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Interview by Chris Olson Creator of The Brettflix Podcast and popular on social media for his quick-fire reviews, fun quizzes, trivia challenges and sharp takes on the latest movie, TV and entertainment trends, I interviewed Brett Harman to find out more about his latest work. Your content spans quick-fire reviews to deep-dive podcasts. How do you decide which format is best for a particular film or pop culture topic? Is there a piece of content that you think worked exceptionally well in one format but might have failed in another? The content I create can focus on either new releases or older films. For older movies, quizzes or sharing interesting facts are often included to engage viewers who appreciate nostalgia. "Guess the movie by the intro" has attracted significant attention, with one video receiving nearly 15 million views. Reviews of recent films tend to reach audiences interested in viewing recommendations. Additionally, watching and reacting to specific scenes can be effective, though this approach occasionally leads to copyright concerns on social media platforms. You've built a massive following with sharp takes and a witty approach. What's the biggest misconception people have about being a "movie creator" on platforms like TikTok and Instagram? Do you ever feel pressure to conform to a certain style or opinion to please your audience? Social media has enabled creators to share their opinions, even controversial ones. Although I was hesitant to express strong views or negative reviews at first, I now value originality and unique interpretations. I no longer feel pressured and enjoy developing my own content style. The film world is often seen as very serious, yet your content is fun and accessible. How do you balance being a legitimate voice on cinema with the kind of lighthearted, "unfiltered" entertainment your audience loves? As a creator, I aim to show my humanity and sensitivity on topics in film. If it is a serious film then no need to be facetious. You can slightly adjust the content if it’s centred around a comedy movie. Social media can be a way of escapism, and I enjoy making people smile through sketches or quizzes. My goal was never to present a serious critique page, but to entertain, educate and inform whilst injecting some of my personality within the content. Sometimes life is too serious, and I endeavour to produce comedy and light-hearted approaches so people know it’s a fun and safe space. Beyond the usual blockbuster releases, what's a film or TV show that you believe is underrated or deserves more attention from UK audiences right now, and why? A movie called “what dreams may come” is one I value and is underrated and not spoken of. It features Robin Williams in a non-comedic role, and it is such a touching story about finding a loved one in heaven. It is so important to me after losing my partner last year to cancer. Your podcast has tackled "big questions" like "what would Nicolas Cage’s meal deal look like?" In a world of serious film criticism, why do you think these kinds of fun, quirky questions resonate so much with people? The podcast presents content that differs from the regular videos I create by focusing on casual conversations among friends about everyday topics. You feel involved as if you are on the couch having a chat with us. While some podcasts address serious or thought-provoking subjects, this podcast emphasises relatability through discussions of common experiences and humorous topics. The intention is to offer viewers accessible and light-hearted topics that may reflect conversations they have had with others. As a rising creator in the UK, what do you think is unique about the British film and pop culture landscape? Are there any UK-specific trends or content that you're particularly passionate about? Streaming shows and movies at home has become a huge part of people’s lives, especially since the COVID pandemic. The “what to watch” trend, especially on TikTok, is really kicking off and viewers seem to be extremely engaged and influenced by creators’ recommendations. Many of your followers are younger, digital-native film lovers. How do you see their relationship with cinema—from what they watch to how they discover it—differing from previous generations? Many followers are finding new movies through discussions on my content and others. Social media makes it easy for viewers to get instant updates and recommendations, especially from creators who see early screenings. It's also great to watch younger audiences discover and react to older films, including 80s cult classics that they would never have considered watching before. What's one film you can watch over and over again and never get tired of, and what is it about that film that keeps you coming back? Beetlejuice . It is my no. 1 movie and even though the CGI and cinematography have aged, the script, humour and wacky scenes make it a fun, re-watchable film. Gothic comedy is not made much anymore, and this movie just ticks all the boxes. Scary, funny, emotional, shocking, suspenseful, crazy. The list goes on. When you’re not reviewing or creating content, what kind of film-related activities do you enjoy? Do you ever try to completely switch off from the movie world, and if so, what do you do? I still love going to the cinema. Some movies must be watched on the big screen. I go to regular meet-ups with other creators to see early screenings or take part in film and TV events to talk all things entertainment. I am also a voice actor, and this allows me to create characters and manipulate my voice in a fun way. Sometimes it is great to switch off completely from the movie world and get away from a screen. I love spending time with my 3-year-old daughter or even getting fit at the gym which has been a big passion of mine lately. What's the most exciting change you've seen in the film or entertainment industry in the last few years, and where do you hope to take your own brand, Brettflix, in the next few years? The rise of social media has given film enthusiasts, like me, a platform to share and recommend movies, moving beyond the usual voices of traditional critics in papers and magazines. With Brettflix, I aim to grow the podcast’s audience and aim to relate with the viewers and give them an escape from the everyday stresses of life. My goal is to become a full-time film journalist, collaborate with major studios, and generate excitement for new films. I love my work as a content creator, and I hope my passion for film shows through my content. Where to Find Brett: Brett Harman (aka Brettflix) is a rising content creator, podcaster and presenter, specialising in movies, entertainment and pop culture. With over 265,000 followers across TikTok and Instagram, and 5.7 million like on TikTok alone, he engages a loyal audience through quick-fire reviews, quizzes, trivia, and sharp takes on the latest trends. This summer, he launched The Brettflix Podcast, blending humour, insight and unfiltered commentary on pop culture topics. Please visit www.BrettHarman.co.uk , and you can follow Brett on TikTok @Brett_Harman , Instagram @brettflix_official , and listen to The Brettflix Podcast on all major podcast platforms.

Directed by: Luís Hindman Written by: Luís Hindman, Sufiyaan Salam Starring: Eben Figueiredo, Gurjeet Singh, Kulvinder Ghir Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️⭐️ Magid / Zafar (2025) is a 19-minute short film depicting rising tensions, set inside a Pakistani-British takeaway restaurant. There are many tensions at play here, such as the juxtaposition between modernity and traditionalism and between a Pakistani and a more Western way of life. These conflicts are presented through music, costume, and a heart-wrenching narrative, as the protagonist, Magid, must face his future and what it entails. Can Magid accept leaving his old life behind, or will the brewing tensions take over and leave him lost between two worlds? Inside the busy kitchen, the heat, noise, and energy are constantly at an all-time high. Shifty camera movements combined with jumpy short takes bring this stressful environment to life, creating a strong impression that much is happening in this confined space. Whilst the kitchen is sizzling with chefs hard at work and the counter is bustling with customers, many interruptions add to this energetic soundscape, such as music being changed and phones pinging. A sense of frustration begins to take shape here regarding the intense environment becoming more stressful, and through a generational gap, which becomes apparent through conflicts in music choice and a disdain towards the use of mobile phones. These rising tensions set the scene marvellously for what is later revealed about Magid’s marital situation, as in a revelation, he is unveiled to be stuck between two crossroads and forced to take a route that does not align with what his heart may desire. This film deals strongly with the feeling of being trapped and wanting to run away, aptly using a single-shot location of a kitchen to convey a claustrophobic environment where so many things are expected of you, and yet nothing is ever within your control. Like Christopher Storer’s The Bear, as seen on Disney+, and the 2021 BBC film Boiling Point, the setting of a busy restaurant is masterfully utilised to enhance viewers' engagement with characters’ emotions and frustrations both within their workspace and in their personal lives. Magid / Zafar is cinematically beautiful, effectively using colour and costume to create a fittingly vibrant palette. Viewers will almost be able to smell the spices and sauces being cooked and feel the energy radiating out of the kitchen. The carefully combined soundscape, combined with an artistic, dreamy use of neon lighting, adds to the film’s spirit of feeling both an authentic portrayal of life working in a kitchen and a necessary setting to enhance the film’s themes of escapism and conflict. Around halfway through the film, there is a sudden shift in its energy levels. The latter segment of the film is entirely shot within a store cupboard, relying heavily on performances by Eben Figueiredo (Magid) and Gurjeet Singh (Zafar) to keep the viewer engaged, and both actors certainly succeed in doing so. The film’s former, highly stressful feel is halted by a vulnerable, tender scene, the soft performances here reminiscent of remarkable performances by River Phoenix in My Own Private Idaho (1991) and Timothée Chalamet in Call Me By Your Name (2017). Figueiredo and Singh are both continuing the legacy of having young male characters on screen who are rawly portrayed as they struggle with vulnerable emotions surrounding their identities, and the result is a tearful climax to close the film. The film’s director, Luís Hindman, is currently working on his debut feature film, which audiences can eagerly await after the gorgeously shot Magid/Zafar . This film’s moving story captures viewers through its initial mayhem, stuns with its unexpected turn, and hits home in an emotionally poignant final shot.

Film Feature by Chris Olson Well then, here we are, another year, another brilliant lineup from the Tokyo International Film Festival (TIFF). As a critic who's always looking for a good yarn and a bit of cinematic magic, the latest announcement from the 38th TIFF has certainly piqued my interest. They've just unveiled their Closing Film, some of the Gala Selection titles, and a few animated gems, and it's looking to be a festival of truly impressive scale and prestige. The big news, and rightly so, is that Academy Award-winning director Chloé Zhao's newest film, Hamnet , will be the festival's Closing Film. Based on the critically acclaimed novel by Maggie O'Farrell, this film follows the powerful story of love and loss that inspired William Shakespeare's masterpiece, Hamlet . With a cast that includes the ever-brilliant Jessie Buckley and Paul Mescal, who apparently deliver triumphant performances, this film has already made a splash, picking up the People's Choice Award at the Toronto International Film Festival. It's a real coup for Tokyo, and what's more, Zhao herself will be there to receive the Kurosawa Akira Award. What a way to wrap things up! Looking at the Gala Selection, it's clear the festival is pulling out all the stops. We've got Ari Aster's Eddington , which boasts a cast list that includes Joaquin Phoenix, Pedro Pascal, and Emma Stone. Then there's Rental Family  from director HIKARI, a joint USA-Japan production featuring Brendan Fraser. These high-profile international titles sit alongside some of the best of Japanese cinema, showcasing the festival's broad appeal. And for those who, like me, appreciate the art of animation, the lineup is looking very strong. The selection includes a 4K restoration of the Japanese classic Angel's Egg  and a range of international works, such as the French film Allah is Not Obliged  and the Spanish film Decorado . It's a delightful mix that promises a feast for the eyes and the mind. The festival will run from October 27 to November 5, and I, for one, can't wait to see how it all unfolds. Opening, Closing, and Gala Selection Climbing for Life (Opening Film) Tokyo Taxi (Centerpiece) Hamnet (Closing Film) Blue Boy Trial Bring Him Down to a Portable Size Can't Cry with Your Face Eddington Holy Night: Demon Hunters Love on Trial Night Flower One Last Throw Rental Family She Has No Name Sirat Sons of the Neon Night Springsteen: Deliver Me from Nowhere Animation Lineup Allah is Not Obliged Angel's Egg 4K Restoration Chao Decorado Edge of Time I am Frankelda Jinsei Labyrinth The Last Blossom Little Amélie or the Character of Rain The Obsessed Momotaro, Sacred Sailors

Directed by Cody Farren Written by: Cody Farren Starring: Dane Whyte O’Hara, Johnny Harkin, Claire J. Loy Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️⭐️ Animal (2023) strikes home like a blade to the heart. Cody Farren’s dramatic short deals with heavy topics surrounding adolescent teens, such as abuse and mental health; therefore, viewer discretion is advised. Like Netflix’s Adolescence (2025), this film contains an important message about youth violence and bullying and the way these issues are often linked to external factors as children grow up. The story follows a schoolboy who is a victim of brutal, relentless bullying from an older peer. He seeks violent revenge against him; however, his plan quickly falls apart, leading to a tragic outcome. Although a short piece (15 minutes in length), each moment makes a profound contribution to the film’s wider message. I would not be surprised if schools were eager to screen this to draw attention to the realities of bullying and so that children feel seen when dealing with mental health problems and abuse. Aside from its vital message, there are some significant creative achievements here. The film’s use of music to create tension is remarkable, and viewers may find moments uncomfortable due to the distressing impact this has. Additionally, the film’s artistic use of lighting distinguishes its scenes brilliantly, each setting having its own distinct atmosphere through its colouring and the unique feel these create. The film combines moments of surrealism with intimate, naturalistic filmmaking techniques. Viewers may find this film to have the same familiar realism as the BBC’s Normal People (2020), which enacts similar methods, both pieces resulting in an enhanced, emotional feel. An example of realism in Animal is in its inclusion of the social media app Snapchat to depict an interaction between two characters. Crucially, a relatable modern-day online space is used to tell a story that is representative of an unfortunate reality. As well as this, similarly to Adolescence, the film has an effective use of young actors in its cast, adding to the realistic feel of the piece and enhancing its harrowing impact. The film’s contrasting use of a 1:1 aspect ratio in the film’s first third to a wide aspect ratio in the rest of the film effectively uses space to visually demonstrate the significance of how small, confined moments can have drastic consequences. The transition, about 5 minutes in, to a wide aspect ratio is the actualisation of these consequences, both symbolically, through framing, and through what occurs here in the plot. Dane Whyte O’Hara, who plays Mark, the film’s bully, exceptionally portrays his character's disturbance. As is usually the case, Mark is a victim of verbal and physical violence, leading to his struggle with addiction and his becoming a bully himself. O’Hara performs Mark’s complexity masterfully, demonstrating how bullying is usually a result of difficulties elsewhere, leading to a continuous, toxic cycle of abuse. More than anything, Animal feels like a call to action. Urgently, adolescents and young people struggle with life-altering mental health problems, which stem from a system that lacks the ability to identify and support those in need. This film acts as a vital conversation starter, drawing attention to the issues that desperately need it. Through viewing this film, audiences will hopefully gain a deeper understanding of the struggles young people face, perhaps leading to a world where instances similar to the one presented in this film can be prevented.

Film Feature by Chris Olson The year 2025 sees the arrival of a highly anticipated cinematic event: the second film adaptation of Stephen King’s dystopian novel, The Running Man . Directed by Edgar Wright and starring a remarkable ensemble cast, this new take on the classic story promises to be a fresh and exhilarating experience, a far cry from the celebrated 1987 action film starring Arnold Schwarzenegger. While Schwarzenegger's portrayal of Ben Richards became an action hero staple, this new version, with its star-studded cast, aims to delve deeper into the satirical and human elements of King’s original work. Leading the charge is Glen Powell as Ben Richards, the everyman protagonist thrust into a deadly game of survival. Powell, who has recently risen to fame with roles in Top Gun: Maverick and Twisters, brings a new kind of physicality to the character. As he has noted in interviews, his portrayal is less about superhuman strength and more about the grit and determination of an ordinary man fighting against extraordinary odds. He is joined by Jayme Lawson, who plays his wife, Sheila Richards. Her character’s illness is the driving force behind Ben's decision to enter the game, grounding the high-stakes plot in a relatable, human struggle. The film's satirical core is brought to life by two formidable actors in key villainous roles. Josh Brolin steps into the shoes of Dan Killian, the show's ruthless and ratings-obsessed producer. Brolin's portrayal promises to be a chilling masterclass in corporate amorality, showcasing a character who views human lives as nothing more than a commodity for public consumption. Sharing the villainous spotlight is Colman Domingo, who plays Bobby Thompson, the charismatic and sinister host of the deadly reality show. Domingo’s performance as the “host-with-the-most” captures the dark showmanship that feeds the public’s bloodlust and highlights the film’s commentary on media sensationalism and societal decay. Beyond the central trio, the cast is filled with a variety of compelling characters. Lee Pace takes on the role of Evan McCone, a formidable hunter tasked with tracking down and eliminating Richards. His presence adds a layer of constant threat and tension to the film. Karl Glusman also joins the ranks as another of the hunters. Richards also finds unexpected allies on his journey. Michael Cera plays Elton Parrakis, a rebel who helps Richards and works against the corrupt government. This role will allow Cera to showcase his talent for playing unconventional characters, adding a unique dynamic to the story. Legendary actor William H. Macy also appears as a stranger who provides aid to Ben during his desperate run. Emilia Jones plays a privileged woman, Amelia Williams, who is initially blind to the oppression of the government and encounters Richards during his escape, a character that serves as a mirror to the societal issues at play. The film's supporting cast further enriches the narrative. Katy O’Brian and Daniel Ezra portray fellow contestants on The Running Man, offering a glimpse into the fates of others caught in this brutal game. David Zayas and Sean Hayes round out the cast in supporting roles, contributing to the rich tapestry of the dystopian world. With Edgar Wright at the helm, a director known for his kinetic and stylish filmmaking, this new adaptation promises to be a visually and narratively thrilling experience. By staying true to the spirit of Stephen King's novel while updating it for a modern audience, The Running Man is poised to be a major cinematic event of 2025, driven by the talent and collective power of its extraordinary cast.

Film Feature by Chris Olson It seems like only yesterday that we were taking our seats in the cinema, our hearts aflutter with anticipation for the first part of Jon M. Chu's cinematic spectacle, Wicked. And what a spectacle it was. Now, a year on, the wait is almost over. On the 21st of November, the UK will finally get to experience the second and concluding chapter of this fantastical saga, Wicked: For Good. The first film was a whirlwind of colour, song, and emotion, successfully translating the magic of the West End and Broadway stage to the big screen. Cynthia Erivo's Elphaba was nothing short of a revelation, her powerful vocals and nuanced performance capturing the very essence of the green-skinned outcast. And who could forget Ariana Grande's perfectly pitched portrayal of Glinda, a character whose superficial charm concealed a heart grappling with genuine friendship and moral quandaries? But as any fan of the musical knows, the first film was merely the overture. The second Wicked film, Wicked: For Good is where the real drama unfolds. This is the moment the narrative pivots from the origins of a friendship to the defining choices that will forever cement the destinies of its two leads. The film’s title, of course, gives away the central theme: the idea of change, both personal and for the wider world, and whether it can truly be for the better. Expectations are stratospheric. The first film's success, both critically and at the box office, has set a monumental bar. With the stage now set for the most iconic numbers of the show’s second act — think the soaring, heart-wrenching duet "For Good" and the rebellious fury of "No Good Deed" — the pressure is on Erivo and Grande to deliver. The trailers have hinted at an even grander scale, with the consequences of Elphaba's defiance of gravity leading her down a darker, more isolated path. Wicked: For Good official trailer For us, the audience, this is more than just a film; it's a cultural event. The divide between Glinda and Elphaba, the corruption of power, and the complex nature of friendship are themes that resonate far beyond the Land of Oz. And in an age of fragmented viewing, the shared experience of watching this epic conclusion on the big screen feels more significant than ever. So, mark your calendars. November 21st promises to be a date to remember. Grab your fellow Oz enthusiasts, perhaps even a broomstick or a bubble machine, and prepare to be transported back to a world of emerald splendour and bittersweet goodbyes. Wicked: For Good is not just the end of a story; it's the culmination of a decade-long cinematic dream, and we, for one, can't wait to see if it truly does defy gravity.

Directed by: Khvicha Emiridze and Tinatin Emiridze Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️ Black Sea (2021) is an ode to the art of stillness and quiet. Through imaginative cinematic depictions and the use of silence, the film conveys a strong sense of grief and despair without ever directly addressing its subject matter. By being vague and short, capturing small moments of these characters’ lives, this brief procession of scenes creates a voiceless sense of death which permeates its entire runtime. A family are living on the shores of the Black Sea and seems to have had their everyday routines halted by a life-altering event. Directed by Khvicha Emiridze and Tinatin Emiridze, this Georgian short film, just under 15 minutes in length, lacks any dialogue, relying solely on performance, sound, and mise en scène to convey its story. Each shot lingers, allowing the viewer a few quiet moments of contemplation to grasp what may be occurring here for the small family, both emotionally and literally. Black Sea is composed of subtly gut-punching wide shots. Each shot appears as if it could be a painting, symbolically hinting towards the family’s situation. Sparking curiosity and a sense of dread, the still, wide shots of the film create an effective, mysterious, gloomy feel that maintains itself throughout. There is a deathly stillness to many moments in this film, leading to an eerie feeling of dread and sorrow, enhanced by its lack of dialogue. Some of these moments come across as unsubtly stark but necessary to bring to light what has occurred. An element of blandness comes through in the film’s first half. From the greyscale of the characters’ costumes to the beige food that is on the table in front of them, the use of bland colour schemes creates a sense of dull emptiness that seems to permeate these characters’ lives. The sullen performances in Black Sea are heavily impactful. Through facial expression and body language, viewers get a sense of the character’s internal turmoil. Notable is the performance of the father figure in the film, played by Niko Tavadze, whose subtly frustrated body language adds a layer of nuance to the family’s grief. Musical elements of this film, which are sporadic and at times nonsensically jarring, create a delirious feeling of confusion. This adds to the heartrending sense that the characters are unable to process or speak about what has happened, just as the film itself can find no suitable way to address it. The film’s title – Black Sea – aptly draws attention to the sea’s personified importance. The sea is a sinister character here, concealing secrets whilst offering a possible escape. It is also at the centre stage of many of the film’s most powerful, beautiful shots, setting the tone for the film’s overall mysterious visual landscape. Black Sea is quietly chilling. Through imagery and performance, the film has the structure of a poem, finding abstract ways to present a story that pulls on the viewer’s emotions and engages the senses. Whilst hinting towards the family’s dynamic and situation through intrinsic performances, the film is continuously mysterious in substance, allowing the viewer subtle clues of what they are seeing. Featuring beautifully memorable shots, crafted to linger, Black Sea is profoundly impactful.

Directed by:  Bizhan Tong Written by:  Stephen Belber, Bizhan Tong, Selena Lee, Bonnie Lo Starring:  Kenny Kwan, Selena Lee, Adam Pak Film review by:  Jason Knight ⭐️⭐️⭐️⭐️ A feature drama directed by Bizhan Tong, written by Tong, Stephen Belber, Selena Lee and Bonnie Lo and starring Kenny Kwan, Selena Lee and Adam Pak. Drug dealer and lifeguard, Wing (Pak), is renting an Airbnb in Hong Kong, where he intends to reunite with Jon (Kwan), a friend from school whom he has not seen in years and who is now an accomplished filmmaker. There is far more to that, though, as Wing has set up hidden cameras throughout the apartment. Why? Because he believes that during their graduation fifteen years before, Jon committed a heinous act and Wing plans to get his confession on tape without him knowing. Following innocent exchanges, Wing sets his plan in motion, leading to a great deal of drama and the arrival of Amy (Lee), a former classmate, leads to further complications. This film begins more or less lightheartedly, with two men meeting again after a lengthy separation and catching up with everything, having a laugh, minor arguments and doing some drugs. It is after Wing mentions Amy that the atmosphere becomes serious (rather serious) and tension and suspense fill the air. Amy herself makes her appearance approximately halfway through, leading to the part where Jon is forced to face his past actions. Confrontations, revelations and accusations dominate this story that as both a drama as well as a thriller. Since it is based on a play, it is probably unsurprising that almost the entirety of the narrative takes place in real time and that it takes place almost completely in the apartment. The screenplay is more focused on exploring the characters than it is on moving the story forward, and it does so very effectively. Jon, Amy and Wing are the only characters on-screen (with the exception of several flashbacks) and they each have their own perspective regarding the fateful incident that drives the story. Wing is the most cheerful one, a carefree guy who sells and uses illegal drugs and who seems to want to see justice being served for Jon's wrongdoing. Jon appears to be a coward when it comes to admitting his mistake and facing the consequences and being forced to admit what he did clearly has a massive impact on him. Amy is a public prosecutor and her presence pretty much dominates the second half, with her confronting the person who caused her anguish. She is an intelligent and calm individual and Lee's performance perfectly reveals the torment she is going through. The whole plot revolves around a past incident, and the feature concentrates heavily on the concept of facing the consequences of one's actions, that the past catches up. Accompanied by this are feelings of self-reflection and regret. This is a remake that brings the story from the United States to Hong Kong, and the result is a dramatic and thought-provoking viewing with strong acting and an intriguing plot. Tape  will be in UK Cinemas from the 19 th  of September.

Directed by: Jonathan Zaurin Written by: Kat Ellinger, Michael Mackenzie, Todd Rodgers Starring: Suzanne Fulton, Michael Coombes, Pete Bird Film Review by: Holly Baker ⭐️⭐️⭐️⭐️ Derelict (2024) marvellously transcends the boundaries of a gruelling psychological revenge thriller. Jonathan Zaurin’s second feature film takes viewers on a crime-ridden journey of love, grief, suffering and rage, and the ride is full of grit and emotion. Derelict’s gnarly narrative and passionate performances result in a gripping psychological battle between morals and justice, never letting you go, as its themes of violence and anguish are navigated in all of their complex cerebral glory. Viewers are introduced to Abigail (Suzanne Fulton), who is vacantly grief-stricken and enraged following the trauma of the mysterious, horrific death of her father. On a quest for vengeance against his attackers, Abigail faces several physical threats and internal conflicts of conscience. Meanwhile, a young man named Matt (Michael Coombes) has his life derailed when his brother, Ewan (Pete Bird), returns home from prison. Matt’s moral compass is put to the test as his loyalties are divided between two opposing worlds. Will his delinquent brother lead him astray, or is there hope for Matt to avoid a life of crime? The story takes place within a working-class community residing in Herefordshire, with the majority of its narrative told through a visualisation of washed-out images, depicted in a muted colour palette. Lending itself to Memento (2000), Derelict incorporates a reverse structure with dual timeframes symbolised through colour grading. Memento’s legacy also shines through in the film’s portrayal of complexly corrupted characters who are presented as dichotomous in their humanity and villainy. The film portrays menacing individuals in society as corrupt yet emotionally charged, meaning viewers may feel torn and unsure of whom to sympathise with, enhancing the film’s psychological poignancy. Derelict does not shy away from its terrifying potential, with harrowing depictions of brutality and gore lending itself to the horror genre through ghastly special effects and a disturbingly visceral sound design. Scenes of sexual and physical violence are horrifyingly presented. There are moments of absolute despair when exploring the dangers of predatory men. The film also goes further to present the nuances at play within the patriarchy through presenting intricate characterisations of its most threatening characters. Attention is paid to exploring insecurities and prejudices which drive violent, hateful acts, brutally depicting the deathly consequences of toxic masculinity. The horrors at play in Derelict are further impactful through a potent demonstration of the disastrous effects of substance use. This is conveyed through haunting intoxication sequences. These are shown through anxiety-inducing, shaky, blurry cinematic sequences blended with moments of eerie stillness and quiet. Derelict’s performances are blunt and assertive, with all of its characters making a strong impression on the feel of the film. The film’s most disturbing moments are enhanced by the actor’s commitment to eliciting disgust through vulgar body language and bellowing voices. Suzanne Felton’s acting is quietly impactful. Abigail comes across as subtly bold and empowered by the love and anger which drive her. Felton’s performance is comparable to that of Michaela McManus, who plays Irene in Redux Redux (2025), both notable accomplishments, sharing the admirable strength of executing the determination of a vengeful female character who is willing to go beyond any means necessary to achieve justice and closure. As the film transitions from the first to the second act, there is a stark shift in tone. Through shaky camera work and the use of a sinister musical build-up, suspense is intensified brilliantly. One might compare such an effective increase in anticipation to that pulled off in Jordan Peele’s Get Out (2017), both films’ final acts maintaining a disturbing influx of violence and dread. Derelict’s use of time, through intertwining dual narratives and the creative incorporation of an analogue clock display, enhances the film’s sense of dread and excitement, making it impossible to look away from, despite the viewer being made aware of what the film’s events are going to lead to. In the face of Derelict’s vulgar scenarios and graphic depictions of terrible suffering, what stays with you after watching is not a feeling of grimness or psychological upset. Rather, there is a warm feeling of hope. Derelict commits to engaging with the perplexing terrors implicated in its psychological thriller genre whilst maintaining a heartfelt focus on its characters’ humanity, keeping the viewer anxiously hooked and emotionally invested in the horrors at play. After watching, you’ll definitely think twice before taking the underpass on your walk home… Derelict is on digital 1 September from Miracle Media and on Blu-ray 22 September from 101 Films

The latest documentary from acclaimed filmmaker Asif Kapadia , the mind behind masterpieces like Senna  and Amy , is set to premiere. This time, Kapadia turns his lens to a true football legend: Kenny Dalglish . Kenny Dalglish  is not just another sports film. It's a deep dive into the life of a man who defined a generation of football, told in his own words. The film features Dalglish himself, alongside his wife Marina and close friends like Graeme Souness  and Alan Hansen . Drawing on hundreds of hours of archival footage, including never-before-seen personal clips, the documentary offers a unique and intimate portrait of Dalglish's journey. It highlights his immense talent on the pitch, but also focuses on his remarkable character off it—his sharp humour, his humility, and his unwavering loyalty. As a player, he was a giant for both Celtic and Liverpool, but the film also pays tribute to his profound impact on the people of Liverpool, particularly during times of tragedy. Kapadia himself has said this is a personal project, a way to show a new generation who only know Dalglish from video games the true scale of his greatness as both a player and a leader. Kenny Dalglish  will be in cinemas for one night only on 29 October, with exclusive bonus content. For those who can't make it to the cinema, the film will be available to stream on Prime Video in the UK and Ireland from 4 November.

When All The Right Movies launched back in 2019, the team had a simple goal: create the movie podcast they wished existed. The kind that actually tells the great stories behind how films were made, not just discussing whether they're worth watching. One hundred episodes later, they've discovered something which is good to know: there's an insatiable appetite for creative film storytelling. Here's the thing about most movie podcasts: they're essentially mates-down-the-pub conversations recorded for posterity. Absolutely nothing wrong with that, but the ATRM team wanted something  a bit different. Retain that great, engaging dynamic that entertains audiences, but also tell the story of Hollywood one movie at a time—and actually mean it. Each episode of All The Right Movies represents weeks of research. The hosts buy specialist books, watch every available documentary, and dig up interviews from archives most people forgot existed. Why? Because when they tell you about how The Terminator  came to be, they don't just mention that James Cameron had a nightmare about a metal skeleton. They tell you he was sick with a fever in a Rome hotel room, had the nightmare, sketched it out, and then spent years trying to convince anyone to let him direct it. They reveal that the studio wanted O.J. Simpson for the Terminator role (Cameron said he was "too nice”—yikes), and that Arnold only had 58 words of dialogue in the entire film. This obsessive approach to research led to some pretty mind-blowing discoveries over their first 100 episodes. During The Shining , Kubrick made Shelley Duvall perform the baseball bat scene 127 times (“made” being the operative word). The famous chest-bursting scene in Alien  was kept secret from most of the cast, meaning their horrified reactions were genuine (Yaphet Kotto took it particularly badly). These aren't just fun facts—they're windows into how great films are actually crafted. What makes All The Right Movies different isn't just the research though. It's the fact that the team—John, Luke, Westy, and Matt—have spent over 50 years combined working in creative industries. When they analyse a film, they're bringing perspectives from digital media, photography, cinematography, broadcast television, music composition, and more. They spot things others miss because they understand the creative process: they’ve been there, done that, and probably still have the call sheets to prove it. But here's their secret weapon: they've been friends for 20 years. That chemistry you can't fake? They've got it in spades. Whether they're doing questionable Arnold impressions or finding humour in Scorsese’s perfectionism, they balance serious film analysis with the kind of conversations you'd actually want to be part of. No pretension, no film school snobbery—just four people who bloody love movies sharing that passion with fellow enthusiasts. What's particularly special about All The Right Movies is how they've built a passionate community around their content. Through their ATRM Patron subscription service, they've created a space where over 1,200 dedicated supporters don't just listen—they actively participate. Patron questions are woven into episodes, adding fresh perspectives and creating a dialogue between hosts and audience. The monthly newsletter features a "Patron of the Month" interview, and patrons even get to vote on which films make it onto the show. Beyond the podcast itself, patrons can chat directly with the hosts and fellow film enthusiasts in their online community, turning movie discussions into ongoing conversations that extend well beyond each episode. It's this community focus that transforms passive listeners into active participants in the ATRM story. Over 100 episodes, ATRM has covered everything from blockbusters like Inception and Star Wars  to stone-cold classics like The Godfather  and Rear Window . They've explored how these films connect—like how Spielberg recommended John Williams to George Lucas, or how Goodfellas  influenced practically every crime film that followed. Each episode stands alone as a comprehensive deep-dive, but together they're building something bigger: an interconnected story of how Hollywood really works. The response has been rather overwhelming. They've achieved over 2,000,000 downloads, built a community of over a thousand dedicated patrons, and have a following approaching 1,500,000 on social media. They even caught the attention of directors like Christopher McQuarrie and Edgar Wright (which they're still not quite over). But what matters most? Hearing from listeners who say the podcast has changed how they watch films. That’s the whole point. Looking ahead to their next 100 episodes, the team isn't changing the formula that's worked so well. They'll keep diving deep into the films that matter, uncovering the stories that deserve telling, and maintaining the quality that their audience expects. (And whilst they can't say too much just yet, there's some rather exciting news on the horizon that'll take All The Right Movies beyond the podcast format—watch this space). Because ultimately, every great film has a great story behind it—and they're just getting started telling them. Fancy joining them for the next 100? Start with their most recent deep dive or explore the full catalog of 100+ episodes on Spotify , Apple Podcasts , or at alltherightmovies.com where you'll also find exclusive articles and film features. And if you fancy becoming part of the community that's shaping the show's future, their Patreon is where the real magic happens.. Trust us, you’ll never watch movies the same way again.

Film Feature by Chris Olson The nights are drawing in, the leaves are turning that beautiful autumnal orange, and the air is getting a little chillier. All of which means one thing: Halloween is just around the corner. But this year, the scares aren't just confined to a fancy dress party; the UK cinema circuit is gearing up for a frightfully good season. Forget last year's lukewarm offerings; the line-up for autumn 2025 is stacked with spine-chilling sequels, cerebral terrors, and a few exciting originals that promise to leave you sleeping with the lights on. Let's get into the dark heart of what's coming our way. First up, and landing with a chilling thud on September 12th, is The Long Walk . If the name rings a bell, that's because it's an adaptation of one of Stephen King's most unnerving novels. Director Francis Lawrence, a veteran of the Hunger Games  franchise, is at the helm, which bodes well for a tight, tense, and expertly paced experience. The premise is simple but terrifying: a dystopian story where young men compete in a walking contest, with the grim rule that only one survives. There's no supernatural entity, just the chilling horror of human endurance and the sheer, bleak finality of the contest. We’re expecting a film that ratchets up the psychological pressure with every single step, making it a must-see for fans of high-stakes, low-gore horror. Next, get ready to meet your masked tormentors again on September 26th with The Strangers: Chapter 2 . Following on from last year's trilogy opener, this film promises to continue the ordeal of Madelaine Petsch's character. The first chapter was a masterclass in unnerving tension, and with director Renny Harlin returning, we can only assume he has more twisted games planned. We’re bracing ourselves for an atmospheric, slow-burn sequel that focuses on the unsettling, random nature of the attacks. It's the kind of horror that makes you double-check your own front door lock when you get home. October kicks off with a triple dose of terror on the 3rd, and each film brings a unique flavour of fear. First, there's Him , the latest offering from Jordan Peele's Monkeypaw Productions. This one is a sports-horror hybrid, which is a genre we don't see nearly enough of. It stars Marlon Wayans and Tyriq Withers, and hints at a story where a young football player is taken under the wing of a star quarterback, only to discover there's something sinister at play. Given Peele's track record with films like Get Out  and Us , we're anticipating a film that blends social commentary with genuine, skin-crawling horror. Also on October 3rd, we have Shelby Oaks  and Keeper . Shelby Oaks  has been described as a found-footage film, which is always a good bet for a jump scare or twenty. Details are scarce, but the premise of a missing paranormal investigator who vanished during a case is ripe for some serious chills. Keeper , meanwhile, is the new film from Osgood Perkins (director of the critically-acclaimed Longlegs ). Starring Tatiana Maslani, it follows a couple on a retreat where one is left alone to face a sinister presence. Perkins is a master of building suspense and unease, and we're ready for another deeply unsettling film that gets under your skin and stays there. A week later, on October 10th, we welcome Good Boy  to our screens. With a title that sounds anything but scary, this film promises to subvert expectations. The plot revolves around a dog that moves to a new home and discovers a supernatural force lurking in the shadows. We're intrigued by a horror film that's told from the perspective of a loyal pup, and it has all the ingredients for a unique and surprisingly emotional horror experience. Leading us into the final two weeks of the month is The Black Phone 2 , dropping on October 17th. Scott Derrickson and Ethan Hawke return for this sequel to the 2023 hit. The first film was a chilling tale of a child kidnapped by a sadistic killer, so we're curious to see where the story goes now that the villain is supposedly dead. The trailers hint at a return of the titular spooky telephone, and we can only expect more of the claustrophobic dread and menacing performances that made the original so compelling. Finally, just in time for the big day itself on October 31st, two films will be fighting for your attention. Bugonia  is an intriguing project from the director of The Lobster , Yorgos Lanthimos. While not a conventional horror, his films are known for their dark, unsettling, and often absurdly disturbing content, so it’s likely to be a different kind of frightening experience. We're also getting The Descent , a film that has no cast or director details available yet but, given the title, we can expect a claustrophobic and terrifying journey into a dark and foreboding space, a perfect way to cap off the Halloween season. So there you have it, folks. From psychological thrillers to slasher sequels, this Halloween promises to be a fantastic one for UK cinema. The diverse line-up offers something for every type of horror fan, and we can’t wait to be thoroughly scared by each and every one of them. Happy haunting!