British cinema spans everything from the Hammer horror boom of the 1950s and 60s to the gritty social realism that films like Fish Tank made impossible to ignore. That range, from The Curse of Frankenstein to kitchen-sink drama, is a big part of what makes it so consistently interesting. Have a browse through Macca's UK reviews below.
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There is a particular kind of childhood lie that spirals so far beyond your control that you end up trapped inside it, and I Was Kidnapped captures that sinking, guilty feeling just about perfectly. Dhananjay Barangule's animated short is a warm, funny and nicely crafted piece of autobiography,
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There is a very specific feeling at the heart of Hindsight that I recognised instantly, and it is the thing that carries Remi R.M. Moses' short further than its slender eleven minutes probably should. This is a warm, nicely observed little film about a young man, his first
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Fishbrain is a stunner. Max Vanderspuy's short is a grim, briny little nightmare about love curdling into resentment, and it builds to some of the most impressive body horror I have seen in any film this year, let alone one this length. It is nasty, tender and genuinely
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Every so often a short film takes a single, slightly mad idea and commits to it so completely that you cannot help but admire the nerve of the thing. Sophia Di Martino's All Yours is one of those, an eight-minute piece of domestic body horror that is
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I will admit it, Geronto did not win me over straight away. For its opening stretch I thought I knew exactly what it was: a short about two men meeting by chance and going to bed together, and little more. I was wrong, and by the end this quiet, melancholy
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You have to admire a film that can take an idea this daft and make you feel something with it. Adrian Maganza's Fantasies of a Rescue Dummy is one of the more genuinely original shorts I have come across, a hybrid of live action and animation that asks
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Every so often a short film comes along that makes you wish, immediately and urgently, that it were a feature, and Michael Patrick Clarkson's Delisted is one of the strongest I have seen in a long while. It is a sharp, superbly produced slice of near-future dystopia
Rating: 3.0★
British prison dramas have a long and fairly distinguished lineage, from the kitchen-sink realism of the 1960s through to the grimier, more procedural territory that television has largely claimed in recent decades. Wasteman, arriving in 2025 from director Cal McMau and produced through a cluster of UK independents including
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I will be honest, for its first twenty minutes I was not at all sure about Lady, and then it pulled a swerve that completely won me over. What begins as a familiar cringe-comedy mockumentary quietly transforms into something far stranger, sadder and more ambitious, and by the end
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Craft can carry a film a surprisingly long way, and Aisha Boudjillouli's Eyeliner is a good test of exactly how far. This NFTS stop-motion short is, on a technical level, genuinely lovely, beautifully animated and well voiced, and it is tackling a tender subject with obvious sincerity.
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Every so often a film comes along with the courage to trust its audience completely, and These Violent Delights is exactly that. Scottish Ballet's first feature is a wordless, wildly vivid retelling of Romeo and Juliet told entirely through dance, and it is a bold, beautiful and genuinely
Rating: 3.0★
Peter Hujar's Day arrives in 2025 as one of the more unusual entries in recent American independent cinema: a seventy-six minute reconstruction of a single day in the life of a photographer, drawn from an audio recording that had been sitting in an archive for half a
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