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Lunavom film review by UK film critic Patrick Foley. Starring Muthu Karthikeyan directed by Muthu Karthikeyan. HOME | FILMS | REVIEWS Lunavom Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 7, 2025 Directed by: Muthu Karthikeyan Written by: Muthu Karthikeyan Starring: Muthu Karthikeyan An argument in favour of AI generation is that it could allow smaller or lone filmmakers to explore worlds and concepts that have been locked away behind million-dollar budgets since the invention of VFX. But on the basis of Lunavom, technology has a long, long way to go to bridging that gap – and a true understanding of character and human emotion will always outweigh visual spectacle: something able filmmakers ought to understand. Created by Tamil filmmaker Muthu Karthikeyan entirely with AI, the film is a sci-fi tale of a human colony based on the moon in the not-so-distant future after the collapse of humanity. A mysterious signal from Mount Kailash triggers investigation, and a glimmer of hope emerges of a brighter future from lessons of the past. There are important ethical questions about the use of AI in film that are far too extensive for a single review. Needless to say, many in the industry will find films like Lunavom controversial, my intent is to review this film independent of these. However, it really is impossible to separate it from the technology behind its creation. Most prominently is that for all the sci-fi spectacle, epic space sequences and photorealistic ‘actors’, the uncanny valley effect is completely overwhelming. Even 68-year-old Facebook users will be able to spot that the scenes are off – with the characters almost unanimously robotic and artificial. This is purportedly intentional, but it’s impossible to connect to their stories or invest emotionally when such clear lack of humanity emanates from the screen. It is unlikely that Karthikeyan could have done much more to resolve this due to technological limitations of the day, but whether the endeavour was worth proceeding with is another question due to this. The plot is based around Tamil mythologies implanted into a futuristic imagined world where humanity has near-perished. It is an admirable idea to proceed with – one that will be unfamiliar to many Western audiences and one that may not otherwise be supported by large studios. It is these types of stories where an argument for AI use exists – that filmmakers who otherwise would be ignored can punch through the ceiling of financial restriction. But Lumavom does a poor job of explaining its quite complicated story aspects and concepts. Perhaps to those with prior familiarity with the culture this will have more of an impact, but otherwise comes across as difficult to interact with. It also seems particular galling to mention humanity forgoing real human experiences in place of the artificial as one of the film’s themes. If an appetite for fully-AI films even exists, it is unlikely to be satisfied by Lunavom. The film is the definition of artificial, and is utterly shallow despite occasional photorealism. There are far more interesting and fulfilling ways in which such a story could have been told, and whilst the questions around benefits that the technology can have for small-scale films ought to still be pondered, AI superiority is still, thankfully, a long way off. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 1 out of 5 Lunavom Read Review average rating is 4 out of 5 Eraserheads: Combo on the Run Read Review average rating is 3 out of 5 Merrily We Roll Along Read Review average rating is 5 out of 5 Hamnet Read Review average rating is 1 out of 5 The Big Pelvis Read Review average rating is 3 out of 5 Hot Box Read Review average rating is 3 out of 5 Tangled Up in Christmas Read Review average rating is 4 out of 5 Wake Up Dead Man: A Knives Out Mystery Read Review average rating is 4 out of 5 Zootopia 2 Read Review average rating is 3 out of 5 In Need Of Seawater Read Review average rating is 4 out of 5 Marion’s Lilies Read Review average rating is 3 out of 5 Counterpart Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! 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This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 1 out of 5 Lunavom Read Review average rating is 4 out of 5 Forever Young Read Review average rating is 4 out of 5 Roadman: The Pilot Read Review average rating is 3 out of 5 Armstrong: Dark Secrets Read Review average rating is 3 out of 5 Tripping Beneath The Spring Clouds Read Review average rating is 4 out of 5 Eraserheads: Combo on the Run Read Review average rating is 3 out of 5 Jake & Pete’s Christmas Special Read Review average rating is 3 out of 5 Merrily We Roll Along Read Review average rating is 5 out of 5 Hamnet Read Review average rating is 3 out of 5 Far From Water Read Review average rating is 4 out of 5 Just the Usual Read Review average rating is 1 out of 5 The Big Pelvis Read Review average rating is 3 out of 5 Princess of the Murder Read Review average rating is 3 out of 5 Hot Box Read Review average rating is 2 out of 5 The Ezzera & Gore-Girl Horror Anthology Read Review average rating is 3 out of 5 Tangled Up in Christmas Read Review average rating is 4 out of 5 Fearless Read Review average rating is 2 out of 5 The Wildman of Shaggy Creek Read Review average rating is 4 out of 5 Candy Heart Heist Read Review average rating is 4 out of 5 If I Could Get You To Stay Read Review average rating is 4 out of 5 Wake Up Dead Man: A Knives Out Mystery Read Review average rating is 4 out of 5 Zootopia 2 Read Review average rating is 3 out of 5 In Need Of Seawater Read Review average rating is 4 out of 5 Marion’s Lilies Read Review average rating is 3 out of 5 Blowing Up Read Review average rating is 3 out of 5 CATACLYSM Read Review average rating is 4 out of 5 Letters of Love Read Review average rating is 3 out of 5 A Tight Squeeze Read Review average rating is 4 out of 5 The Silver Screen Dreams Cafe Read Review average rating is 3 out of 5 Counterpart Read Review average rating is 3 out of 5 PN & Friends: Algore Read Review average rating is 3 out of 5 Extricate Read Review average rating is 3 out of 5 The Whispers Read Review average rating is 4 out of 5 Peter Hujar's Day Read Review average rating is 4 out of 5 Jay Kelly Read Review average rating is 2 out of 5 Keeper Read Review average rating is 3 out of 5 Planet Hope Read Review average rating is 4 out of 5 Wicked: For Good Read Review average rating is 4 out of 5 The Young Mozart Read Review average rating is 3 out of 5 Reawakening Read Review average rating is 3 out of 5 Pelverata Read Review average rating is 3 out of 5 Jujji Read Review average rating is 4 out of 5 The Edge of Existence Read Review average rating is 4 out of 5 Testimony Read Review average rating is 3 out of 5 M: Beyond The Wasteland Read Review average rating is 2 out of 5 Baby Teeth Read Review average rating is 3 out of 5 Men Behind Closed Doors: Stories For Survival Read Review average rating is 4 out of 5 Where There Is Love, There Is No Darkness Read Review average rating is 4 out of 5 The Last Dance Read Review average rating is 2 out of 5 Confessions in Static Read Review average rating is 3 out of 5 The Last Joke Read Review average rating is 3 out of 5 The Death of the Centurion Read Review average rating is 3 out of 5 The Pause Read Review average rating is 5 out of 5 Bury Your Gays Read Review average rating is 3 out of 5 Sahurda Read Review average rating is 3 out of 5 One Day This Kid Read Review average rating is 3 out of 5 A Fighting Legacy Read Review average rating is 3 out of 5 L'Aube Dorée Read Review average rating is 5 out of 5 Grima Read Review average rating is 3 out of 5 Predator: Badlands Read Review average rating is 2 out of 5 Odyssey Read Review average rating is 3 out of 5 Lost & Found in Cleveland Read Review average rating is 3 out of 5 Major Tom Read Review average rating is 3 out of 5 Take Off Read Review average rating is 4 out of 5 TERRA Read Review average rating is 4 out of 5 Good Friday Read Review average rating is 3 out of 5 Christy Read Review average rating is 4 out of 5 Guillotine Read Review average rating is 2 out of 5 Mother Bhumi Read Review average rating is 4 out of 5 Mr Burton Read Review average rating is 4 out of 5 Cake Read Review average rating is 4 out of 5 La Mort Pourpre Read Review average rating is 2 out of 5 Intruder Read Review average rating is 4 out of 5 Stan Ritchie Read Review average rating is 3 out of 5 In Waves and War Read Review average rating is 3 out of 5 Lost in Time Read Review average rating is 3 out of 5 Snare Read Review average rating is 3 out of 5 Stitch Head Read Review average rating is 2 out of 5 Anniversary Read Review average rating is 3 out of 5 I Really Love My Husband Read Review average rating is 2 out of 5 Arena Wars Read Review average rating is 2 out of 5 Kontinental '25 Read Review average rating is 5 out of 5 The Secret Assistants Read Review average rating is 4 out of 5 There's Something I Have to Tell You Read Review average rating is 4 out of 5 Springsteen: Deliver Me From Nowhere Read Review average rating is 3 out of 5 TV Man (Te(L)o Comando) Read Review average rating is 3 out of 5 The Valley of Hearts Delight Read Review average rating is 3 out of 5 The Hand That Rocks the Cradle Read Review average rating is 3 out of 5 Sign Your Name Read Review average rating is 3 out of 5 B.O.O.B.S: The Mockumentary Read Review average rating is 5 out of 5 In Absence Read Review average rating is 1 out of 5 I Slay On Christmas Read Review average rating is 4 out of 5 Love + War Read Review average rating is 4 out of 5 As A Joke Read Review average rating is 4 out of 5 Antithesis Read Review average rating is 3 out of 5 Agent Jayne: A Woman With A Mission Read Review average rating is 3 out of 5 The Whip Read Review average rating is 5 out of 5 A Wanderer's World Read Review average rating is 2 out of 5 Clocking the T Read Review average rating is 3 out of 5 Witchez are Bitchez Read Review

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 Lunavom Patrick Foley Jake & Pete’s Christmas Special William Curzon Far From Water Jason Knight Just the Usual James Learoyd The Big Pelvis William Hemingway Candy Heart Heist Jason Knight If I Could Get You To Stay William Curzon In Need Of Seawater William Hemingway Marion’s Lilies Patrick Foley Blowing Up Jason Knight CATACLYSM William Curzon Letters of Love Chris Olson A Tight Squeeze Lawrence Bennie Counterpart William Hemingway Extricate Patrick Foley The Whispers Matt Trapp The Young Mozart Matt Trapp Baby Teeth William Hemingway The Last Dance William Curzon The Death of the Centurion James Learoyd The Pause William Curzon Bury Your Gays Holly Baker Sahurda William Curzon One Day This Kid Jason Knight L'Aube Dorée William Hemingway Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Lunavom average rating is 1 out of 5 Forever Young average rating is 4 out of 5 Roadman: The Pilot average rating is 4 out of 5 Armstrong: Dark Secrets average rating is 3 out of 5 Tripping Beneath The Spring Clouds average rating is 3 out of 5 Eraserheads: Combo on the Run average rating is 4 out of 5 Jake & Pete’s Christmas Special average rating is 3 out of 5 Merrily We Roll Along average rating is 3 out of 5 Hamnet average rating is 5 out of 5 Far From Water average rating is 3 out of 5 Just the Usual average rating is 4 out of 5 The Big Pelvis average rating is 1 out of 5 The Latest Film Trailers MOVIE TRAILERS Ready Or Not 2: Here I Come Shelter People We Meet On Vacation Doctor Plague Wake Up Dead Man: A Knives Out Mystery Michael Filmmaker Interviews INTERVIEWS

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

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. Lunavom An argument in favour of AI generation is that it could allow smaller or lone filmmakers to explore worlds and concepts that have been locked away behind million-dollar budgets since the invention of VFX. But on the basis of Lunavom, technology has a long, long way to go to bridging that gap – and a true understanding of character and human emotion will always outweigh visual spectacle: something able filmmakers ought to understand. Created by Tamil filmmaker Muthu Karthikeyan entirely with AI, the film is a sci-fi tale of a human colony based on the moon in the not-so-distant future after the collapse of humanity. A mysterious signal from Mount Kailash triggers investigation, and a glimmer of hope emerges of a brighter future from lessons of the past. There are important ethical questions about the use of AI in film that are far too extensive for a single review. Needless to say, many in the industry will find films like Lunavom controversial, my intent is to review this film independent of these. However, it really is impossible to separate it from the technology behind its creation. Most prominently is that for all the sci-fi spectacle, epic space sequences and photorealistic ‘actors’, the uncanny valley effect is completely overwhelming. Even 68-year-old Facebook users will be able to spot that the scenes are off – with the characters almost unanimously robotic and artificial. This is purportedly intentional, but it’s impossible to connect to their stories or invest emotionally when such clear lack of humanity emanates from the screen. It is unlikely that Karthikeyan could have done much more to resolve this due to technological limitations of the day, but whether the endeavour was worth proceeding with is another question due to this. The plot is based around Tamil mythologies implanted into a futuristic imagined world where humanity has near-perished. It is an admirable idea to proceed with – one that will be unfamiliar to many Western audiences and one that may not otherwise be supported by large studios. It is these types of stories where an argument for AI use exists – that filmmakers who otherwise would be ignored can punch through the ceiling of financial restriction. But Lumavom does a poor job of explaining its quite complicated story aspects and concepts. Perhaps to those with prior familiarity with the culture this will have more of an impact, but otherwise comes across as difficult to interact with. It also seems particular galling to mention humanity forgoing real human experiences in place of the artificial as one of the film’s themes. If an appetite for fully-AI films even exists, it is unlikely to be satisfied by Lunavom. The film is the definition of artificial, and is utterly shallow despite occasional photorealism. There are far more interesting and fulfilling ways in which such a story could have been told, and whilst the questions around benefits that the technology can have for small-scale films ought to still be pondered, AI superiority is still, thankfully, a long way off. VIEW REVIEW Jake & Pete’s Christmas Special Jake & Pete’s Christmas Special follows the titular characters in their small town in Gloucestershire, when the spirit of Christmas seems to have left. Jake and Pete must find a way to restore it in time for Christmas, just around the corner. Heavily reminiscent of South Park (1997-), the piece even pays loving homage to the series as it clearly wears its influences on its sleeve with its deeply raunchy and absurd comedic elements. One of the most endearing qualities of the piece is the gorgeous animation, which suits the tone and setting perfectly for the Winter season in Gloucestershire. Its animation is predominantly impressive to witness despite its budget limitations. The film also surprisingly feels incredibly grounded, given the absurd nature of the more fantastical elements of the narrative. However, the use of a visualisation of gameplay implemented into the animation can look bizarre and unnatural, ultimately detracting from the film’s style. Specific pieces of dialogue are also delivered inadequately due to the use of subdued voice acting, which detracts from the experience. While many of the comedic gags effectively land, the raunchy dialogue becomes grating and repetitive towards the end, despite its limited runtime. However, the live coverage sequences are mostly brilliant as they employ social commentary on the current state of the cost-of-living crisis within the UK. The piece feels profoundly British within its iconography and references, which may not resonate with audiences outside the UK as much. It's accompanied by a lovely Winter backdrop, which is integral to the narrative and again feels heavily inspired by South Park. The central three characters, Pete (Taylor Taberner), Jake (Luke Marley) and Beth (Kaitlyn Walker), all work well together with fun onscreen chemistry as their banter and charm are the driving point of the experience. On the other hand, specific supporting players are deeply unlikeable due to their absurd and misogynistic nature. While the social commentary is justly impactful in its attempt at darkly comedic satire, many of the gags come off as problematic and sometimes uncomfortable to digest as a viewer. The film can also lose some steam towards the conclusion, thanks to how stilted and awkward the central conflict between characters feels at times. Its narrative amounts to just minor, with a lack of character development for either Jake or Pete, and their bizarre motives don't give the audience enough reason to care enough about where they eventually end up. The performances across the board are solid, in particular Kaityn Walker, who portrays Beth. She is ultimately the heart and soul of the narrative and a far more likeable leading player than Jake and Pete. Another major standout is the use of music, which is effectively implemented throughout to fit the tone and Christmas setting. This is a prime example of a piece of filmmaking that may resonate with a target demographic of teenagers for repeat viewings, thanks to its provocative and edgy humour. Jake & Pete’s Christmas Special is a fun and endearing comedic piece with an effective splice of social commentary regarding the state of the cost-of-living crisis in the UK. While it may suffer from bizarre creative decisions in the art direction and insensitive jabs at creative talent in the film industry, it draws on well-loved influences to deliver a charming Christmas delight. VIEW REVIEW Far From Water A short drama written and directed by Josh Cox and starring Lucas Nealon and Jarid Dominguez. Two male youths (Nealon and Dominguez) arrive at an isolated beach. There, they undress and go for a playful swim. Then, they lay on the grass and get intimate. However, all does not seem to be well. Two young men, alone, in the countryside. With this simple premise, this short tells a dramatic story about a romance that may already exist or could be just beginning. By having very limited dialogue and providing almost no information about the lives of the two protagonists, the story is mysterious and that is probably because the goal was to concentrate on the relationship, the romance, which appears to be unstable. Things start out joyfully, with the two youths enjoying each other's company and after they get intimate, the atmosphere changes, making it questionable whether the romance that develops is welcomed by the youngsters. Cox took on many roles for this project, including cinematographer and editor and the result is a viewing experience that contains wonderful shots of the beach, the ocean, the forest and the sky. The fact that the weather is unsettling adds to the drama and so does the beautiful music. The story centres on the two characters and they are the only ones in the film. The are brought together by the fact that they are attracted to each other, however, Dominguez's character appears to be the one who is unsure about the relationship, much to the dissatisfaction of the other guy. Through a homosexual romance, the screenplay explores happiness, peacefulness, self-discovery, as well as regrets and uncertainty. A four-and-a-half-minute-long film about an unsteady homosexual relationship between two young men. During its short duration, the script is able to generate a great deal of drama and end on a note of significant character development. A moving and thoughtful viewing. VIEW REVIEW Just the Usual Just the Usual is a rich and emotional Danish film about an older hairdresser, Ole Benny (played terrifically by Søren Sætter-Lassen), and how exactly he spends his final day before his beloved barbershop closes. He encounters a few other characters through the story who each illuminate a different facet of his professional life – much like the narrative structure of a fable. But at its heart, this is a tale of a deeply lonely man who is about to lose a significant aspect of his identity: his passion. The film’s running time is 27 minutes. It’s a slow, textural, contemplative film; one which won’t entirely sit right with everyone for its slow place. Yet, this is an immensely accomplished piece – masterfully designed, performed and constructed. A wonderful picture. There’s plenty to discuss when it comes to the visuals. The first thing that strikes you is the flawless set-design. The Wes Anderson-feeling colours; the vintage lights; the pleasing combination of materials and eras. That, combined with what Ole Benny looks like as a character – the particularities of his formal wear, his use of hairspray and black-rimmed glasses – really infuse the story with a fully-realised sense of style. Directorially, this is an incredibly confident piece. The camera is seemingly always in the right place, as the lenswork, in turn, complements the arrangement of the location. One characteristic of the cinematography which I’d like to draw attention to is the effective yet sparing use of the dolly shot. In the opening shot – in addition to one or two shots later on – the camera slowly slides forward through the location, and it’s incredibly satisfying. It’s a form of camera movement whose sensibility seems to match nicely with the lines, operations and smooth surfaces of the establishment; – and heightens a certain sense of meticulous care and focus from the protagonist himself. Writer-director Nanna Tange has done a truly immaculate job with the mise-en-scene of this movie. There’s not a detail in any frame which doesn’t please the eye or stimulate the senses in some way. I found myself becoming very relaxed due to the pastel balance of the colours, the softness of the light, the crispness of the sound, and of course, the slow flow of the pace. Anyone can tell that, from the form and technicalities alone, this movie is a wonderful and positive work. But I’d argue that it’s the central performance – its tenderness, charisma and emotional depth – that elevates this smooth aesthetic into genuinely moving territory. The conceit itself if quite random; this isn’t a setup we’ve seen before, and in addition to that fact, it’s being depicted in a uniquely restrained, matter-of-fact manner. Some may find such a setup intriguing, but maybe too mundane to sustain their attention. But it’s the opinion of this critic that the concept and lax runtime provide a refreshingly open space for the filmmakers to form their tone, and – maybe most importantly – for the lead performer to find the beauty and complexity in his character. In summation, this is a near-masterpiece; and potentially a film which, due to its refined, comforting tone and deep sense of identity, a film I may be inclined to revisit. VIEW REVIEW The Big Pelvis Three friends meet up for their monthly attempt to land the fabled fish known as ‘The Big Pelvis’ before their arch-nemesis gets to it first. It’s that time of the month. The time when ‘The Big Pelvis’ comes out to play and is active enough to be caught, but only for a brief, short window. Three teenage friends who have been searching for ‘The Big Pelvis’ for quite some time now, are together again to go fishing down by the pier, in the hope of landing the biggest catch of their lives. The Cast Master (Jeavons), Knot Master (May), and Bait Master (Mook), who prefers to go by the name of Brad, are all suited and booted in their cargo shorts, tie-string bucket hats, and short-sleeved shirts, ready to take their shot at ‘The Big Pelvis’ , while their close rival, Other Brad (Nichols) also wants a piece of the action. We watch as the scene plays out down by the lake, with the three stooges bouncing off one another in that bumbling, annoying, nonsensical way, as they argue over who should be doing what, and who is the most/least useful in their group. Then thrown into the mix comes Other Brad, who approaches the simplest member of the group on his own first, coming over all nicey-nicey while actually listening to and being considerate of this mostly overlooked of the three friends. Knot Master thinks it might be quite a good idea if they let Other Brad join the group and the hunt for ‘The Big Pelvis’ , but when faced with the staunch disdain of the Cast Master and Bait Master/Brad, it soon becomes clear that this is not going to happen. So, what we’ve got is a home movie style of video, shot on a digital camera, with four friends acting out a scene down by the lake thinking they’re funny, while the world goes on around them in the background. The dialogue at least has been scripted and is then delivered, but that doesn’t mean that it’s any good or makes any real sense to anyone outside of the group, or that the performances are any better for it. The direction and sound are as basic as they can possibly get, with a home camera being pointed in people’s faces as they stand around statically talking with one another, and everything being picked up ‘as is’ from in front of the lens and the microphone. There’s also some background incidental music as well as a process of editing going on behind the scenes, which helps The Big Pelvis mark itself out as an actual production, but beyond that there’s very little for the viewer to enjoy. It seems as though the teenagers behind the film wanted to make some jokes around their idea of ‘the fish that got away’, and their puerile humour comes through at every mention of The Big Pelvis and the fact that ‘they want their shot at it’, or they ‘don’t want to distract it from coming’, and other such basic double-meanings. It’s obvious that ‘The Big Pelvis’ is a metaphor for sex and judging by the poor, poor quality of this film, it’s something that the filmmakers are going to be chasing after for quite some time. VIEW REVIEW Candy Heart Heist A short crime drama written and directed by Dave Shecter and starring himself, Scarlett Vaill, Jason Whited, Amy DiLorenzo and Carl Covington. Teenaged Amber (Vaill) lives in a small town with her parents. One school day, she goes out, ostensibly to meet with a friend, however it soon becomes evident that her true intentions are to steal here and there. She enters a convenience shop and steals some sweets, before wondering around the area and breaking into a car. Eventually, she ends up in a restaurant, where she sits at a table with a stranger, a middle-aged man named Bradley (Shecter) and he tells her interesting things about him and offers her some advice. The narrative takes place over the course of a few hours and focuses primarily on exploring Amber and Bradley's lives, as well as several other characters, including a shopkeeper (Whited), Agent Grey (Covington) and two police officers. It is when Amber meets Bradley that things turn very dramatic and the film reaches its peak, communicating important lessons about life. There is great character development and the inclusion of tense and interesting music adds to the atmosphere. This may be a minor observance, nevertheless, it should be acknowledged as it is obvious. When Amber is at the restaurant, why does she sit with Bradley, a person she has never seen before? This does not really matter, but when people go to places like these, they do not tend to sit at the same table with stranger. As Bradley, Shecter portrays a career criminal, a theif to be precise. However, he is not proud of his illegitimate actions, on the contrary, he deeply regrets having chosen such a life, particularly due to a terrible incident and when he meets Amber he becomes a sort of mentor, trying to persuade her not to follow in his footsteps. Wearing a black jacket and headphones, Amber is a rebellious teen who is going down the wrong path. Crime is a main theme in this short, especially the fact that crime does not pay. The film's primary objective strongly appears to be to communicate the message that turning to crime will only end in tragedy. Alongside this, this is also a story about law enforcement, self-reflection, regrets and the ups and downs of marriage. A story about crime that centers on a life-changing encounter between two strangers. The strongest aspect of this film is the fact that it encourages people to say no to crime and that is enough for it to be categorised as a viewing of considerable significance. VIEW REVIEW If I Could Get You To Stay If I Could Get You To Stay is a touching love story which follows a young man, James (Hamish Wolstenholme), who struggles to find the courage to ask his long-distance girlfriend, Yvonne (Erin Thwaites), to stay with him as they prepare to part ways once more. It is a relatively grounded narrative that's tough to witness as both characters delay the inevitable and make the most of the final time they have together. The writer/director Michael Spencer sublimely ushers the viewer into the final time James and Yvonne have together, using steady camerawork to ensure both characters are always in the centre of the frame. Consisting predominantly of extreme close-ups and fixed camerawork by cinematographer Jeason Hanson, it's an incredibly intimate experience that feels meditative and a window into the love the two characters share for each other. Vanya Korolchuk’s musical score is low-key and moving while anchoring the touching nature of the narrative and quieter moments of recollection as James attempts to muster up the courage to speak before it's too late. It's an inevitably tragic story which makes the most of its short-lived runtime to flesh out both characters to a suitable degree. This is clearly a deeply personal piece of filmmaking that the performers and crew had joy making with a distinct love and passion for the material in every frame, while making astounding use of its budget limitations. The chemistry between the two leads is endearing, and they convey their characters’ emotions with such empathy and raw tenderness that it's incredibly heart-wrenching to see them both attempt to make the restricted time spent together as special as they can. While the characterisation for both central characters is paper-thin, the screenplay still manages to ground both characters well enough, and the formal elements soar to anchor the understated nature of the material to impressive heights. However, the short-lived runtime is a detriment to the experience, and there is ultimately not that much to chew on thematically. A broader runtime could have fleshed out James and Yvonne’s relationship more deeply to make it fully emotionally resonate with the audience. Perhaps reworking the material into a feature-length narrative could be a potential idea down the line, as the performances and filmmaking are profoundly moving. The piece still manages to be consistently engaging until its emotionally driven climax. Both actors clearly have a bright future ahead of them, considering what they were able to accomplish with such limited material. While the conclusion to the piece is ambiguous and leaves the viewer wanting more, it's a suitable place to leave it, as the audience can decide for themselves the further journey both characters end up on. The conclusive moments are emotionally overwhelming and deliver on the film’s steady build-up, effectively wrapping up both character arcs in a satisfying manner. If I Could Get You To Stay conveys the meditative and low-key journey of two individuals making the most of the time they have together before their inevitable departure. Held together by two outstanding central performances from Hamish Wolstenholme and Erin Thwaites, and Michael Spencer’s formalism, it's an intimate and touching piece of filmmaking that depicts the power of love between two individuals having the courage to reach out to one another. VIEW REVIEW In Need Of Seawater A poet invites a small group of his mates round to read to them a retrospective of his most formative work. In 2004, Mark Anthony Thomas released his second major work of poetry, The Poetic Repercussion , containing a series of poems he wrote between the ages of twenty-one and twenty-four. The poems described his journey to manhood, and self-discovery, as a gay black man growing up in Atlanta, Georgia, and tried to relate the experiences, feelings, and desires he encountered along the way; those which shaped him into the man he would eventually become. Now, more than twenty-years later, and living in Baltimore, Maryland, Thomas has decided to revisit his earlier work and plans to release a trilogy of films about his poetry. This first film, In Need Of Seawater , intends to look back at ‘the past’, while it is assumed that the next instalments will focus on ‘the present’ and ‘future’ respectively. In Need Of Seawater , then, takes us back to 2004, when Thomas’ feelings were so strong that he just had to get them out onto the page. The poems are full of growth, and becoming, and clear sight, and quiet understanding, whilst distilling the energy of turmoil and inequality into reasoned words and rhythms. Thomas gathers a few of the faithful, people who know him from his work in publishing, civic leadership, or from his poetry, and gives a private reading for them in an uptown, modern, Baltimore apartment. The film records this event intimately, moving between the guests and the performer, watching the emotions spread across the faces of the gathered, as well as the nodding heads and the knowing glances, as Thomas reads his poetry aloud. Slotted into the narrative of the readings, between the lines and verses, are some staged scenes, historical footage, and home movies, which represent the themes, events, and emotions that Thomas is trying to convey. These interludes take us away from the enclosed space of the well-lit apartment, and whisk us away to the sea, to the park, to the homes and neighbourhoods of others, and to the past, giving us a visual insight into the words that we hear; those that flowed from Thomas’ pen. We are both at once, listeners and viewers, as we are also invited into this small space to experience the creative expression Thomas gives to his feelings, and we go on the journey with his audience, partaking in the literary emergence of a man who feels he must share with us all of who he is in order to survive. For twenty-six minutes we sit with Thomas as he moves around the room and reads his poetry from loose-leafed pages. This starkness of intimacy somehow leans us away from the semblance of art, however, and fully puts us in the frame of a personal documentary. It is clear that Thomas’ poetry is mostly about his singular experience of growing into who he is, wedged into a particular time and place, reacting to the social issues and politics of the day whilst trying to take account of all that has come before, and so we sit as an audience member, listening but not necessarily engaging, feeling truly that we are at a poetry event rather than watching a film. This is great for those who want to spend half-an-hour in the presence of a poet, and who want to be at such an event, but for those looking to watch a film or gain insight into the author beyond his published words, there is nothing else on offer. If you are not a person who would come to Thomas’ poetry on your own, you are not likely to get anything much out of the experience of watching In Need Of Seawater . It is a feeling of nostalgia which seems to have motivated Thomas into these new films, or at least this one, as he reminisces over the man he used to be at a private event for the chosen few. The choice to create films around the work seems oddly extraneous and unnecessary, when all that we get is a reading that we could have got from an audiobook, along with a few nice visuals thrown in. There is no exploration or analysis of the work, how it was created or what methods were used, and there’s no delving into the background and history of the young Thomas, either. While the focus of the film may well be artistic, creative, and true, the end result feels rather more like a clutching at the past, a determination to stay the inevitable passing of youth, whilst allowing the poet an opportunity to reconnect with his work through veiled self-promotion. VIEW REVIEW Marion’s Lilies A gruesome murder leads to a husband’s descent into darkness in Marion’s Lilies, Marcello Mantero’s short psychological thriller that confronts the realities, consequences and heartbreak of revenge. Reeling from the death of his wife at the hands of shadowy serial killer ‘The Owl’, David (Neil Bishop) obsesses over enacting revenge on the man responsible. Enraged by the sluggishness of the police, he embarks on his own investigation using his friendship with a homeless witness of the crime, Andy (John Britton), to try and find his own leads. As time goes by, David considers ever more extreme lengths to take revenge – to the point where his own morality abandons him. Unless your film stars a muscle-bound 80s action hero and features at least 12 explosions, filmmakers are honour-bound to conclude that revenge is, in fact, a bad thing. But few films imbibe this lesson quite as much as Marion’s Lilies . Taking place in the aftermath of a murder, Neil Bishop’s David is already a husk of a human at the film’s opening. Overwhelming grief quickly turns to anger and bloodlust, and our overall picture of the character is that of a ruthless and committed vigilante. The degree of David’s darkness actually asks a question that may be more interesting than the filmmaker intended at the film’s origin: is this darkness within us? Or is it caused by outside factors? David’s mother and items around his home suggest David has been turned by the event of his wife’s murder. But his resourcefulness and embrace of anger suggest this side of him is one that has always been present. The speed at which he grows tired of the police and the callousness he treats those who offer him kindness are further evidence of this. The noir influences are clear to see in the shadowy night-stalking sequences that are truly thrilling, as David puts his revenge plan into action. The film looks fantastic, with the streets David walks suitably consuming and hostile. For a film as dark both in terms of content and appearance, it is lit beautifully – avoiding the pitfall that so many contemporaries fall into when important action scenes end up barely visible due to a need to black-out the shot. Mantero avoids this comfortably, understanding that drama outweighs visual authenticity in such moments. There are a few moments where the film stretches credibility. Much of David’s investigation relies on police reports on TV and Radio – an effective way of demonstrating his amateurish tendencies (that he cannot see in himself) but raising a natural question of why such information would be made public at all. Exposition-heavy dialogue in general rears its head one too many times, with David himself outright stating his motivations and characters around him outlining the story’s message and themes in ways that feel easily improved upon with a stricter edit. And whilst Neil Bishop impresses in general as David, his unhinged explosiveness is ropey in parts, and the performance could have benefited from more restraint. Revenge has rarely been so prominent in a film’s narrative as it is in Marion’s Lilies. From the filmmaker’s own description of the project, it is possible that some of the intentions of the narrative are not met by the delivery of the production. Some of these (like the darkness David embraces) are actually to the film’s benefit, whilst others (the bluntness of the dialogue) detract from it. Nevertheless, this is a memorable, unrelenting thriller that looks great and isn’t afraid to take chances with its script and characters. VIEW REVIEW Blowing Up Dedicated to his late father, this short drama is A.J. Fitzgerald's directorial debut, that he also wrote and it stars Maria Todero, Tenaya Cleveland, Danielle Rodd and Don-Dimitri Joseph. Janine is not well. It is her 30th birthday and she has not been well for ages due to a loss. Her condition has alienated her from her loved ones, damaging her relationship with her partner, Scott (Joseph), testing her friendship with co-worker Miranda (Rodd) and causing her to ber less competent at work, much to the dissatisfaction of her boss (Cleveland). Scott and Miranda are planning to take Janine to a restaurant for the special occasion and there, things will get quite dramatic. Here is the thing: Janine is an inflatable doll. Just a doll, lying on a bed, sitting at a desk at work, listening to a smart speaker or sitting at a table at a restaurant with friends. She is treated by others as an actual person: they talk to her the same way they would speak to a friend and the doll is also dressed in clothing, although she does not move or speak, she seems to be an object, not one that is magically alive. The fact that a doll appears to be the protagonist and all characters view her as a real person is probably what makes this film stand out the most, as it is an intriguing technique. The reason that Janine is presented as a doll is revealed eventually, meanwhile one cannot help but wonder whether the doll possesses supernatural powers or whether the characters have lost their mind. Without spoilers, the answer is neither. With a doll as a protagonist, this story goes into deep drama, filled with emotional pain and confrontations with the atmosphere being enhanced by Julien Monette's music. Throughout the film, several quotes appear that are about a variety of themes, such as happiness and bravery. Although their apparent intention is to add further meaning to the viewing, ultimately, they are not required in order for the film to have an impact. The performances are strong. Rodd and Scott play characters who are concerned about Janine's well-being but do not seem to be able to get through to her. Cleveland plays a different role, that of a selfish employer who is more concerned about people's performance at work than their mental health. Todero is arguably the one who stands out the most, thanks to her terrific job as a broken woman who is being torn apart by loss and has become isolated. The film begins with a title card stating that this story contains distressing subjects such as grief and depression and it is a correct statement as what follows heavily involves these themes and it also brings attention to alienation, anger, self-reflection and the importance of support. Furthermore, the significance of smart speakers is brought forward, how much people rely on these devices in today's world. A dramatic and emotional story about loss that focuses on the aftermath of a passing. Great acting, great drama and a doll as a protagonist being the most memorable aspect. Doll aside, this film does not differentiate itself much from other films that deal with similar subjects. VIEW REVIEW

Forever Young film review by UK film critic Jason Knight. Starring James Johnson, Thomas Lewis, PJ Manney, Nir Barzilai directed by David Donnelly. HOME | FILMS | REVIEWS Forever Young Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 7, 2025 Directed by: David Donnelly Written by: David Donnelly Starring: James Johnson, Thomas Lewis, PJ Manney, Nir Barzilai An informative feature-length documentary about ageing, written and directed by David Donnelly. Can science find a way to prevent humans from ageing? Could people eventually live eternally? These are questions posed in this feature. By utilising interviews consisting of experts sharing their knowledge and predictions, photographs, computer animation and archival footage, this documentary investigates what exactly ageing is, how it works and how the progress of science and technological advancements is attempting to find ways to slow down or even permanently stop this process. The interviewees include seasoned and highly knowlegeable academics, some of which are Psychiatrist Thomas Lewis, Futurist PJ Manney, President and CEO of Buck Institute for Reserach on Aging Eric Vardin, Psychiatrist Sarah Centeno and Steve Horvath, the creator of the epigenetic clock. Listening to their words regarding the possiblities that one humans will not grow old and might not even die is intriguing and makes one wonder whether it is truly possible. The addition of computer animation in order to present diagrams and more was a great idea as it helps to make the viewing experience significantly interesting. This technique is also applied to the sequences where a woman named Ava interacts with artificial intelligence in order to live a healthy lifestyle. Ageing and immortality. These are the two main subjects here and this documentary asks whether the former could be prevented and whether the latter could be made possible. By analysing genes, lifestyles and the progress of medicine and technology, this film explores the probability of this becoming a reality some day. The idea of never ageing and perhaps even never dying is centainly intriguing. This inspiring documentary encourages viewers to consider what humans are capable of achieving. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Roadman: The Pilot film review by UK film critic William Curzon. Starring Michael Momodu, Beatrice Fletcher, Damien Brewer directed by Damien Brewer. HOME | FILMS | REVIEWS Roadman: The Pilot Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 7, 2025 Directed by: Damien Brewer Written by: Damien Brewer Starring: Michael Momodu, Beatrice Fletcher, Damien Brewer Roadman: The Pilot is an episodic TV Movie with the first episode titled “Go Be A Roadman Fam”, following Big M (Michael Momodu) on his journey from becoming a Roadman from the small town of Basingstoke to the streets of London. The piece is evidently inspired by the hit series Top Boy (2011-2023) and the feature film Blue Story (2019), with its suburban setting and musical elements incorporated into the narrative. One of the most endearing qualities of the pilot episode is how rapidly Michael Momodu introduces you to the world of Roadman with his deeply charismatic voiceover, which pokes fun at the audience by breaking the fourth wall. Clearly wearing its influences on its sleeve with the use of grime needle drops and a suburban backdrop, it provides the viewer with enough exposition about the area and community, as well as suitable characterisation to care about Big M’s journey. It also makes incredible use of its limited budget restraints, keeping the story grounded by utilising creative formal decisions in its editing. Stylistically, the unique narrative device of music also helps to ground the piece. An impressive feat within the direction and screenplay by Damien Brewer is how incredibly well-paced the episode feels, with frenetic energy as Big M traverses around the area to tie up all his loose ends. Damien Brewer and Bogdan Sandu’s edit feels seamless as it perfectly transitions from high octane tension to more calm and collective pieces of dialogue between characters from the town of Basingstoke. Bogdan Sandu’s camerawork is slick and engaging, consisting primarily of wides, closeups and even handheld tracking of the actors during brief sequences of tension. Big M even makes light of the way Michael Bay shot Bad Boys 2 (2003) as it utilises a 360° arc shot around him and a brief inclusion of a drone shot, which may also be an ode to Bay’s style. This particular episode is profoundly comedic with its slapstick nature, and many of the gags thankfully land. Another major standout is that the tonal shifts are incorporated well, and it never takes itself too seriously, given its silly nature. It also makes suitable use of its runtime with its quick-paced structure and never overstaying its welcome, while leaving the viewer wanting more. This is helped by the pulse-pounding musical score. Many of the performances are fantastic, in particular Michael Momodu, who carries the material on his back with his incredible screen presence and comedic timing. The supporting cast has astounding chemistry and gives the piece a sense of community; Damien Brewer (who portrays Chunks) in particular is a standout. Sadly, the conclusion to this episode loses some momentum in the back half due to retreading similar themes and narrative beats. The pacing also becomes stagnant and loses the urgency that was prevalent in the first half. While it switches up its style with the use of music within its exposition and regains some of its needed energy back, the conclusion lacks the emotional resonance it's clearly grasping for. However, the ending sets up more material while suitably concluding the pilot section with a cliffhanger ending. Roadman: The Pilot “Go Be A Roadman Fam” is a fantastic introduction to the journey of Big M, brilliantly setting up his character arc and the surrounding community that has had a profound impact on his life. While it may lose its edge towards its conclusive moments, due to a rushed execution, this thankfully still works with its episodic nature. The pilot is ultimately a great start, which’ll undoubtedly improve with its future material. About the Film Critic William Curzon Web Series < All Reviews Next Film Review >

Armstrong: Dark Secrets film review by UK film critic James Learoyd. Starring Christian Menace, Jaylon Bolden, Gloria Prince directed by Tray Williams. HOME | FILMS | REVIEWS Armstrong: Dark Secrets Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Dec 7, 2025 Directed by: Tray Williams Written by: Tray Williams Starring: Christian Menace, Jaylon Bolden, Gloria Prince Tray Williams’ Armstrong: Dark Secrets is, in many ways, a crime epic. It’s filled to the brim with overlapping dramas, complex interpersonal dynamics and moral grey areas. The film begins with a high-stakes situation wherein two men – having each been shot – are in critical conditions respectively. This is a phenomenal way to begin your movie from a storytelling standpoint, and maybe most effective is that the gunfight itself has taken place offscreen. The conceit is clear. The suspense is tangible and well-crafted due to its focus on the characters involved and their authentic emotions. These are characteristics of the film’s first half which are unfortunately neglected in the latter half. Williams’ screenplay is a nuanced one with many moving parts; but it’s a tough ask to balance every storyline with grace. Nevertheless, this is a very impactful movie which demonstrates a respectful level of dramatic scale and structural ambition. Within the first act, we most prominently follow two women connected with those almost killed in the shooting. Their interactions in the hospital – their unknown connections to one another and the strange sense of fate that’s brought them to a point of shared desperation – is what makes much of the writing feel incredibly empathetic. The movie it at its very best when it’s primarily about the fallout of gang violence, and just how many people an incident such as this impacts. Yet, as the narrative progresses, deaths and conflicts take place at a far more frequent, and eventually flippant, rate – unfortunately minimising what felt like a socially probing work, transitioning to more hollow Hollywood thrills. It remains well-crafted since this is a consistently well-directed piece, but it sadly loses its emotional steam and thematic resonance. To briefly touch on the technical craft, there’s some great work on display. Visually, this is a sharp and nicely balanced work. There’s an incredible use of steadycam so to create a sense of sustained unrest and disorientation. The least effective aspect of the cinematography is unfortunately the lighting – there's something about the image which is mildly lacking in depth. But it’s still all competent and watchable. When it comes to the audio, there’s some discrepancy. The on-location sound recording itself is of an expert, professional standard; however, the sound design is inconsistent. I’m referring specifically to varying background noise between takes which is distracting. This could have been fixed with what’s called room-tone, simply to soften out those jarring dips and background interference. To surmise, this is a movie which feels authentic, and there’s no better compliment than that. There are certainly issues with both story and craft, certainly, but this shouldn’t overshadow what is ostensibly a convincing, arresting depiction of contemporary conflict and chaos. Tonally, there is an increasing disparity which maybe could have been avoided with a slightly shorter runtime – or an edit that removes some of the more erratic sequences. Either way, the cinematic intent is always there. Featuring an impressive ensemble, if you’re after a gritty, unrelenting watch, then this could be the film for you. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Tripping Beneath The Spring Clouds film review by UK film critic Jason Knight. Starring Jacob Harvey directed by Jacob Harvey. HOME | FILMS | REVIEWS Tripping Beneath The Spring Clouds Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 5, 2025 Directed by: Jacob Harvey Written by: Jacob Harvey Starring: Jacob Harvey A college student films himself going on a holiday with his parents. This feature was written and directed by Jacob Harvey and stars himself and his parents. Just to be clear: the student is Harvey. Over the course of a week, he uses his mobile phone to document his actions before, during and after the journey. With texts announcing what day of the week it is, his filming begins on Saturday and ends seven days later and what is seen are various stages of his experiences from each day and they include preparations for the trip, arriving at the rented property, going at a shopping centre, experiencing a holiday park, hiking and generally having a good time with his parents. By the way, he lives in Northern England and goes to Wales for the holiday. Jacob is pretty much the heart of this film, it is the way he behaves that makes this viewing amusing. He either films himself or utilises the phone's camera in a point of view manner, enthusiastically describes what he is up to and turns even the most simple action (like having a snack) into a fun experience. And sometimes he does a few stunts, adding more amusement. Jacob comes across as a happy, easy-going and friendly guy and he succeeds in making the viewer want to follow him through his journey. The atmosphere is pleasant and the electronic music contributes in making the whole viewing interesting. As cheerful as Jacob is, occasionally, he overdoes it when he presents some of his activities, an example being spending too much time on game machines inside an amusement arcade. This feature is about good experiences, about going on a holiday, spending time with loved ones and appreciating even the simple things in life. Generally, it is about enjoying life and making great memories. A youth shares his holiday experiences. With an entertaining approach, Harvey promotes the idea of constantly having fun and his film will probably encourage people to cherish the good things. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. . Brand new film trailers. Ready Or Not 2: Here I Come The announcement of a sequel to 2019’s cult favourite Ready or Not was met with cautious optimism, but the newly released trailer for Ready Or Not 2: Here I Come has instantly quelled any concerns. Set for release in cinemas on 10th April 2026, the footage reveals that directors Matt Bettinelli-Olpin and Tyler Gillett are not merely rehashing the original's successful formula but dramatically expanding the scope of their gleefully bloody game. The genius of the original film lay in its tight, single-location premise: a lethal game of hide-and-seek gone wrong. The sequel trailer opens by confirming that Grace (Samara Weaving) did indeed survive the horrifying ritual of the eccentric Le Domas family. However, her relief is short-lived. The stakes have been brutally elevated, moving the conflict from a single night of domestic terror to a global conspiracy involving a shadowy cabal known as the High Council. Grace learns that by surviving, she has inadvertently triggered a new, high-stakes game of "double or nothing." Visually, the trailer suggests a significant jump in production scale. The gothic interiors of the Le Domas mansion have been traded for slicker, more expansive backdrops, hinting at the involvement of the four rival families now hunting Grace. The frantic editing, characteristic of Bettinelli-Olpin and Gillett’s work on films like Scream VI , promises a breathless, action-heavy experience. There is still a clear injection of the dark humour that defined the first film, but the underlying threat feels more professional and far-reaching. The trailer successfully balances the familiar terror of the hunt with the new, intriguing elements of world-building, culminating in a sequence where the rival hunters are formally introduced to the "game." Samara Weaving, who became an instant horror icon with her performance as the bloodied, kick-ass bride, returns as Grace, bringing that same manic energy. Crucially, she is joined by Kathryn Newton as her estranged sister, Faith. This new dynamic adds a fresh emotional core to the high-octane violence, as Grace is tasked not only with her own survival but with keeping her sibling alive—a mission complicated by the fact that the winner claims the High Seat of the Council, granting control over the world. The supporting cast list is nothing short of exceptional, providing an impressive genre pedigree. The inclusion of Sarah Michelle Gellar, Shawn Hatosy, and Elijah Wood signals a clear commitment to casting talent capable of handling the film's sharp comedic and violent shifts. Even legendary director David Cronenberg makes an appearance, rounding out a cast that promises top-tier performances in this expanded narrative. With original writers Guy Busick and R. Christopher Murphy returning, the script is guaranteed to retain the sharp wit and genre savvy that made the first film a breakout success. In summary, the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Based on this footage, fans can look forward to a cinematic event that is every bit as inventive, chaotic, and bloody good fun as its predecessor. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. 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This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz.