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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. Film Reviews from UK film critics LATEST REVIEWS

Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Lesbian Vampire Seeking Jewish Lover A short horror film written by Chris Hale and Addi Main, directed by Chris Hale and starring Adelyn Main, Dolly Universe and Noah Freeman. The title is quite memorable and yes, the plot does involve a vampirism and Judaism. Laura (Main) is a vampire who resides in a small coastal town and apparently, she tends to pray on young women. One night, she goes to a nightclub in search of another victim. This potential victim is Hannah (Universe), a young, Jewish, college student. However, this time things do not turn out as Laura anticipated, as the two of them end up building a romantic relationship (without Hannah being aware that her new partner is a vampire). A dark vampire story that combines romance with lesbianism and religion. From a horror perspective, Laura gets to do what vampires tend to do, bite people (no fangs to be seen though) and avoid the sunlight. And, by the way, she does not sleep in a coffin. Her sole purpose appears to be to feed, until she meets Hannah and things turn romantic. The decision to make the film in black-and-white was a good one, as it effectively accommodates the film's dark atmosphere that is further supported by the piano melodies by Iona Davis and there is creative editing that utilises split screen and superimposition. Laura is an intriguing character, however, it would probably had been beneficial if she was explored further, her origins, how she supports herself as she seems to have her own apartment and why she becomes romantically involved with Hannah, instead of killing her. With a convincing perfomance by Main, Laura is a supernatural being who craves blood and is isolated. The arrival of Hannah, a simple young woman turns Laura's life around, revealing a softer side of her, a humane side. As mentioned, this short tells a story through vampirism, religion (Judaism in particular) and romance. It also works as a commentary about a strong bond developing under very unconventional circumstances. A dark story about the romance between a female vampire and a Jewish woman. It is an interesting viewing, although what the film's ultimate message is seems unclear. VIEW REVIEW 2024 Trump, wars, Oasis ticket prices – a lot of rough stuff went down in 2024. Michael Johnson’s eponymous music video images a world that somehow gets worse after, from which a heroine is sent back in time to rally the world of today to wake up to impending disasters – with a heavy synth rock soundtrack courtesy of Durham band The Heartland Collective to boot. Taking inspiration from The Terminator, the film opens with footage of a world approaching turmoil. As the anxiety-inducing footage crescendos, a young, otherworldly woman (Ayvianna Snow) is sent back from the future, exploring her new peaceful surroundings and strange customs. It’s not long before she sets about her goal, to warn the world of the danger approaching and rally support to fight back. As a short music video, 2024 does a solid job of telling a legible, relevant story (which aligns with the song’s lyrics) whilst also leaving enough focus on the music itself to shine. The intense, urgent chorus is animated by the heroine’s fist-pumping rallying cries in the video, with Heartland Collective themselves making appearances via TV screens. The setup of tumultuous footage at the film’s opening suggests a number of reasons for the sending of the messenger, from war to climate change, giving the video a wide context. Ayvianna Snow is an enigmatic heroine, dolled out in post-apocalyptic gear and makeup that hint at the darkness to come. Her initial intrigue and excitement in her new world comes out in impish fashion, as she fascinates herself with mobile phones on city streets. This gives way to anger and urgency when the realisation kicks in that the new world is in the danger of becoming the one she is already familiar with. It is then when she becomes a vessel for the song’s lyrics – which hint at the seeding of the disasters to come in our indulgences today. The video is very well produced and directed by Michael Johnson who imbues energy and clarity into the short. The urgency of the opening and conclusion of the short surrounds a focus on Snow’s character, who shines in the world she has been sent back to and stands out amongst the background. The film’s effects and editing also impress, with the time travel realised well and the footage of the world of 2024 looking authentic and convincing. 2024 is a solid music video that does a fine job of accompanying its song. There’s an in-built limit on storytelling due to the genre, but the themes and purpose of the song and worn on the video’s chest and come across powerfully. Ayvianna Snow steals the show with her performance, and really makes the difference in hammering home the urgency of the message that what we do today impacts the world of tomorrow. VIEW REVIEW Sileo (2025) A short animated sci-fi film from Hungary, written and directed by Demeter Lorant and starring Nate Goodwyn. Set in the future, the story takes place in a world inhabited primarily by robots. The main character is Geff-325520BD, a robot whose role is that of a fixer unit, repairing broken core units inside a factory called ''Sileo''. Geff performs his objectives with great efficiency, however, every once in a while he malfunctions and parts of him need to be replaced. Concerned that one day this will cause him to lose his identity, Geff sets out to locate those who created him and hopefully understand what he is. The graphics deserve commendations and are arguably one of the highlights of this seven-and-a-half-minute long film. Lorant worked on the animation and the computer animation looks great, creating a world dominated by technology. Futuristic buildings are to be seen, along with machines and forms of biological such as trees, birds and fish. As for the hero, Geff, his appearance resembles WALL-E, from the 2008 animated sci-fi feature of the same name. The rich sound effects are another element that stands out. Regarding the story, it is intriguing and suspenseful, combining sci-fi with road movie and supported by narration provided by Goodwyn. This short presents a future where humanity and biological life in general has been replaced by Artificial Intelligence. AI is a major theme here, with the screenplay exploring what this kind of technology is capable of, suggesting that it has the ability of self-awareness, curiosity and to learn. This film is quite interesting and thoughtful. However (from the critic's perspective at least), the ending comes across as puzzling, it does not seem to effectively communicate what is taking place. Even if some viewers find the end to be unlcear, that does not overshadow the creativity that was put into making this thought-provoking short, neither does it make one forget about the themes that it explores about AI and self-discovery. VIEW REVIEW A Television Broadcast From Outer Space An intergalactic broadcast from what scientists call ‘an alternate Earth’ has been received, and we are invited to sit down and watch along with the nation as the last day on this other world plays out before us. When Orson Welles put on his radio play of H.G. Welles’, The War of the Worlds in 1938, the world was woefully unready for the panic that the broadcast would cause. Listeners could scarce tell the difference between what was fact and what was fiction from the information they were hearing coming from the only instant source of world news available at the time. People really thought the world was being invaded by aliens. Here, in A Television Broadcast From Outer Space , we have Awesome Welles (Whitney) to introduce us to our (not so) alien TV channels which have been sent to us from a galaxy far, far away (no, not that one). Coming to us from what appears to be a Public Broadcasting basement and introducing the reel as though he were an announcer for TCM, or Jonathan Frakes in Beyond Belief: Fact or Fiction , Welles nonetheless lends his gravitas to the idea that something world shattering is upon us. And so, not knowing what to expect, we must roll VT. What comes next is a pick ‘n’ mix of TV shows, newsreels, and adverts from this alternate Earth which demonstrate the tragic situation they have finally found themselves in. These pictures were meant to be from the day their Earth died, but sadly it seems as though these Other Earthlings were too caught up in their capitalist consumerism to adequately pay attention to the impending doom which they had brought upon themselves. We see from the newsreels that those who speak out against the governing bodies are quickly silenced, and that experts and specialists are summarily ignored when they try to warn of the upcoming dangers. While these shows and reels are really supposed to be a mirror for how we in this world are treating our only home, they are ultimately used for comedy. The resulting five minutes then becomes a mash-up of sketches, flitting around like The Fast Show or Rick and Morty ’s Interdimensional Cable, to throw up a variety of ideas loosely based around turn of the century Earth programming. In amongst all of this we have writers and directors, Mo (Bayliss) and Steph (Leigh) getting their faces into as many of the sketches as possible and playing a variety of different characters who don’t seem to give a monkey’s that the world is ending. Ultimately, the premise for A Television Broadcast From Outer Space works well for what the writers, directors and producers wanted from their short film. It gives them a space to breathe and to play around with different types of genre and style of film, as well as allowing them to populate their alternate world with wilder, wackier versions of what they see here on Earth. The cinematography switches to match with the style of advert or show currently on screen, with new camera choices as well as production design and directorial decisions being evident in each new sketch being shown. A Television Broadcast From Outer Space could very well be touted as a showreel for what Mo and Steph can do, behind the camera as well as on-screen, and from the variety on offer it’s easy to see that they know what they’re doing. Sadly, the funny bits are not all that funny, and the premise is something we’ve seen before elsewhere. The moral message gets lost somewhat in translation, and we have to wonder if a lot of what we’re seeing really has anything to do with the idea that their world is ending, as well as needing to heed the warning that it will happen to us too, if we’re not careful. Still, for a short nine-minutes, A Television Broadcast From Outer Space might well be the diversion you need to step back from the existential dread of a dead world, and laugh a little at the hopelessness of it all. VIEW REVIEW Jacob's Little Helper The director Richard Russell and writer James L. Edwards incorporate the comedy and horror genres into the screenplay. The makers utilise editing capabilities to place the scenes properly to make them effective and engaging for the audience. Heather Bayles, Anna Dutilly, and James L. Edwards give shape to the director’s vision beautifully. The plot of Jacob’s Little Helper revolves around Jacob Vorski, who believes that it’s not easy being a franchise Horror icon. Everyone can use a little help, and that help comes in the form of Adrienne Palmer. In an exclusive interview, get a behind-the- scenes look at the inner workings of mass slaughter. Jacob’s Little Helper begins with a long shot of a microwave heating some food, followed by a mid-shot of a woman having popcorn while watching television. An eerie sound elevates the comic and horror elements in the subject matter of the short film. The one-to-one interview between Adrienne Palmer (Heather Bayles) and Roy Weiand (James L. Edwards) initially seems to be a day-to-day conversation, a way to express appreciation towards partners but it turns out to be full of twists and turns that keep the viewers hooked to the content all through the 11 minutes. The set-design, a mix of black, white, grey and multiple colours, a combination of dim and natural lighting, sound, camera angles, dialogues, costume, hair, makeup, and props are designed to enhance the right mix of mystery and realism to add depth for those who enjoy this horror-comedy genre. In terms of performance, Anna Dutilly plays Punk Chick, who lives a normal life, but things turn towards a drastic downfall. Dutilly understands the nuances of the character arc and picks up the traits in her portrayal that lift the narrative’s pace. The young actress with her limited screen space balances her emotions through her body-language, voice modulation, facial expressions, and eyes. Heather Bayles plays Adrienne Palmer, who is Jacob’s helper/partner in crime, revealing a lot of unsaid storylines of crimes done together. Bayles adopts a dramatic style of telling the tale to make the interview more interesting for those watching it. Bayles with her acting skills manages to keep the viewers glued to the film. James L. Edwards plays three crucial roles in this horror comedy piece. He is writer and also fits effectively as Roy Weiand/Jacob Vorski. The actor effortlessly switches between all three parts. Jacob’s Little Helper talks about being aware of the dangers around someone and taking adequate steps to deal with them. The short film reiterates that choosing the right friends and colleagues is crucial for a hassle-free, peaceful life. The cinematic piece tells the audience to be careful regarding the cinematic/web series content or news so that it doesn’t prove to be detrimental for their mental health. The creative piece highlights that the makers of these shows, movies should always be ethical and not be ready to do anything for popularity and television rating points. To conclude, I would like to say that the inclusion of the behind-the- scenes clips along with end credits rolling in is smart move to keep the audience invested in the movie, giving them freedom to interpret it as per their understanding. VIEW REVIEW Wish You Were Here Big Bubba’s Wish You Were Here delivers a delightfully dark and humorous twist on our perceptions of modern-day internet culture, looking to challenge our preconceptions as to the kinds of people we think are bloating comment threads and message boards with endless controversial statements full of hate and toxicity. We are immediately introduced to poor Margaret (or Maggy, played by Anne Rosenfeld), an adorable pensioner sitting at home all alone, the crosswords no longer cutting it and unable to even get to the door quickly enough to exchange a couple of words with the delivery man. Seemingly trapped in a sad state of perpetual loneliness and boredom, Maggy retreats into the online world, constantly checking her messages before finally resorting to scrolling through her Facebook pages to try and find some sliver of human connection. And this is where Wish You Were Here naughtily but brilliantly pulls the rug right from under us. Initially looking to add her sincere condolences on a random post, suddenly, Maggy has a little twinkle in her eye. Backspacing her original comment, Maggy then, with a mischievous smile, enters something a bit more, let’s say, inflammatory. Of course, the responses flood in, the backlash begins, but rather than be deterred, Maggy laps up the attention and gets to work. Despite the real issue of internet toxicity and vitriol that plagues the world wide web these days (and to be clear, Wish You Were Here at no point undermines these issues) there is just something inherently funny about the idea of maybe your gran being the one you’re arguing with on the internet, and that they’re only really doing it for a bit of fun. Such is the genius of Ken Abalos’ sharp script, managing to allow us to laugh but reminding us we shouldn’t be at the same time. And while we might indeed allow ourselves to chuckle along once or twice at the things Margaret writes (although some of it does come very close to the mark), the film again is always looking to strip those prior judgements most of us will have as to the who and why behind these trolling profiles. And most importantly, it’s all so captivating to watch, and that’s undoubtedly because of the film’s impeccable technical presentation. After initially leading us into this false sense of security with its sparse score and lighter ambience, as soon as Maggy starts barreling down the rabbit hole, the film darkens, the score pierces and unsettles and cinematographer Harvir Gill moves to such a compact view of Maggy’s eye-widened, delighted face (an amazing performance from Rosenfield as well it must be said) and flurry of comment screens, that the unease of watching Maggy’s behaviour is felt in your very bones, leaving us helpless except to tumble down that rabbit hole with her. Wish You Were Here might leave you completely dazed and perhaps even feeling somehow oddly complicit in Margaret’s dirty deeds, but ultimately it leaves us wanting even more, and what Big Bubba and their team deliver in these six minutes is nothing short of applaudable. VIEW REVIEW Bonnie and Orville Bonnie and Orville , a short British horror from writer-director Alanna Schneider, is tense, shocking, and above all else, entertaining from beginning to end. We open on our two titular characters, Bonnie (played by Schneider) and Orville (Jacob Rose), locked away in a barn. Immediately, the film plays with perspective in a most amusing and impactful way – perspective is something which the film manipulates to its own advantage at the turning point of the narrative as well. At first, we’re to presume that there’s also a baby in the barn, crying through the night, but we quickly realise that this is Bonnie’s warped perspective. Clearly, there was once a baby in the barn, but something has happened. These are characters attempting to survive despite being trapped by, at first, unseen monstrous forces; and Bonnie’s mental state is also paying the price for the distress they’ve had to face. One intriguing aspect of the movie’s design and aesthetic is the odd mixture of time-periods indicated through the costumes and props. For instance, were you to take the opening few minutes of Bonnie and Orville in isolation, it would absolutely appear to be a period piece; we’re in medieval times, you may very well presume. But modern elements begin to bleed into the scenery – telephone wires, for instance – and it’s quite disconcerting. This comes into full effect when the plot switches gears around half-way through. In what I would argue is the piece’s most incredible, impactful sequence, a large individual with a plastic pig face comes crashing into the barn holding a taser – yet another modern implement. What follows is a discombobulating evolution of terror and absurdity. One’s reminded of some other great works while watching, which is a good sign. The Texas Chain Saw Massacre , for one; and there’s an image towards the climax of the film – involving a cannibalistic feast – which very much evokes a scene from Peter Greenaway’s masterpiece The Cook, the Thief, His Wife & Her Lover . Whether that movie has served as an inspiration or not, the gruesome display makes for a fabulously disturbing image. This horror set piece, consisting of icky, effective sound-design and gory effects aplenty, takes place within the context of our main perspective-shift: revealing the monsters of the story, and then following said monsters into their home. It’s such an unnerving way to reorient your story, and in less than ten minutes, you can appreciate the intelligent, Psycho- esque structure. It’s a decidedly rare thing when a film like this gets my heart properly racing, but Bonnie and Orville somehow manages that during the pig-head entrance previously discussed. Because there’s a patient, quiet buildup during the first half, the second hits with awesome force. It’s not a technically flawless film (not that anything should be) and you could point your finger towards a couple of fuzzy, phone-filmed exteriors, or maybe one iffy line delivery. Yet overall, we’re blessed with fascinating writing, immersive design, clean audio, strong performances and stylish cinematography. This critic strongly recommends this new independent short for any horror film fans. VIEW REVIEW Unseen Scars Poignant and loaded with tension, Carl Mackenzie’s short film Unseen Scars is an emotional deep dive into the haunting reality faced by many veterans trying to readjust to civilian life following time served in the military. Andrew Lee Potts plays the lead role of James, a vet currently struggling to get his life in order after serving in Iraq. Following an arrest for drunk driving and other offences, he attends therapy at the behest of his partner. His therapist (Michael McKell) has also been affected by the misery of war and does his best to get James to open up about his struggle. What strengthens Unseen Scars as a piece about PTSD and the challenges faced by vets is the authenticity of the story. Mackenzie himself has witnessed the impact on a close friend, leading him to spend months of time researching and interviewing veterans and their families to do justice to their stories in this short film. The story, through James’s lens, manages to touch on many of the regrettably common consequences of warfare, such as suicide, alcoholism, depression, and ruined relationships. It’s a heavy movie, and Mackenzie and his crew do well to ensure the production is as polished as it can be. Excellent grading, sharp editing, and a heightened score immerse the viewer into a state of arrest for the entire running time. There are also some great visual moments, such as James’s silhouette atop a pile of rubble or him sitting on the ground in an abandoned factory. The performances are strong, particularly the therapy scenes where Michael McKell and Andrew Lee Potts engage in a tell-all bout of hard truths about living with trauma. The fragility of their lives lay bare for these supposed toughened soldiers, reacting to the spiderweb of anguish that serving and knowing those who serve can cause. Whilst Unseen Scars is a powerful and moving film, its story and themes are going to be familiar to viewers. Stories of PTSD and the impact of war on soldiers have been made into a plethora of movies, many of which are also profound and stand as mainstays of great cinema (The Deer Hunter, The Hurt Locker, Brothers). That being said, the tragic reality is that these stories need to be told repeatedly. Checking in on those vulnerable to traumas in their past is essential and the human connection we all need feels ever more threatened in a world of digital interactions and socialising. Unseen Scars is a moving contribution to this ongoing discourse. VIEW REVIEW Eternity Just a hint of AI in mainstream cinema is enough to cause a controversy – with even best-picture-winning The Brutalist recently succumbing to ‘the discourse’ on its usage. Truthfully, the long-term impact of the technology is almost impossible to predict – though sceptics are right to be concerned about the impact it is likely to have on visual effects. The counterpoint is that it opens all sorts of doors to lower-budget filmmakers who can now envisage worlds and concepts formerly outside of their scope. Phil Brocklehurst’s Eternity is an experimental venture into the latter. The short follows the life of a man (P.M. Thomas) rocketing through time, his face aging from a young man to an old one interspersed with a spinning clock to represent the speed at which the years pass us by. Photo AI software is used to rapidly age the man, before reaching a bittersweet, thoughtful ending which ponders the circle of life. A self-admitted experimental short, Eternity visualises a theme more than it tells a story. It’s impossible therefore to judge it on traditional measures. The real purpose of the film is to demonstrate the potential of AI editing software, particularly how this can imagine the impact of aging on someone and simulate them at various stages of life. In this endeavour, its success is mixed. The purpose comes through clearly in the film and Brocklehurst’s vision of a man racing against time is coherent. The visuals themselves are reasonably impressive – the stages of aging are well-realised whilst convincingly portraying the man as the same individual throughout. The film introduces the angel of death (Margie Newton) to accompany him to the afterlife, with further use of photo editing software to create an impressive angelic background which adds a haunting vibrancy. There are some clear telltale signs of AI throughout the film however – such as the unmistakable ‘AI face’ in which an image stares dead-eyed into the distance and a face moves ever so slightly out of tandem with the body it is attached to. This uncanny valley effect is an ultimate barrier to AI adoption in a wider use – ethical implications aside – as it simply looks odd and inhuman. For a film designed to showcase and experiment with AI use, it is something of a timestamp evidencing that we are not quite ready to hand over to the machines just yet. It should be said that with the ever-developing world of AI, it is possible that the technology has already progressed to the point where some of the issues seen in Eternity may be within tech’s capability to solve. This short demonstrates many of the benefits of AI, and will help filmmakers working on lower budgets identify areas where it may be of use. VIEW REVIEW Choco Lava Memories Choco Lava Memories is a strong, disturbing fifteen-minute tale of depression and trauma. Pretty dour stuff, and the look, tone and performances of this short only add to the uncontrollable feeling of misery our protagonist is succumbing to in the story. We follow a woman who is haunted by bizarre memories of her grandmother’s last moments. These abrasive yet hallucinatory images consist of the grandmother – lit in a murky blue light – presenting our dazed protagonist with a cake; then, something seemingly terrible takes place, although the filmmakers play their hand close to the chest – it's all sound and suggestion. Meanwhile, in the present, our well-acted main character struggles to maintain her life. She disconnects with, or is uncared for, by her boyfriend and father, and she quits her job. She spirals into an all-consuming slump, and for a viewer it’s difficult to witness (to the film’s credit). If there’s a dysfunction to the narrative and its themes, however, it could very well be argued that the hints at suicide as the horrific impending event – in the case of both the grandmother and the granddaughter – could leave the viewer feeling slightly uncomfortable, and not in the ‘horror’, ‘scare-factor’ way it’s intended. It’s difficult to understand what the filmmakers wish to say through this device (though arguably it’s the fact that one can label it a ‘device’ which is the problem). But if there’s one definite strength to this aspect of the piece, it’s the horrifying concept of a cyclical form; repeating the past, no matter what the action or event is. And in the script’s defence, this film is very much about mental illness, and how depression can result in feeling closed off from the people you might need at your worst moment. The build-up is tangible, atmospheric, and intelligent; and while the disturbing final reveal may divide audiences in terms of taste (and a willingness to meet the film on its own, rather unpleasant, terms), the cinematic power can still be found in the disruptive mood and tight pacing. What is undeniable about this movie is that we feel connected to our psychologically vulnerable protagonist. A couple different formal and aesthetic decisions make this possible: the first is that the fragmentary presentation of memory messes with the psyche of not only the character but of the audience as well. It also provides an additional layer to the story; the inner and outer life as a single fractured, fluctuating perception. The second is that the desaturated colour palette, but simultaneously vivid, digitally sharpened detail, accurately captures the perspective of an individual suffering with depression – at least in abstract terms. I concede that when one is depressed in reality, the world does not look like a digital image; however, the world does become hyperrealist in such a way that both overwhelms the senses and numbs the soul. This is what Choco Lava Memories captures perfectly, even though it was not shot on a super high-quality camera. The director understands the production limitations and allows these limitations to inform a perceptive visual style. VIEW 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. 2024 Patrick Foley The Road Back Patrick Foley It Feels Good Jason Knight All My Life Jason Knight Unspoken by LT Jason Knight A-Train: New Beginnings Jason Knight The Dragonborn Comes-Main Theme Jason Knight The Panharmonion Chronicles: Times of London Patrick Foley Lost All Care Joe Beck 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 Stroke Code Music Video Review Chris Olson Sep 28, 2021 2 min read More Film Reviews

Filmmaker Interview by Chris Olson Hi Tope, thanks so much for doing this interview with UK Film Review. Please can you tell our readers a little bit about yourself? My name is Tope Laguda. A lot of people can't pronounce my name but the closest to it is toh-pay. As long as you don't call me toupe, I'm good. I am a new filmmaker but relatively late to the industry. I'm what you would call a late starter in general. I tend to do my own things in my own time. I guess that kinda makes me special. I had a stint in TV commercials as a kid in primary school, was in the drama club and the social prefect in secondary school and a really good dancer too so, it hasn't been a surprise to a lot of people who have known me from when I was little that I would eventually make my own film. I wrote the screenplay for my film, " What No One Knows " but still suffer from impostor syndrome. Haha! I am currently writing 2 screenplays, but it would be good if I could finish one though. My mind flits from one task to another and no, I do not have ADHD. Good to know haha. Can you tell us the name and a bit more about the film(s) you are working on? I am still trying to decide a name for them. I feel like a mom-to-be who will only know what to call her child once she sees their face. I guess I'll be more decisive once the story is done. If however, you mean latest latest, then it will be What No One Knows which is currently streaming on Prime Video and I'm working on the marketing for it. For those who haven't yet seen What No One Knows, what's the synopsis you give to a potential viewer? Two women, lifelong friends, embark on a shocking act of deceit, which they believe will help them both, neither foreseeing the devastating impact it will ultimately have on each of them and their families. When me and Brian reviewed the film on the UK Film Club Podcast , we loved it. Why did you want to make this film? It had been bugging me for so long! It was conceived in 2006 when my daughter was 8 months old and I tried to bring it to life, but wasn't getting any success,s and I soon forgot about it, but in 2018, when it looked like my life was going nowhere, I picked it up and started developing it. As fate would have it, the delay worked in our favour because my daughter, the same one who inspired the story, ended up playing the younger version of my character in the film. I wanted to fulfil my dream of bringing my talent to as many people as possible. That's amazing! I can imagine there were plenty of challenges along the way? Oh my goodness! There were and still are a lot of challenges. Putting the funds together, we couldn't find anyone to believe in us enough to invest in the project so, we ended up funding it ourselves. Then we had the pleasure of working with challenging actors who made production actual hell on earth. My co-star threatened to beat me up on set! It was chaotic and for a first-time production, it almost put me off but for the love of filmmaking. I always knew it was what I wanted to do. Then there is the challenge of selling the film as a black female first time filmmaker! It is an absolute jungle out there. Not to talk of falling into the hands of unscrupulous individuals who claim to be sales agents lie and take your money and not deliver on their promises. I can only talk about how I've overcome them when I have overcome them, but right now, I am still going through them and I am staying positive. After all, my film is now on Prime Video. It's another step forward. That sounds terrible. It's great you still have such a fire burning for filmmaking. Why do you make movies? The best way to get away from reality is to create your own reality. Filmmaking gives you that control. Writing allows you to decide where you want to take your characters, what you want to do to them and whether you want the audience to love them or hate them. You are in absolute control (if you have the money haha!), which is something that life doesn't allow you to do. Believe it or not, Home Alone lit a fire in me. The young Kevin McAllister, and everything about the 1st and 2nd instalment. I watched them so many times I knew the whole screenplay by heart. Shonda Rhimes as a writer/creator/producer, is an inspiration. I love me some Viola Davis and Mr Spielberg, but ultimately I'm inspired by my environment and everyday people like myself. I'm quite picky about where I get my inspiration from :) What advice would you give to someone just starting their career? Do not trust everyone who tells you they know what they are doing or that they've got experience and know better than you do. Always do your due diligence on people and ask questions. Anyone who asks you to put money down before they help you is not there to help you. Filmmaking is not for the weak, do it if you really love it. If you are going into it for commercial reasons, you might want to look elsewhere. That's sound advice. Who would you love to work with and why? Viola Davis, Shonda Rhimes, Kevin Hart. Viola and Shonda are powerhouses that will challenge me and make me unlearn and relearn everything! Kevin Hart will help me explore my funny side and it would be mad fun to be with him on set. Other than promoting What No One Knows on Prime Video, what's next for you? I will continue to work on my next two scripts which I believe will raise the bar even higher than what we have done with What No One Knows. You can find out more about Tope and her filmmaking below: https://ihaveanideaent.com https://www.instagram.com/whatnooneknowsthemovie/ #ChrisOlson #FilmmakerInterview

★★★★★ Starring: #Graham Slater, #BenRufusGreen, #Basil Bottler, #KirstyConway and #StuartAshworth Directed by: #DanielReid Short Film Review by: Alexandra James Kim is about a man who has become reclusive and is very much set in his ways, his reluctance to leave his home has forced his inner thoughts to manifest into an old red British telephone, where Kim is left constantly bombarded with phone calls encouraging him to leave his home and see the world. A very quirky and eccentric character, Kim discovers that the outside world is not as bad as he thinks and endeavours on an adventure meeting new people and exploring his surroundings, this film follows his journey and the interactions he has with equally eccentric people just like him. Kim is a rather odd character, his bedroom is filled with childhood 80s toys, and he seems to live in a very innocent world, with a fear of everyone outside, especially those that tease and bully him for his peculiar ways. However, its his inner thoughts at the end of the phoneline that force him to get out there and interact with new people instead sitting at home feeding his parrot, that is dead by the way! Although there were some scenes that appeared rather strange, this was the films allure. I really enjoyed all the unusual and weird characters, everyone seemed odd, but it became fascinating to see how they all interacted with one another. The scenery and the aesthetic appeared nostalgic in a way and created a very retro world within a modern setting. The costumes and props used to emphasise Kim’s character were so detailed and really conveyed the characters personality. From the bowl of cornflakes to the electric toothbrush and even the telephone itself, it was such a well thought out storyline that just left me wanting to know more about Kim and how his journey continues. The diverse use of camera angles and shots were incredibly clever, with the use of aerial shots highlighting just how big the outside feels for Kim and shows the contrast of how this must feel for a recluse, and just how vast and scary the outside world can seem to some. The dialogue was funny and silly and sometimes baffling but that created the charm to this short film, the nonsensicalness of this film was perfection. I loved all the characters and found them incredibly comical, it was engaging throughout with a wacky story that flowed well.

★★ Starring: #IraSakolsky, #VivianaVasquez, #AmyBuckley, #CarrieNeri, #LaurieSullivan Directed by: #RyanPhelps Short Film Review by: Alexandra James If you are looking for a bit of light relief, something to brighten your day and get rid of your Monday blues, then this short Dancing with a Dog! is the clip for you. An upbeat and visually intriguing video that shows us just how much our canine friends love being in our company. A fun-loving tune which gives the audience an insight into just how much our pets love us and what exactly are they thinking about? It’s a question that many of us would like to know, Dancing with a Dog! reveals to us exactly how dogs feel about their human companion. This short does start off in a muddling way, it is a very exaggerated clip but at the same time it is a very engaging with a catchy tune that sticks with you. There is a mixture of scenes that makes this piece even crazier, scenes with dogs dancing with families but also show dogs performing with their trainer. There is a large combination of scenes, sometimes a bit misplaced, however, it was interesting to watch. The main element to take away is that it is a cheerful short for animal lovers. There were some fun shots that helped to elevate the short by placing the camera on a dog’s back so that we can see everything from the pet’s perspective, even some scenes in black and white which is exactly how dogs view the world. The lyrics to the tune could have been a bit stronger, however, there is an innocent theme to this short clip which makes everything feel playful and engaging but there needs to be more of a flow between scenes as there were random cutaways which unfortunately did not flow entirely well. For example, the opening scene was very brief and looked a bit disjointed to the rest of the video, if there was a smoother transition which included more of a context to the rest of the video, it would have flowed much better. A simple but very fun and engaging short with a likeable tune that just makes you want to get up and Dance with your dog!