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Dope Queens film review by UK film critic James Learoyd. Starring Alexandra Grey, Trace Lysette, Pierson Fodé directed by Grafton Doyle. HOME | FILMS | REVIEWS Dope Queens Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 22, 2026 Directed by: Grafton Doyle Written by: Grafton Doyle Starring: Alexandra Grey, Trace Lysette, Pierson Fodé Grafton Doyle’s Dope Queens is a beautifully shot piece of drama. This new feature film depicts three characters who come back together after a period spent in prison. A lot of the plot is based around the dynamic between Goldie (Alexandra Grey) and Angel (Trace Lysette), sex-workers who feel short-changed by the new life they’re leading. Blake (Pierson Fodé) completes the trio as a paranoid loose-cannon. All three are possessed by a kind of numbness. They long to escape this emptiness, which they only manage to do through drugs, dance and connection with others. The narrative thrives on its lack of judgement; but in its final moments, a slightly moralistic attitude and over-the-top event unbalances the coda’s tone. Many will point towards Sean Baker’s work as inspiring this piece – not only thematically but also aesthetically. But in one description, the picture is described as “a fluorescent, action-packed romantic thriller”. I must take some issue with this. There is such little action, and the ‘romantic’ elements are more related to a feeling of longing for freedom as opposed to any one person. Truthfully, this is a slow, insular film – it holds an almost arthouse, mumblecore sensibility, and features only a handful of locations. In some ways, this summary is more of an indictment on the state of advertising in independent cinema: it’s so challenging to get your film out there in a big way; and thus, focusing in on superficial genre-elements is one technique used to reach a wider audience. Let’s discuss the gorgeous cinematography, which helps to elevate Dope Queens to a high level of expression. The visual approach can be characterised by a consistent use of steadicam and shooting in an anamorphic format. This is all incredibly cinematic. Yet arguably the strongest aspect of the filmmaking is the editing, combined with the director’s restrained sense of blocking. There are some wonderful examples of multiple camera setups within the space of an unbroken take; and dialogues that go on without the interruption of a cut. Techniques such as these suit the scenario effectively. These are aimless characters, waiting characters – but also characters who must frantically look over their shoulders in case of a looming threat. Angel is the saddest and most intriguing character of the story, and is the main focal point of the film’s finest shot: her solemn, docile face – off-centre – positioned behind a group of young party-going girls who are ignoring her in an elevator... this is really the deepest, most poignant characterisation we get. A sobering moment such as this is frequently followed or juxtaposed with a fluid transition or surreal implementation of style – in that way, it’s a film containing many aesthetic layers. What separates this movie from something like Anora are a series of lovely moments in which the characters transcend the confines of their social and temporal existence: for instance, a slow-motion walk through an overhead aquarium. Not every moment has to be defined by a relentless realism, and this critic admires that. Dope Queens screened at the 2026 Palm Springs Film Festival. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

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Netflix Film Feature by Chris Olson Netflix Release Date: March 20th, 2026 There is a specific kind of electricity that hums through the British film industry when a cultural titan prepares to make its final stand. For over a decade, Peaky Blinders has been more than just a television programme; it has been a sartorial movement, a masterclass in atmospheric #cinematography, and a vessel for one of the greatest character studies in modern fiction. As we approach March 2026 , that electricity is reaching a fever pitch. The announcement of the feature-length continuation, titled Peaky Blinders: The Immortal Man , feels less like a traditional sequel and more like a long-awaited coronation for Tommy Shelby. The transition from the small screen to the silver screen—albeit via a hybrid theatrical and Netflix release—is a gamble that many franchises have attempted with varying degrees of success. However, with filmmaker Steven Knight once again penning the script and Tom Harper returning to the director’s chair, there is a profound sense that the soul of the Black Country is in safe hands. Set in 1940, the film shifts the narrative into the heart of the Second World War. This is a brilliant, if inevitable, progression. We left Tommy Shelby in 1936, a man who had faked his own death to escape the suffocating walls of his own making. The title, The Immortal Man, carries a heavy irony. Is it a reference to Tommy’s uncanny ability to survive the impossible, or a nod to the fact that the ghost of the Birmingham gangster can never truly rest while the world burns around him? Peaky Blinders Official Teaser Trailer from Netflix The synopsis promises a Tommy Shelby driven back from self-imposed exile. The idea of an older, perhaps even more weary Tommy navigating the chaos of the Blitz is a mouth-watering prospect for any fan of gritty, British drama. Cillian Murphy (read our Oppenheimer review ), fresh from his global accolades, seems to have an unbreakable tether to this character. Seeing him trade the industrial smoke of the 1920s for the falling bombs of the 1940s suggests an epic scale that the television format, despite its high production values, could never quite capture. One cannot discuss this film without highlighting the extraordinary ensemble Knight has assembled. While it is a joy to see familiar faces like Sophie Rundle and Stephen Graham returning to the fray, it is the new additions that truly elevate my expectations. Rebecca Ferguson is an actor of immense poise and mystery, whose role is currently shrouded in secrecy. Barry Keoghan is a personal favourite of mine, ever since his excellent performance in the short film Candy Floss . Tim Roth is a veteran of the genre whose inclusion suggests a level of grit and gravitas that fits the Peaky universe like a well-tailored overcoat. The prospect of Keoghan and Murphy sharing the screen is enough to justify the price of a Netflix subscription alone. Both actors possess an intensity that can be felt through the lens, and seeing how their characters collide in a Birmingham under siege will likely be the film’s highlight. What makes me most excited about The Immortal Man is the promise of closure. Steven Knight has always been vocal about his vision for the Shelby family ending with the sounds of air-raid sirens. By setting this film during the war, he is fulfilling a decade-long promise to the audience. There is a risk, of course. Feature films born from television shows can sometimes feel like "extended episodes" rather than cinematic events. Yet, everything we know about this production—from the shooting locations in Digbeth to the sheer calibre of the talent involved—points toward a standalone epic that will honour its roots while forging a new legacy. As we look toward the release dates—6 March in select cinemas and 20 March on Netflix—we remind ourselves why this story resonates so deeply. It is a story of trauma, ambition, and the inescapable gravity of family. If The Immortal Man can capture even a fraction of the series' original magic while scaling up the stakes for the cinema, we are in for something truly special. The Shelbys are coming home, and for many of us, the wait is almost unbearable. By order of the Peaky Blinders, let us hope it is the masterpiece we deserve.

Film Feature by Chris Olson Please note: Release Dates correct as of publication. As we stand on the precipice of another cinematic year, the House of Mouse has unveiled a slate for 2026 that feels remarkably different from the franchise-heavy schedules of recent memory. While the heavy hitters and the billion-dollar sequels are certainly present, there is a refreshing sense of creative risk-taking appearing across the Disney, 20th Century, and Searchlight banners. From high-concept survival thrillers to long-awaited returns to iconic worlds, 2026 is shaping up to be a year where the multiplex offers a genuine variety of spectacle and substance. Send Help U.S Release Date: January 30th, 2026 (no mention of a UK release date yet, for shame!) The year kicks off with a double-bill of tension from 20th Century Studios that suggests Disney is keen to lean back into adult-oriented, genre-driven storytelling. In late January, we are treated to Send Help , a survival thriller that marks a significant return to form for director Sam Raimi. Starring Rachel McAdams and Dylan O’Brien, the film follows two colleagues who find themselves the sole survivors of a plane crash on a deserted island. Knowing Raimi’s penchant for visceral tension and dark wit, this is easily one of my most anticipated starts to the year. Psycho Killer UK Release Date (limited): February 20th, 2026 Closely following in February is Psycho Killer, a project that has been whispered about in horror circles for some time. Directed by Gavin Polone, it presents a gritty investigation as a police officer hunts down "The Satanic Slasher," the man responsible for her husband’s murder. It is encouraging to see Disney-owned studios embracing the darker corners of the genre so early in the calendar. Hoppers UK Release Date: March 6th, 2026 As we move into the spring, Pixar enters the fray with Hoppers in March. This original IP sounds like a wonderfully eccentric departure for the studio. The plot involves a young girl transferring her consciousness into a robotic beaver to infiltrate the animal kingdom and protect it from a real estate developer. With a voice cast featuring Jon Hamm and Bobby Moynihan, it sounds like the kind of imaginative, heart-driven adventure Pixar excels at when they aren't tied to an existing franchise. Ready or Not 2: Here I Come UK Release Date: April 10th, 2026 Speaking of existing franchises, March also sees the return of Samara Weaving in Ready or Not 2: Here I Come. The 2019 original was a masterclass in modern horror-comedy, and the prospect of seeing Grace back in the fray—this time joined by Kathryn Newton and the legendary Sarah Michelle Gellar—is enough to make any genre fan giddy. The Devil Wears Prada 2 UK Release Date: May 1st, 2026 May 2026 looks set to be the month that defines the first half of the year. First, we have the unexpected but utterly welcome The Devil Wears Prada 2. Returning to the cutthroat world of high fashion with Meryl Streep, Anne Hathaway, and Emily Blunt is a bold move, but in an era where legacy sequels are king, this feels like a genuine event. Star Wars: The Mandalorian & Grogu UK Release Date: May 22nd, 2026 However, the true box office titan of the spring arrives on May 22nd: The Mandalorian & Grogu. After three seasons of defining the cultural landscape on the small screen, Din Djarin and his tiny apprentice finally make the leap to the cinema. Under the direction of Jon Favreau, this isn't just a Star Wars film; it’s a test of whether the "Mando-verse" can translate its intimate, Western-inspired storytelling into a grand theatrical spectacle. Toy Story 5 UK Release Date: June 19th, 2026 The summer blockbusters continue with a one-two punch of animated and live-action heavyweights. June brings Toy Story 5, a sequel that many (including myself) initially questioned after the poetic ending of the fourth film. Yet, the premise of the toys facing off against a digital threat—electronics and tablets competing for a child's attention—is a stroke of genius that feels incredibly relevant to the modern parent. Moana (Live Action) UK Release Date: July 10th, 2026 In July, the live-action reimagining of Moana arrives. While the animated original still feels fresh in our minds, the casting of Catherine Laga’aia alongside the returning Dwayne Johnson as Maui promises a lush, musical spectacle that will undoubtedly dominate the school holidays. Following this, the cult comedy crowd gets a treat in August with Super Troopers 3: Winter Soldiers. The Broken Lizard team has a unique, irreverent energy that provides a perfect palate cleanser for the summer’s bigger productions. The Dog Stars UK Release Date: August 28th, 2026 As we transition into autumn, the tone shifts toward prestigious, high-stakes drama. Ridley Scott, who seems to have more energy in his eighties than most directors have in their thirties, brings us The Dog Stars in late August. Starring Jacob Elordi and Margaret Qualley, this adaptation of Peter Heller’s post-apocalyptic novel is exactly the kind of gritty, character-focused sci-fi that thrives in Scott’s hands. Whalefall UK Release Date: 16th October, 2016 October offers perhaps the most intriguing premise of the entire year: Whalefall. Directed by Brian Duffield and starring Austin Abrams and Josh Brolin, the film depicts a diver who is swallowed by a sperm whale and has only one hour to escape before his oxygen runs out. It sounds like a claustrophobic nightmare in the best possible way, a high-concept survival story that reminds me of The Martian but with a far more aquatic, terrifying twist. Hexed U.S Release Date: November 25th, 2026 (No UK Release Date as of yet) November sees Disney Animation return to its roots with Hexed, an original musical that looks to be the big family draw for the festive season. While details remain somewhat under wraps, the story of an awkward teen discovering magical powers alongside his mother suggests a blend of contemporary relatability and classic Disney wonder. Avengers: Doomsday UK Release Date: 18th December, 2026 Finally, the year concludes with what is arguably the most significant cinematic event of the decade so far: Avengers: Doomsday. With Robert Downey Jr. returning to the fold—this time as the villainous Doctor Doom—the stakes for the Marvel Cinematic Universe have never been higher. Directed by the Russo Brothers, this is the film that is expected to reshape the MCU and bring back the ensemble magic that made the Infinity Saga so unforgettable. Looking at this 2026 slate, it is clear that Disney is attempting to strike a difficult balance. They are giving us the comfort of Woody, Buzz, and the Avengers, but they are also handing the keys to Sam Raimi, Ridley Scott, and Brian Duffield to tell original, often darker stories. As a critic, I am often wary of the "franchise fatigue" narrative; there is something about this specific line-up that feels revitalising. It isn't just about the brands; it’s about the filmmakers and the variety of genres on display. Whether it’s surviving a plane crash, infiltrating a colony of beavers, or witnessing the return of the world’s most iconic superhero-turned-villain, 2026 at the cinema looks set to be a year of genuine discovery.

Film Feature by Chris Olson There is a particular atmosphere that permeates the British cinema landscape during the final week of January. The festive decorations have long since been relegated to the loft, the initial burst of New Year optimism has often been replaced by the biting reality of a UK winter, and we find ourselves in that fascinating crossroads of the cinematic calendar. It is a period where the prestige of the awards season begins to collide with the bold, experimental, and sometimes wonderfully strange offerings of the new year. As we look toward the week commencing 26 January 2026, the schedule is looking remarkably robust, offering a slate that promises to challenge, entertain, and perhaps even provoke a few heated debates in the foyer. Shelter (2026) starring Jason Statham At UK Film Review , we are always looking for those titles that demand to be seen on the largest screen possible, and this upcoming week is no exception. From Shakespearean reimaginings to political biopics and high-concept thrillers, the diversity on display is a testament to the health of the industry. I have been poring over the release schedules, and while I haven’t yet had the pleasure of sitting in the dark with these specific titles (no invites for this guy), the anticipation is palpable. Here are the five films I am most looking forward to as we close out the month. 1. Hamlet UK Release Date: January 26th, 2026 It feels almost reductive to call any version of Hamlet "just another adaptation." Shakespeare’s "The Dane" is the mountain every great actor eventually wants to climb, but the buzz surrounding this 2026 iteration is particularly loud. What has me incredibly excited is the prospect of seeing #RizAhmed tackle the role. Ahmed is an actor of such immense, twitchy energy and profound intellectual depth that he feels tailor-made for the Prince of Denmark. This production, directed by Aneil Karia, reportedly moves away from the stuffy, period-accurate stagings of old and instead leans into a contemporary, urban setting. The idea of Hamlet as a modern psychological thriller, set against the backdrop of a restless, claustrophobic London, is a masterstroke. We have seen many versions of this story, but the combination of Ahmed’s intensity and Karia’s visceral #filmmaking style suggests something that will feel vital and immediate. It isn’t just about the "To be or not to be" monologue; it’s about how that existential dread translates to the 21st century. I suspect this will be the version that a whole new generation of filmgoers points to as their definitive Hamlet. 2. Melania UK Release Date: January 30th, 2026 Biopics of living political figures are always a bit of a tightrope walk. They run the risk of being either too flattering or too dismissive, but Melania looks set to be one of the most talked-about films of the year regardless of where it lands. Shifting the focus away from the chaotic centre of the American political storm and onto the enigmatic figure of Melania Trump is a fascinating narrative choice. The film promises to trace her journey from her origins in Slovenia to the heights of the fashion world and eventually the White House. What intrigues me most is the tone. Will it be a sharp, satirical look at the "American Dream" gone strange, or a more sombre, internal character study of a woman who remains largely a mystery to the public despite being one of the most photographed people on the planet? In an era of extreme political polarisation, a film like Melania is a lightning rod. I am fascinated to see how British audiences react to this story, and whether it can strip away the headlines to find the human being underneath the iconography. 3. Primate UK Release Date: January 28th, 2026 Read our Primate film review If you are looking for something that leans into the darker, more unsettling corners of the genre, Primate may be the one to watch. In her review, Hope Madden said: The film follows Lucy (Johnny Sequoyah) home from college. She’s summering with family—dad (Troy Kotsur, CODA), little sister (Gia Hunter), and Ben, the family’s beloved chimpanzee, in their incredibly impressive compound on the side of a cliff in Hawaii. Like any monster movie worth its chlorine, Primate is a survival tale. Quickly, the partiers assess the danger and jump into the pool because chimps can’t swim. Did you know that? I didn’t know it. Is it even true? 4. Shelter UK Release Date: January 30th, 2026 One cannot discuss the final week of January without mentioning Shelter. This film has been on my radar for months, largely due to its intriguing premise and the pedigree of the talent involved. A recluse on a remote Scottish island rescues a girl from the sea, unleashing a perilous sequence of events that culminate in an attack on his home, compelling him to face his turbulent history. 5. Is This Thing On? UK Release Date: January 26th, 2026 Read our Is This Thing On? film review Finally, we have Is This Thing On?, directed by Bradley Cooper. As their marriage unravels, Alex faces middle age and divorce, seeking new purpose in the New York comedy scene. Meanwhile, his wife Tess confronts sacrifices made for their family, forcing them to navigate co-parenting and identities. As we move toward the end of the month, the sheer range of storytelling on offer in UK cinemas is breathtaking. We have the weight of classical literature in Hamlet, the contemporary intrigue of Melania, the visceral thrills of Primate and Shelter, and the soulful, creative exploration of Is This Thing On?. It is easy to get caught up in the digital world, but there is no substitute for the experience of the cinema—the hushed silence before the film starts, the shared gasps of a crowd, and the long walk to the car or the bus station afterwards, processing what you have just seen. These five films represent why we do what we do at UK Film Review. They represent the diversity of thought and the bravery of filmmakers who are still willing to take risks. I don't know yet which of these will be "film of the month" on the next UK Film Club Podcast, but I do know that the last week of January is going to be a very busy, very rewarding time to be a film lover in the UK.