Search Results

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. Decoy A short drama written and directed by Sarah Nocquest and starring Lia Williams and Heloise Lowenthal. An award ceremony is taking place at a venue and a seasoned acclaimed actress (Williams) has just won an award for a performance. After having given her acceptance speech, she retires to the women's room, with her award. While sitting in a toilet stall, wearing a fancy red dress and seemingly having thoughtful moments, a woman (Lowenthal) exits through another stall and notices the award that left on one of the sinks. Soon, the two of them end up engaging in a meaningful conversation that makes the actress reflect on her profession. The screenplay has an interesting way of telling a dramatic story that takes place during an awkward encounter, 'awkward' meaning that the two characters never meet face-to-face and talk to each other through the toilet stall's door. Shooting took place in the King's Head Theatre in London and the way it was filmed was quite creative: the film has a duration of four and a half minutes and approximately four of them make up one long take, with the camera focusing on Williams' character as she speaks with the other woman who claims to be a fan. The fan is never seen on-screen, her voice been the only element that signifies her presence. The fact that the actress is the only person seen in the film and that she is in an (sort of) isolated place gives the impression that (for a certain amount of time at least) she is alone in the world. There is no music and it was probably not required anyway for the film to have an effect. Williams (a great performance) portrays a person who is successful externally, in the public eye, however, she does not seem to be successful internally, meaning that she is not content with her achievements and the fact that the award she was given is actually a decoy could represent the fact that her accolades do not mean anything special to her. Interestingly, though, it is strongly indicated that that might not be the case after all. At the end of the day, it appears that the actress does not fully understand herself as a person, what she really wants. As mentioned, Lowenthal's character is visually absent and she is convincing as an enthusiastic fan of the actress. Regarding the themes, to begin with, this short provides an insight regarding life working in the acting industry and the concept of being a fan. From a different perspective, the story is about self-reflection, about someone trying to understand who they are. This short focuses on an actress who seems to be struggling to comprehend her life and an encounter that ends up having a dramatic impact on her. Williams adds a lot of value with her strong acting and the screenplay creates a thoughtful viewing experience. VIEW REVIEW The Whisper The Whisper has a most simple premise, told with a high level of cinematic competence. It’s a tried and tested formula: a woman – in this case Sophie (Ivisita Ivanova) – walks through the woods alone and begins to realise that some dark, unseen force has a hold over the forest. She encounters objects which suggest that she should not go any further, but she does. We as the audience follow, held by the tension of the scenario and intrigued by the dramatic nature of the locations depicted. Delving into the occult, hauntings and possession, this is obviously a film we’ve seen before. However, that doesn’t mean that this horror-short by director Teddy Nikolova isn’t doing anything new; in fact, there are plenty of apt aesthetic techniques being implemented to support this classic narrative in fun and exciting ways. Plot-wise, there’s not much to discuss. Penned by Nikolova and their co-writer Miroslav Petkov, the narrative is serviceable, and most definitely proves successful at constructing an effective setup and striking conclusion. Yet outside of that, we’re presented more with atmosphere than themes and a fully-fledged story. And that’s fine. It quickly becomes apparent that the filmmakers are far more interested in both how they’re telling their story, and how adept they are at replicating the genre tropes and conventions. Thus, we can view this work as a practice piece of sorts; an arena in which these budding artists can flex their creative muscles. It’s a picture which contributes sincerely and positively to the legacy of horror cinema. Audiences therefore will enjoy a movie made by film-fans who are passionate about the genre they’re drawing from to create something personal. Visually, there’s something reminiscent of John Carpenter’s style in The Whisper . A floaty, voyeuristic quality imbues the camerawork with a cold sense of emotional removal. But through this continuous following and tracking also comes the really unnerving aspect of the cinematography. It's as if the character drags the camera with them through the dangerous environment, and whatever is a threat to this subject will also end up being a threat to us, the audience. It’s a dialogue-free exercise in visual storytelling, so while we can’t necessarily empathise with Sophie – beyond the surface-level anyway – we can still very much place ourselves in this physically vulnerable space. Towards the story’s end, however, shots become shrouded in darkness – but this lacks the tangible quality of the bright, frightening woodland in previous minutes. More attention could have been paid to lighting the dark space with a more dynamic hand; a look of clarity without losing the sensation that we are truly in the dark. This is a hugely challenging ask, particularly for those without the resources to make the image pop. But in that case, maybe a different kind of conclusory set-piece could have been settled upon. Nevertheless, what this short film illuminates is a group of filmmakers’ comprehension of filmic structure as well as the standard tone of a horror movie. An impactful work of mood and dread indeed. VIEW REVIEW Peekaboo A writer is having trouble coming to terms with the choices he made to ensure his success. Rex (Hampton) is a very successful writer with four best-selling books under his belt and a giant wodge of cash to go along with them. Sadly though, he has let his success be the main driver in his life and he now finds himself somewhere in his mid-fifties, stuck behind a desk and a laptop most hours of the day, without a partner or family around him to share the wealth. Now, Rex is finding that the edges of reality are beginning to blur, and from somewhere deep inside his characters have started to talk to him, telling him what to do. Rex can’t seem to pull himself away from his writing or his characters, no matter the time of day or night, and he’s beginning to get a little bit worried that he might be going mad. It doesn’t help that one night, while he’s out taking a walk to get away from the intense pressure of the blank computer screen, Rex witnesses a beautiful light show in the sky which turns out to be none other than a UFO. Once caught in the beam of light coming from the flying saucer above him, Rex then begins to see a dark ominous creature across the road, behind a tree, with big dangerous red eyes that are looking straight at him, right into his soul. Obviously, anyone that Rex tries to talk to about this doesn’t believe him, and he’s left alone again with his own thoughts and feelings about himself, but also with a new companion haunting his every step. Rex knows that he’s falling deeper and deeper into a dangerous situation, but what can he do to get himself out of it? Sadly, none of these things that are going on in Rex’s life seem to be directly linked to one another, and there are a lot of things about Rex’s relationship to himself, his characters, and in particular, Vincent, which are never accurately relayed to the viewer. Instead, what we are party to are a bunch of fast cuts to different time-frames, a lot of Rex talking to himself in front of the computer and in mirrors and such, and some jarring sound-effects to express that something dark is happening. None of this is well-presented and none of it makes sense in relaying what on earth writer, director and star, Per Hampton actually seems to think is going on. Thankfully, the cinematography from Jon Schweigart is of a high quality, allowing the film to breathe and settle into its narrative without the viewer having to worry about the visuals, and the expression of ‘the Being’ which eventually latches onto Rex is really, genuinely creepy. However, in terms of positives for Peekaboo , that’s about it. The story is garbled and confused, the acting from Hamilton himself (basically the only character on screen) is pretty hammy, and the direction and writing needed to create a split-character narrative just isn’t there. At only ten-minutes long, there’s not a lot to get into in Peekaboo , and so it’s not so bad that the film is actually missing a lot of things needed for its narrative. As a creepy visual horror, it does its job well enough, but in terms of linking that with the story and the character we see on screen, nothing really seems to fit. Whether Hamilton wanted to make a psychological thriller or an out-and-out creature feature is unclear, but unfortunately the confusion between the two, as well as between the character and his own narrative, means that he doesn’t succeed at either. VIEW REVIEW Go Fund Me Go Fund Me is as grass-roots as they come, an ambitious project from filmmaker B-E-Z which has more misses than hits, but still manages to engage, entertain, and outperform a lower budget. It is a testament to filmmaking passion and creativity even when there are rough edges all over the place. The story follows Kaspa (Itumeleng Moruakgo), a gang member who has big dreams of breaking away from the streets to start a clothing empire. He confesses to his friend F1 (Kesi Nwogwugwu) that he is getting close to his dream, and with one last job for local kingpin Roman (Kay Abel) he should have enough to start chasing it. But Roman is not willing to let the pair leave so easily, and concocts a plan to indebt them for life… It should be said up front that Go Fund Me is a seriously flawed film. It’s filled with editing mishaps, errors in the sound design, repetitive and empty dialogue, plot holes and a bizarre, convenient and underwhelming resolution. Some of these such as the issues with sound levels are forgivable given the production levels of the film (if not any less distracting), but others are the result of an underbaked script that is formed from a solid base but loses itself when the conflict between Kaspa and Roman amps up. Yet despite flaws, there are still admirable qualities that the film demonstrates. Kaspa’s story and dream forms a solid connection with the viewer. B-E-Z spends enough time validating his protagonist’s personality and life story to make audiences want to back him, and scenes in which we see Kaspa facing pushback from investors create a sympathetic bond – especially when he refuses to give up. The film has some genuinely funny moments as well, particularly between Kaspa and F1 when they realise the danger they have gotten themselves into, and from the eccentricity of gang boss Roman. There is empathy at the heart of Itumeleng Moruakgo’s performance as Kaspa – who convinces as a reluctant gang member who wants to lead a straight life. Kay Abel also taps in to an unhinged nature to bring Roman to life – easily the biggest personality in the film and a character that demands eyeballs when he is on screen. Almost all of the cast have their slips however and there are a few too many times when the emotional drive isn’t really present, even in scenes of great tension or danger such as a conversation before a planned murder or a pivotal sequence in a restaurant where the fate of the cast is decided. The homemade quality of Go Fund Me is both a strength and a weakness. The film’s flaws are particularly evident and significantly detract from the overall result, damaging audience immersion and undermining the emotional drivers of the story. However it is important to note that the emotion is still there – which is more than can be said of many a film with greater resources. The filmmakers deserve credit for working with what they have to produce a 30-minute story that connects in enough ways to leave an impression. The suggested sequel (given the film’s conclusion) will hopefully receive a little more refinement, as it is clear that the ability to tell a story and build characters is present in those who brought Kaspa’s story to life. VIEW REVIEW Inappropriate Inappropriate is a simple but sturdy work. From director Jonathan Blagrove, it depicts a conversation between two characters, as shorts of this kind often do. The central conceit is original and fascinating: as the ‘appropriate adult’, Oscar (Tim Plester), tries to converse with a young offender, Jordan (Francesco Piacentini-Smith), we come to understand the kindred sense of dissatisfaction and alienation shared by the two personages. This is a strong base-theme which, through realistic writing, is allowed to explore engaging ideas relating to trust – or a violation of trust – and abandonment. Formally confident and technically sound, this is a truly great piece of drama. There’s a great deal of discussion to be had when it comes to the film’s visual construction. The cinematography is rather wonderful for the most part, with one of its best aspects being camera positioning. I’m talking beyond standard direction and blocking – both of which are strong already – and referring more to how the camera interacts with the physical space to really immerse the viewer. A shot early on sees the camera being raised upwards from some monitors, racking focus to the background, and capturing Oscar entering the building. There’s a satisfying flow to a shot arrangement such as this which shows off a nice bit of production-value. It does not, however, feel forced; the movement is motivated by the character, and – outside of technical curio – is relatively unnoticeable. There are many instances of shots like this in the movie, demonstrating admirable ambition as well as the achievement of multiple technical parts working in tandem, seemingly effortlessly. Part of the crisp, professional sensibility achieved through the aesthetic is a result of the fantastic lighting. While there’s an informed approach to balance and diffusion, there’s also a natural use of darkness incorporated in the frame. This provides us with a thoroughly dynamic image. The lighting style, in turn, complements the colour grade; although the colouring itself could be considered a missed opportunity for an even richer look. The technique behind the grade – meaning the professional finish and visual consistency – is flawlessly done and looks better than most high-end TV dramas. However, you wonder whether the filmmakers could have thought of something more unusual than the classic, British cold-and-dim look. While this certainly represents the emotion conveyed in the scenarios depicted, there’s potential for a more filmy, textural look which feels just out of reach. This is a criticism of a creative decision – therefore something which is purely subjective, and not a criticism of technical know-how. Audiences will enjoy the complexity of these two characters. There’s narrative layering at play, revealing different traits of their personas; their vulnerabilities and pressure points. They’re both flawed, yet there’s a tenderness to Oscar’s pain, and there’s an empathetic mischief to Jordan’s, even if this is really a defence mechanism. Other strengths left unmentioned include the audio which is perfect in that clean sort of way; the overall design which is location and character-appropriate; and the specific execution of the performances – both actors skilfully express so much through their defensive demeanours, their desperation. Inappropriate is a definite recommendation from this critic. VIEW REVIEW Close of Play A short drama written and directed by George Nelson and starring Corey Wade, John Lee Taggart, Viv Wiggins. Poor Kyle (Wade) is not doing well. Having been the victim of bullying during his school years, now, as a young man, he is suffering from the after-effects of his ordeals that include depression and not being able to stand up for himself. The financial company he works for is in the process of hiring for certain positions and Kyle is shocked to discover that his boss, Liz (Wiggins) has assigned him to interview Josh (Taggart), a youngster who used to bully Kyle when they were at school. How will Kyle handle this? This dramatic and tense short places the viewer in the shoes of an individual who has been severely damaged by long-term bullying. The screenplay effectively explores the unfortunate emotional state he is in, how he feels, how he struggles daily due to the memories of his torments, which are revealed through black-and-white flashbacks. Zach North-Moore contributes to the atmosphere with the dramatic music and things get quite suspenseful and tense when Kyle interviews Josh and their conversation eventually turns into something other than a job interview. The main subject of this film are the long-lasting effects of bullying and Wade is very convincing in portraying a person who is dealing with those effects: not standing up against two muggers, not reporting them to the police, clenching his fists when he gets angry, attending therapy sessions (as indicated by a calendar) and being in a bad mental state in general. Taggart's character is Kyle's former tormentor, who now appears to be a changed person, polite and respectful. As mentioned, bullying is the principal theme in this story, which pays particular attention to the traumatic effects it has on victims a long time after their experiences, leaving them traumatised and with low self-esteem. Holding a grudge also plays a big part. This film is about bullying. About mental suffering and revenge. It is a hard-hitting commentary about psychological wounds. It can also be viewed as a drama and a thriller that centres on an unexpected and ultimately fateful encounter. VIEW REVIEW The Stork Situations don’t come much stickier than the story of The Stork . This short from director Stephen Gallacher and writer Ronan McCabe is not for the queasy or faint of heart, but packs in genuine laughs and raises some intriguing questions about how parents engage with their LGBT children. Courier Clive (Tom Rosenthal) has a VERY special package to deliver. Working for an online semen delivery company (and no that is not a euphemism), he is tasked with carrying a specimen for a lesbian couple trying for a baby. But when parents Ian (Paul Chahidi) and Gwenda (Siobhan Finneran) answer, a mishap leaves their parcel in a, well, mess. The three have to come up with a new plan before the couple find out, and Clive is tasked with delivering in a very different manner… The initial impression that The Stork will leave on audiences will no doubt revolve around its unflinchingly frank portrayals of insemination – including some rather graphic scenes of genetic material that many filmmakers would shy away from. But underneath this is a film that has a poignant message about how parents relate to their LGBT children – and how even in clumsiness they can show acts of love. Gwenda and Ian may not really understand the dynamics of their child’s relationship, but they are determined to do what they can so their child can experience the same happiness in parenthood that they did. As unconventional as their methods are, Ronan McCabe makes sure to establish this as his characters’ motivation from the off, and it ensures a sweetness in the film. The film does however suffer from a lack of the couple’s presence. For a film that revolves around an LGBT issue, it is strange that those individuals do not feature at any point. The ultimate driver of the plot is the aim of hiding the accident from the couple, and without their presence, this never really feels properly established or resolved. Add in some missed opportunities for humour, and it is a strange omission for the story’s themes and narrative. Siobhan Finneran is the highlight of the short as Gwenda – a well-intentioned wrecking ball of a mother determined to do right by her daughter. Her delivery of a line about a photo of Ian’s mother might be my favourite of the year. Her deference to the younger Clive about what is and isn’t politically correct is another great source of laughs, whilst also establishing her as someone self-aware enough about her lack of understanding when it comes to her daughter’s life. Paul Chahidi and Tom Rosenthal hold their own as well – and each of the three characters stands out as distinct and filled with personality. It is these performances that make The Stork and entertaining and enjoyable mishap comedy. Despite its thematic and narrative flaws that are mainly the result of omitting the couple at the centre of the farce, there are plenty of laughs for those who don’t mind a bit of grossness. VIEW REVIEW The Tuvalet Bash After receiving zero birthday wishes across his social media platforms, a young man ruminates on what he calls this ‘shitty life’. Kshitiz (Sharma) is finding growing up in the real world to be far more disappointing than he ever envisaged. Every day seems like every other and there doesn’t seem to be anything special about any of them. Even today, his birthday, is going along like any other day, and he still has to overcome the constant battles which make up his daily life. Nobody seems interested in wishing him a happy birthday, even across the platforms which are supposed to prompt your friends to do exactly that, and Kshitiz is feeling especially dumped upon by the daily grind of the outside world. As he wakes up on this special day, Kshitiz is rudely disturbed from slumber by his roommate’s ridiculously loud alarm. Having to get out of bed to switch it off himself, as his roommate really doesn’t seem to care, he then waxes lyrical about just how ‘shitty’ this life is for him. In what then appears to be a pretty on-the-nose thematic visual, Kshitiz spends most of the rest of the nine-minute film in the cubicle of a public toilet, complete with all the disgusting accoutrements which you would expect from such a space. Kshitiz then spends his time, sitting on the pan, checking his social media, and despairing over the emptiness of recognition in his life. This is shown to us somewhat haphazardly in quick cuts and fast edits of random things which don’t necessarily link together. It seems as though these are supposed to be snapshots of what Kshitiz’s regular life might entail, but narratively everything is so messed up and banged together all over the shop that none of it really makes much sense. Images of Kshitiz supposedly with some of his pals are intermingled with wider shots of campus grounds and social environments where people gather, while over the top he continues his monologue from the crapper about how ‘shitty’ his life is. Overall, The Tuvalet Bash is a narrative mess, with images coming at you thick and fast which don’t really give anything to the main story. There’s a sense of arthouse direction going on, where that narrative is hijacked by the imagery, and the sound design plays a bigger role in establishing the narrative than anything in the dialogue or characterisation manages to do. There’s a certain energy and immediacy to the film which pushes it through its nine-minute runtime, but underneath that there’s really nothing else going on. Whatever it is that Kshitiz is trying to say about life, it gets lost in amongst the frantic visuals and the chopped-up ideas, meaning that the viewer comes out the other side wondering what on earth it was all supposed to be about. VIEW REVIEW Gnome Heist Considering it was made in about a week-and-a-half to meet a competition deadline, Gnome Heist truly makes you wonder what writer, director and also star Alice Dieli, not to mention their clearly very adept crew, could do with even just double that production time. And by achieving everything it does in a runtime that barely squeaks past the four-minute mark, Gnome Heist proves the age-old adage of quality over quantity. Right away we catch up with Mia (Dieli), who clearly has had a day of it already, long leather coat dripping wet from apparent run-ins with fountains and pigeons as she strides through the blazing sunshine to finish a favour for her unique ex-boyfriend (Nicosia). Hating herself every minute along the way for agreeing to it all in the first place, Mia’s favour sees her carting a bursting suitcase all the way across town to meet him for the drop-off. The contents? Gnomes, of course. But these aren’t just any ordinary gnomes, and upon final delivery, Mia soon realises that the gnomes hold a somewhat valuable secret. Having already successfully shown off their skills within the horror genre with their previous impressive short What’s Your Poison? , Dieli proves they are just as capable with the lighter stuff here as well. Gnome Heist , bounced along by slick editing and a soundtrack of amped guitar injects a very silly premise with a lot of fun, swagger and style, and Dieli’s performance in front of the camera is just as strong as behind it, Mia striking an interesting character full of quirks and snappy quips but who is also clearly a bit of a mess, a character that could easily entertain us for much longer. Of course, at only four minutes the film does leave you yearning for a bit more, and especially at this kind of enthusiastic pace it’s all over in quite a flash, and we don’t get to explore certain characters maybe as much as we'd like, or indeed the joy of seeing Mia’s preceding debacles wrestling with pigeons and falling in fountains. But everything we need to know is conveyed quickly and effectively in what is a contained but nonetheless complete story, and actually, it says a lot more about Dieli’s ability for entertaining storytelling that even after the credits start rolling, we want to keep hanging out in this world for just a little while longer. Gnome Heist is punchy, it’s silly and it’s just plain fun, while also being sharply written and beautifully shot to boot. VIEW REVIEW Parasocial Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot. The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout. Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique. Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance. Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers. VIEW REVIEW

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 Decoy The Whisper Between Earth and Water (Entre el Agua y la Tierra) Romeo's Distress Freaky Tales Eric LaRue The Ego Death of Queen Cecilia Hell of a Summer Peekaboo Go Fund Me All is Fine in '89 Inappropriate Load More

Short film reviews from some of the best movies in the UK. Read reviews from some of the best short film critics. Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed Demzzz type beat Short Film Review Chocolate Chip Short Film Review A Plus Short Film Review Filmmaker Interview with Will Hawkes The Curious Clever and Collectively Convoluted Case of Detective Ebeneezer Maisonette   Short Film Review Hardwicke Circus: The Prison Gig Short Film Review Through the Stew Short Film Review Filmmaker Interview with Zehua Yang Isabella Short Film Review Finger Food Short Film Review Warrior: Predator Short Film Review A Hell of a Trip to Delicias Short Film Review No Tell! Short Film Review Last Rendezvous Short Film Review In The Moonlight Short Film Review Bridge Short Film Review Bird Drone Short Film Review Ain’t my Vibe Short Music Video Review Surprise Short Film Review A Happy Ending Short Film Review More Film Reviews Decoy Jason Knight The Whisper James Learoyd Peekaboo William Hemingway Go Fund Me Patrick Foley Inappropriate James Learoyd Close of Play Jason Knight The Stork Patrick Foley The Tuvalet Bash William Hemingway Gnome Heist Chris Buick Parasocial James Learoyd Higher Knowledge Patrick Foley Hidden Wounds Jason Knight The Road Back Patrick Foley Fade In: To Murder Chris Buick Run To The River William Hemingway Wrists Tied James Learoyd Amaterasu Patrick Foley Flying Jason Knight Scratched Nail William Hemingway Forest 779 Patrick Foley Whispers of Redemption James Learoyd The Empty Jason Knight Changing Tune William Hemingway Falling Rocks Chris Buick Bunnyhood William Hemingway Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.

Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 4 out of 5 Decoy Read Review average rating is 3 out of 5 The Whisper Read Review average rating is 4 out of 5 Between Earth and Water (Entre el Agua y la Tierra) Read Review average rating is 4 out of 5 Romeo's Distress Read Review average rating is 4 out of 5 Freaky Tales Read Review average rating is 4 out of 5 Eric LaRue Read Review average rating is 4 out of 5 The Ego Death of Queen Cecilia Read Review average rating is 3 out of 5 Hell of a Summer Read Review average rating is 2 out of 5 Peekaboo Read Review average rating is 2 out of 5 Go Fund Me Read Review average rating is 5 out of 5 All is Fine in '89 Read Review average rating is 4 out of 5 Inappropriate Read Review average rating is 3 out of 5 Shudderbugs Read Review average rating is 4 out of 5 Retreat Read Review average rating is 4 out of 5 Close of Play Read Review average rating is 3 out of 5 The Stork Read Review average rating is 2 out of 5 The Tuvalet Bash Read Review average rating is 4 out of 5 Clown-N-Out Read Review average rating is 4 out of 5 Gnome Heist Read Review average rating is 4 out of 5 Parasocial Read Review average rating is 4 out of 5 Higher Knowledge Read Review average rating is 4 out of 5 The Assessment Read Review average rating is 3 out of 5 The Alto Knights Read Review average rating is 5 out of 5 Hidden Wounds Read Review average rating is 3 out of 5 Snow White Read Review average rating is 3 out of 5 Hood Witch Read Review average rating is 3 out of 5 Bloody Axe Wound Read Review average rating is 3 out of 5 The Road Back Read Review average rating is 4 out of 5 Hood Witch Read Review average rating is 3 out of 5 Fade In: To Murder Read Review average rating is 4 out of 5 Run To The River Read Review average rating is 3 out of 5 Time Rewind Read Review average rating is 3 out of 5 Wrists Tied Read Review average rating is 2 out of 5 Amaterasu Read Review average rating is 5 out of 5 Flying Read Review average rating is 3 out of 5 The Day the Earth Blew Up: A Looney Tunes Movie Read Review average rating is 3 out of 5 Blood Star Read Review average rating is 4 out of 5 Scratched Nail Read Review average rating is 2 out of 5 Forest 779 Read Review average rating is 4 out of 5 Whispers of Redemption Read Review average rating is 3 out of 5 The Empty Read Review average rating is 4 out of 5 Mickey 17 Read Review average rating is 3 out of 5 The Forest Read Review average rating is 4 out of 5 The Rule of Jenny Pen Read Review average rating is 3 out of 5 Code Red: Spain Read Review average rating is 3 out of 5 Changing Tune Read Review average rating is 2 out of 5 EFC Read Review average rating is 3 out of 5 Staycation Read Review average rating is 5 out of 5 Falling Rocks Read Review average rating is 4 out of 5 My Dead Friend Zoe Read Review average rating is 3 out of 5 Bunnyhood Read Review average rating is 4 out of 5 Trigger Happy Read Review average rating is 4 out of 5 Liquor Bank Read Review average rating is 2 out of 5 Melodrive Read Review average rating is 3 out of 5 The Networks of Street Signs Read Review average rating is 4 out of 5 Cin-E-Rama Read Review average rating is 4 out of 5 Curtain Call Read Review average rating is 4 out of 5 The Monkey Read Review average rating is 3 out of 5 Old Guy Read Review average rating is 4 out of 5 The Backway Read Review average rating is 3 out of 5 The Quiet Ones Read Review average rating is 4 out of 5 The Mix Read Review average rating is 2 out of 5 Thirst Trap Read Review average rating is 3 out of 5 Something Is About to Happen Read Review average rating is 2 out of 5 Murderous Intentions Read Review average rating is 4 out of 5 Armand Read Review average rating is 4 out of 5 Paddington in Peru Read Review average rating is 3 out of 5 The Dead Thing Read Review average rating is 3 out of 5 Captain America: Brave New World Read Review average rating is 3 out of 5 Timestalker Read Review average rating is 3 out of 5 Anno 2020 Read Review average rating is 5 out of 5 The Lantern Man Read Review average rating is 3 out of 5 The Sloth Lane Read Review average rating is 3 out of 5 The Space Rodent Read Review average rating is 3 out of 5 Longing for Iran: The Tehran Diary Read Review average rating is 4 out of 5 White Crow Read Review average rating is 3 out of 5 Urban Vengeance Read Review average rating is 3 out of 5 Protanopia Read Review average rating is 4 out of 5 What No One Knows Read Review average rating is 2 out of 5 Whenever I'm Alone With You Read Review average rating is 3 out of 5 This Sucks Read Review average rating is 2 out of 5 A Party for Karl Marx Read Review average rating is 3 out of 5 1 Degré de Séparation Read Review average rating is 4 out of 5 The Seed of the Sacred Fig Read Review average rating is 4 out of 5 Companion Read Review average rating is 2 out of 5 The Company Called Glitch That Nobody and Everybody Wanted Read Review average rating is 4 out of 5 Reunion Read Review average rating is 3 out of 5 Lucia & Nicole Read Review average rating is 4 out of 5 A Ticket To Paradise Read Review average rating is 3 out of 5 Vigilant Read Review average rating is 4 out of 5 Marion Read Review average rating is 4 out of 5 It Feels Good Read Review average rating is 2 out of 5 An Unnerving Realisation Read Review average rating is 3 out of 5 Grafted Read Review average rating is 4 out of 5 Baggage Read Review average rating is 3 out of 5 Guide To Country Roads II New Crossings Read Review average rating is 4 out of 5 The Girl with the Needle Read Review average rating is 4 out of 5 The Sin-Eater Read Review average rating is 2 out of 5 Renters: The Holiday Special Read Review average rating is 4 out of 5 Arranged Love Read Review

Decoy film review by UK film critic Jason Knight. Starring Lia Williams, Heloise Lowenthal directed by Sarah Nocquet. HOME | FILMS | REVIEWS Decoy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 4, 2025 Directed by: Sarah Nocquet Written by: Sarah Nocquet Starring: Lia Williams, Heloise Lowenthal A short drama written and directed by Sarah Nocquest and starring Lia Williams and Heloise Lowenthal. An award ceremony is taking place at a venue and a seasoned acclaimed actress (Williams) has just won an award for a performance. After having given her acceptance speech, she retires to the women's room, with her award. While sitting in a toilet stall, wearing a fancy red dress and seemingly having thoughtful moments, a woman (Lowenthal) exits through another stall and notices the award that left on one of the sinks. Soon, the two of them end up engaging in a meaningful conversation that makes the actress reflect on her profession. The screenplay has an interesting way of telling a dramatic story that takes place during an awkward encounter, 'awkward' meaning that the two characters never meet face-to-face and talk to each other through the toilet stall's door. Shooting took place in the King's Head Theatre in London and the way it was filmed was quite creative: the film has a duration of four and a half minutes and approximately four of them make up one long take, with the camera focusing on Williams' character as she speaks with the other woman who claims to be a fan. The fan is never seen on-screen, her voice been the only element that signifies her presence. The fact that the actress is the only person seen in the film and that she is in an (sort of) isolated place gives the impression that (for a certain amount of time at least) she is alone in the world. There is no music and it was probably not required anyway for the film to have an effect. Williams (a great performance) portrays a person who is successful externally, in the public eye, however, she does not seem to be successful internally, meaning that she is not content with her achievements and the fact that the award she was given is actually a decoy could represent the fact that her accolades do not mean anything special to her. Interestingly, though, it is strongly indicated that that might not be the case after all. At the end of the day, it appears that the actress does not fully understand herself as a person, what she really wants. As mentioned, Lowenthal's character is visually absent and she is convincing as an enthusiastic fan of the actress. Regarding the themes, to begin with, this short provides an insight regarding life working in the acting industry and the concept of being a fan. From a different perspective, the story is about self-reflection, about someone trying to understand who they are. This short focuses on an actress who seems to be struggling to comprehend her life and an encounter that ends up having a dramatic impact on her. Williams adds a lot of value with her strong acting and the screenplay creates a thoughtful viewing experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film 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. 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 Everything Will Dissolve in the Void James Learoyd 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

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 4 out of 5 Between Earth and Water (Entre el Agua y la Tierra) Read Review average rating is 4 out of 5 Freaky Tales Read Review average rating is 4 out of 5 Eric LaRue Read Review average rating is 3 out of 5 Hell of a Summer Read Review average rating is 2 out of 5 Peekaboo Read Review average rating is 2 out of 5 Go Fund Me Read Review average rating is 3 out of 5 Shudderbugs Read Review average rating is 3 out of 5 The Stork Read Review average rating is 2 out of 5 The Tuvalet Bash Read Review average rating is 4 out of 5 Higher Knowledge Read Review average rating is 4 out of 5 The Assessment Read Review average rating is 3 out of 5 The Alto Knights Read Review Film Podcast - Dune: Part 2 Chris Olson Mar 8, 2024 2 min read Film Podcast: George Clooney Rowing Biopic Scoops Film of the Month Chris Olson Mar 1, 2024 3 min read TAR FILM REVIEW - Jan 20, 2023 3 min read Empire of Light - Film Review Taryll Baker Oct 13, 2022 2 min read Bones and All LFF Review - Oct 11, 2022 3 min read White Noise (2022) LFF Review - Oct 7, 2022 3 min read Sanctuary TIFF Review - Sep 20, 2022 2 min read FrightFest 2022 Highlights UK Film Review Sep 13, 2022 5 min read Top Gun: Maverick Film Review - May 25, 2022 3 min read The Unbearable Weight of Massive Talent Film Review - Apr 23, 2022 3 min read Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

The Whisper film review by UK film critic James Learoyd. Starring Ivisita Ivanova directed by Teddy Nikolova. HOME | FILMS | REVIEWS The Whisper Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Apr 3, 2025 Directed by: Teddy Nikolova Written by: Miroslav Petkov, Teddy Nikolova Starring: Ivisita Ivanova The Whisper has a most simple premise, told with a high level of cinematic competence. It’s a tried and tested formula: a woman – in this case Sophie (Ivisita Ivanova) – walks through the woods alone and begins to realise that some dark, unseen force has a hold over the forest. She encounters objects which suggest that she should not go any further, but she does. We as the audience follow, held by the tension of the scenario and intrigued by the dramatic nature of the locations depicted. Delving into the occult, hauntings and possession, this is obviously a film we’ve seen before. However, that doesn’t mean that this horror-short by director Teddy Nikolova isn’t doing anything new; in fact, there are plenty of apt aesthetic techniques being implemented to support this classic narrative in fun and exciting ways. Plot-wise, there’s not much to discuss. Penned by Nikolova and their co-writer Miroslav Petkov, the narrative is serviceable, and most definitely proves successful at constructing an effective setup and striking conclusion. Yet outside of that, we’re presented more with atmosphere than themes and a fully-fledged story. And that’s fine. It quickly becomes apparent that the filmmakers are far more interested in both how they’re telling their story, and how adept they are at replicating the genre tropes and conventions. Thus, we can view this work as a practice piece of sorts; an arena in which these budding artists can flex their creative muscles. It’s a picture which contributes sincerely and positively to the legacy of horror cinema. Audiences therefore will enjoy a movie made by film-fans who are passionate about the genre they’re drawing from to create something personal. Visually, there’s something reminiscent of John Carpenter’s style in The Whisper . A floaty, voyeuristic quality imbues the camerawork with a cold sense of emotional removal. But through this continuous following and tracking also comes the really unnerving aspect of the cinematography. It's as if the character drags the camera with them through the dangerous environment, and whatever is a threat to this subject will also end up being a threat to us, the audience. It’s a dialogue-free exercise in visual storytelling, so while we can’t necessarily empathise with Sophie – beyond the surface-level anyway – we can still very much place ourselves in this physically vulnerable space. Towards the story’s end, however, shots become shrouded in darkness – but this lacks the tangible quality of the bright, frightening woodland in previous minutes. More attention could have been paid to lighting the dark space with a more dynamic hand; a look of clarity without losing the sensation that we are truly in the dark. This is a hugely challenging ask, particularly for those without the resources to make the image pop. But in that case, maybe a different kind of conclusory set-piece could have been settled upon. Nevertheless, what this short film illuminates is a group of filmmakers’ comprehension of filmic structure as well as the standard tone of a horror movie. An impactful work of mood and dread indeed. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Between Earth and Water (Entre el Agua y la Tierra) film review by UK film critic Patrick Foley. Starring Irantzu Zugarrondo, Izar Alguero, Ariane Berrozpide directed by Karlos Alastruey. HOME | FILMS | REVIEWS Between Earth and Water (Entre el Agua y la Tierra) Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Apr 3, 2025 Directed by: Karlos Alastruey Written by: Javier Alastruey, Karlos Alastruey Starring: Irantzu Zugarrondo, Izar Alguero, Ariane Berrozpide Spanish feature Between Earth and Water (Entre el Agua y la Tierra) is an airy and atmospheric journey of two friends through a desert of discovery. An emotional bond between protagonists creates a powerful connection with its audience, though an interpretive story is likely to be lost on some viewers. Friends Lur (Irantzu Zugarrondo) and Ura (Izar Alguero) awaken the night after a party organised by a group of artists on a trek in the middle of a desert – with only their intuition as a guide on how to get home. As they start to navigate their way back, they come across groups of strangers with new outlooks on life, as their voyage of discovery begins to reveal truths about themselves to each other. Between Earth and Water is embedded with spirituality, and demands contemplation from its viewers. It is not an easy film to immerse in, and tells a character and emotion-driven story that succeeds or fails dependant on audience buy-in to Lur and Ura (and their relationship), and how one can relate to their experiences from their own. Thankfully their story contains enough beats to appeal, such as yearning, unreturned affection, jealousy, and a sense of fate and finality that many will have faced at some point in their youth. There are a few scenes in which the film becomes a little too navel-gazey, spending an overlong stretch of the early party scenes with a singing performance that overstays its welcome. The narrative also becomes muddled at points, and it can become difficult to keep track of the story in the desert as well as the political machinations taking place concurrently in the story revolving around Fernando Ustarroz’ Rafael. The unconventional storytelling helps the film stand out, but it does work to its detriment at times like this and risk leaving viewers out of step with the events they see. This is largely rectified when the girls begin their desert journey, and the second half of the film is where the story is allowed to breath more – even when it becomes abstract. Irantzu Zugarrondo’s performance as Lur is standout, brilliantly navigating the whirlwind of emotions she experiences through the story. Effortlessly vulnerable and engagingly unpredictable at the same time, it is genuinely fascinating throughout the film to try and guess where she will end up. The chameleon dynamic between her and Izar Alguero’s is the real drama that pulls the story forward and is essential to the film’s success. Where Between Earth and Water connects with viewers, it really connects. The film won’t appeal to everyone and viewers who do not persevere with its unconventional story can be forgiven. But under a tougher exterior is story of depth, deep emotion and passion that will leave one thinking about the questions it raises for a long time. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Romeo's Distress film review by UK film critic Chris Buick. Starring Anthony Malchar, Jeffrey Alan Solomon, Adam Stordy, Charese Scott Cooper, Kimberley Peterson, Dave Street directed by Jeff Frumess. HOME | FILMS | REVIEWS Romeo's Distress Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Apr 2, 2025 Directed by: Jeff Frumess Written by: Jeff Frumess Starring: Anthony Malchar, Jeffrey Alan Solomon, Adam Stordy, Charese Scott Cooper, Kimberley Peterson, Dave Street James (Malchar) is hopelessly in love with the girl of his dreams Jane (Peterson), but thus far that love remains unrequited. However, determined and undeterred by the naysayers, James seeks to prove that love can indeed conquer all, even the sinister machinations of Jane’s suspiciously protective father Dale (Solomon). At a budget of just north of two-and-a-half thousand dollars and shot very sporadically over fifteen months, the style, swagger and filmmaking savvy on display make Romeo’s Distress probably one of the most impressive no/low budget achievements of its generation. Having since gone on to do more and more equally impressive projects, here in their stellar debut, writer, director and producer Jeff Frumess, along with producer/composer Nick Bohun, pulls out every micro-budget filmmaking trick in the book to fully realise this films potential and prove the gift was there from the very start. What stands above all else is the film's editing, which is instrumental in setting the film's unique tone of unease and intrigue. Shots are carefully thought out and considered, sets and locations have been ingeniously repurposed, seamlessly spliced, or even built completely from scratch. But despite all of these tricks, none of its wires ever show, and, at the risk of sounding like a broken record, it’s all an endlessly impressive execution of a clear vision. As a story, itself a surreal gothic arthouse nonconformist thriller, something akin to a marriage between Edgar Allen Poe and Shakespeare, Romeo’s Distress is as bizarre as it is captivating. After the film's rather quirky beginnings, including a truly ear-catching ditty called "Cheesecake of Love” (which most will be humming to themselves long after the credits roll), the film soon begins to weave into something of a more typical narrative. Actually, typical might be the wrong word. After James, following quite the pep talk from his Uncle Elmo (Street), decides to take his destiny into his own hands, the film never once looks to shoot straight with your typical boy hoping to get the girl love story. Instead, it layers itself by exploring a number of themes such as delusion, obsession, pain and isolation to craft a story keeps you on the hook right up until the film’s eye-widening finale, where it then simply drops everything in its audience’s lap to let them pick apart everything they’ve just seen, to figure out where the blurred lines between reality and delusion start and end. Led by unique and original writing and complemented by a fully-committed and fully-competent cast, Romeo’s Distress is a true showcase of filmmaking ingenuity, a beautifully weird, gothic, micro-budget mega hit, which almost a decade on, is still a great lesson for all wannabe filmmakers that if you truly believe in a film, you can make it. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Freaky Tales film review by UK film critic George Wolf. Starring Pedro Pascal, Ben Mendelsohn, Jay Ellis directed by Anna Boden, Ryan Fleck. HOME | FILMS | REVIEWS Freaky Tales Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Apr 2, 2025 Directed by: Anna Boden, Ryan Fleck Written by: Anna Boden, Ryan Fleck Starring: Pedro Pascal, Ben Mendelsohn, Jay Ellis Look, I’m not saying I didn’t expect someone to make a Sleepy-Floyd-as-a-ninja-assassin horror comedy. I am saying I didn’t expect it to be Boden and Fleck. Eric “Sleepy” Floyd played thirteen years in the NBA, making the All Star team in 1987 as a member of the Golden State Warriors. Freaky Tales makes him the heroic centerpiece of a wild anthology that loves the late 80s, Oakland, and Nazis dying some horrible deaths. Let’s party! Ryan Fleck may be an Oakland native, but his films with partner Anna Boden haven’t primed us for this campy, Grindhouse detour. Breaking in with the standout indie dramas Half Nelson and Sugar , they moved closer to the mainstream with the road tripping gamblers of Mississippi Grind before giving Captain Marvel a satisfying MCU debut in 2019. Freaky Tales feels like a return to a low budget indie mindset, where ambitious and energetic newcomers want to showcase their favorite movies, music, and neighborhoods while they splatter blood and blow shit up. The tone is set in the first of four chapters, when local skinheads make a habit of busting up a punk club. Pushed too far, the young, pierced pacifists decide to take bloody revenge with the help of a Scott Pilgrim aesthetic and a glowing green substance seemingly from another world. Episodes two and three back off on the bloodletting, but begin interconnecting the tales with shared characters. A racist cop (Ben Mendelsohn) harasses two ice cream shop clerks (Normani, Dominique Thorne) before they get the chance to battle rap star Too $hort (DeMario Symba Driver, although the real rapper is also in the cast) onstage at a local hip hop club. Meanwhile, an organized crime enforcer on the way to losing all he cares about (Pedro Pascal) disappoints a snobbish video rental guy (Tom Hanks in a fun cameo) while references to Sleepy Floyd (Insecure ‘s Jay Ellis) get more and more frequent. Part four brings everything together in an explosion of Metallica metal and Tarrantino-esque alternative history, with Floyd slicing up enough bad guys to impress Uma Thurman before breaking out the break dancing that runs beside the closing credits. If you haven’t guessed, this is a crazy ride that has plenty to offer fans of bloody fun and WTF plot turns. And while the middle chapters sometimes tread water compared with the action splatter of parts one and four, give Boden and Fleck credit for throwing us one we didn’t see coming. Buried under all this blood and camp, the film displays a genuine love of time, place and genre that you cannot ignore. These Freaky Tales are truly off the leash, usually in the best possible way. About the Film Critic George Wolf Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Eric LaRue film review by UK film critic Hope Madden. Starring Judy Greer, Alexander Skarsgård, Paul Sparks directed by Michael Shannon. HOME | FILMS | REVIEWS Eric LaRue Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 2, 2025 Directed by: Michael Shannon Written by: Brett Neveu Starring: Judy Greer, Alexander Skarsgård, Paul Sparks The film Eric LaRue pairs two of modern cinema’s most talented and least appreciated actors: Judy Greer and Michael Shannon. Intriguingly, Shannon doesn’t appear onscreen. Instead, he makes his feature directorial debut with this emotionally raw drama about a mother’s spiral after her son murders three of his classmates. As we meet Janice (Greer), she’s struggling just to make it through a grocery store when she runs into Pastor Steve (Paul Sparks, pitch perfect). The dynamic these two actors and their director develop in this crucial scene sets the tone for a movie unafraid to get messy and stay there. Pastor Steve wants to help. He sincerely does. He doesn’t want to think about what happened, doesn’t want to blame anybody for anything, doesn’t want to rehash the ugliness of the incident. He wants to help this woman clean her wounds and end the infection, but definitely does not want her ripping off any scabs to get there. Likewise, across town at the more evangelical Redeemer church, Janice’s husband Ron (Alexander Skarsgård) is being wooed into an even cleaner and more complete erasure of his pain by giving his burden to Jesus. Janice is just not sure any of this helps. And even if it does, it’s not the help she wants. Shannon directs a script by Brett Neveu, the screen adaptation of his own stage play. It’s a tough story, and one that’s been covered by some outstanding indie films: Fran Kranz’s 2021 chamber piece Mass , and Lynne Ramsay’s 2011 masterpiece We Need to Talk About Kevin ranking among the best. Eric LaRue leans closer to Mass in that it examines the influence of religion on the grief, shame, and anger left after such a crime. But Shannon mines his material for a different outcome. A single moment of surreal absurdism (in a booth at Cracklin’ Jane’s restaurant) underscores the film’s cynicism concerning the good-faith efforts of religion to end suffering. Skarsgård breaks your heart as an awkward, broken man trying desperately to move past his pain. A supporting cast including Tracy Letts, Lawrence Grimm, Kate Arrington, Nation Sage Henrikson, and especially Annie Parisse, delivers precise and authentic turns. But it’s Greer whose powerful performance—full of anger, shame, regret, longing, disappointment and most of all weariness—plays across her face in ways that seem achingly real. Not everything works, but every performance is remarkable and there is bravery and power behind the message that life and death are messy things. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >