Latest Short Film Reviews

This is a proof of concept/ pilot and gives a taster of what a series could look like. The proof of concept is based on the series of books written by Will Jordon which follow Ryan Drake a CIA operative. Ryan Drake is a member of a special activities division made up of elite military veterans who retrieve high value assets. On this occasion the high value asset has been taken by Russians and it is up to Ryan Drake and his small team to get the asset back.

As you can imagine this is action packed viewing which does not hold back on the violence. If violence is not something you want to see on screen then this might not be an enjoyable watch, as at times it gets quite graphic. There are times where the camera quickly switches away from the violence leaving the audience to imagine what is happening. The action starts even before the opening credits have finished and this gives the audience a good grasp of what to expect. This is an effective way of drawing the audience in and it shows the viewer a key part of one characters history, which provides depth to the shows plot and clues to their role within it.

This is fast paced high octane viewing and requires the audiences full attention. The action sequences are well choreographed and look believable and there are many to enjoy. There is no time to look away or be distracted as each character has their own battle against the enemy. The sound track is very effective throughout, with it’s fast paced beat as each scene unfolds. The music really sets the pace of each scene and acts like the ticking time bomb leading up to each sequences conclusion.

The use of flashbacks is very effective and the way they are created reveals how the characters memory is working. There are times when the flashbacks feel like they are interrupted and distorted. This is a reflection of how the characters brain works and potentially how past events have affected their memory. The use of shallow focus works successfully throughout.

The fact that this has been written by the author of the books is important as you can see their imagination unfold on screen. The characters and plot are not left to the ideas of others which can often lead to a lack of understanding of the authors vision. This maybe even more important to the viewers who have read the books and have expectations of how the story is told and how each character looks and behaves.

The actors in the pivotal roles are generally based in Canada although appear to have backgrounds from countries in Europe. There are a number of accents on show such as Russian, American and English. Derek Moran plays Ryan Drake and appears to be good casting particularly during action sequences. This is not an easy task and no doubt takes weeks and possibly months of hard work. Ryan Drake has been written as an English agent and at times Derek Morans accent sounded a bit muddled. This did have a slight impact on the performance and may prove to be a distraction for the audience, particularly those from England.

The cast was really balanced and well put together. They all meet the physical requirements of the role and are able to showcase their skills when speaking in accents that may not be natural to them. I found Brian Bisson and Andrea Pavlovic to be the stand out stars and they had good chemistry between them. Andrea Pavlovic stole many of the scenes and hers was a character I’d like to see more of going forward. Olena Medwid as Anya had limited dialogue but this did not detract from her performance as her physical acting skills were very effective and vital to her role. Her scenes were physically challenging and full of emotion.

The director Travis Grant is also credited as a writer and the collaboration with the author works well. The lighting in many of the scenes portrays the desperate situation that some of the characters find themselves in. It is dimly lit and many of the sets lack colour. Close up camera work heightens the tension portrayed in each scene. Despite this being a proof of concept production, it feels polished and could easily be the finished product and ready to air.

Overall this is an action packed show which sets the scene for future episodes. There is plenty of excitement and well choreographed fight scenes. This proof of concept gives the audience enough to want more and also provides enough answers to make for an enjoyable watch in isolation . If the audience have the read the books it will no doubt be beneficial but it is not essential. Make sure you watch through the closing credits as more is revealed in the mid credit scenes.

Coming from Ireland, this short drama is written and directed by Rebecca Hickey, who also stars, alongside acclaimed actors Peter Coonan, Barry John Kinsella and Caoilfhionn McDonnell.

An elderly man has just passed away in Northern Ireland and his daughter, Claire (Hickey) has arrived from London, currently staying in her late father's home. It is now nighttime and Claire is in the house, sitting at a table with her two siblings, Michael (Coonan) and Patrick (Kinsella). Their mother (McDonnell) is sleeping upstairs and there is a baby camera monitor on the table. They have just finished eating and are having a late-night chat, which ends up being a dramatic one.

The narrative takes place in real time and in one room, that being the dining room, with the two brothers sitting next to one another and their sister opposite them. The concept revolves around the meaningful conversation they have between them, which involves life-changing matters such as Claire separating from her partner, the brothers trying to convince her to move back so that their mother can have someone to look after her and for Claire to potentially meet a guy. All this is not perceived well by the sister, who angrily refuses to comply to her sibling's suggestions, ensuing in an argument and criticism. The tension is high at times and there is occasional humour and dialogue keeps things intriguing by concentrating on the characters' point of view regarding the various topics of discussion.

This film gains a lot from the contributions of two acclaimed artists, those being multi-award-winning cinematographer Jass Foley and Northern Ireland composer Anthony Eve.

As Claire, Hickey plays a young woman who knows what she wants, is determined to stand her ground and not let others decide what she is to do. Coonan and Kinsella portray the brothers as well-meaning individuals, who also come across as a bit selfish or maybe too naive to comprehend that family responsibilities should not be limited to one person. Although her appearance is brief in this thirteen-minute-long short, McDonnell provides a performance that establishes her character as caring and understanding.

Hickey's screenplay is basically a dramatic conversation that deals with a variety of heavy themes. The dialogue between the three siblings is about self-reflection, family values, about people having the right to make their own choices and about family commitments and expectations, about what one is expected to for their family. Furthermore, the story covers feminism, sexism and appears to be anti-male to a degree.

A short family drama about three siblings having a conversation that reflects on their lives. A very well-made film with strong acting that ends up a thoughtful viewing experience due to the subjects that it recognises.

In a near future, police state Britain, the leader of a rebel group is gunned down on a stage that he was never supposed to have been on, as a member of the ruling authority tries to play both sides in an effort to bring back everything the UK has lost along the way.

In 2028 the Prime Minister was assassinated and a new power seized control for what was supposed to be only a temporary period. By 2032, The Interim Authority still has a stranglehold on the power in the country and has created a surveillance state where everybody’s movements are monitored and everyone’s details are registered in order to control them. Casey Rock (Vatikiotis), the leader of a rebel group, has managed to infiltrate an IA conference and has got himself on stage to deliver a message to the people, helped there by double agent, Detective Reed Stanford (Hristov), but before he can get his first sentence out, he’s blasted through the head and falls down dead on the stage.

Detective Reed rushes to help, oblivious to who might be watching, and is helped out of the building by shady agents of no description. What follows is an unfolding of events, where we are caught up in flashbacks, while Detective Reed tries to keep playing his hand as a member of the IA and the rebel group simultaneously. Alongside him on either side are his wife and fellow rebel, Maddie (Upton), and his new boss, Detective Monk (Kirk), who both need Reed to keep doing what he’s doing as long as they each believe that he’s on their side.

Sold as a Children Of Men (2006) style look into the future of Britain, where the police state runs everyone’s lives and home-grown terrorism lurks on every corner, The Defectors rushes us straight into the action with very little setup, throwing characters and scenarios at us that we have no clue about until we are caught up in the round. Very quickly we have to deal with people shouting in rooms at each other in one scene, and quiet conversations of subterfuge and revolution in another, while everybody moons around in black and grey without necessarily giving up just which side they are on.

There is quite a bit of to-ing and fro-ing in the script, as Detective Reed switches between sides, trying to play all angles, and we are thrown around from past to present as we are furnished with the details that we never got in the beginning, through flashbacks that try to tell us which side Reed is really on. It can be quite tricky to keep up with what’s going on in The Defectors, as people can look pretty similar in their black and grey, with their ratty facial hair and turned up collars, standing in the shadows, and the dialogue doesn’t help us any as it rattles through its exposition from a writer’s standpoint, telling us its facts as though we have already lived the past four years with these people.

In the space of twenty-minutes we should really be able to get a good handle on our characters and scenarios, if they were introduced and handled properly, but here we are faced with stylised cinematography and bad synth chords instead, as a crutch to expose the near-futurism of the piece, without really focusing on the main things that any good story needs. In the end The Defectors gets caught up in itself and its character play, twisting threads around each other in ways that don’t feed the main idea or the over-arching scenario, but instead keeping the pieces moving around the board until they are so far up each other’s backside that it’s hard to tell them apart.

It’s also hard to tell what the point of The Defectors really is, when it jettisons the overall narrative to instead focus on the Internal Affairs of a few bent coppers and a tiny home-cell of supposed rebels. There’s no real commentary on the state of the country as it is today, and no real warning of where we could be heading if we don’t fix the unnamed things that are broken. Without taking a standpoint against anything in particular, The Defectors just becomes a play about people in a future that doesn’t exist, talking about things that don’t affect us. Their machinations are entirely self-ingratiating and only look inward at the characters rather than expositioning a world that we could believe in, and with that it leaves itself more as a poor man’s Line Of Duty (which is poor enough itself in the first place) than any sort of revolutionary statement on life in the UK.

The story opens with an obsessed, rather unhinged character following and planning a way to infiltrate a man’s life. We come to meet both of these characters, Guy (Lewis Dixon) and Bruno (Alex Moeser) after bumping into each other at a pub as Bruno slowly unveils his sinister intentions.

Based off of the novel ‘Strangers on a Train’ by Patricia Highsmith. The first focus is on Guy and how his life is falling apart at the seams. He is juggling his career, a divorce, and a new lover whilst his life is thrown into the spotlight in the headlines.

Bruno happens to ‘overhear’ his phone conversation with his lover Anne (Leila Ballentyne). He invites himself to the table and starts his manipulation tactics, referring back to his rehearsed lines at the beginning of the film. He’s got Guy in an intimate setting, a space that is more secluded and starts his confessional. Constantly probing at Guy’s life and his decisions, at first Guy is apprehensive. We see him faced with endless phone calls and even showing a more aggressive temperament towards his wife, Miriam (Marcela Marin Dapelo). This is a great device used to show Guy’s distress, poor decision making and how his interactions differ with each character throughout.

Guy stays at the table with Bruno even after everything he’s said. Bruno plies him with drink and acts like they have a bond. We see how manipulation and compliance can alter a person’s moral compass and decisions. Bruno appears to be a sociopathic character that knows what to say and how to say it, and Guy is his target to puppeteer. We get to the film’s climax, Bruno’s monologue is enhanced with the orchestral score that gets louder as Guy is actually thinking the idea through. The last sequence is Guy descending the staircase for the final time, creating the ultimate sense of dread, leaving the viewer thinking about the repercussions even after the credits roll.

This works well as a short film, a decisive adaptation of the original novel. It uses two different walks of life and how we see a predator going after it's prey, especially shown through over-the-shoulder shots. The lighting creates a stark contrast from ominous tones at the beginning to the warm, inviting tones of the pub as Bruno carries out his manipulation, offering a friendly ear.

While the film is set between two characters, it could have potentially utilised the space they filmed in more and evoked more emotion through the actors’ performances and editing. There is only so much you can accomplish in shorter films; however, seeing more of Bruno’s backstory would have been interesting to really delve into the psyche of the character and how increasingly dangerous he is.

Overall, it is an impactful adaptation with some great cinematography and lighting choices. It draws you in with Bruno’s introduction and the anticipation of what’s to unfold, as Bruno states things like ‘you took action and I like that’ and ‘you’re one of the few in life that do things’. We see two characters fighting demons in different ways and the extent one is willing to go to.

The Foreboding: Fractured (2024) is a short horror film written by Alexander Staunton-Hill. Alexander also plays one of the students named Connor that this story follows.

The group of four goes for a hike in the English countryside, laughing and joking, revealing their year-long friendships that began at the start of their university studies. When they settle around the campfire in the woods, character Abigail (played by Eve Kathryn Oliver) entertains the group with a scary story set in the same woods they are huddled in. The story highlights a ghost looking for her deceased brother who drowned in the nearby lake, with the cabin the siblings stayed in also a stone's throw away.

When the group splits in an attempt for Aaron to rekindle an old spark with Amy, Connor and Abigail collect some firewood before they hear the whispers of the ghost from the story. The ghost shows Connor a vision of his friends dead.

To stop the proposed events unfolding, the group search for safety and a way to prevent the curse continuing.

The narrative of this film is easy to follow, compelling and full of fast-paced action. The horror aspects of the ‘ghost girl’ are strong. The costume, hair and makeup of the supernatural are uneasy and remarkably effective.

The banter presented between the four friends was realistic and enjoyable to watch. It would have been nice to understand the characters more so that audiences could empathise with them. Without knowing or caring much about the characters, the stakes did not feel high.

There was also some confusion with the relationship between Connor and Abigail, at times romance was alluded to, but this was not clear. An unmistakable connection between the pair might have sparked more emotion from the audience when the characters do comfort each other throughout their trauma.

The visuals of the film were of high quality and professional, from the cinematography down to smaller details like the opening credits. Unfortunately, I do not think the performances were as strong. A high skill level is needed to pull off a performance of grief and immense distress and I do not think that the performances were convincing of this.

I understand the difficulties of fitting a more complex narrative into a shorter production, but there were some holes in the plot and elements that were not clear. During one of the final scenes, Abigail stabs what seems to be a dark fabric. I assume this could be the remnants of the drowned brother in the cabin, mentioned previously in the story, but this was not apparent. The reasoning behind the curse and why it involves the teenagers is also not known.

Overall, this film has a strong narrative with high production value. Some enhancements to the script for a deeper story with more character building would improve it. It was an enjoyable watch with the horror genre being served well.

Rhythmic Exercise with Priadi invites the audience into the world of early-2000s satellite television in Indonesia. The short piece is an ode to childhood nostalgia and a reflection of growing up in an environment that blatantly endorsed toxic masculinity. The narrative follows a daily exercise program sponsored by the Indonesian government to promote fitness.

The central character, Priadi Abadi (Patty Setiadi), has an eccentric personality that shines through in every frame and instantly draws the viewer into the daily exercise program. It's evident that the quirky and fun dance routine attracts many viewers daily because it appears engaging at first, and this is reflected profoundly in the material. The physicality and energy on display from each dancer is exciting to witness, and the tone maintains its charm and satirical nature throughout. However, once the exercise gets underway, the camera angles and framing of each dancer become uncomfortable to witness as a viewer, due to the emphasis on the sensuality of the female body. It's a scathing indictment of the broader television culture of the early 2000s with camera angles and movements that intentionally focus on the dancers' bodies.

Sebastian Aldo Widjaya, serving as the film's cinematographer, primarily frames the piece from wide-angled shots of the dancers and intentionally switches to extreme close-ups of the women’s bodies to emphasise how revealing the different variations of the exercises became. The switch to handheld in the narrative’s final third is also commendable, giving the final moments a more visceral edge. It may prompt the audience to view the dance routine through an entirely different lens, as the filmmakers intentionally sought to convey a visual framing shaped by the male gaze, reflecting the television culture of early-2000s Indonesia.

One of the most impressive aspects of the experience is how well the filmmakers balance the comedic and dramatic tones while delving into provocative themes of toxic masculinity and childhood nostalgia. The piece is clearly visualised through the lens of nostalgia and sheds light on a form of media that has rarely been represented before. Despite the heavy tonal shift in its final third, it's incredibly well executed and never feels jarring, thanks in large part to how visually arresting it is. That said, the narrative isn't given enough breathing room to flesh out its themes and ideas and abruptly concludes.

The performances are commendable despite most of the runtime committed to the dance routine. Patty Setiadi’s portrayal of Priadi Abadi is a standout, as he effortlessly commands the screen while bringing an impressive physicality to the performance. Raina Abigail’s portrayal of the female coach is incredibly nuanced and energetic when the material takes a more sinister turn, and she’s easily one of the most memorable aspects of the experience.

Rhythmic Exercise with Priadi is an enticing experience that pulls the viewer into a quirky dance routine from the early 2000s. The piece tackles its themes of toxic masculinity and the male gaze profoundly while capturing the essence of childhood nostalgia through a mature lens. A thought-provoking experience that pulls the rug from under the viewer with incredibly evocative imagery and memorable performances.

Directed by Geoff Harmer who also co-wrote the short alongside Teagan O’Brien who also stars in the short. Geoff has previously directed a lot of segments in anthology horror series such as Virus Detected (2023) and Video Shop Tales Of Terror (2023). He has also been directing short films since 1994.

Getting what you wish for isn't all that it seems. Our protagonist is a nameless content creator who we meet doing sponsorships full of buoyancy when addressing fans, getting people to like and subscribe. We have all followed or stumbled across videos and online personalities just like this. We then get glimpses into our protagonist's real life but it's not as technicolor as it seems in her videos when she's all alone. The switch in personality when on screen takes a dark turn, when fans become too close finding her location, following her, harassing her she asks simply to be left alone. But those very words get twisted and have fatal consequences.

The performances in this short were very strong as the main protagonist is our main focal point. You really need somebody that can carry the screen and hold the audience's attention. Charlotte Barnes was great at switching between that over the top influencer mode into tense quiet sequences being followed around her home.The inner turmoil as a viewer you get for balancing between the protagonist being toxic and not understanding to her fans. Or are the fans simply taking things too far. Which is an absolute credit to the actress Charlotte Barnes as you really feel torn. Alongside Teagan O'Brein who plays a fan who takes what the influencer says very personally.

The editing by Geoff Harmer himself was great especially in those moments where it gets very suspenseful. At times I almost felt like looking away from the screen anticipating a jumpscare at any moment. Hand in hand with a gripping soundtrack composed by Tyler Lawton-Bryant Also there was an interesting choice: when getting a glimpse of her at home the camera almost glitches and comes across like the film in the camera is burning away. It adds to the duality of her online personality and her dealing with the consequences of her actions.

At the heart of Shhh it’s really about how our words hold so much weight and power when she's asking to be left alone. One of her fans takes it so literally that she doesn't love her and wants her to be silent forever. It's a very relevant subject matter today as it’s constantly in the news how celebrities are being stalked and how they say one thing and it costs them their whole career.

I highly recommend checking out this short. I was invested from the beginning and glued to the screen. It handles its subject matter well and audiences will be left conflicted when the credits roll. Mixed with the classic troupe of someone alone in a house being stalked by an unknown entity or person throughout but with a twist. I feel like it could easily be turned into a feature length and explore this narrative more.

Mintrix and the Elven Figurine is an introductory concept short for a much wider world from creators Andrew Jordan and Kimberly Woods. Audiences drawn to the fantasy stagings will find bold commitment from the filmmakers who embrace popular tropes and demonstrate a clear understanding of the desires of their fans-to-be.

In a fantasy world, Mintrix Vandalore (Kimberly Woods) is a canny and charismatic bard hired by a young elf named Nape (Valeria Rodriguez) to recover an ancient elven figurine. But the pair are not the only ones hunting the mythical item. As Mintrix’s journey takes her from underground caves, catacombs and ruins, the relationship between the two grows from professional to personal. An uncertain future in the vast world leaves open the question – can their partnership survive the stakes at hand?

Fantasy and Romantasy fans will find lots to love in Mintrix and the Elven Figurine – and be enticed by the potential of Mintrix and Nape’s journey. Whilst much of the larger story is left untouched with an eye for later, more developed instalments, it is clear that the filmmakers have big intentions and plans for their fantasy world. Fans will feel comfortable and familiar with what is on display here, but there are also some more unique points on display that provide optimism that Mintrix’s stories won’t solely rehash familiar story structures. Utilising unconventional storytelling and jumping back and forth between locations and characters within the same motion are just some examples of this.

The characters focused on by the filmmakers are from communities often underrepresented in the fantasy genre. Whilst representation has improved in shows like House of the Dragon, there is still a gap for media that places such characters at the centre of the story. As a black, queer woman, Mintrix is a character that pushes forward diversity within the fantasy space by virtue of her existence. But the character should not be defined by her background. Mintrix as a hero is bold, brash, cocky and funny, but it is also easy to imagine that her cockiness will run into trouble down the line. The best characters are those whose personalities are at the heart of their successes, and their failings. Whilst we really only get a snapshot of her story, Mintrix is in good hands with Kimberly Woods as both director and performer.

There are inherent limits to what Mintrix and the Elven Figurine can accomplish in its short running time. The film does race through some of its concepts in a presumed attempt at establishing a few meatier setups down the line, though in the short itself it leaves them feeling under-explored. The antagonistic cult who are also hunting down the figurine are particularly undefined and would require much more development in a feature length to work as a memorable enemy.

But as a concept film, Mintrix and the Elven Figurine is a fine example of how to build excitement and anticipation for a fantasy world. The visuals are great, the ambition is bold, and the central relationship between Mintrix and Nape is believable and promises to take exciting twists and turns. The filmmakers definitely deserve to have their wider ideas brought to life, and Mintrix’s story is one that will conjure many more fans yet.,

Swallows of a Damned Spring is a stark reminder of how easily we take our freedoms and everyday privileges for granted, but also that in the darkest of times, it is crucial to hold onto hope.

Based on a true story, this unorthodox hybrid documentary from filmmaker Jona Pireva shares with us the tale of a young Kosovan girl during the Kosovo war, a conflict that started in early 1998 but reached its true peak during the spring of the following year. For four long months, NATO bombs rained constantly over the war-torn city, and while some were fortunate enough to remain in their homes, others were forced to upend their entire lives in search of safety.

Narrated by Pireva herself, this six-minute film is a poignant, heart-tugging lament for a life and childhood stolen, for a future increasingly uncertain. Our narrator longs for nothing more than a clear blue sky, rather than one filled with "colours never seen before and some noises never heard". Yet, despite being stripped of their education, their friends and even their sky, they still somehow manage to find room for hope that one day they, like the swallows that migrate each year, will also be able to return home.

After a look through Pireva's intriguing back catalogue, it's clear that here is a filmmaker with their own distinct vision and style, their own precise sense of storytelling, and an unwavering, applaudable conviction to see it all fully realised. Swallows of a Damned Spring is no exception. Pireva's penchant for the close-up, handheld style, always seeking the fascinating minutiae of each scene, allows us to enter this world with our narrator, its jagged raw style working to serve the narrative as a vivid memory being retold, bringing us and the emotion together,

There are no bells and whistles; nothing is done merely for show, and with that, not a great amount of depth to uncover. Yet it's simplicity, it's being drawn back to the bare bones, are what give the film not only clarity in that vision, but the space to draw us in to what matters most: the feeling. Ultimately, it all feels incredibly personable, inimitable and pure.

A sombre, unassuming and understated piece, Swallows of a Damned Spring is a deeply personal tale told in a most deeply personal way, a filmmaker bearing heart and soul for us in the pursuit of great storytelling and offering a vital lesson to never take what we have for granted.

Spencer Anderson writes, produces, edits and directs this short psychological drama, starring Elliot Cable, Gillian Broderick and Natasha Robinson.

The plot: World War II is taking place and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distraught Peter.

The entire narrative of this six-minute-long film takes place inside a small tent, where the fortune teller puts her abilities to use and during this short running time, great acting, methodical filmmaking and creative mise-en-scene collaborate and create an atmosphere filled with tenderness, tension, and heavy drama.

The mise-en-scene effectively creates an environment that brings to life a Second World War setting, with Pete's uniform being one obvious aspect, along with Sheila's hairstyle and clothing. Signs of a fortune teller's workplace are present, and they include a crystal ball, tarot cards and the turban worn by Helen.

This story relies heavily on feelings, and Anderson frequently utilises close-ups of the protagonists' faces, effectively capturing their reactions and emotions in shots that are massively supported by Dan Abrams' wonderful cinematography.

Throughout the story, Peter is sat at Helen's table, with her sitting opposite him. Things start out relatively calmly, turning dramatic following a disclosure that deeply upsets the soldier, creating a rollercoaster of strong emotions as Peter fights hard to comprehend what he has just discovered. As the story progresses, the atmosphere changes, going from blissful to chaotic and melancholic, with Reg Length's music adding to the dramatic scenes. More on the audio, the methodical use of sounds of gunfire and shouting results in a harrowing battle scene that is experienced audibly.

The vast majority of this film revolves around Peter's state of mind, and Cable does an amazing job, vividly expressing his character's feelings, whether it is happiness, anger, or sadness. In her debut film role, Robinson impresses as a nineteen-forties young woman who has been reduced to a very distressing state following the separation from her partner. And Broderick is the fortune teller, a calm, patient, and understanding person.

This relatively short story manages to explore a number of significant themes, and they include war trauma, desperation, comfort, regrets, and painful revelations.

A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries.