Search Results

Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 1 out of 5 Return to Silent Hill Read Review average rating is 4 out of 5 Dope Queens Read Review average rating is 4 out of 5 Ovary-Acting Read Review average rating is 4 out of 5 Magellan Read Review average rating is 4 out of 5 The Testament of Ann Lee Read Review average rating is 4 out of 5 A Gangster's Life Read Review average rating is 3 out of 5 In Cold Light Read Review average rating is 4 out of 5 Without Kelly Read Review average rating is 5 out of 5 Monkey Drum Read Review average rating is 4 out of 5 To Die Alone Read Review average rating is 4 out of 5 $13 Read Review average rating is 3 out of 5 To The Victory! Read Review average rating is 3 out of 5 The Itch Read Review average rating is 4 out of 5 The Last Act Read Review average rating is 3 out of 5 Night Patrol Read Review average rating is 4 out of 5 Dead Man's Wire Read Review average rating is 4 out of 5 Resurrection Read Review average rating is 3 out of 5 #Models Wanted Read Review average rating is 4 out of 5 Save Me From Heaven Read Review average rating is 4 out of 5 28 Years Later: The Bone Temple Read Review average rating is 3 out of 5 The Sky's Forest Read Review average rating is 4 out of 5 Raoul Wallenberg: Missing Inaction Read Review average rating is 3 out of 5 The Freedom of Uselessness Read Review average rating is 3 out of 5 Garden of an Angry God Read Review average rating is 4 out of 5 Burt Read Review average rating is 4 out of 5 All That's Left Of You Read Review average rating is 4 out of 5 Gifted Pain Read Review average rating is 2 out of 5 Whispers Read Review average rating is 4 out of 5 The Chronology of Water Read Review average rating is 4 out of 5 The Supply Teacher Read Review average rating is 4 out of 5 The Forgotten Occupation: Jim Crow Goes to Haiti Read Review average rating is 4 out of 5 Is This Thing On? Read Review average rating is 4 out of 5 The Way Things Used 2 B Read Review average rating is 2 out of 5 Primate Read Review average rating is 3 out of 5 Teddy and the Mountain Read Review average rating is 4 out of 5 Jamarcus Rose & Da 5 Bullet Holes Read Review average rating is 3 out of 5 The Belles Read Review average rating is 3 out of 5 The Whisper 2: Natural Connection Read Review average rating is 3 out of 5 Gradient Descent Read Review average rating is 4 out of 5 The Group Read Review average rating is 5 out of 5 The Best of the Best: Jazz from Detroit Read Review average rating is 3 out of 5 Love Has Nothing To Do With It Read Review average rating is 4 out of 5 Menus-Plaisirs, les Troisgros Read Review average rating is 3 out of 5 The Apocalypse Box Read Review average rating is 4 out of 5 Spoken Movement Family Honour Read Review average rating is 4 out of 5 With Arms Raised Read Review average rating is 4 out of 5 The Abyss Below Read Review average rating is 4 out of 5 Honeyjoon Read Review average rating is 2 out of 5 Romancing Sydney Read Review average rating is 4 out of 5 After the Devil is Dead Read Review average rating is 3 out of 5 Africa is Home Read Review average rating is 4 out of 5 STUDS Read Review average rating is 3 out of 5 Fervor Read Review average rating is 4 out of 5 Cursed Memory Read Review average rating is 5 out of 5 Behind the Pose Read Review average rating is 5 out of 5 Raindog Read Review average rating is 3 out of 5 Rotten Society Read Review average rating is 4 out of 5 Starboy Read Review average rating is 3 out of 5 A Week Read Review average rating is 3 out of 5 For You, The Disappeared Read Review average rating is 4 out of 5 An Ríomh Read Review average rating is 4 out of 5 Influencers Read Review average rating is 3 out of 5 Silent Night, Deadly Night Read Review average rating is 3 out of 5 Trust Me Read Review average rating is 4 out of 5 The Caretaker Read Review average rating is 3 out of 5 Essentially Amy Read Review average rating is 4 out of 5 Lampros Read Review 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

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, 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 1 out of 5 Return to Silent Hill Read Review average rating is 4 out of 5 Ovary-Acting Read Review average rating is 4 out of 5 Magellan Read Review average rating is 4 out of 5 The Testament of Ann Lee Read Review average rating is 3 out of 5 In Cold Light Read Review average rating is 4 out of 5 $13 Read Review average rating is 3 out of 5 The Itch Read Review average rating is 3 out of 5 Night Patrol Read Review average rating is 4 out of 5 Dead Man's Wire Read Review average rating is 4 out of 5 Resurrection Read Review average rating is 4 out of 5 28 Years Later: The Bone Temple Read Review average rating is 4 out of 5 Burt 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.

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 Return to Silent Hill average rating is 1 out of 5 Dope Queens average rating is 4 out of 5 Ovary-Acting average rating is 4 out of 5 Magellan average rating is 4 out of 5 The Testament of Ann Lee average rating is 4 out of 5 A Gangster's Life average rating is 4 out of 5 In Cold Light average rating is 3 out of 5 Without Kelly average rating is 4 out of 5 Monkey Drum average rating is 5 out of 5 To Die Alone average rating is 4 out of 5 $13 average rating is 4 out of 5 To The Victory! average rating is 3 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Undertone The Moment The Land of Sometimes Avengers: Doomsday Greenland 2: Migration Looney Tunes: The Day the Earth Blew Up Filmmaker Interviews INTERVIEWS

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 Ovary-Acting William Hemingway Without Kelly William Curzon Monkey Drum Holly Baker $13 Patrick Foley The Itch William Hemingway The Last Act William Curzon Save Me From Heaven Jason Knight The Freedom of Uselessness William Curzon Garden of an Angry God Jason Knight The Supply Teacher James Learoyd The Way Things Used 2 B Jason Knight Jamarcus Rose & Da 5 Bullet Holes Jason Knight The Belles William Hemingway The Whisper 2: Natural Connection James Learoyd Gradient Descent Lawrence Bennie The Group William Curzon Love Has Nothing To Do With It William Hemingway Spoken Movement Family Honour Jason Knight With Arms Raised Patrick Foley The Abyss Below Jason Knight Africa is Home William Curzon STUDS Matt Trapp Fervor Lawrence Bennie Cursed Memory William Hemingway Behind the Pose 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. Solstice A magical and emotional animated short film made by 3D animator and independent filmmaker Luke Angus. Just explaining that 'solstice' refers to the period that occurs twice each year, when the sun reaches its minimum or maximum declination. And this is relevant to this short's plot which will be described below. The story takes place in the Arctic Circle, where a male Inuit, who wears glasses, lives in isolation. Inside his igloo, he has a board, where he has inserted a large number of nails in a way that creates horizontal and vertical lines and everyday, he places a fishhook on a nail and the next day, he places it on the one to its right, creating a personal calendar. The reason for this is to count the days until the sun vanishes, leaving only the night sky, which is what the hero looks forward to so that his lost partner 'returns' and they can temporalily be together again. Angus worked solo on this project over the course of nearly four years and the result is fantastic. The story, the visuals and the music are terrific, all of which will be analysed below. The narrative is about a heartbroken person whose sole purpose appears to be to remember the wonderful times he had with his departed and beloved partner. The reason he longs for the sun to go away is because when he was with his partner, they used to play a game where they would look at the stars in the sky at night and, using their imagination, would visualize shapes of all sort being formed by the stars. And so, the hurt but strong and determined Inuit waits for the temporary but lengthy period of night-time to arrive, which helps him remember the joys he had with his lost love and vividly imagine that she is alive. It is a poignant but beautiful story. Angus clearly utilises his animation experience very strongly, as the film looks fabulous. The colours and the lighting powefully create a snow-covered, isolated location, as well as a sky covered with shining stars. Everything just looks perfect in computer animation, including the likeable characters. Special mention goes to the way the flashbacks of the couple's past happiness are presented, that being like coming from a film projector. The music is another massive plus, absolutely terrific. ANBR, Spearfisher and Turpak use their abilities and develop melodies that perfectly accompany the images. Since there is no speech in this short, as far as the audio goes, it is up to the score to generate emotions and it succeeds spotlessly, creating uplifting and melancholic moments via somber piano pieces, upbeat tones and dynamic orchestral music. The concepts of isolation and living in the Arctic are taken into account, however, the core of this story is coping with loss and grief. Additionally, it also concerns romance, reminiscing the past and holding onto meaningful moments. Crucially, it acknowledges the idea of a person wanting to remember a loved one who passed away. Huge commendations go to this heart-warming and moving achievement that offers 11 minutes of pure magic. One would be expected to look forward to Angus's next project VIEW REVIEW Ovary-Acting A thirty-something woman feels the pressure from everyone around her at her sister’s baby shower to have children of her own, so much so that her ovaries start talking to her to try and convince her. Eva (Karlsen) is thirty-four. She’s fast approaching that life destroying cliff-dive of an age where women are told that their bodies suddenly change for the worse, and that fertility becomes a major issue until the long slow feminine death of menopause. All sorts of things are supposed to go wrong with having babies after a woman hits thirty-five, and Eva is fast running out of time, as she is constantly reminded by everyone around her who ‘cares for her’ and ‘has her best interests at heart’. Granny is the most insistent member of the group to try and push Eva into motherhood, but everybody else is at it, too, with friends and family putting on their rose-tinted spectacles and throwing out platitudes that regale the simple positive pleasures of raising a baby. Eva is having none of it though, and tries to impress upon everyone that she still has time, and that she can make up her own mind about these things whenever she feels like it. This is not entirely true though and Eva’s fuzzy guts start trying to tell her otherwise as she bats away the onslaught of indoctrinated motherhood. After a swift trip to the toilet (in the mother and baby changing area), Eva unexpectedly looks into the mirror to find herself pregnant with worry. This miraculous conception lasts a matter of moments before Eva is lying on the floor giving birth to her reproductive system. Her ovaries (and technically uterus, too) burst forth and land on the baby change mat, introducing herself as Ovy (Oxenham), the talking, floating version of Eva’s inner voice. Together, Eva and Ovy navigate the choices laid out in front of them as they discuss and argue over the idea of bringing a baby into the world. Told in a cutesy animation style, with cloth puppets and their animated mouths and eyebrows, Ovary-Acting tackles some big issues with a gentle but firm direction and narrative. The characters are perfectly represented for the tale they are trying to tell, as nothing seems overly serious or terrifying in the fact that part of Eva’s insides have suddenly emerged from her body and started talking to her. The animation also allows for some surreal narrative moments which could not have been achieved through live action, or which could have appeared gross-out or just plain weird in a CGI context. Around half-way through the twelve-minute runtime, Eva and Ovy break into a big song and dance number, which is very reminiscent and akin to those cemented in nearly every episode of the Netflix comedy, Big Mouth . This tongue-in-cheek attitude towards female reproduction is a soothing balm for those who may feel the pressure of the ticking biological clock along with Eva, and for everyone else it’s light-hearted and entertaining without seeming too flippant. Writer, Laura Jayne Tunbridge, obviously has to hit some pretty standard markers in the dialogue, of which some phrases and snippets can sound fairly tired and well-worn, with most comediennes, chat show hosts, and members of Loose Women having covered this ground many times before. However, she manages to blend this in with some fairly personal feeling dialogue and a light, modern touch, to keep things fresh, relevant and funny. Ovary-Acting is a unique take on an age-old dilemma, which really comes into its own in terms of its style and storytelling. There is a lot to admire and enjoy about Eva’s journey into finding herself, and the fuzzy animation, led by Ida Melum’s direction, really adds to the feeling the viewer gets when watching her wrestle with her own emotions and self-justifications. There’s even a nice little fuzzy ballsack hanging about who just wants to say Hello. Ovary-Acting is a beautiful piece of storytelling which achieves the perfect balance in how it gets its message across, finding a way to not take itself too seriously while making points which everybody should consider, especially when they should keep their mouth shut and their noses out of somebody else’s business. VIEW REVIEW Without Kelly Without Kelly follows a young mother, Esther (Medea Strid), as she is forced to leave her baby daughter with the child's father. Caught in a wake of longing and desperation, through the night she chases comfort and purpose and seeks ways to hold onto what she cares for the most. The piece is an uncompromising and raw tale of motherhood, told in a rather simplistic narrative approach, entirely from the female perspective. One of the most impressive feats of the piece is how immediately the viewer is swept into the sheer intimacy of the filmmaking on display. The visually stunning photography from DP Christine Leuhusen is commendable and eases you into Esther's experience as a mother. The camerawork at times is frenetic and urgent as it tracks Esther in a state of distress and discomfort, utilising extreme close-ups. Lisa Rydberg’s musical score is evocative and emotionally resonant, and anchors the lack of context through Esther’s characterisation. The filmmakers also strip away the score from specific scenes and rely entirely on the actors’ performances, which is a risky formal decision that pays off beautifully. Its tight pace at times is a detriment and a positive to the experience, as the lack of context for Esther makes it demanding to resonate with her struggles. An extended runtime could have perhaps fleshed out her characterisation more profoundly and enhanced its staying power after the credits roll. That being said, the “show, don't tell” approach is commendable and a remarkable way to convey her inner turmoil. The central performance from Medea Strid in her raw portrayal of Esther is phenomenal. Her screen presence is essential as the narrative relies entirely on her character and performance to convey her longing to be with her child. While the supporting players are given less material to chew on, their performances are serviceable to the plot, and their chemistry is magnetic with Strid’s leading screen presence. The unpredictability of the narrative is astounding at times and entirely conveyed profoundly through Esther’s choices as she uses her body and physical need for desire to numb the pain of isolation. Writer/director Lovisa Sirén clearly set out to express the emotional devastation of a young mother grappling with the life-changing decision she has made after being forced to leave her child, and they succeeded with flying colours in that regard. While the experience is tightly paced and never overstays its welcome, the conclusion to the narrative amounts to fairly minor, with a lack of resolution for Esther’s character growth. On the other hand, the complexity of Esther’s motivations is remarkable and evocative, leaving the viewer with much to ponder on regarding the female perspective when separated from their child. Without Kelly is a stunning piece of filmmaking that sheds a harsh light on a woman’s longing for connection after being forced away from her child. Resting entirely on a masterful lead performance from Medea Strid and Lovisa Sirén’s formalism, the simplistic narrative approach may detract from the experience at times; however, this is a heart-stirring exploration of motherhood. WITHOUT KELLY will screen at the 2026 Sundance Film Festival in Short Film Program 3 — premiering on January 24 at 9:15pm MST. VIEW REVIEW Monkey Drum Rooted within Japanese culture, Monkey Drum is a beautifully shot (cinematography by Tian Pei) folk-horror short film about the most horrific kind of tragedy. The young, award-winning director Jeremy Lu, amongst a small team of Asian filmmakers, poured their experiences and identities into this project (Lu's NYU thesis film) to create an authentic masterpiece. Crowdfunded through donations and the filmmakers' own pockets, these artists were inspired by the Japanese way of treating friends, neighbours, and, significantly, strangers, centring the story around the Japanese term “お邪魔します”, literally meaning “I am disturbing”, a phrase used in Japan when entering someone’s home, thus disturbing their peace. Minato is an elderly, broken man. He is a hermit who has lived alone for many years and is content with a simple life of solitude, one that is fulfilled purely by the fact that he is still breathing. Isseki is a devoted young father of Jun. The two of them have mysteriously found themselves lost and helpless and persuade Minato to take them under his wing, feeding and sheltering them, even gifting Jun with a fun new toy – a hit-hit drum (でんでん太鼓). Isseki and Jun’s entry is immediately unsettling to Minato’s space. The sound design enhances this powerfully, focusing on their bellowing knocks on the door, the gross sounds of their slurping and chewing, and most notably, Jun’s constant rattling of the monkey drum, which eerily plays through the night, causing Minato significant unease. There is a clear generational detachment between Jun and Minato. This divide is cleverly highlighted through Jun’s inability to understand cues of politeness within traditional Japanese culture, immediately brought to attention in Jun’s refusal to introduce himself and further demonstrated in his reluctance to stop playing the drum despite irritating both his father and Minato. Similar to Mother!, directed by Darren Aronofsky, Monkey Drum excellently creates a tone of unease from the outset through the scenario of an unwelcome intrusion. As is customary in American culture, Jennifer Lawrence’s character is vocal about her discomfort from the immediate disruption of an unwelcome guest residing in their home. However, whilst Minato’s unease is clear to viewers, it is only following the fallout of a sudden tragedy which has come to haunt Minato’s space that he is ever direct about his desire for Isseki to leave his home. Monkey Drum masterfully depicts a shocking accidental tragedy. As the film is only 16 minutes long, there is little space for buildup or foreshadowing. Despite this, the film minimally brews tensions, drawing attention to spaces and objects which viewers can sense carry a heavy weight before the incident occurs. The actual tragedy itself is conveyed chillingly. Through bone-cutting sound effects, its use of silence and selective camera choices in what is shown and when, the gradual realisation towards what has happened is experienced in real time through the eyes of Isseki and Minato. Here, viewers are forced to endure the most horrific moments following such a tragic event, engaging in an authentic journey of the most mortifying grief. As the film comes to its climax, the tragedy becomes a mere background character adding to the brewing tension between Isseki and Minato, his unwelcome presence and the turmoil he has brought into Minato’s home spiralling into a dramatic culmination. The performances here, and indeed throughout, from Tadashi Mitsui (Minato) and Taiju Nakane (Isseki) are harrowingly powerful. Viewers are utterly convinced by their disturbance, particularly Isseki’s grief. So many aspects of Monkey Drum are notable in their excellence and importance. One final dedication must be made to the love that permeates this film, despite its belonging to the horror genre, and heavy leaning on psychological discomfort, a heartfelt dedication of Isseki to his son Jun resonates throughout. After all, what is grief if not love preserving? VIEW REVIEW $13 Melissa Skirboll’s short $13 is a bite-sized emotional gut punch – a seemingly innocuous character piece at first that takes a shocking turn, taking viewers on an unexpected journey within its short narrative. 2 women take a stroll alongside the Hudson River in New York City. The older of the pair (Skirboll) reminisces about frustrations with her former boss Bernie. The younger of the pair (Meghan Martin) can relate – having her own frustrations with her lot. But as the story develops, we realise that the location is of utmost relevance – the presence of One World Trade Centre suddenly looming large. The younger woman realises that the story she is being told is not a typical one, and the trauma of 9/11 is felt by both parties. The twist at the heart of $13 will be most people’s lasting memory. And while the sudden revelation of the story’s true nature will shock, it is impressive that Melissa Skirboll makes it work. Delivered with a less capable hand, it may have come across as trite or inauthentic. However, Skriboll is careful not to over-egg the introduction of a historic tragedy in her short film’s narrative. Landing with an initial, earth-quaking shock, the moment is given chance to breath and dissolve into the film in a manner that feels genuine. This is accomplished through the musical cues, the use of silence and the impressive performances of Skirbol herself and Meghan Martin. The film is shot beautifully, making full use of the New York skyline at sunset. The setting is obviously plot-relevant, but the ambience created is also critical for the story’s success. Taking place at sunset feels like no coincidence, as Skirboll’s character yearns to come to terms with a pivotal moment in her life even 25 years on. The contrast with the unforgettable images of 9/11, which took place in the daytime, to the film’s evening glow gives a quiet appreciation of time passed. There are some moments where the dialogue becomes a little clunky. It feels a little forced at first for the character of Bernie to be introduced, and there are a few other instances of exposition that grate. But once the film finds its momentum, the writing is impeccable. Once Skirboll’s character recounts the people she knew who worked in the towers, audiences will be silently gripped and moved. The women’s bond also convinces, and the chemistry between Skirboll and Martin flourishes with defined dialogue that successfully creates the idea of an age-gap friendship. $13 accomplishes so much with just a conversation. It is destined to move audiences, not just thanks to its shocking twist, but because of fantastic dialogue and performances that make for an engrossing rollercoaster of a film. VIEW REVIEW The Itch A man undertakes a debilitating experiment which causes him to scratch at his body while it oozes, bleeds, and decomposes over the days he spends in the facility. Will (Nagvajara) has awoken in a basement room where he knows little about what’s going on around him. He is under surveillance in every room of the bare apartment he’s using as a makeshift laboratory, with CCTV cameras in the bedroom, bathroom, and kitchen watching his every move. There is an enigmatic note left in the bathroom cabinet by a guy named ‘Rog’ (Potvin), encouraging Will in whatever course he has embarked upon, while several small vials of an unknown serum are lined up in a sequentially numbered row beside it. Will is taking notes in a journal as he progresses through this seeming medical trial, apparently aware that he has some mission to accomplish, and that he is doing it for the love of a long-lost partner who died prematurely. He keeps waking up at later points each day, knocked out from the previous day’s injection, and always with something new happening to his body, nothing that is ever any good. His body starts to itch and ache; he’s getting scratches and lesions on his skin; parts of him are starting to flake and peel away; and his insides are just screaming to get out. It sounds like the medicine is working. Over the course of a week, we follow Will as he falls apart due to the experiment he is participating in. The story pieces together each day as we check back in to see how he is doing. Spoiler alert: He’s not doing very well. In a very Cronenberg fashion, Will slowly descends deeper and deeper into body horror territory, as The Itch he feels inside him begins to overtake his multiple senses. There’s plenty of bodily fluids being expelled, and dirty liquids flowing into filthy drains, as Will’s condition progresses towards its conclusion, with nothing much being given away until the end about what kind of motivation could exist in order for someone to do this to themselves willingly. In this way, The Itch , owes a lot to recent body horror sensation, The Substance (2024), as Will’s psyche is fractured in two, and the memory blackouts become more frequent and intense. Still, he pushes forward on his trajectory, somehow feeling that the outcome will be beneficial, if not for him then for someone else, or society as a whole. This also causes echoes of The Fly (1986), as Will’s addiction can’t be sated and each step forward brings about another severe debilitation in his condition. In the end, what Will becomes is nothing of his former self, with only this new ideal filling his every impulse. Told in short, sharp bursts, The Itch tells its tale in under fifteen minutes, with an extra expository sequence hemmed in during the credits to help us get a better understanding of what has transpired. There’s plenty of jump cuts and clashing imagery, along with the requisite gory outpourings, from writer, director, editor, and producer, Gordon Phillips, with a soundtrack of scratchy strings played alongside to keep everything off-kilter. The cinematography from Marcelo Quinones saturates the screen with white light, while also pulling us into the deep, dark places that Will needs to go to as he fights for his survival. These technical aspects are all very well accomplished, and they meld together in a sub-dungeon, holy trauma kind of way to really boost the effectiveness of the feeling that the audience is exposed to. If there’s something to gripe about, it’s that we’re not party to Will’s backstory until very near the end, or even beyond that. This keeps us from connecting truly with his character, not knowing him to be sympathetic or otherwise, as we watch him endure his suffering. This categorises the body horror as slightly voyeuristic and fetishized, as we don’t feel any need for what he’s going through. This can make The Itch seem like an homage to the previously mentioned films, without really allowing it to strike out on its own. While The Itch takes succour from those that have gone before, it is hard to see the true originality needed for it to stand out from a fairly oversized pack, despite the fact that it is extremely well made. VIEW REVIEW The Last Act The Last Act is a psychological thriller that follows Jacqueline (Lauren Karaman), a struggling musical theatre actress living in New York City. After enduring countless rejections from auditions and navigating a side job as a barista, her frustrations reach a breaking point as her casting director mocks her appearance and performance at an audition. In a desperate attempt for a chance in the spotlight, she does what it takes to ensure her casting director, Andrew (Al Pagano), pays for his cruel behaviour. The central performance from Lauren Karaman in her portrayal of Jacqueline is profoundly engaging as she conveys nuance, while balancing her personal struggles with her body image and her dream of becoming a successful theatre actress. On the other side of the coin, you have Al Pagano, who successfully embodies the despicable nature of Andrew and rips apart Jacqueline’s appearance in an attempt to turn her dreams into a mere humiliation. As a viewer, it is genuinely tough to witness Jacqueline receive the amount of verbal abuse she endures, with individuals commenting on her body and disregarding her hopes for the future. The filmmakers do their best to employ a social commentary regarding the current state of expected body standards from women in theatre, which is a commendable choice. Despite the film's tight pace and brisk runtime, the writer/director Zilong Zee does an incredible job establishing Jacqueline’s characterisation and the world around her. Cinematographer Adam Weinberg shoots New York City as if it were almost its own character, utilising stunning wide shots to give the audience a brief glimpse into the chaos of the city’s central area. Another significant positive in the technical department is the make-up, which feels intentional and well-placed in the narrative, complementing the story despite its budget constraints. The piece is also accompanied by a sombre musical score that profoundly matches the tonal shifts and changing mental state of Jacqueline. It's an anxiety-inducing experience throughout, which never lets up until its climax, anchored by some frenetic editing and a psychological narrative. Unfortunately, the conclusion to the narrative suffers from being just minor due to the film wrapping up abruptly and the script trying to juggle a convoluted amount of twists. The lack of closure is also unsatisfying for the conclusion of Jacqueline’s character arc, and the central reveal is too safe, given how darkly absurd the narrative can feel at times. Perhaps the film's tight runtime is a detriment to the experience at times, as a prolonged runtime could have potentially fleshed out the script's ideas on a deeper level to ensure the conclusion is less anticlimactic. While the themes of female body standards are an exceptional aspect of the film, the filmmakers could have utilised these themes more eloquently and made more ballsy choices within its climax. Pushing these issues aside, the experience is still mostly engaging and never loses sight of its character-focused exploration. The Last Act is a thoroughly engaging psychological thriller with a bite of social commentary on body standards and the expectations placed on women’s appearances in the theatre. Despite the flaws in its anticlimactic finale, the experience is enhanced by a phenomenal lead performance from Lauren Karaman and is directed eloquently by Zilong Zee, delivering a nail-biting thrill ride. VIEW REVIEW Save Me From Heaven A tense and emotional sci-fi short film from Ireland, written and directed by Sean Treacy and starring Abby Fitz, Diarmuid Noyes, Aida O'Malley and Muireann Ryan. The story is set in a future where humanity has found a way for the deceased to enter a digital version of heaven and spend eternity there. That is through a program called 'Horizons'. One stormy night, Karl (Noyes) a software engineer who works for Horizons discovers is in his workplace and, via his computer, he discovers that a young woman named Rachel (Fitz) has just passed away from a car accident and she has now reached the virtual paradise. However, since she has lost her memory, she will soon vanish forever, unless Karl finds a way to make her remember her life. A race-against-the-clock science fiction thriller with plenty of drama and tension. Through his interface, Karl desperately tries to help Rachel regain her memories and he attempts to do so by programming digital version of her loved ones (her mother (Ryan), father (Shane Lynch), daughter (O'Malley) and partner (Cal O'Driscoll)) to appear in the computerised setting that Rachel is currently in (which is a forest) and communicate with her. They interact with her via sentences that are inputted by Karl in order to answer Rachel's questions, therefore enabling conversations and he carries on with this procedure, trying to beat the dealine. Meanwhile, Rachel appears lost and confused and frightened. The music by Alberto Hernandez and Guilherme Simoes deserves special mention as they create a tense and dramatic score that is a highlight in this film as it creates a vivid atmosphere throughout. Commendations also go to the filmmaking techniques that convincingly indicate that a storm is taking place. The core of the story is about saving Rachel and Fitz delivers an emotional performance, portraying a person (or maybe their spirit) who has found themself in an unknown place without memories. However, she shows that she is capable of remembering. Noyes is sympathetic as a guy who is determined to make the impossible possible in order to save someone. O'Malley deserves recognition for being able to be believable as a loving daughter and as an emotionless part of the computer program. The screenplay explores how much technology can affect humans, going as far as to suggest that technological advancements could interact with people even after they have passed away and in doing so, this short also looks into the afterlife. Family, loss and discovering oneself (or rediscovering) also play significant roles and a main message seems to be that memories are vital for people in order to know who they are. A sci-fi story about saving someone. It would be fair to say that this film is primarily about regaining one's identity than a science fiction thriller and it works quite effectively either way. VIEW REVIEW The Freedom of Uselessness The Freedom of Uselessness (25-minute cut) is an experimental piece of filmmaking that follows two mothballs, Bubba and Spoiled, as they drift in still water, experiencing time, change and their own existence. Alongside a collection of inanimate objects, the piece follows an untraditional narrative structure with a complete lack of audio and spectacle. Co-directed by Samuel Felinton and Declan Mungovan, this is a condensed 25-minute version of the piece, adapted from the original 100-day version. The film was entirely influenced by the Taoist principle of Wu Wei, meaning non-doing or effortless action, which is predominantly showcased within its concept and the entirety of the runtime. The idea is also reflective of the virtues of simplicity that Taoism emphasises. It feels entirely sincere in its efforts, with genuine passion from the filmmakers and their execution of this idea in such an ambitious fashion. The complete lack of exposition is an admirable decision, which leaves the audience to perhaps go and research deeper into the Taoist theory and appreciate what the filmmakers were trying to convey more profoundly on repeat viewings. The filmmaker's idea may be seen as a gimmick; however, it's not entirely fair to disregard a piece of art due to its absurd concept. However, the experience falls short due to the lack of a narrative, offering only a minor impact. While the lack of audio is a commendable formal decision, the entire film feels isolating and unengaging as a result. Perhaps a more in-depth look into the Taoist philosophy could have given the viewer more to consider beyond a limited glimpse of experimentation around the Taoist principle of Wu Wei. Despite these issues, the two mothballs are admittedly admirable to look at and endearing additions to the piece. While the filmmakers have condensed the runtime significantly in this version of the film, the experience still unfortunately feels grating and a chore to sit through intentionally. The central issue with the film is that the viewer is forced to watch two mothballs exist, and there's no meaningful aspect to the narrative apart from the time changing on the clock. Its thin material is the detriment to its selling point and remembrance after the film fades to black. Thankfully, it's a conceptually ambitious piece of filmmaking that requires patience and a willingness to look beyond the conventional narrative structure. If the viewer is willing to commit to this experience, then they may find themselves transfixed by its challenging concept. Samuel Felinton and Declan Mungovan profoundly showcase their talent by tackling complex themes and experimenting with philosophical ideas. The Freedom of Uselessness also goes to show that cinema doesn't always require dialogue or audio to be digestible for an audience and could entirely rest on a single frame. The Freedom of Uselessness is an ambitious experience with a lack of spectacle or productivity, and experimentation with a conceptually daring idea. While it may suffer from a litany of issues, such as prolonged pacing and offering minor staying power after its conclusion, it's a profoundly sincere piece of filmmaking. VIEW REVIEW Garden of an Angry God A short psychological horror film, written by Matthew David Roe and Kimberly Britt, directed by Roe and starring Chelsea Roe and William Shelton. It is based on a short screenplay titled Undertakings by Britt. Joan (Roe) works as a cemetery caretaker. Unfortunately, she is also an immoral person and tends to steal items left at graves by mourners, such as flowered garlands or objects of sentimental value. As she continues to do so, strange occurrences take place in her apartment and the appearance of a mysterious man (Shelton) suggests that her vile actions have consequences. Shot in black-and-white, this film works well as a horror film, particularly a haunted house horror film. When Joan is at home, strange things happen that include unexplained noises, evident blood falling on flowers and a lightbulb going out. Concerned and frightened, she repeatedly looks through the door viewer, with the apparent intention of identifying the source. These events, along with the darkness and the ominous music create a sinister and dreadful atmosphere. On the minus side, the script does not have a thorough conclusion, leaving understanding what is going on open to interpretation. Roe plays a loner, a woman who lives by herself and who does not seem to care that her actions are wrong. That makes her an unlikeable character, an anti-heroine, a selfish and narcissistic person. Shelton steals the show with his character who is a suited man with pointed fingernails who appears out of nowhere and whose purpose seems to be to judge Joan or make her re-evaluate herself. 'Garden of an Angry God' can mean a variety of things, one of which could be derived from Jonathan Edwards's sermon and is related to God's wrath against sinners. This definition is probably the one that matches this story, as it deals significantly with immorality and punishment. From another perspective, the plot also involves isolation and self-reflection. A dark short horror film with strong performances that effectively develops a frightening environment. A decent viewing, but one that might have benefited from a more clear ending. VIEW REVIEW

Solstice film review by UK film critic Jason Knight. Starring N/A directed by Luke Angus. HOME | FILMS | REVIEWS Solstice Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jan 23, 2026 Directed by: Luke Angus Written by: Luke Angus Starring: N/A A magical and emotional animated short film made by 3D animator and independent filmmaker Luke Angus. Just explaining that 'solstice' refers to the period that occurs twice each year, when the sun reaches its minimum or maximum declination. And this is relevant to this short's plot which will be described below. The story takes place in the Arctic Circle, where a male Inuit, who wears glasses, lives in isolation. Inside his igloo, he has a board, where he has inserted a large number of nails in a way that creates horizontal and vertical lines and everyday, he places a fishhook on a nail and the next day, he places it on the one to its right, creating a personal calendar. The reason for this is to count the days until the sun vanishes, leaving only the night sky, which is what the hero looks forward to so that his lost partner 'returns' and they can temporalily be together again. Angus worked solo on this project over the course of nearly four years and the result is fantastic. The story, the visuals and the music are terrific, all of which will be analysed below. The narrative is about a heartbroken person whose sole purpose appears to be to remember the wonderful times he had with his departed and beloved partner. The reason he longs for the sun to go away is because when he was with his partner, they used to play a game where they would look at the stars in the sky at night and, using their imagination, would visualize shapes of all sort being formed by the stars. And so, the hurt but strong and determined Inuit waits for the temporary but lengthy period of night-time to arrive, which helps him remember the joys he had with his lost love and vividly imagine that she is alive. It is a poignant but beautiful story. Angus clearly utilises his animation experience very strongly, as the film looks fabulous. The colours and the lighting powefully create a snow-covered, isolated location, as well as a sky covered with shining stars. Everything just looks perfect in computer animation, including the likeable characters. Special mention goes to the way the flashbacks of the couple's past happiness are presented, that being like coming from a film projector. The music is another massive plus, absolutely terrific. ANBR, Spearfisher and Turpak use their abilities and develop melodies that perfectly accompany the images. Since there is no speech in this short, as far as the audio goes, it is up to the score to generate emotions and it succeeds spotlessly, creating uplifting and melancholic moments via somber piano pieces, upbeat tones and dynamic orchestral music. The concepts of isolation and living in the Arctic are taken into account, however, the core of this story is coping with loss and grief. Additionally, it also concerns romance, reminiscing the past and holding onto meaningful moments. Crucially, it acknowledges the idea of a person wanting to remember a loved one who passed away. Huge commendations go to this heart-warming and moving achievement that offers 11 minutes of pure magic. One would be expected to look forward to Angus's next project About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

Return to Silent Hill film review by UK film critic Hope Madden. Starring Jeremy Irvine, Hannah Emily Anderson directed by Christophe Gans. HOME | FILMS | REVIEWS Return to Silent Hill Film Review average rating is 1 out of 5 Critic: Hope Madden | Posted on: Jan 23, 2026 Directed by: Christophe Gans Written by: Christophe Gans, Hiroyuki Owaku, William Josef Schneider Starring: Jeremy Irvine, Hannah Emily Anderson When I used to pick my son up from his dorm, invariably there was a video game on whether anyone was playing or not. Mainly it was badly articulated characters delivering stilted, unrealistic but wildly dramatic dialog on an endless loop because, with no one playing, there was no action. I could also be describing Christophe Gans’s twenty-years-in-the-making sequel, Return to Silent Hill . I did not care for the filmmaker’s 2006 Silent Hill , a film that followed a mother into a supernatural town to save her adopted daughter. The sequel, also based on the incredibly popular video game of the same name, follows a distraught man (James Sunderland) who returns to a supernatural town to save his girlfriend (Hannah Emily Anderson). Gans’s original at least boasted Radha Mitchell, who can, in fact, act. Gans didn’t give her much opportunity, but she tried. Do not look for that here. Though it doesn’t seem that acting is what Gans is after. He lights and frames actors specifically to make them seem less fleshy, less human. Their movement is stiff and unnatural, their dialog stilted and dumb. You truly feel like you’re watching a video game you’re not playing. Nobody’s playing. You would hope that in the 20 years between projects, the creature design would have improved. Not the case. You rarely get a good eyeball on any of the creatures—and the video game does have a slew of creepy beasties to choose from—and when you do see them, they’re bland and they do nothing. Because nothing happens in this movie. The entire film feels like being trapped in the between action set ups of a video game that nobody is playing. Nothing happens. There is no action. Somebody thought the storyline, sans shootouts, without monster carnage, just the storyline of a video game was interesting enough to make a movie out of. They were incorrect. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Dope Queens film review by UK film critic James Learoyd. Starring Alexandra Grey, Trace Lysette, Pierson Fodé directed by Grafton Doyle. HOME | FILMS | REVIEWS Dope Queens Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 22, 2026 Directed by: Grafton Doyle Written by: Grafton Doyle Starring: Alexandra Grey, Trace Lysette, Pierson Fodé Grafton Doyle’s Dope Queens is a beautifully shot piece of drama. This new feature film depicts three characters who come back together after a period spent in prison. A lot of the plot is based around the dynamic between Goldie (Alexandra Grey) and Angel (Trace Lysette), sex-workers who feel short-changed by the new life they’re leading. Blake (Pierson Fodé) completes the trio as a paranoid loose-cannon. All three are possessed by a kind of numbness. They long to escape this emptiness, which they only manage to do through drugs, dance and connection with others. The narrative thrives on its lack of judgement; but in its final moments, a slightly moralistic attitude and over-the-top event unbalances the coda’s tone. Many will point towards Sean Baker’s work as inspiring this piece – not only thematically but also aesthetically. But in one description, the picture is described as “a fluorescent, action-packed romantic thriller”. I must take some issue with this as it is false advertising. There is such little action, and the ‘romantic’ elements are more related to a feeling of longing for freedom as opposed to any one person. Truthfully, this is a slow, insular film – it holds an almost arthouse, mumblecore sensibility, and features only a handful of locations. In some ways, this summary is more of an indictment on the state of advertising in independent cinema: it’s so challenging to get your film out there in a big way; and thus, focusing in on superficial genre-elements is one technique used to reach a wider audience. Let’s discuss the gorgeous cinematography, which helps to elevate Dope Queens to a high level of expression. The visual approach can be characterised by a consistent use of steadicam and shooting in an anamorphic format. This is all incredibly cinematic. Yet arguably the strongest aspect of the filmmaking is the editing, combined with the director’s restrained sense of blocking. There are some wonderful examples of multiple camera setups within the space of an unbroken take; and dialogues that go on without the interruption of a cut. Techniques such as these suit the scenario effectively. These are aimless characters, waiting characters – but also characters who must frantically look over their shoulders in case of a looming threat. Angel is the saddest and most intriguing character of the story, and is the main focal point of the film’s finest shot: her solemn, docile face – off-centre – positioned behind a group of young party-going girls who are ignoring her in an elevator... this is really the deepest, most poignant characterisation we get. A sobering moment such as this is frequently followed or juxtaposed with a fluid transition or surreal implementation of style – in that way, it’s a film containing many aesthetic layers. What separates this movie from something like Anora are a series of lovely moments in which the characters transcend the confines of their social and temporal existence: for instance, a slow-motion walk through an overhead aquarium. Not every moment has to be defined by a relentless realism, and this critic admires that. Dope Queens screened at the 2026 Palm Springs Film Festival. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Ovary-Acting film review by UK film critic William Hemingway. Starring Synnøve Karlsen, Sofia Oxenham directed by Ida Melum. HOME | FILMS | REVIEWS Ovary-Acting Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jan 22, 2026 Directed by: Ida Melum Written by: Laura Jayne Tunbridge Starring: Synnøve Karlsen, Sofia Oxenham A thirty-something woman feels the pressure from everyone around her at her sister’s baby shower to have children of her own, so much so that her ovaries start talking to her to try and convince her. Eva (Karlsen) is thirty-four. She’s fast approaching that life destroying cliff-dive of an age where women are told that their bodies suddenly change for the worse, and that fertility becomes a major issue until the long slow feminine death of menopause. All sorts of things are supposed to go wrong with having babies after a woman hits thirty-five, and Eva is fast running out of time, as she is constantly reminded by everyone around her who ‘cares for her’ and ‘has her best interests at heart’. Granny is the most insistent member of the group to try and push Eva into motherhood, but everybody else is at it, too, with friends and family putting on their rose-tinted spectacles and throwing out platitudes that regale the simple positive pleasures of raising a baby. Eva is having none of it though, and tries to impress upon everyone that she still has time, and that she can make up her own mind about these things whenever she feels like it. This is not entirely true though and Eva’s fuzzy guts start trying to tell her otherwise as she bats away the onslaught of indoctrinated motherhood. After a swift trip to the toilet (in the mother and baby changing area), Eva unexpectedly looks into the mirror to find herself pregnant with worry. This miraculous conception lasts a matter of moments before Eva is lying on the floor giving birth to her reproductive system. Her ovaries (and technically uterus, too) burst forth and land on the baby change mat, introducing herself as Ovy (Oxenham), the talking, floating version of Eva’s inner voice. Together, Eva and Ovy navigate the choices laid out in front of them as they discuss and argue over the idea of bringing a baby into the world. Told in a cutesy animation style, with cloth puppets and their animated mouths and eyebrows, Ovary-Acting tackles some big issues with a gentle but firm direction and narrative. The characters are perfectly represented for the tale they are trying to tell, as nothing seems overly serious or terrifying in the fact that part of Eva’s insides have suddenly emerged from her body and started talking to her. The animation also allows for some surreal narrative moments which could not have been achieved through live action, or which could have appeared gross-out or just plain weird in a CGI context. Around half-way through the twelve-minute runtime, Eva and Ovy break into a big song and dance number, which is very reminiscent and akin to those cemented in nearly every episode of the Netflix comedy, Big Mouth . This tongue-in-cheek attitude towards female reproduction is a soothing balm for those who may feel the pressure of the ticking biological clock along with Eva, and for everyone else it’s light-hearted and entertaining without seeming too flippant. Writer, Laura Jayne Tunbridge, obviously has to hit some pretty standard markers in the dialogue, of which some phrases and snippets can sound fairly tired and well-worn, with most comediennes, chat show hosts, and members of Loose Women having covered this ground many times before. However, she manages to blend this in with some fairly personal feeling dialogue and a light, modern touch, to keep things fresh, relevant and funny. Ovary-Acting is a unique take on an age-old dilemma, which really comes into its own in terms of its style and storytelling. There is a lot to admire and enjoy about Eva’s journey into finding herself, and the fuzzy animation, led by Ida Melum’s direction, really adds to the feeling the viewer gets when watching her wrestle with her own emotions and self-justifications. There’s even a nice little fuzzy ballsack hanging about who just wants to say Hello. Ovary-Acting is a beautiful piece of storytelling which achieves the perfect balance in how it gets its message across, finding a way to not take itself too seriously while making points which everybody should consider, especially when they should keep their mouth shut and their noses out of somebody else’s business. About the Film Critic William Hemingway Digital / DVD Release, Short Film, Animation, World Cinema < All Reviews Next Film Review >

Magellan film review by UK film critic Hope Madden. Starring Gael García Bernal directed by Lav Diaz. HOME | FILMS | REVIEWS Magellan Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 22, 2026 Directed by: Lav Diaz Written by: Lav Diaz Starring: Gael García Bernal Lav Diaz’s 2-hour and 40-minute epic Magellan is not for the impatient viewer. With no exposition, a primarily stationary camera, and only one internationally known actor (Gael García Bernal in the title role), the filmmaker quietly undermines a historically accepted notion of exploration and perseverance. Scenes have a painterly quality, the framing and lighting especially of interiors giving the impression of an oil painting. Each scene, threaded loosely together by time and location, feels more like a work of art into which characters tumble and behave. Relying almost exclusively on long takes with an unmoving camera, Diaz emphasizes not the characters in a scene but its geography, its ecology. Even in sound design, the crash of ocean waves, the rustle of jungle leaves, the creak and moan of a ship at sea are given equal, sometimes even primary attention. These set ups let the environment dictate the scene, emphasizing the natural world and not the puny individuals so desperate to leave a mark. Diaz, who generally films in black and white, revels in the hues and tones of the environments. Rich, deep browns in ship quarters conflict with the steely blue grey of the sky and ocean, which pale beside the rich greens of land. And the filmmaker insists that you notice, holding every shot far longer than expected so there’s nothing for you to do but take note of the brutal beauty. The showiest thing about Magellan is its silences, what Diaz leaves unexplored and disregarded. Don’t go into this film expecting a rousing image of endurance and vision. This film is not impressed by the explorer. Diaz’s languid camera empties his film of the urgency you might expect of a film so pointedly critical of colonizers and exploiters, and that seems to be the point. Diaz robs Magellan of the passion and romance often attached to his single-minded mission. The film’s unhurried nature subverts expectations and leeches the nobility from the history, leaving instead the impression of blundering, cruel acts performed by misguided, greedy men who died in the mud, far from home, while trying to steal land and enslave human beings. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

The Testament of Ann Lee film review by UK film critic Hope Madden. Starring Amanda Seyfried, Lewis Pullman, Thomasin McKenzie directed by Mona Fastvold. HOME | FILMS | REVIEWS The Testament of Ann Lee Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 21, 2026 Directed by: Mona Fastvold Written by: Brady Corbet, Mona Fastvold Starring: Amanda Seyfried, Lewis Pullman, Thomasin McKenzie Filmmaker Mona Fastvold (The World to Come ) draws you into her latest by dancing into the woods with an ecstatic group dressed a bit like Puritans. The dance feels simultaneously choreographed and organic, but definitely somehow forbidden. The Testament of Ann Lee spins its period tale, the true story of a founding leader of the Shakers, with none of the baggage expected of a historical drama. Snapshots of formative moments are held together with liltingly earnest narration from fellow shaker Mary Partington (Thomasin McKenzie), and with dance. It’s a tough film to fit into a neat category, as, it would seem, was Lee herself. Played undiluted passion by Amanda Seyfried, Lee is a self-contained human in progress, aware of herself, her inclinations, and the pressures around her. She knows God in an uncompromising way and wants only to find community as devoted as she. She finds it with the Shakers, so named because, unlike the Quakers, they dance. What Seyfried delivers is just shy of astonishing. There is no artifice, nothing calculated or naieve. And though the script offers you room to find reasons for Lee’s faith and the hang ups that fuel her fervor, it does not decide for you or judge her. Fastvold’s script, (penned with Brady Corbet, with whom she wrote last year’s Oscar contender The Brutalist ), does not ask you to believe that Lee was the second coming of Christ, as she and her assembly did. Nor does it ask you to disbelieve it. But it asks, quietly and regularly, all kinds of questions, delivers all kinds of information, suggests any number of possible answers. The approach to the writing is anthropological without being burdensome or dry, while the direction itself is passionate and bold, not an ounce of cynicism or pretension. If you know little or nothing about the Shakers, we have that in common. Among the many joys of Fastvold’s film is that it unveils information without belaboring points. You’re left with questions, not because you can’t follow the film, but because you’re intrigued enough to want to know more. This is a passionate, bold film about building community, finding and remaining true to yourself, and the unrivaled power of dancing. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >