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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. Chasing Euphoria A short psychological thriller written and directed by Shayaan and starring Aryan Sadaat, Riccardo Habet and Bakh Syeda. Two young best friends (Sadaat and Habet) are spending a night out in the city. Then one of them spots a girl (Syeda) sitting by herself and he decides to approach her. She rejects him, however she is keen on his friend and the two of them begin dating, much to the other guy's annoyance. As the two of them continue to blossom their relationship, the rejected begins spying on them and his aggressive and disturbing behaviour spirals out of control. This short has an intriguing plot, beginning as a drama about relationships before turning into a thriller about stalking. As Sadaat's character becomes more and more obsessed with the couple, the bond he has with his friend is gradually destroyed as he clearly envies his ability to get along with girls and they turn against each other, arguing fiercely. The character development involving Sadaat's character is the heart of the film as the screenplay follows him as he falls into a personal abyss, drinking heavily, isolating himself and being consumed by anger and jealousy. The tension and drama rapidly build up as he targets the couple. It is also worth mentioning that there is a reference to one of the director's previous films. As vivid as the tension and drama are, the ending feels disappointing and that would be because it does not directly explain what actually happened. If it was intentional to have a story that ends with question marks and leaving the viewer to guess the events that took place then that was probably a mistake as a more obvious conclusion would had made the film's messages more evident. Also, regarding aspects that could had been improved, there is a fast cutting that shows what appears to be sparkles. Evidently, this was intended to help reveal the character's troubled state of mind. It is an interesting effect but maybe unnecessary. As Sadaat portrays the character whose actions are the main focus of the plot, his performance is vital for the film to have an effect and Sadaat pulls it off terrifically. Basically, his character is a youth whose personality changes throughout the story, turning from a simple guy into an angry fiend with sinister intentions who becomes obsessed with the relationship between his friend and the girl and is broken because he is unable to have a romantic relationship. Habet's character goes through good and bad experiences as he finds happiness with romance yet has to deal with his friends abusive and self-destrutive actions. Psychological deterioration, self-destruction, stalking, obsession and jealousy are major themes in this story and they are explored through Sadaat's character and so is the idea of being unable to find romance. More cheerfully, this story involves friendship and the joys of romantic relationships. This is a film anout a person who struggles to deal with their personal issues and ends up being a danger to themself and others. The intriguing plot, the tension, the drama and the strong performances add value, however some viewers might be unhappy with the unclear ending. VIEW REVIEW Ronnie California: The King of Artesia The self-contradicting facets of the immigrant experience are brilliantly dissected by Adi Kalidindi in Ronnie California: The King of Artesia, an imaginative and fun short film featuring an Indian man living in 90s America who tries to fit in in with his new country by taking up a classic pastime – organising an illegal gambling ring. The titular Ronnie California (Anand Mahalingam), following successful application for a name-change, looks to cement his place in America by running an illegal gambling ring out the back of his failing Saree shop. With interest on the rise, he becomes more and more extravagant with his dealings, and takes on the persona of a shady 70s car salesman. But his recklessness isolates his friends, who sense the law closing in. With impressive production, a canny and critical eye and plenty of laughs, Ronnie California is an accomplished and enjoyable short. It examines the immigrant experience using its title character, who wants nothing more than to fit in. And make lots of money. The use of ‘Ronnie’ to draw attention to discrimination and othering that Indians face in the United States is at the heart of the film. But where it shines comedically is in its devotion in never white-washing Ronnie’s shady qualities as a person. It’s hard to tell where his desire for acceptance ends and his willingness to bend the law for his own aims begins. There is a sympathy for the character in the film, but his sliminess and disregard for friends like Sidd (Nirvan Patnaik) adds real layers. Ronnie’s slow breakdown culminates in the law closing in and a moral choice which is one of the film’s most chaotic, dramatic and funny moments. The build-up of the character and his place in the ‘American Dream’ consistently balances drama and comedy, ensuring to highlight the faceless bureaucracy that crushes everyday Americans under its feet as a force that breaks down communities as well. Anand Mahalingham shines in the lead role. His performance as Ronnie – a man desperately trying to embody a mobster persona, is tragically hilarious. His Indian roots are never that far from the surface, and become more and more prominent as he gets more and more desperate. Nirvan Patnaik’s Sidd is more of a moral centre in the film – his quote about being a servant in both societies cuts deep to the core of Ronnie’s futile scheme. There’s a ton of depth to Ronnie California, beyond some great laughs and performances. The deconstruction of societal pressure on immigrants and what we expect for them to fit in is quietly profound throughout the short plot – not least in the tragi-comic choice the protagonist makes for his new name. Ronnie California might not be authentic, but his story definitely is. VIEW REVIEW What I Think Of You Two old friends meet up again to go for a wee walk in the woods, but a lot of retrodden ground needs to be covered when one of them can’t move on from the past. Steven (Watson) and Nick (Cumming) haven’t seen each other for a while. They used to hang out together but they don’t anymore and Nick has recently been in touch to see if he can remedy the situation. The two old pals have decided to go for a wee hike in the woods and hills around the city, with the green trees, rolling fields and tumbling water providing the perfect backdrop for a little reminiscing. The best buds are happily enjoying each other’s company, finding out about each other’s lives again, but as soon as the subject of current relationships is brought up the air turns a little funny and Nick finds himself not able to say very much. It seems that there is a bigger past at play which may not have run its course and this walk in the woods may just be a pretence for an unfinished conversation which needs to be had. Directed very ably by Max Hanover, What I Think Of You is really the baby of producer, writer and star, James Cumming. Taking on the role of Nick, Cumming bravely plays the more unsympathetic character of the piece, showing that he is more concerned about getting things right for his film than he is about looking good on camera. His script is relatable and genuine, with the two main characters feeling very ‘normal’ in their everyday language and issues. Both Jack Watson as Steven and James Cumming as Nick keep the feeling of the conversation very natural with their portrayal of the troubled friends, and the straightforward way the narrative plays out is helped by their believable everyday delivery. Cumming is also helped out in all corners by some crisp, luxuriant cinematography from Alex Roberts, a gentle, enigmatic score from Lizzie Mikietyn, and some great quality audio recorded by Paul Travers. All of these elements are very well handled and add immeasurably to the audience’s enjoyment of the film, allowing Cumming to air his themes through the dialogue as he touches on some pretty deep-seated issues. What I Think Of You seems very personal to James Cumming. He completely understands the themes he is trying to portray and writes his characters as though he knows them intimately. This all helps to keep the story and scenario of the film believable and relatable. What I Think Of You is, however, restricted by its focus and its narrative, with nothing more dramatic than a heated conversation happening during its entirety. There is plenty to like in the fifteen-minute runtime of What I Think Of You and what was expressed here, by cast and crew, is hopefully just a taster of what’s to come further down the line. VIEW REVIEW Close What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. VIEW REVIEW Largo It’s an astonishing turn of events that Largo, a story funded by the refugee council about a Syrian child’s mission to set sail to find his parents, would be released in the weeks following the stunning collapse of the monstrous Assad regime that was cause of so many risking their lives to flee. The hostility many have faced in safe nations is a source of shame – and Max Burgoyne-Moore and Salvatore Scarpa’s short is required watching for those in need of an empathy transplant. Musa (Zack Elsokari) lives on the coast with sponsor guardian Grace (Tamsin Greig). Having fled the civil war in his native Syria, he awaits the arrival of his parents who have promised to join him – despite the dangerous naval journey they must take. Facing discrimination from locals, Grace does what she can to comfort Musa. But a betrayal triggers the young boy into taking a fateful decision, and using an old boat he has rigged up, he sets sail to find his family. Largo is a film that leaves a lasting, moving impression. Beautiful and heartbreaking, it asks real questions of its audience – asking how we would react in unfathomable circumstances. The British coastal town that acts as its setting is a purgatory for Musa – a holding cell for him to await a family that viewers sense will never come. It’s a hard enough circumstance – but as it slowly emerges that trust is hard to come by, Musa feels left with no choice but to take his life back into his hands. It turns a mirror on us as a community and a society, and asks whether we are willing to allow the real Musas across the world to come to the same conclusions. Youngster Zack Elsokari is remarkable in the lead role. A portrayal of childhood trauma has rarely felt so authentic – particularly in his anger in place of expressiveness. Musa displays great innovation, investigation and intelligence, but still struggles to truly understand the world or come to terms with the most likely outcome of his search. His innocence has persevered despite everything that has happened to him, a secret message of hope buried deep in a desperately sad narrative. Tamsin Greig is on typically strong form as Grace, Musa’s guardian who struggles to find the right spot between disciplinarian and caregiver. The film’s moving finale is set in motion by the actions of children – a group of youngsters whose curiosity around Musa’s life has not yet been set to hatred by their surroundings. It is they who raise the alarm, that triggers the best kind of community response. A town that figuratively pushes Musa away now rallies to pull him back – with the message that isolation and discrimination have tragic ends. Few films capture the complexity of the child refugee experience better than Largo. At a moment in history when the springs of hope are emerging in Syria, we as individuals are still ultimately powerless to shape the events that lead to crisis. Largo inspires one to change what they can control – their behaviour and empathy towards those in our own communities. It is a riveting and moving short, that will never not be timely. VIEW REVIEW The Castle of Baron Finch A short horror film written and directed by Don Cunningham and starring himself alongside Jay Pennington, Elisabeth Anne Steigelman and Brad White. The year is 1863 and Dr. Christopher Cushing (Cunningham) has travelled from England to Germany in order to rescue his wife Isobel (Steigelman), who has been abducted by Baron Janos Finch (Pennington), a vampire. Chistopher must find them, do battle with the monster and save his beloved spouse. Filmed over a period of six years in Menard, Texas, this short is clearly meant to pay tribute to the horror films of the silent era. Filming was executed in black-and-white with the image looking grainy. There is no speech, no diegetic sound at all actually and the dialogue is presented through sentences on title cards just like the old days. What is heard is the gothic music Andreu Jacob that plays throughout and creates a sinister and dramatic atmosphere. Looking at the mise-en-scene, the action takes place in the countryside and there are locations that are often associated with vampire stories such as a cemetery, a castle and it should be mentioned that there is also a coffin. As for the narrative, it pretty much alternates between Christopher trying to locate his wife and Finch spending time with Isobel, teaching her how to be a vampire. Eventually, things lead to desperate life-and-death situations. It is also worth mentioning that another famous horror film creature makes its appearance. The following is not intended to bring the film down, however, fans of the vampire genre might be disappointed by a couple of things. Firstly, there are no fangs to be seen (Finch never reveals his) and secondly, Finch appears to be walking around in broad daylight and vampires are supposed to be creatures of the night, yes, the image is black-and-white, however, the sky looks like it is daytime. Again, these two observations are not ment to damage this short but they go against the conventions that are associated with vampire films. Regarding the performances, arguably Pennington is the one who stands out, portraying a vampire. Dressed in black, with long hair and a beard, he is constantly grinning, with an evil look on his face, making it clear that he is bad. Steigelman plays his victim. Wearing a white dress, looking like a bride, she appears to be under the influence of some kind of spell as she walks alongside Finch, smiling. And then there is Cunningham, who impersonates Dr. Cushing (an obvious homage to actor Peter Wilton Cushing), a brave man, determined to get his wife back. Going to the themes now, this is a story about desperation, rescue, revenge, cruelty and tragedy. A story about Good vs Evil. This is probably not meant to be a modern horror film, but rather a tribute to Gothic Horror Silent Films. Fans of the horror genre will most likely appreciate this twenty-minute long dark story that brings the viewer back in time, showing them what horror films used to be like. VIEW REVIEW I Could Dom A woman is shut down by her friends when she posits the idea that she could absolutely be a dom, so she sets out to prove them wrong. Men really can be dumb, witless freaks, can’t they? It seems that angry, bucktoothed, sex-pest, Andrew Tate may have been right about them – and let’s be clear, if he is right about this it’s the one and only thing he’s ever been remotely in the ballpark of being right about – that men are far too interested in being led about by the idea of making their pee-pee tingle. (His words, not mine.) The mere existence of the fact that Findom is a real thing, that’s financial domination to the uninitiated, is testament to this, along with OnlyFans model Sophie Rain, who seemingly racked up $43 million in earnings in the past year, with her top supporter apparently funding $4.7 million of that himself. These simps are everywhere and are becoming ever more prevalent in a post-lockdown society, where it’s easier to stay alone in your bedroom and pretend that you’re in a relationship with someone who’s only ripping you for every last cent, rather than actually go outside and have real life interactions with people. So, in the spirit of the modern generation, rather than actually going out and having sex, they’re deciding to make films about it instead. Writer, director and star, Madison Hatfield has decided to shine a light on the subject of domination in sex-play, even though she is a self-confessed novice herself. Her character, June is a lot like her – a people pleaser who always thinks of others first before setting about getting what she wants. With I Could Dom , Hatfield has decided to explore the side of herself which could be let out if the right situation arose, and so we watch as June bumbles about in some tight leather trying to take control and take what she wants when she gets a date with Jeff (Evans). This encounter is set-up by a Sex and the City style ‘ladies that lunch’ meeting between June and her two friends, Marigold (Alline) and Deb (Thomas). The other two are well versed in their respective sexual roles, with Deb extorting some poor sap who can’t stop touching himself, and Marigold sharing how she likes to be choked and slapped in the bedroom. Poor June though, is lost in amongst the conversation and when she tentatively suggests that she could dom, literally the whole room looks at her to tell her she’s wrong. Nevertheless, June gets onto the SneakyLynx app to set herself up as a dominatrix so that she can get out there and explore her new found confidence. As with most dating apps, even the non-overtly sexual ones, Jeff is a needle in a haystack as the only sane, sensible guy out there who has a decent, unthreatening tone and a relatable profile. However, Jeff definitely wants to sub and when faced with the buxom, curvaceous, leather-clad figure of June, he begins to think that all of his Christmases have come at once. Unfortunately for Jeff, June is in over her head and she can’t stop being polite, trying to make sure he is comfortable, and using the word ‘sorry’ way too much. Jeff does his best to put June at ease and is remarkably understanding in the face of such a poor dominatrix, but when he feels that June might not be getting anything out of this, he pulls out the safe-word and calls a halt to proceedings before any jiggery-pokery can begin. This causes June to have a bit of an existential crisis and she begins comparing herself to a soapdish – which does actually make sense within the narrative. Throughout I Could Dom there’s a cheeky, raunchy, titillating humour which aims to lead the vanillas amongst us delicately through the world of sex-play. The colour and lighting coming through Cristian Bernal’s cinematography also keeps things nice and soft as the sexy times heat up and almost immediately cool down, leaving the viewer feeling safe and content at all times as the very personal issues of finding ourselves through ourselves and each other get explored. The main message of loving yourself comes through nice and clear, especially in the closing moments, and the casual reminder that we’re all just a little bit freaky inside, with the need for us to be okay with that, also hits a nice comfortable note. Hatfield’s script and narrative have a nice measure of spicy fun to them and her performance as June stands out as a beautiful piece of comedy. There are nice allusions to art and mythology peppered throughout the fifteen-minute runtime, helping us to understand that people have been building fantasies around sex for a very long time, and there is room in the scenario for something bigger to be developed around this idea. Unfortunately though, the fact that I Could Dom lacks bite in its telling, is what lets it down. With Jeff being the first and only guy that June meets in this bearpit of sexual gratification, and that everything works out for the best immediately, just isn’t indicative of the real life scene. Nowhere do the letters S&M or BDSM get mentioned, showing just how tame the humour and the scenario really are in handling the downright dirty sex acts usually involved in the ritual humiliation of others for sexual gain, and overall I Could Dom feels like it’s pulling on a costume and pretending to be something it’s not. Definitely tastes more like vanilla than hot, sweaty PVC and ground metal. VIEW REVIEW The 21 *A warning to readers that the following review contains discussion of serious subject-matter. The 21 is a new animated short which depicts some viscerally disturbing real-world events. It’s an artistic retelling (and recontextualization) of the execution of 21 men committed by ISIS in a 2015 video. It goes without saying that it’s the most horrific event for a piece of art or media to be based around. On the film’s website, they intelligently talk about how they wished to “highlight[...] the courage and unshakeable faith of the martyred men, proving that gentle faith is stronger than religious fear-mongering.” So, what we get is a piece made to pay tribute to the brave men who were murdered out of hate as a result of their faith. The topics in discussion, whilst unbearably upsetting, are displayed with enough of a cinematic sense of drama, and guidance through the use of narration, that we’re able to stomach the viewing experience. And yet, most importantly, the film still doesn’t shy away from showing genuine human evil in all its ugliness. It’s very powerful work. Starting with the unique look, the film’s animation style is simply spectacular. This piece has been described by its makers as being comprised of “Neo-Coptic Iconography” as a way of paying respect to the Coptic faith, which is a fascinating school of aesthetics to adhere to – particularly in relation to animation. This would suggest that the artists – of which there were many (almost a hundred) involved in this production across multiple countries – wished to adopt a vibrant, expressionistic approach to presenting real-life events; guided, stylistically and dramatically, by the spiritual. To tell this deeply serious narrative, a two-dimensional form of animation is implemented, characterised by block colours, intense imagery, and often abstract storytelling. Audiences will find themselves in awe of the technical prowess on display. Through its textures and crafting of light, one cannot ignore the level of passion and detail being showcased on-screen. In addition to the stunning visuals, other filmic techniques are also used to further immerse viewers in the absolute terror of what’s being depicted in the film. Specifically, sound, colour, and editing were by no means overlooked during the piece’s construction. The manner in which the movie cuts imagery together – considering clearly each shot’s impact, shape, composition and feeling – to then complement or juxtapose one another, is precisely what editing is all about. Many working in the animation industry have stated how one has to effectively edit the picture simultaneously to “shooting” the picture, meaning that no excess of animated imagery would be produced due to rigorous storyboarding. You could view this as a limitation, but in the case of The 21 , it only seems to have enhanced its creative capabilities. To surmise, this is incredibly brave and phenomenally inventive filmmaking. The extensive team of animators, filmmakers and researchers who worked on this piece should be proud of their work. It is to get recognition both as a collaborative piece of visual art and as a social document of sorts. As informative as it is tragic, The 21 is a phenomenal piece of design, and an undeniably admirable tribute. VIEW REVIEW Motel Room In the movies, it is very rare that anything good happens in a motel room. Barring the conception of John Connor in ‘The Terminator’, you’ve got criminals - ‘From Dusk Till Dawn’, weirdness - William Friedkin’s ‘Bug’, and of course, most famously psychopaths - The Bates Motel in ‘Psycho’. Therefore, you’d be forgiven for walking into ‘Motel Room’ with trepidation, fearing an onslaught of horror or debauchery, but what you actually get is something extremely earnest and heartwarming. The film follows the friendship that develops between a young Armenian teenage boy, Sevag (played by Sebastian Rosero) and the prostitute, Megan (played by Tammy Kaitz) that the boy’s father hires to take his virginity. His father, Massis (played by David Gianopoulos) is a hyper-masculine figure, one whom has plenty of experience with Megan - even requesting the Massis special for his son as he kisses her and hands him over. He doesn’t understand his son, nor does his son understand him. To his father, a boy losing virginity at the age of fifteen is normal, however, for Sevag it is the last thing he wants to indulge in, not least because of his repressed homosexuality. It’s established smartly in the film’s opening that the film takes place in the midst of the AIDs crisis, on the night of Freddie Mercury’s death no less. For a while these fears are left to simmer in the background, but they never go away, and has its undertones in every line, for which credit must be given to writer Sahag Gureghian. When it does come back to the fore it potent and sensitively handled, serving only to amplify Sevag’s fears of both sex and coming out to his father - who thinks AIDs only affects gay people, whom he says have to die. All this is revealed tenderly to Megan, herself a fully fleshed out character. There’s regret in what she does, but you sense that in talking to Sevag - rather than forcing the poor boy into something he doesn’t want to do - there’s some redemption or relief that she has taken that path in life. She helps him, of course, that is what the film is ostensibly about, but under the surface, he helps her too. Such tenderness is reflected in the directing by Bradford Lipson, whose use of soft lighting only adds to the warmth and genuine care with which Megan handles Sevag. Each shot is well directed and at no point does the pace lag, it is an altogether well made film from a filmmaker with a bright future. Furthermore, Lipson brings the most out of Sebastian Rosero and Tammy Kaitz, who each give dynamic, vulnerable performances, and bounce off each other well. ‘Motel Room’ is a beautifully, tragic film in many ways. It is one that remains important even though we’ve moved on from the times that it depicts, and that in itself is tragic, but it is beautiful because it contains such warmth and ultimately hope for a better, more understanding world. VIEW REVIEW The Emerald Wasp “All things bright and beautiful as they say” runs contrary to both The Emerald Wasp’s sickly visual language and its sinister message, for this short film is anything but. The liturgy in the idiomatic phrase serves only as a sardonic overture to a film that repudiates such pastoral optimism in favour of a more grim natural order. Peter Renzullo crafts a seven-minute narrative steeped in unease, where nature's most grotesque manipulations draw reflections to the darker aspects of human relationships. For a seven-minute chatty little chamber piece, one that refreshingly disregards expository information that would find the script operating outside the present conversation, The Emerald Wasp could be considered airy if not for the crushing weight its central analogy imposes. The film opens in the same confines it finds its conclusion. A single room, one table, two people on either end. Khan (Jay Jay Jegathesan), a discernible demoniac who shares the tale of the emerald wasp and Isabella (Mirae Jang), who principally listens with an odd subservience. The Emerald Wasp marks the growing tension between the two, leveraging the chilling biology of its titular insect — a creature that subdues its prey with methodical cruelty — as both a literal and symbolic framework, reducing the abstraction inherent in themes of control, parasitism, and the fragility of autonomy down to singular universal instincts stipulated by the laws of nature. Essentially it’s eat or be eaten, you’re either in control or you’re not. The short film’s visual language, marked by a veneer of jaundiced greens and decaying hues, forgoes any striking colour contrasting or traditional beauty, replacing it with a visual malaise that mirrors the wasp’s morbid elegance. Without the tax that depth of surroundings or colour demand, the film’s flat overlay fatigues the eyes, lulling you into a kind of semi-consciousness, solely hooked on the rhythmic cadence found in the monologue of a madman. Renzullo isn’t worried about the calibre of acting on screen and it shows — he shoots with a suffocating intimacy bringing us face-to-face with Khan. Interestingly, it’s not until the film’s final moments that Renzullo pans the camera around for us to see Isabella, revealing what we could have guessed mere seconds in, that she’s sitting across the table from the mad philosopher against her will, tied to the chair. At this point we don’t know what’s worse: having to endure the torture she’ll inevitably succumb to or listen to her oppressor drone on about his deranged beliefs any longer. As the incessant sounds of clock ticks propel The Emerald Wasp to its logical conclusion, we realise it is less a conventional short film and more a condensed thesis on the ubiquitous grammar felt in every intersection of life that dictates control. This is not a film that aims to shock; rather, it seeks to unsettle, to burrow under the skin and linger like the phantom sting of its namesake. VIEW REVIEW

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. 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 Everything Will Dissolve in the Void James Learoyd Rooftop Screamers Joe Beck Hot Chip Eleanor Swati Verma A New Kind of Life Jason Knight alexjames96 Jun 6 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Mar 17 2 min read Cinerama (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Homecoming (Music Video) Short Film Review alexjames96 Nov 16, 2023 2 min read Sheep F-cked In the Head Short Film Review Theo Aug 1, 2022 2 min read Service for The King short film review Chris Olson Sep 28, 2021 2 min read Stroke Code Music Video Review More Film Reviews

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 Nocturnes Chasing Euphoria Ronnie California: The King of Artesia What I Think Of You Close Numbered Lives The End September 5 Scrap Rhino Man Kraven the Hunter Oh, Canada Load More

★★★★ Starring: #JacobRenouf, #EvanEmanuel, #RachelScott, #JamieMarsh, #MattDavis Directed by: #JamieMarsh Short Film Review by: Alexandra James A short film following eccentric detective Ebeneezer Maisonette and his associate Percival Farley. A new case has fallen on their lap and its up to them to recover a stolen ruby and save the day. Unfortunately, they are not your typical detectives and some of their ways can be considered a little unusual to say the least. As the case progresses, things are not all as they seem and with twists and turns thrown into the mix, it made our genius detective question everything. Ebeneezer Maisonette is not your conventional detective, he has no filter and a fascinating style, from the crazy moustache to the magnified glasses, however, despite his unusual presence, he has a passion for solving crime and a keen eye for detail. This is a similar attribute to this short film, the details included from the costumes to the locations. It can be difficult with a small budget to be able find a location suitable, especially when filming a period film. This is set around the early 1900’s, so it can be tough to scout spaces and areas that are able to reflect this timeframe, considering this is a low budget film, it was great to see how they worked around this barrier and made it work, using areas with cobbled streets or cathedrals and old churches to set the scene. Each character is witty, interesting and adds a certain flare to the story. Although the central story is around a crime, the story itself is funny and light-hearted. Director Jamie Marsh has created a good balance between comedic scenes but also clever and humorous dialogue. A way to improve this further would be the editing, there were some scenes that did not have a smooth transition compared to others, however, a majority was good quality and included some great artistic techniques and Marsh was able to add his own stamp and style to this film. An incredibly entertaining short film with great comical characters, it would be great to see other episodes of this and discover new adventures for Ebeneezer Maisonette and his associate to go on, as well to really explore the characters and establish a Marsh’s style of filmmaking.

★★★★ Starring: #InmatesofStanfordHillHMP and #HardwickeCircus Directed by: #BenArcher Short Film Review by: Alexandra James This short documentary follows a small band from the north of England, on a mission to spread music and passion to prisoners across the UK. Director Ben Archer focuses on the bands message that all of us deserve to have access to the arts world. Music can enlighten and allow people the opportunity to express themselves in an artistic way, it can be difficult to share your inner deepest thoughts and fears, but with music there is a platform that allows people to have a voice and turn it into something positive where others can connect as well as take solace in the fact that they are not alone. Lead singer of Hardwicke Circus, Jonny Foster, creates a music workshop at Stanford Hill HMP, a men’s prison on the Isle of Sheppey. Ben Archer captures the band interacting with the inmates and the uplifting jam session that inspire and encourage many. This was a very moving film that highlights the importance of giving back to the community, and the necessity of art. People may debate as to whether prisoners should be deserving of live bands performing for them or being able to play and share their talents to others. However, there are so many benefits to this and with this documentary, it shows how powerful music can be and allows the inmates to express themselves, channel their emotions and look to the future. The documentary shows singer Jonny Foster share his thoughts over the whole concept, he states that inmates have discussed with him how to get into the music industry and about life on the road. It shows that there is something else to focus on and strive towards. Hardwicke Circus: The Prison Gig  showed great moments of the band playing and bringing on inmates on stage to showcase their talent. Many of the inmates were able to just forget where they were for a moment and just be a part of something bigger and enjoy a break from the mundane routine. Ben Archer uses the ‘gonzo’ style of filmmaking which is in some of his other pieces of work. It’s a type of fly-on-the-wall documentary. It makes for a very raw film and shows the audience the connection and positivity between the band and inmates. Ben Archer has been able to feature the good work Hardwicke Circus have been able to achieve by spreading their love of music to others who may not have envisioned this as an option outside of prison.

★★★ Starring: #WillowBarrett, #SydWalsh and #ChuckBones Directed by: #BenArcher and #SalRedpath Short   Film Review by: Alexandra James Directed by Ben Archer and Sal Redpath, Through the Stew,  follows Anton a young punk whose attitude is subdued, and who clearly has no strong desires in life. Anton moves aimlessly through the streets of New York city knowing that this is his last day alive in the chaos. With just a packet of cigarettes and an old radio, Anton attempts to settle some of his affairs before he departs forever. This film uses super 8 footage and is black and white throughout, this can be seen as an extremely difficult and challenging way to capture a story. However, it also created a gritty edge to this film and provided the audience with a new perspective on the city of New York as well as the character Anton himself. Through the Stew  shows Anton as extremely detached from the world, completely ignoring his surroundings and the electricity emanating from the city. He was very much aloof and the only way in which the audience could connect or get a sense of his emotions was through this 50’s style radio that he carried around with him that seemed to be sending out messages occasionally. Through the Stew  is a dark and mysterious film and draws a lot of inspiration from No wave cinema and guerilla filmmaking.  However, Archer and Redpath have shaped this type of cinematography into their own by weaving the theme of punk rock through the characters and their fashion choices. There appears to be an ageless feel as well, it’s one that cannot be placed in a specific timeframe, with the combination of super 8 footage, a 50s radio with noir recordings as well as elements of punk rock style, this makes it captivating as the piece is layered with a mix of a variety of eras and is perfectly unique in its own right. Ben Archer and Sal Redpath’s , Through the Stew, is an intense and edgy film that draws in aspects that connect with the punk rock era. The punk rock ethos being freedom, non-conforming and anti-establishment. A lot of the aesthetics are reflected in this film, with its underground and minimalist style and the promotion of individual freedom. An incredibly intriguing film with an original spin on No wave cinema and the backdrop of a hectic New York city as a distant, lonely man leaves it all behind.