, with male users shown to be only too happy to be complicit in institutional rape and control, even when they have no knowledge of the deception behind the scenes of international, global conglomeration. There is never any hint that AI boyfriends might exist in this world, or that proxies might indeed be male instead of female, and that the issues which complicate the matter of proxies would transfer across sexual and gender lines, which is a real blind-spot in terms of the writing. While borrowing a lot of themes from stories such as The Handmaid’s Tale , Blade Runner 2049 (2017), Ex Machina (2014), Her (2013) and A.I. (2001), as well as many episodes of Black Mirror , Proxy doesn’t dig down into them to try to understand the relationship between human and machine, but instead tacks on a forced narrative of male sexual abuse as the inevitable outcome. While sci-fi has long been used as a medium for exploring modern day real-world themes, offering windows into dystopian futures and catastrophic misuses of technology, in Proxy it misses its mark. The theme completely overtakes and drowns out the narrative, forgetting to allow actual characterisation and deeper thought behind their actions, instead focusing on shock value and unfiltered ire to deliver its message. While the threats of AI and especially AI companionship are definitely something to be considered and explored, Proxy , with its singular vision of a wildly specific scenario, and introduction of a problematic concept, struggles to bring anything pertinent to the conversation. VIEW REVIEW Hierophany Hierophany follows Samuel (Andrew Grayson), an introverted man in his thirties, obsessed with extraterrestrial life. Each night, he is tormented by a mysterious presence that leaves him desperate for answers. Samuel seeks therapy with a counsellor, Matthew (Craig Andrew Mooney), who offers a unique and insightful perspective on what may be causing these nightly visitations. One of the most impressive aspects of the piece is its engaging material; although most of the runtime is condensed into a single therapy session, the dialogue is consistently enthralling thanks to many of the technical aspects and the two central performances. Firstly, Luis Maurizzio serves as the film's cinematographer, primarily framing the two characters from either fixed camera shots or extreme close-ups to convey the protagonist's inner turmoil. During dialogue that appears evasive as the central character opens up about his trauma, an understated and melancholic musical score accompanies these scenes, effectively conveying the emotional resonance. It's a deeply haunting showcase of how different people cope with grief and how opening up to another can heal your wounds through acceptance of yourself. The piece tackles thought-provoking themes and ideas such as guilt and trauma, feelings that have haunted Samuel most of his life. This is showcased through steady editing as he recounts his childhood experiences. Despite the film's incredibly brisk runtime, the pacing flows exceptionally well due to the provocative dialogue and deliberate formal choices. Sadly, the film doesn't really explore Samuel's current lifestyle, and a deeper characterisation could have fleshed out more recent events that have led to his nightly visitations. While the film does explore Samuel's childhood experiences through his opening up about his neglect, particularly from his father, a more nuanced dive into why he is so closed off from the world would have been more memorable. The central performance from Andrew Grayson in his portrayal of Samuel is deeply moving, as he conveys the haunted nature and introverted side of his personality with astounding accuracy. Samuel is more closed off as he tries to understand if what is happening to him is real or not, and his expression of grief and guilt is deeply moving. Craig Andrew Mooney, on the other hand, in his portrayal of Matthew, is a calm and collected presence who tries to offer insightful methods on how to express his feelings to move on. He doesn't judge Samuel’s actions and chooses to be patient and understanding of what may have caused the force that is haunting him. Both performances play off one another profoundly, and they are ultimately the heart and soul of the film's central ideas. While the overall conclusion to the narrative is fairly minor and somewhat open-ended, it still manages to connect on a deeper level due to the moving ideas and themes present. The conclusion doesn't offer any easy resolutions to self-acceptance and grief, simply leaving these ideas open for audiences to discuss after the credits roll. Hierophany is a thought-provoking exploration of guilt and trauma that leaves room for interpretation of how each person deals with grief. Anchored by director Tom Alner’s formalism and two terrific performances from Andrew Grayson and Craig Andrew Mooney, Hierophany is a deeply engaging experience. 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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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 2 out of 5 Immaterial Read Review average rating is 2 out of 5 Last Notification Read Review average rating is 3 out of 5 Lee Cronin's The Mummy Read Review average rating is 3 out of 5 Screams from the Tower Read Review average rating is 3 out of 5 Normal Read Review average rating is 2 out of 5 Proxy Read Review average rating is 4 out of 5 Behind The Reflection Read Review average rating is 3 out of 5 Exit 8 Read Review average rating is 3 out of 5 Faces of Death Read Review average rating is 4 out of 5 The Super Mario Galaxy Movie Read Review average rating is 4 out of 5 Past Life Read Review average rating is 3 out of 5 G(l)ory Days 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.

Koko Suzanne film review by UK film critic Jason Knight. Starring Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani, Emie Mokonzi directed by Zach Bandler. HOME | FILMS | REVIEWS Koko Suzanne Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 24, 2026 Directed by: Zach Bandler Written by: Zach Bandler, Emmanuel Epenge Starring: Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani, Emie Mokonzi A short Lingala-speaking drama directed by Zach Bandler, written by Bandler and Emmanuel Epenge and starring Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani and Emie Mokonzi. Based on true events, this film was shot in Kinshasa, the capital of the Democratic Republic of the Congo, with a cast that consisted of Congolese people. Prisca (Lotawa) lives with in Kinshasa, in relative poverty, with her parents, Jean-Pierre and Vanessa (Assani and Mokonzi) and her grandmother, Suzanne (Liluku). Suzanne has been behaving very erratically, causing Prisca's parents to believe that she might be under the influence of witchcraft. This theory proves to be false when the poor woman is taken to the hospital where she is diagnosed with dementia. This heartbreaking story is told primarily through the eyes of Prisca, a little girl whose childhood innocence is pushed aside as she witnesses her beloved granny gradually deteriorate, behaving in a variety of incoherent ways, such as attending the local market in order to purchase unneeded charcoal, easily losing her temper or accusing her relatives of trying to harm her. Although things are seen through Prisca's perspective, it is Suzanne who gets the spotlight because of what she is going through and what she is going through is the core of this film: the effects of dementia. From the beginning, right until the devastating ending, Suzanne's condition gets worse and worse and it is not just her who suffers, it is also Prisca and her parents. Bandler directs beautifully and his work is primarily visible in the establishing shots. The dramatic atmosphere is enhanced by Charles Humenry's sombre but beautiful music. Since this short concerns dementia to a high degree and Liluku's character is the one who has it, her performance is crucial in order for the film to deliver its messages and she succeeds oustandingly in portraying a person suffering from this condition. As Prisca, Lotawa is quite dramatic as grandchild forced to witness a relative going through terrible times. Although Prisca barely speaks, the emotional pain that she is experiencing is very evident. Adding to the drama are Vanessa and Jean-Pierre, who are struggling to deal with the situation. This short serves as a commentary about the healthcare system of Congo and theories involving witchcraft. What it concentrates on the most is dementia, how it affects those who have it and how it also affects their loved ones. A poignant short drama about dementia and family. As well as telling a meaningful story, this film aims to acknowledge Dr. Emmanuel Epenge's (one of Congo's few neurologists) efforts to raise awareness and provide support to the families of people living with dementia. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Julius film review by UK film critic William Curzon. Starring Aaron Kingsley Adetola, Bryan Mittelstadt, Karen L. Stanford directed by Wilhelm Kuhn. HOME | FILMS | REVIEWS Julius Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 23, 2026 Directed by: Wilhelm Kuhn Written by: Wilhelm Kuhn Starring: Aaron Kingsley Adetola, Bryan Mittelstadt, Karen L. Stanford Julius follows a Union veteran, Jim Brennan (Bryan Mittelstadt), as he desperately searches for a war orphan he has promised to adopt. Set in Georgia in 1865, the piece tells the story of a pivotal moment in American history, marking the transition from the end of the Civil War to the promise of justice and freedom for slaves. One of the most astounding aspects of the piece is how distinct the presentation feels for the time period of 1865. Firstly, the black and white photography is immaculate; every frame feels like a painting, as if the audience has been transported back to a specific point in time in American history. Sheldon J. Walker, serving as the film's cinematographer, primarily utilises tracking shots when following the protagonist in his search for the titular character, and switches to fixed framing in dialogue-heavy sequences. It's an impactful way to frame the piece, as it feels incredibly lived-in with some impressive production value, despite its budget constraints. The backdrop of ravaged Georgia feels incredibly raw and places the viewer in a visceral fly-on-the-wall experience, which is impressive to witness throughout. Alienor Duplessis and Wilhelm Kuhn, serving as the film's editors, do a commendable job of maintaining a fluid presentation, keeping the narrative engrossing despite its occasional sluggishness. While the pacing is stagnant throughout as the narrative unfolds at a leisurely pace, it's hard not to be in awe of the technical prowess on display, used to demonstrate the themes and premise of the film. These are mostly apt; however, the narrative never really truly explores the implications of the Civil War beyond its surface level. Perhaps a more prolonged runtime could have delved more into the impacts of the Civil War and the effect it had on the innocent and the vulnerable. Whilst the formal aspects of the piece are jaw-dropping, the screenplay sadly leaves a lot to be desired. The piece is described as a short photoplay, which is appropriate given how each frame feels like turning over the page of an old American history book with its distinct visual flair. The performances across the board are phenomenal throughout, in particular, Aaron Kingsley Adetola’s portrayal of the titular character. Despite his limited screentime, he conveys so much with his vocal performance and nuance throughout. Another standout in the cast is Bryan Mittelstadt’s portrayal of Jim Brennan. He portrays the character's stubbornness incredibly well as he stops at nothing to find Julius in an attempt to adopt him. Both central performances are compelling and drive the narrative to its conclusion. Whilst the narrative unfortunately amounts to fairly minor, it's a solid piece of filmmaking with flashes of incredible filmmaking on display, which elevate the barebones material. The conclusion, unfortunately, is abrupt and doesn't feel fully developed, leaving the viewer wanting a more satisfying resolution to the prolonged setup. There are not many compelling thematic elements to chew on, and it's a shame because the formal elements profoundly work. Julius is a gorgeous-looking short piece, boasting some incredible black and white photography on display. Despite its shortcomings, it's a well-made piece of indie filmmaking with its heart in the right place and a delicacy for the raw material. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Last Notification film review by UK film critic William Hemingway. Starring Helinbegh Chelsia, Anthony Babu directed by Shaghul Mecheri. HOME | FILMS | REVIEWS Last Notification Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 22, 2026 Directed by: Shaghul Mecheri Written by: Shaghul Mecheri Starring: Helinbegh Chelsia, Anthony Babu A young woman lives with the fear of being watched and stalked, while her phone becomes a way for the attacker to enter into her life. In Last Notification , there’s not a lot of time for anything to get explained or given background detail. At six-and-a-half-minutes long, with no credits or title sequence to speak of, we just have to get on with it and hope that things become clear as we go along. Unfortunately, we’re forced to wait as writer/director, Shaghul Mecheri leads us into the story gently, using the first minute-and-a-half to get our unnamed protagonist (Chelsia) up the stairs, into her flat, and onto the bed to take her shoes off. Once settled in at home, the young woman gets herself into the shower, saying nothing as there’s no-one else around, leaving the film completely devoid of dialogue. There’s no inner voice, no self-chat, no monologue or reaction to TV or phone, only the chime of a notification and a subtitled message of ‘You are being watched…’ pinging up on her screen. Once that message has been received, however, things start getting very creepy outside the window and around the flat, for the young woman. The memory of the old ghost story, and the introduction to Scream (1996), begins to come to mind, where ‘the call is coming from inside the house’, as the shower switches itself back on and odd sounds keep happening. There’s a shadowy, hooded figure standing out in the street, but maybe, just maybe, he’s made it into the flat, too. For what is an extremely simple, and heavily replayed, concept, Last Notification does everything it can to try and up-the-ante and stylise what it’s showing on screen. As such, Mecheri has chosen to shoot in black-and-white, giving a certain noir feel to the proceedings, while the lack of dialogue presumably aims to keep things arthouse and concept driven. The concept though, is still only one of home-invasion in a slasher flick style, but perhaps Mecheri was trying to reach for something more through the way the attacker enters the young woman’s life. The idea that she’s let him in somehow through her mobile phone could be an intriguing concept to follow, if it was at all addressed by Mecheri in the narrative. The phone is the only point of contact between the two characters initially, but with no dialogue, inner or outer, and no reference through visuals, we as the audience just have to make things up for ourselves. This is a real shame, as without any concrete details or guided reference to follow, there’s just not enough in Last Notification to explain what’s going on. When the attacker (Babu) does finally show up, he is deeply menacing and creepy in a way that is reminiscent of Killer Bob in Twin Peaks (1990-1992), making him pretty terrifying but still unaccounted for. There are hints that he might not be real, or a figment of the woman’s imagination, but nothing is for certain, and as an audience we’re left looking for answers. While Last Notification works well enough in the scares department, there’s not enough in the narrative to work with in order to get the whole picture, and so the viewer is left out somewhat from fully enjoying what could have been. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Breaking and Entering and Humping film review by UK film critic James Learoyd. Starring Nick Grace, Jeremy Sless, Christine Celozzi directed by Jeremy Sless. HOME | FILMS | REVIEWS Breaking and Entering and Humping Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Apr 11, 2026 Directed by: Jeremy Sless Written by: Jeremy Sless Starring: Nick Grace, Jeremy Sless, Christine Celozzi Breaking and Entering and Humping is a new short, written and directed by Jeremy Sless. Now, you might not think that a film with such a crude (though not uninteresting) title would hold the kind of quality I’m about to suggest, but this 25-minute absurdist burglar comedy is about as tightly constructed as any other humour-based movie of its kind. It tells an amusing, twisty narrative centered around two burglars who are stuck in a cupboard while the two inhabitants have sex in the bedroom. As a setup, this concept is relatively standard. And yet, it’s the way in which the scenario is established, and then the subsequent diversions of expectations that makes Breaking and Entering and Humping a successful and highly entertaining work. Where better to begin than with the outstanding opening shot; the technical peak of the film. What begins as a slow pan around this picturesque cabin suddenly becomes erratic and handheld when the two lovers enter through the doorway. In most dynamic and formally inventive fashion, the camera follows them into the bedroom via the hallway. The shot concludes as the shot moves away from the main subjects and serendipitously lands on the cupboard. It’s quite Hitchcockian for its slick use of visual language to establish a conceit; or you could maybe argue it’s slightly more De Palma for its focus on the lurid and self-reflexive whilst implementing the semiotics of Hitchcock. I mean it as no backhanded compliment to say that this introduction is the highlight of the picture; the rest of the film is well put-together and funny as hell – but this shot demonstrates a level of cinematic ability far above even that. There’s a lot to love about the gags in this film. As a storyteller, Sless clearly has a strong ability and crafting an overall setup and payoff – and then additional, mini setup and payoffs within the space of a scene. A strong rhythm can be found in the joke-making, and each laugh is cleverly built into the development of the plot. This is a movie which understands that a plot-twist can be inherently funny and thus has a great deal of fun throwing its audience for a loop. It should also be said that, whilst 25 minutes is an uncommon runtime for a short vying for festival success, the runtime couldn’t be more perfect in this instance. This is a flawlessly paced piece. The style of Breaking and Entering and Humping is just so much fun, and there’s no denying that. If there are any complaints to be found, it’s that one or two jokes don’t entirely land (although that’s obviously subjective), and that the title – though provocative as it is – may limit just how much attention the project receives in an arena of fast, unkind critical appraisal. As a counter though, once you’ve seen the movie, the title couldn’t be more apt and thematically succinct. There’s little doubt that audiences looking for genre-based comedy will be pleased by Sless’ latest. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Stargazers film review by UK film critic Jason Knight. Starring Leo Cropley, Henry Richards, Lauren Cornelius, Neil James, Tony Way directed by Jonathan Brooks. HOME | FILMS | REVIEWS Stargazers Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 22, 2026 Directed by: Jonathan Brooks Written by: Jonathan Brooks Starring: Leo Cropley, Henry Richards, Lauren Cornelius, Neil James, Tony Way A sci-fi comedy adventure written and directed by Jonathan Brooks and starring Leo Cropley, Henry Richards, Lauren Cornelius, Neil James and Tony Way. Something strange is happening in Drapery Falls, a lovely small town in England. Over the course of several years, unidentified signals have been transmitting around the area and Prof. Alan Parker (James), who works for the National Space Angency, has been investigating them, attempting to locate their source. However, his obnoxious boss, Smythley (Way) has had enough and has instructed him to move to Scotland in a few days. Following this news, lan's young son, Jack (Cropley) and his friend, Benji (Richards) set out to prove that Alan's theories about the existence of extraterrestrials are real, so that they do not have to relocate. Meanwhile, an evil alien arrives on Earth and takes the form of Lucy (Cornelius), a young woman. The film wastes no time getting right to the point, revealing very early that this is going to be a fantastical and comedic story. To put it another way, it could be described as a mix between Stranger Things , Men In Black and E.T. Aliens, romance, meaningful moments, race-against-the-clock, mystery and plenty of humour and the story takes place in the nineteen eighties. Basically, there are two storylines, one being Jack and Benji wondering around town, trying to find the source of the signals and the other is the bad alien, exploring the area in the form of a female human, in pursuit of a fugitive alien. And there are extra events to the narrative, such as Jack developing a bond with his crush, Sadie (Mollie Thomson) and Lucy (this would be the evil alien) getting into all sorts of awkward situations, whether in a music shop, in a dance club or at a park. As expected, since this is a Science Fiction story, there are spaceships and beings from another planet to be seen and they look pretty good. The film is beautifully shot, with Brooks directing in ways that capture the beauty of the countryside, enhanced by Jon Moy's cinematography. Since the plot is set in the eighties, the clothing and hairstyle are there too and they look appropriate. The addition of Stuart Hancock's lighthearted and adventurous music is a big plus. Pretty much all of the cast delivers entertaining performances and the characters are likeable. Jack is the main character, a sensitive boy who is also sensible and courageous deep inside, much like Benji, his inseparable friend, who is a bit naive. James's character, Alan Parker (his name possibly an homage to the famous British filmmaker) is a single father who is an expert in his field and has a friendly personality. A very nice guy. Arguably, Cornelius is the one who steals the show. She plays a fish-out-of-water alien who is after someone and while doing so, she utilises a device placed around her forearm and gets involved in a variety of funny situations, like learning how to kiss, how to dance and interacting with a dog. The more menacing her character tries to be, the more amusing it gets. And last but not least, although his appearance is brief, Way is memorable with his over-the-top performance, creating a man who is a bully. He is supposed to be a mean guy, but comes across as childlike. Danger, saving people, learning about the world, romance, coming-of-age and self-reflection are all part of this story. Additionally, this is a film about courage and the significance friendship and family. Humour and discoveries as a bunch of people go up against an extraterrestrial with ominous intentions. A fun alien invasion feature. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >