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The Toymaker's Key film review by UK film critic Jason Knight. Starring Harry Shotta, Drew Casson, Peter Kingston, Kele Le Roc, Rhys Earlson Ray, Kimberly Wyatt directed by Andy Turner, Drew Casson. HOME | FILMS | REVIEWS The Toymaker's Key Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Feb 20, 2026 Directed by: Andy Turner, Drew Casson Written by: Jamie Christofersen Starring: Harry Shotta, Drew Casson, Peter Kingston, Kele Le Roc, Rhys Earlson Ray, Kimberly Wyatt A feature-length animated fantasy adventure directed by Andy Turner and Drew Casson, with a screenplay by Jamie Christofersen and featuring the voices of Harry Shotta, Casson, Peter Kingston, Kele Le Roc, Kimberly Wyatt, and Rhys Earlson Ray. Terrific animation, fantastic music and an intriguing story all come together to deliver an enchanting experience. The year is 1945 and a young man named Tommy (Shotta) has returned injured to his wealthy home in Sussex after having fought in the Second World War. He has been informed that his father (Kingston) has gone missing and retrieves a special key that belonged to his parent. This key was discovered in a forest by Tommy's great-grandmother and it has magical powers that lead to another world, a magical place. Tommy uses the key to open a chest and is magically transported to that world. There, he finds out that his father has been captured by evil fiends and with the help of a number of unique allies, he sets out to rescue him. The plot is a Good vs Evil. A group of good individuals going against an army of evildoers in an otherworldly place. Tommy and his new friends traverse this strange world, encountering obstacle after obstacle, gaining new allies and fighting the bad guys. It is a concept that is not unusual, however it works well, with significant character development and tense fighting scenes. Regarding the visuals, they look amazing. The 2D hand-drawn animation contains rich colours and lighting and the editing makes the viewing look like a graphic novel, with characters being motionless for the majority of the film but with letters replaced by voices. ThE ToYMaKeR’s KeY Film has been made from a beautiful graphic novel, which is releasing this year. Some of the things that viewers will see, are magical locations that include forests, snow-covered areas and a vast castle. Then, there are the characters and it is the ones who inhabit the magic world that stand out. These beings include the Butterfly People, a tribe of people who have giant butterfly wings on their back and a led by iO (Le Roc), the leader of their kind. Others are Darwin (Cosmo Wellings) a man with the appearance of a clown, who performs acrobatics and speaks in rhymes, Rhu (Ray) a young boy from the Butterfly People who is having his own misfortunes and the Grandmaster (Casson), a man in a hooded robe who has defferent coloured eyes. These are some of the good guys. The bad guys consist of an army of medieval soldiers armed with sharp weaponry, who are led by the General (also Casson), a brutal knight in a dark armour who plans to replace Tommy's father as the creator of this other world. Another character who should be mentioned is Nekos (Turner) a warrior who is also a werewolf. All characters look great, however, it is the bad guys who stand out the most. The music is another huge plus. It is mesmerising and dynamic, effectively creating an atmosphere that is adventurous, dreadful and emotional. The plot involves fighting evil and saving people. It is also about tyranny, cruelty, support, bravery and redemption. The screenplay also manages to be a World War II story and a family drama. This animated film succeeds in every aspect, making it a pleasure to view the visuals, to listen to the music and the voice acting and to enjoy the story. Huge commendations go to everyone who contributed to the development of this project. About the Film Critic Jason Knight Indie Feature Film, Animation < 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. 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 To Be Frank Chris Olson The Wanderer Matt Trapp The Sanctity of Faith Patrick Foley 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

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 3 out of 5 Sorry We're Closed Read Review average rating is 5 out of 5 Phase Read Review average rating is 3 out of 5 Heel Read Review average rating is 4 out of 5 The Bride! Read Review average rating is 3 out of 5 Billy Idol Should Be Dead Read Review average rating is 4 out of 5 Hoppers Read Review average rating is 3 out of 5 Drowned Read Review average rating is 3 out of 5 Scream 7 Read Review average rating is 3 out of 5 Dreams Read Review average rating is 4 out of 5 Crazy Old Lady Read Review average rating is 4 out of 5 The President's Cake Read Review average rating is 5 out of 5 Fight Like A Girl Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Short film reviews from some of the best movies in the UK. Read reviews from some of the best short film critics. Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed More Film Reviews Sorry We're Closed William Hemingway Neram Nallaruku Jason Knight Gloria’s Cut James Learoyd Belonging and the Scene Jason Knight Eructation William Curzon Drowned Patrick Foley The Crusader Jason Knight Return Matt Trapp Big Jay's Day Out Matt Trapp SCRUTINY Matt Trapp Song of the Selkie William Curzon Nostalgie James Learoyd Meat Locker Jason Knight Becoming Sidney Patrick Foley Mouse! Jason Knight Ms Green and Other Lovely Beasts William Curzon We Buy Souls William Hemingway Them That's Not William Curzon I Wonder What's Keeping My True Love Tonight Jason Knight The Air Between Us Jason Knight Boy William Hemingway The Current State of the Backyard Pool Industry William Curzon Equal Opportunity Jason Knight Animus Patrick Foley In Search of Forgotten Crafts - The Heart of the Iron 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. Sorry We're Closed A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. VIEW REVIEW Neram Nallaruku A short crime comedy from Singapore, written by Arivazhagann Abel, Mridul Samrat, Sivakumar Meenashre and Akram Mohammad, directed by Abel and starring himself, Meenashre, Prabu Kirubaahgara and Rifath Mohamed. Just explaining that the English translation for ''Neram Nallaruku'' is ''Time is Good''. A kidnapping is taking place and the people involved are not sure how to deal with it. The two abductees are Varun (Arivazhagann), an insecure young man who suffers from panic disorder and Pavithra (Meenashre), the woman he intends to propose to with the discreet help of his friend, Akash (Nachiappan S). However, before he is able to find the courage to do so, the two of them are snatched by Kaali (Kirubaahgara), a criminal who intends to use them threaten Pavithra's gangster brother, Rudhra (Mohamed) for ransom. The film begins with a humorous title card explaining the meaning of panic disorder, indicating that this is not going to be a serious viewing and it is not. Following an intended marriage proposal that does not occur, the criminals enter the scene, and they are not very efficient, leading to a series of awkward events that include a phone conversation about ransom that ends up full of misunderstandings and an inprisoned Varun calling Akash and asking for life-saving advice while the latter gives it by chilling in front of the TV. A story filled with misunderstandings and clumsiness and the comedic atmosphere is supported by Surya Sahish's amusing music. The acting is not convincing, however it is still entertaining, with the cast making the characters come across as naive in the face of life-threatening situations. Varun is mostly serious or perhaps oblivious to his situation, not knowing how to handle things. Pavithra is rebellious and as for Rudhra and Kaali, well, they appear to be inexperienced when it comes to kidnappings. But utilising an abduction concept, this short tells a story about naivety, deception, misunderstanding and mortal danger. Additionally, it also manages to be a commentary about romance and self-esteem. This is just twenty minutes of fun, watching a kidnapping having unexpected complications to comical effect. And the animation during the credits deserves commendations. VIEW REVIEW Gloria’s Cut Gloria’s Cut is a bloody and satirical short film about a struggling actress working at a diner. One night, she ends up confronting a seemingly more successful (and infinitely more pretentious) actress who finds her way into said diner. The two of them begin by discussing pages of a script for an audition which both characters wish to pursue. What progresses is an increasingly volatile, revealing and ultimately – as established in its cyclical opening – murderous encounter. There is so much to enjoy about the narrative of this picture as well as its superbly flashy and slick production. Whilst this is a chamber-piece for the most part, all of the structural skill is placed clearly on display; yet furthermore, within its 15-minute runtime, the filmmakers manage to also probe some deep and perceptive areas of interest... Thematically speaking, what Gloria’s Cut presents is an engaging take on favouritism in the entertainment industry and encouraged pursuit/obsession with stardom – but through the lens of reflexive 90s nostalgia. This is a high-level screenplay, and one which I should mention is being used as a proof-of-concept for a feature-length project titled No Doubt . Personally, I find this fact to be a bit of a two-edged sword. For if there is any complaint I have of the film (though not so much of the work itself but the context provided) it’s that the heightened, to-the-point tone suits a short-form piece so well that one can’t necessarily envision it being as impactful as a long-form piece. However, having seen how incredibly well the filmmakers can get a handle on tone, setting and message, I’m confident that the feature will share this same level of artistic care and genre-based passion. My only worry is that it would feel similar to The Substance (also better as a short) whose tone becomes tiresome and repetitive. But like many short films, what we witness is effectively a single extended conversation, and what allows the audience to engage with these ideas in the first place is the terrific style and mood being constructed through the sound and visuals. There’s an irresistible neon aesthetic at play here, with both lighting and colour producing a simultaneously grimy yet comforting atmosphere. Because of this specificity of style and place, I was sold on the film within the first few shots. If anything, the fact that the film takes place in the 90s is more a satisfyingly convenient aesthetic tool rather than a story-trait – although it never feels like a gimmick. Written, directed and starring Olivia Gropp, this is a movie with a unique, personal vision. I’m also happy to report that Gropp manages all three of her creative roles with great success – this is not an indulgent or unbalanced work; it is, instead, carefully directed, effectively written and entertainingly performed. And the fact that this is a self-directed work may only add to the cohesion of the vision. To surmise, Gloria’s Cut demonstrates some truly impeccable storytelling and cinematic flair – a fun talky work of drama as well as an appropriately exaggerated gore-fest. VIEW REVIEW Belonging and the Scene With her film debut, director Monica Dhaka explores the world of kink community by utilising the story of Pup Momo. Momo is part of this community, a homosexual who enjoys rubber puppy play, meaning that he dresses in fetish clothing that includes a rubber mask that resembles a dog's head for fun and sexual satisfaction. When he enters role play, he calls himself ''Momo''. Via this short documentary, viewers will get to know him and learn about the world of fetish. Momo is the centre of this film and he is interviewed, with his voice-over covering his childhood, how he currently lives his life and the kinky community. Attracted to role-playing fetishes, Pup Momo grew up in the United States, with parents from the Netherlands. He won the title of Mr. Rubber Netherlands 2022, proving his strong dedication to this group of people. With the use of home video footage, viewers get to see him as a playful child. Through Pup Momo's words and archival footage, people will get an idea of what the kink community is, how big it is, with competitions like the one won by Momo, magazines such as the Mr B Wings (a BDSM magazine to which Bohnen is a contributor) and parades like the Amsterdam Pride Canal Parade proving how widely established it has become. All this is accompanied by Dhaka's emotional music. One of the purposes of this documentary is to shed light on the world of kinky people and defend them, to reveal that they are not disturbed or antisocial as some think they are, but individuals who are united because they share particular desires and activities and that their world is a group where everyone is accepted. This fifteen-minute-long short provides a brief but thoughtful insight into the world of kink communities and shows that it is a place where people can find happiness and acceptance, where they can be who they want to be and be comfortable with self-expression. It also communicates the message that just because someone is unusual does not mean they are no good. Some viewers might find the subject matter uncomfortable, however, this documentary deserves recognition because ultimately, it points out that people who are part of this network do so in order to be happy and (as the title suggests) to belong. VIEW REVIEW Eructation Eructation is a short documentary that follows Kaylee Kotkins, a young woman with incredible burping abilities, as she aims to break the world record for the loudest burp, currently set at 107.3 decibels. Her loudest belch to date is 110 decibels in practice, and she uses a decibel reader app on her phone to calculate her burps. This documentary follows her as she prepares to break that record, while also briefly exploring her relationship with her partner, Eric, as he endures Kaylee’s absurd challenge. One of the most unique aspects of the documentary is not only its original and absurd concept but also the use of decibel numbers as a central narrative device for Kaylee as she utilises other sounds around their home. She finds a plethora of objects, such as a hair dryer, to measure the loudness of her burps. While there isn't much material to sustain a feature-length runtime, its tight runtime works in its favour, as the passionate personality of Kaylee shines through, and the filmmakers get straight to the point without ever stretching the material out. Max Henderson, serving as the film's cinematographer, primarily shoots the documentary with close-ups of Kaylee and overhead shots around her home as she prepares for the challenge. Most of the dialogue is delivered through a litany of exposition, so the audience rarely gets to know Kaylee as a person, but only her intention for the documentary. Thankfully, many of the comedic elements of the piece land surprisingly well and the inclusion of Kaylee’s partner, Eric, offers a unique perspective on her challenge. The piece is paced incredibly well with some commendable editing choices, making the film feel frenetic in its attempt to match Kaylee’s efforts to beat her record. The brisk pace at which the expository dialogue is delivered can be overwhelming at times; however, it's ultimately a necessary choice to keep the piece utterly engaging throughout. As a viewer, it's hard not to root for Kaylee to achieve her goal, and that's a testament to how instantly the filmmakers draw the audience in, despite its incredibly minimal runtime. The piece also provides some education about the human body and the mechanisms by which we burp to relieve pressure after swallowing air while eating and drinking. The lengths to which she goes to achieve this record are mostly entertaining to endure, and it's not something that has ever really been explored within cinema. Despite the documentary offering fairly minor context to Kaylee and Eric outside of what is depicted on camera, the direction from Victoria Trow elevates the material by giving the piece some needed propulsive nature. While the conclusion to the piece ends abruptly, Kaylee’s challenge is profoundly executed by the filmmakers, consistently finding evocative ways to frame each scene. Eructation is a fascinating experimentation held together by Kaylee Kotkin's sheer ambition and some commendable direction and editing choices. While the piece offers fairly minor material outside of the central challenge Kaylee sets for herself, it's an aptly made piece of filmmaking, presenting an absurd concept that is both wildly entertaining and surprisingly educational. Eructation will celebrate its world premiere at the 2026 SXSW Film Festival VIEW REVIEW Drowned They say that the closest thing to war that most people ever experience is divorce. Ryan Nunes’ short film Drowned follows a couple in the aftermath of a separation, each side bearing the scars that complicate their lives as single parents in a melodramatic but moving short. After a fight with partner Jake (Nunes) at a Christmas party, we follow Sarah (Sonya Richards) as she navigates single parenthood of her daughter Emma (Julia Little). Sarah finds motherhood overwhelming, suffering from small memory lapses that lead to big problems. After forgetting Emma’s EpiPen, Sarah and Ryan find themselves in an emotional confrontation – where bitterness, anger and unresolved fractures explode into the open. Drowned tackles difficult questions about parenthood and divorce with a considerate tone and a careful hand. Ryan Nunes constructs characters with depth and reality, asking his audience to empathise with both parties of the divorce and engage with their qualities and their flaws as real people, rather than cutout characters. Jake’s outburst at Sarah feels aggressive at first, but his own struggles that originate in the breakdown of their relationship mean audiences will be able to understand his exasperation in a moment where he fears for the safety of his daughter. Similarly, the time we spend with Sarah where we see how her mental and physical condition lead to daily struggles just in her own life lead us give her grace naturally. It fits perfectly with the film’s message – that parenthood can be unconventional but is always easier shared, even in ways that we may not see firsthand. At times the film dials the melodrama up to 11, in moments that are emotional but a little awkwardly bulldozed into the story. The performers discard any sense of nuance in favour of amped-up cry-shouting. When appropriate this can be the crescendo of finely built dramatic tension that ensures no eye in the house is left dry. But rushed, and it feels like dramatic overkill – the acting equivalent of using a sledgehammer to crack a nut. There is no doubt that both Ryan Nunes and Sonya Richards are excellent at portraying a breakdown. But the place of the pivotal exchange involving the EpiPen feels rushed in the context of the narrative. Whilst it is possible to imagine real parents reacting this way, the storytelling of the film makes the moment feel a little unearned, particularly seeing as it is a trigger for the two finding common ground in what is the climax of the film. The film looks crisp and professional with some interesting using of lighting – which ‘drowns’ out of the screen as Sarah’s desperation grows throughout the film. Nunes’ direction is also solid enough, knowing how to present Sarah as someone finding life more and more difficult and unhinged whilst her former partner becomes an invading entity (Nunes’ way of presenting his own character in the film who uncomfortably throws off the focus and balance is a particular highlight). Whilst Drowned is imperfect structurally and will not pull up any trees when it comes to storytelling around parenthood (its release close to the dazzlingly original If I Had Legs I’d Kick You not helping in this regard), it is a solid enough effort from director, writer and star Ryan Nunes and his team which will speak to people navigating parenthood or even just those who have ever felt isolated when dealing with an imperceivable task. VIEW REVIEW The Crusader Tim Cullingworth-Hudson writes, directs and stars in this captivating medieval dark fantasy. Within one and a half minutes, with the use of striking visuals, epic music and drama, this short takes the viewer on an adventurous journey. The film does not concentrate on telling a story, but rather to present a situation, or perhaps more appropriately, an otherwordly confrontation that takes place in the middle a battlefield. The setting is the Middle Ages and the titular Crusader (voiced by Hudson) awakens in an open area filled with dead bodies and fires. It is the aftermath of a devastating battle and as the warrior proceeds to rise, a demonic entity emerges from the soil (voiced by Betts) and begins to verbally condemn him. But the man is strong. Regarding the mise-en-scene, it looks superb, creating a dark medieval period environment. There are brief scenes of battle, with armoured soldiers wielding their weapons in slow motion. Filmed almost entirely in black-and-white, colour is present only in shots of blood being spilled. The black-and-white cinematography makes the atmosphere feel rather sinister, which is fitting given the events that take place. The appearance of the monster turns things towards fantasy and it appears to be a being of pure evil. The creature is anthropomorphic, has huge crow-like wings on its back and sharp teeth. As for the warrior, the hero, he is a bearded man, wearing heavy armour. This film would not be so impactful without the dynamic music. Dramatic chanting and strong drumming create a powerful atmosphere that promises adventure and brutal confrontation. Regarding the Crusader, voice-over describes him as a veteran of many battles, who is living a life of violence that will never lead to solace. His spirit is strong, but his many experiences in the battlefield have left mental scars in him. Moreover, it is indicated that he also possesses magical powers. As for the winged creature, it seems to be his utlimate enemy, menacingly telling him that there is no salvation. During its short duration, this film manages to explore religion, the brutality of war, bravery, self-reflection, redemption and desperation. It is a story about Good vs Evil, with the Crusader representing Good and the creature symbolizing Evil. A sword and sorcery tale filled with excitement and confrontation. It is a brief experience but one that never loses its power from start to finish and it carries the message that when people are going through challenging times and the odds are against them, they must never give up. VIEW REVIEW Return Return explores a layered cocktail of themes through its brief 10 minute runtime, leading the audience on an emotional meditation on grief, memory, and humanity’s place within the natural world. Peter Faulkner’s character carries the weight of loss deep inside, and most of Return’ s runtime is spent inside his mind. He sits alone in a dark room, apparently isolated from the world, and the image is a shockingly stark one. Carr-Gomm focuses a great deal of attention on the man’s difficulty in grasping a glass of water and bringing it to his lips to drink. Yet, when he closes his eyes, colour and light return to the picture. We see rocky clifftops adorned with birds, the power of a calm sea, a beautiful natural world rich with flora and fauna. A mysterious woman (Jade Lauren) with some connection to Faulkner’s character is always out of reach standing a part of the natural world within his mind. The vast skies and dense woodland suggest something heavenly about the Earth, and as the old man walks throughout these lush environments there’s no hint of any corporeal weakness about him. At one point, he plants his face in the grass, drinking in the physical sensation. Carr-Gomm’s depiction of literal connection with the land juxtaposes the isolation of Faulkner’s character at the start of the short - sat alone in his armchair, the only hint of a world outside his room is the sunlight softly settled on his window. Similarly to the recently Academy Award nominated Train Dreams , Carr-Gomm explores loss and the nature of grief by using the natural world as a sort of bridge between the living and the dead. The filmmaking on display in Return is spectacular and helps to sell the spiritual ideas that the film explores. The photography of the environment is breathtaking, often captured with wide shots from high above to capture the vibrant beauty of the Earth. Sunflower fields appear as a rich tapestry of colour, and a single cloud in the sky looks as though painted by a dexterous hand. Special attention is given to smaller details such as a hand running over wheat in a field, and the aforementioned face rubbing in the grass, giving a real sense of texture and presence in the world. Return ’s sensory experience is heightened by a simple piano score which guides the audience through the journey. The film is entirely without dialogue, yet Ben Rowarth’s composition speaks for itself. Peter Faulkner’s performance in the film was deeply personal to his own life experience, Carr-Gomm has stated. His character moves deliberately in every single moment, communicating feelings of love and loneliness clearly without speaking. A particularly moving sequence of Faulkner’s performance is when he dances alone in his kitchen, coming to life in a deeply vulnerable display of laboured elegance. He brilliantly embodies the heartbreak of continuing on after a loved one’s death, and the overwhelming inclination to withdraw into one’s shell. Reminiscing can be self destructive in a way, and Faulkner’s depiction of earthly liberation, to reconnect with the natural world as well as his loved one, suggests a call to be reunited with them, to return to them. Return speaks to the loneliness of life, but also the power of the natural world and the love that connects us to each other. The confident filmmaking and the tender performances support complex ideas with the short’s brief runtime, without the help of words to convey meaning. The result is a piece of cinema that will have audiences reminiscing about their lost loved ones, and maybe picking up the phone to give their older friends and relatives a call. VIEW REVIEW Big Jay's Day Out The growing popularity of alternative media in the 21st century has had a fascinating effect. Truly esoteric discussions about anime, videogames, and fairly obscure movies are deftly navigated by the so-called ‘terminally online’, with new subcultures born and aesthetics named daily. The film follows Jay, described as ‘a man led astray’ who is thousands of dollars in debt, depressed, and developing an app which he believes will “change the world”. For the next 20 minutes, viewers are strapped into an outrageous, exhausting, and sometimes incoherent whirlwind of neon lights and violent gangsters. Mitch Silva’s Big Jay’s Day Out will be an enigma to general audiences everywhere, but something tells me that this won’t be a concern for the filmmaker. Big Jay’s Day Out is first and foremost a ‘vibes-based’ film, the first in a genre which the filmmakers have helpfully identified as ‘inhalantcore’. It’s certainly a satire, comparable to American Psycho by way of Harmony Korine, and it’s a relief that the humour is generally excellent, if not irony-poisoned. There’s more drama in the back half of the short than may be expected, and while the performances generally work, a few too many scenes descend into characters yelling melodramatically. It’s less atmospheric than it could be, and more dialogue heavy than it should be. Austin Alexander’s performance is enjoyable to begin with but it was a shame that he wasn’t given much more to do after the first few minutes. Similarly for Angela Lin who performs a dual role as Evelyn Chen and Not Evelyn Chen, while she makes an intriguing and enigmatic first impression as a modern day manic pixie meets 2020s online goth girl pastiche, her character becomes flattened and fairly dull by the end of the film. The filmmakers have added that this film is considered a ‘rebuild’ in the same vein as Evangelion. They state that Big Jay’s Day Out Remastered must be watched after the original Big Jay’s Day Out preAlpha 0.89 , originally released in 2017. Having watched both of these shorts now, there’s definitely some thematic and stylistic connections between the two, but the original film is not an essential watch to understand the ‘remaster’. It does gesture towards a specific artistic intent from Silva however, giving his short films a knowing interconnectivity, as well being a knowledge check for audiences who are familiar with Evangelion and its sequels. Similarly, the aesthetics of various internet subcultures are employed throughout Big Jay’s Day Out . The result is a visual melting pot of ideas and influences, and it’s undoubtedly unique. However, it would be remiss to ignore that the film’s abrasive sound and editing styles can make it a challenging watch. Big Jay’s Day Out may arguably be described as an exercise in style over substance. Whether or not that’s true will depend on who is watching the film. Undeniable however is the fact that there is a distinct quality in Silva’s filmmaking that certain audiences will particularly resonate with, and it would be an immense shame if this style became watered down and bent into something more recognisable. VIEW REVIEW SCRUTINY It’s ironic that, in many ways, modern innovations in communication have made us more isolated than ever before. James Quinn taps into these complex feelings in Scrutiny , a tender short story following a young man, Nathan (Isaiah Bobb-Semple), riding on a bus through south London after hanging out with his mate Kwame (Kevin Siaw-Badu). In just 10 minutes, Quinn leads the audience through an odyssey of anxious rumination, placing them right inside the spiralling mind of the protagonist. The direction and performances are all flawless, resulting in a vulnerable and very modern portrait of self doubt. SCRUTINY immediately announces its bold visual style with the use of a grainy, analogue filter. The visual noise serves as a relevant metaphor for how Nathan is thinking and feeling, and it also reveals the film’s keen attention to detail. Through careful choices, Quinn excels in delivering a subjective experience of the protagonist’s anxiety, which Bobb-Semple is able to articulate through subtle non-verbal cues. The camera pays particular attention to Nathan’s hands as he nervously taps the back of his phone, he erratically fiddles with his bracelet, and all the while the music is pulsing arhythmically. The audience doesn't yet entirely understand what the source of the tension is, but it’s clear that Nathan is feeling it intensely. The editor Christopher Morris must be given particular credit for how gripping SCRUTINY is. The film unfolds very quickly and discloses new information to the audience in the form of a flashback to before Nathan got on the bus. Reclined on a grassy hill with his friend Kwame, the two lay back comfortably, beers in hand, and worries apparently far far away. “You up for this again?” asks Kwame, to which Nathan enthusiastically replies “Sure!”. It’s a simple but sweet scene, unsubtly juxtaposed by the scenes on the bus which soon interrupt the relaxed flashback. Before long, the audience returns to the flashback, but this time it’s different. The script is the same, but the vibes are entirely off, and the once easy conversation which earlier flowed like honey is now stilted and awkward. Kwame seems less interested, and Nathan far less sure of himself. It’s a superb use of filmmaking, reminiscent of Kurosawa’s Rashomon , casting doubt on how the interaction between the two friends really took place. The sound design and quick editing on the bus becomes more and more overbearing as Nathan continues waiting for a text from Kwame. Passengers on the bus appear to be staring at Nathan, and it begins to look like something from a horror film. SCRUTINY reads as a narrative deeply rooted in the neurodivergent experience. It’s not uncommon for people with autism and ADHD to replay memories obsessively, to overanalyse social situations unhealthily, and to feel overwhelming feelings of shame and regret for perceived slights. Quinn should be praised for how he chooses to dignify Nathan’s emotional experience; he doesn’t downplay Nathan’s feelings of embarrassment and alienation. The narrative even gives its characters some form of resolution when Kwame reassures Nathan that he had a great time earlier that day, absolving his friend of any guilt for asking for some support. It’s a beautiful gesture and provides a great sense of closure. Persistently, the film ends on a different note as he finally arrives at Maria’s party. The final shot is devastating and all too familiar for anyone with experience of ‘masking’ in social scenarios. The ending suggests that the events of the film are more than likely to repeat until Nathan can learn to be comfortable being himself around his friends and not needing to perform what he thinks they want him to be. It’s a complex cocktail of emotions, with the vast weight of expectations of Nathan being self imposed. It’s a seriously impressive narrative to tell in just 10 minutes. Watching SCRUTINY through the lens of the neurodivergent experience is a rewarding one, whether or not that’s what Quinn and the crew intended. It should be praised for its depiction of neurodiversity in the black community especially, considering the fact that autism is overwhelmingly represented in media by white introverted boys. What stands out watching SCRUTINY is the sheer amount of empathy that is afforded to these characters. Although Nathan’s experience may not be one that every viewer has experienced in their life, through confident and motivated filmmaking choices, the movie may enable audiences to better understand and identify with a perspective outside of their own. VIEW REVIEW

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Sorry We're Closed film review by UK film critic William Hemingway. Starring Michael Muyunda, Jemma Bentley, Mark Aldrich directed by Jonathan Hawes. HOME | FILMS | REVIEWS Sorry We're Closed Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 9, 2026 Directed by: Jonathan Hawes Written by: Jonathan Hawes Starring: Michael Muyunda, Jemma Bentley, Mark Aldrich A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Searching for Satyrus film review by UK film critic William Curzon. Starring Rena Effendi, Elmira Abbasova, Ali Naseh Effendiyev directed by Rena Effendi. HOME | FILMS | REVIEWS Searching for Satyrus Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 16, 2026 Directed by: Rena Effendi Written by: Rena Effendi, Lana Slezic, Mahi Rahgozar Starring: Rena Effendi, Elmira Abbasova, Ali Naseh Effendiyev Searching for Satyrus explores the work of acclaimed photographer Rena Effendi as she embarks on a journey to find an estranged butterfly named after her late father. Her journey leads her to a cross between borders, as the two nations of Azerbaijan and Armenia are at war in a militarised no man’s land. Bound by grief and memory, Rena attempts to find closure and understanding of her late father’s past life. The piece is a documentary that delves into profound themes of grief and the beauty of memory, two pivotal feelings that the central figure is bound by in her journey. She uses photography as a coping mechanism for her inner turmoil and attempts to understand her father through historical research. Through Rena Effendi’s eyes, the viewer is presented with a wealth of history that unfolds against the backdrop of the Azerbaijan-Armenian border. It's a quietly beautiful and incredibly nuanced depiction of an individual coming to terms with their grief and taking life one step at a time to find closure in their family’s past. Rena Effendi is empathetic by seeking beauty in the landscapes which have been impacted by war. While it may take its time to convey its themes, the experience never feels dull or stagnant thanks to the film's propulsive nature. Lev Zhurbin, serving as the film's composer, delivers a mesmerising musical score that has a lightness and warmth to it, which elevates the moments of stillness and reflection. The cinematography is another astounding technical feat, in particular the use of drone photography to present the area of Azerbaijan incredibly. While the material is already powerful and affecting, the technical elements soar, making the experience even more rewarding. It's an incredibly impressive feat, particularly as a debut feature film, with an educational and thematically enriching narrative at its heart. The scenes of dialogue at times feel evasive and akin to a fly-on-the-wall experience, as it delves into raw material regarding revelations kept from Rena. She never shies away from the more bleak aspects of the subject matter. The documentary also explores interesting topics regarding the cross-border conflict as the two nations are locked in war, which is a pivotal aspect of the entire narrative in its backdrop. While Rena covers a lot of ground within a 101-minute runtime, the piece begins to lose some steam towards the conclusion due to the material beginning to wear thin. It also slightly overstays its welcome; however, the experience is still consistently appealing throughout. The narrative concludes in an emotionally satisfying manner, granting closure for Rena, and the documentary may leave the viewer with a sense of awe and wonder due to her commitment to the project. Searching for Satyrus is a wonderful piece of documentary filmmaking that conveys beauty, memory and conflict between nations. Rena Effendi, serving as the writer/director and the central figure of the project, does an incredible job of conveying profound themes that never shy away from the conflict between the two nations of Azerbaijan and Armenia at war. A beautifully shot and scored experience that may linger on the viewer’s mind long after the credits roll. About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

Fight Like A Girl film review by UK film critic William Hemingway. Starring Ama Qamata, Hakeem Kae-Kazim, Malaika Uwamahoro, Clarck Ntambwe directed by Matthew Leutwyler. HOME | FILMS | REVIEWS Fight Like A Girl Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Feb 24, 2026 Directed by: Matthew Leutwyler Written by: Matthew Leutwyler Starring: Ama Qamata, Hakeem Kae-Kazim, Malaika Uwamahoro, Clarck Ntambwe A young Congolese woman escapes from a life of slavery and sexual assault into the world of women’s boxing, where she finds a mentor, a community, a life for herself, and a way to keep on fighting back. Safi (Qamata) is from the region of Beni, out in the jungle of the north-east of the Democratic Republic of the Congo. When she was younger, her village was raided by rebel soldiers, who killed her parents and took her captive to live and work in a mineral mine. Constantly living under gunpoint and the threat of sexual assault, Beni sees how her life will go by the fates of those women around her, who carry untold atrocities, done to them and their children, visited upon them every day. After trying to help her friend, and knocking one of the guards out, Safi is subdued and punished, before making her escape into the long grass and then the trees, and finally into Goma, a city on the Eastern border. Once there, Safi finds a neighbourhood slum to camp out in, and one night has to defend herself from the advances of an over-amorous suitor. After he gets sparked out onto the ground, the word spreads, and soon Safi is talking to the legendary, Balezi Bagunda “Kibimango”, a boxer who has a team of women fighters, who have all come from their own troubles and trauma, and who fight for a way to regain their power. Based on the real-life events of the real Balezi Bagunda and Clarck Ntambwe, who gets a co-starring role here as Bagunda’s best fighter, Aisha, Fight Like A Girl is a raw, visceral, very real account of their incredible journey. Ntambwe’s story, told as Safi, is a classic triumph over adversity tale, with extreme sadness and brutality overcome to then be used in a positive, life affirming, world building way. The work that Bagunda did, eventually cost him his life in 2025 when M23 soldiers took the city, as he and director, Matthew Leutwyler were aiding the escape of the most vulnerable, but here he is honoured as the mentor, philanthropist, fighter, and much needed male role-model that he was. That his and Ntambwe’s story is so inextricably linked, allows Safi to tell both stories at once, as we see how much Bagunda meant to her and the other boxers. The fact that Ntambwe is also a part of the film, along with a whole raft of first-time actors, real-life performances, and real-time street scenes, speaks to the authenticity that Leutwyler was aiming for right from the start, as he built his vision around the story he heard and the people he met. This authenticity is shot right through the entire production, from the people, to the locations, to the music, to the vibrancy and rhythm of the shots and the pacing of the film, immersing the viewer into a new world, deep in the DRC, that few have experienced or seen before, and we get ringside seats to some of the best and the worst of it. That Fight Like A Girl is the first Western produced feature to be shot in the DRC is no surprise. Leutwyler’s contacts and experience from work through his charity, We Are Limitless, has given him a wealth of community to draw from, and he pieces his narrative through that world expertly, giving us an eye on the details as a story that spans an entire nation opens up in front of us. The production is also helped hugely by Richard Henkels’ cinematography, that grabs in the cloudy backdrop of Mount Nyiragongo, as well as the quick, close, shuffle of feet in the ring, and the firelit danger of the night-time streets, with proper ease and style. The main performances from Ama Qamata and Hakeem Kae-Kazim are outstanding, both lending a gravitas and a grounding humanity to the film, while everyone else, regardless of whether it was their first time in front of the camera or not, does an excellent job of keeping it real, for the look and the feel of the film to be apparently seamless with everyday life in Goma. While there is definite Western narrative at play, with a tight two-hour runtime, and a story that opens out almost bang on the hour mark, with a number of beats being hit along the Rocky (1976) trail of underdog boxing films, Fight Like A Girl is one-hundred percent a Congolese story. It brings the audience on a journey and immerses the viewer in a world that they would otherwise never get to experience, and not only that, it does it with passion, and heart, and integrity. Any time that Fight Like A Girl starts to feel like an indie film, it pulls you right back in, with an incredible shot, or a genuine interaction, or a brutal reality, pitting it as a contender against much bigger, better financed films that don’t do things half as well, and in that it stands as ‘undefeated’. About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Gospel of Dating film review by UK film critic James Learoyd. Starring Michael Orlando Peters, Rachel Brooks, Nicole Pringle directed by Khiray Richards. HOME | FILMS | REVIEWS The Gospel of Dating Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Mar 9, 2026 Directed by: Khiray Richards Written by: Khiray Richards Starring: Michael Orlando Peters, Rachel Brooks, Nicole Pringle The Gospel of Dating , written and directed by Khiray Richards, is a new feature-length comedy about a church which requires further funding and exposure following a period of economic lapse during Covid lockdown. The church’s bishop (played by Michael Orlando Peters) eventually agrees to help produce a church- based dating show which would involve his Christian community. We then follow a series of individuals as they search for love, and experience some amusing, often ridiculous hijinks involving the production of the show. This is a niche, flawed but not unentertaining dramedy – ostensibly aimed at a religious audience. I’ve never seen a Christian sex-comedy, and I doubt you have either, dear reader – but many hilarious moments in this film come very close to that territory (my favourite moment in the whole runtime is a riotous vibrator joke). What I’m trying to get at is that this piece is not so staunchly traditional, and in fact explores some engaging modern relationship dynamics. In terms of the picture’s construction, The Gospel of Dating is a technical success. The audio and soundtrack are an example of this project’s refinement. The on-location sound is properly captured; the foley is carefully done; and the music is implemented to create an appropriately humorous sensibility. The cinematography, while not outstanding, offers a pleasing use of focus – complemented by a cinematic, high-quality colour-grade. You could argue that there is an overuse of Steadicam in this movie, and not enough clear, static wide shots, or even especially striking closeups. The reason being is that the constant use of Steadicam means that the visual aspects of depth and composition feel intangible and non-committal. I like the fact that our protagonist of the bishop must learn a few important lessons about acceptance and social modernity; however, this may rub many up the wrong way, as it did for this critic at first. There’s one truly horrific scene in which condescendingly sinister music plays and the bishop hatefully says the phrase “pronoun people”. Even if the film eventually confronts this prejudice – arguing that “salvation doesn’t have a label” – and even discusses the contradictions of “traditional value”, it takes its time to do so and comes across as condescending. Nevertheless, for better or worse, what this scenario offers is an accurate portrayal of America’s dire political climate. Especially in relation to the depiction of the TV executive whose malignant motives aim to maintain a conservative, regressive image whilst still making wider-reaching profit. There’s also an element of capital ‘R’ Realism here in that it is inherently fascinating to make a movie focusing on the financial struggles of institutions – even when the overall feel of the piece is frequently one of absurdism. At its core, The Gospel of Dating is getting at something economically relevant. For non-Christians like myself, a film such as this is not something one would commonly seek out for casual viewing purposes. Yet the movie’s offering of a clean aesthetic, a comforting and consistent tone, as well as plenty of genuine laughs means that this picture may provide entertainment beyond its target-audience. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Neram Nallaruku film review by UK film critic Jason Knight. Starring Arivazhagann Abel, Sivakumar Meenashre, Prabu Kirubaahgara, Rifath Mohamed directed by Arivazhagann Abel. HOME | FILMS | REVIEWS Neram Nallaruku Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 8, 2026 Directed by: Arivazhagann Abel Written by: Arivazhagann Abel, Mridul Samrat, Meenashre Sivakumar, Akram Mohammad Starring: Arivazhagann Abel, Sivakumar Meenashre, Prabu Kirubaahgara, Rifath Mohamed A short crime comedy from Singapore, written by Arivazhagann Abel, Mridul Samrat, Sivakumar Meenashre and Akram Mohammad, directed by Abel and starring himself, Meenashre, Prabu Kirubaahgara and Rifath Mohamed. Just explaining that the English translation for ''Neram Nallaruku'' is ''Time is Good''. A kidnapping is taking place and the people involved are not sure how to deal with it. The two abductees are Varun (Arivazhagann), an insecure young man who suffers from panic disorder and Pavithra (Meenashre), the woman he intends to propose to with the discreet help of his friend, Akash (Nachiappan S). However, before he is able to find the courage to do so, the two of them are snatched by Kaali (Kirubaahgara), a criminal who intends to use them threaten Pavithra's gangster brother, Rudhra (Mohamed) for ransom. The film begins with a humorous title card explaining the meaning of panic disorder, indicating that this is not going to be a serious viewing and it is not. Following an intended marriage proposal that does not occur, the criminals enter the scene, and they are not very efficient, leading to a series of awkward events that include a phone conversation about ransom that ends up full of misunderstandings and an inprisoned Varun calling Akash and asking for life-saving advice while the latter gives it by chilling in front of the TV. A story filled with misunderstandings and clumsiness and the comedic atmosphere is supported by Surya Sahish's amusing music. The acting is not convincing, however it is still entertaining, with the cast making the characters come across as naive in the face of life-threatening situations. Varun is mostly serious or perhaps oblivious to his situation, not knowing how to handle things. Pavithra is rebellious and as for Rudhra and Kaali, well, they appear to be inexperienced when it comes to kidnappings. But utilising an abduction concept, this short tells a story about naivety, deception, misunderstanding and mortal danger. Additionally, it also manages to be a commentary about romance and self-esteem. This is just twenty minutes of fun, watching a kidnapping having unexpected complications to comical effect. And the animation during the credits deserves commendations. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >