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Filmmaker Feature by James Learoyd Sam Raimi currently has a new film out in cinemas! What better time than now to deconstruct his career; most celebrated for, but not limited to, his genre-defining works of horror. You can view the following as both a ranking of, and a semi-comprehensive guide to, the incomparable work of one of Hollywood’s most influential genre-filmmakers. 16. Oz the Great and Powerful (2013) Oz the Great and Powerful (2013) Official Disney Trailer There’s not really any other contender. And yet... the critically panned James Franco vehicle is not quite as devoid of Raimi’s signature style as you might expect. It’s an ugly but morbidly intriguing creation – cursed by the flat and garish CGI world the characters enter, whilst also having that superficial world act as the movie’s most unique, ambitious (and thus, arguably admirable) trait. Franco is horrendous. 15. Crimewave (1985) If I had to describe his forgotten second feature Crimewave in a single word, it would be... clunky. The only pure comedy in his filmography is also his least funny, as this infantile spoof struggles to weave together a series of maddening hijinks recalled by a man waiting to be executed. Crimewave 1985 film trailer The plot makes every effort not to make sense. Still, Raimi’s heartfelt admiration for the Three Stooges and doors-and-halls comedies of the thirties is on full show throughout. It’s playful, yes, but slightly awkward. 14. For Love of the Game (1999) This Kevin Costner-led baseball drama is Sam Raimi at his most restrained. But that’s a two-edged sword since it's also the project of his in which you struggle to identify the director’s signature style. For Love of the Game (1999) Trailer Out of his failures, it is, in many ways, the stylistic opposite of Crimewave – whereas that movie is expressive, energetic and incomprehensible; For Love of the Game is smooth, steady, but utterly uninteresting. Treacly, tiresome and unconvincing. In the eyes of this critic, Raimi has just three bad movies. 13. Doctor Strange in the Multiverse of Madness (2022) Doctor Strange in the Multiverse of Madness (2022) trailer The main issue with Raimi’s fleeting foray into the MCU is that, after almost four years, it fails to leave a lasting impression. Watching it in the moment, however, was a different story: its inclusion of maximalist visuals and the general sense of playfulness over in-world relevance felt like a breath of fresh air for the comic-book genre. Nevertheless, it’s watered-down Raimi. 12. Spider-Man 3 (2007) From this point forward, every film is, at the very least, passable. A pretty impeccable track record! What a life cycle Spider-Man 3 has experienced. From ridiculed disappointment to ubiquitous meme to – dare I say – cult-classic? Spider-Man 3 (2007) official trailer It’s certainly no longer cool to label this ‘one of the worst sequels of all time’ as many did at the time, particularly considering the standard of franchise film that became the norm in the years following. But it’s not only that time has softened the cultural response; this movie is weird, and in a good way. You just have to submit to the maddening moves and rhythms of emo Maguire. 11. The Gift (2000) This supernatural murder-mystery follows a fortune-teller and single mother-of-two played excellently by Cate Blanchett. Co-written by Billy Bob Thornton, it remains a fascinatingly rich story about lingering regional prejudice, generational abuse and the significance of the mystical. The Gift (2000) film trailer By no means a failure; it just doesn’t quite know what it wishes to be. It’s Raimi’s most middling... so much of it is good, beautifully photographed and tangibly melancholy, but it’s not necessarily ‘a good movie’. The director’s remaining ten pictures in this ranking are unambiguous entertainments. 10. Darkman (1990) Darkman is narratively wild, cinematically vivid and thoroughly entertaining. Released just one year after the money-making machine that was Tim Burton’s Batman, this too showcases a Danny Elfman score complementing the tale of a caped hero out for revenge. Darkman (1990) film trailer Starring Liam Neeson as a scientist deformed after an attack, he uses his invention to create real but temporary flesh, such as that of a person’s face. Unlike Batman, Raimi swaps out the comic book sensibility with something truly disturbing, while still maintaining some pulp. 9. Drag Me to Hell (2009) If you haven’t seen this movie, and are looking for a truly fun horror, do yourself a favour and throw on this supernatural chiller one night. With the exception of one special release (which we’ll get to), this feels like modern Raimi existing within his most self-assured genre-space. Drag Me to Hell (2009) trailer A cynic may argue that this is simply him playing the hits, but who doesn’t love watching a talented artist do what they do best? I doubt many would argue that this is anything near masterful – though it’s an exceptionally tight and functional work of horror. 8. Spider-Man (2002) It would be a criminal understatement to suggest that this film accomplished anything less than to revolutionise – and truly commercialise in a way before unseen (with perhaps the exception of the first X-Men) – the superhero genre. And on a personal note: Spider-Man is one of the very first movies I remember watching in my life (it’s that, Men in Black and The Addams Family). Spider-Man (2002) official trailer With that personal and canonical context established, it’s difficult to judge this structurally simple movie on its own merits. All I’ll say is that, despite not being a fan of comic book movies, to this day any scene of web-slinging and soaring through the streets of New York still excites me to my very core. 7. The Quick and the Dead (1995) With The Quick and the Dead at number seven, we enter Great territory. Raimi’s one and only Western is considerably illuminating when it comes to his taste in historic American cinema, Hollywood star-power, and how his kinetic cinematic sensibility (perfected and easily identifiable to the viewing public at this point) works in tandem with those aspects. The Quick and the Dead (1995) trailer Boasting ferocious performances from Sharon Stone and Gene Hackman (effectively inhabiting the Oscar-winning role he played in Clint Eastwood’s Unforgiven just three years prior), this is a work bursting with affection for the legacy of the genre it’s inhabiting, whilst also bringing a more revisionist, female-oriented story to the fore. 6. Army of Darkness (1992) Controversial, perhaps, is that the third instalment of Raimi’s most legendary and influential project – the Evil Dead trilogy – makes it only to number six on this ranking, despite having one of the most devoted and passionate cult fanbases of any sequel in Horror history. Army of Darkness (1992) film trailer More obviously a conventional comedy than the previous two, despite being, in my opinion, not as funny as the second, Ash now seems to inhabit and define the image of the ‘boom-stick’-wielding, hot-but-dumb persona that would forever encapsulate Bruce Campbell’s career, and he and Raimi know it. It’s a matter of taste, but this critic prefers these movies to balance 60% frights with 40% laughs instead of the other way around. Nevertheless, a classic for a reason. 5. Send Help (2026) I’m delighted to report that Send Help , Sam Raimi’s latest survival-comedy (with a sprinkle of horror) starring Rachel McAdams and Dylan O’Brien, is the director’s first triumph in some time; probably his best movie since the massive success of his 2004 comic book sequel (which we’re about to discuss). Rachel McAdams in Send Help 2026 The setup is simple, but endlessly amusing, as McAdams’ Linda Liddle – previously belittled and ridiculed by her power-hungry boss Bradley (O’Brien) – finally gets to put her love of the outdoors into practice when their plane crash-lands near a deserted island. It’s perfect territory for Raimi to finally have fun again as a storyteller. I can’t help but view the plot of this film in metatextual terms: it’s as if O’Brien represents Marvel, or some other powerful studio, promising Raimi his creative freedom (Liddle’s promotion) yet never fully delivering. It finally takes a plane crashing (the negative critical response of Doctor Strange) for the director to come into his own, to become aware of how his talents have been exploited to serve some capitalistic powerhouse, and utilise his undeniable skill and craft to do what he does best. Send Help (2026) official film trailer Raimi is making delicious sushi out of the little resources he has; while the MCU, holding only the illusion of power, fails even to make a functional shelter. I’m getting carried away. But it's loads of fun and everyone should go watch it. 4. Spider-Man 2 (2004) One must acknowledge the fact that, for a great many, this is Sam Raimi’s magnum opus; and for good reason. Easily one of the more well-crafted superhero films in history, Spider-Man 2 can be considered superior to the first for a couple big reasons (outside of the obvious sequel byproducts, better developed characters, less obligation to world-building etc.). Spider-Man 2 (2004) film trailer While we all love Willem Dafoe as the Green Goblin, there’s nothing quite like Alfred Molina as Doc Ock. He’s filled with charisma, and like many great bad guys of this sort, his intelligence both impresses and terrifies. The pure image of him without shirt, adorned in trenchcoat and shades, is just stunningly realised in his form – a genius work of casting. And then, of all of Raimi’s non-horror projects, the fact that this movie contains perhaps the most terrifying sequence he has ever captured is an outrageous feat. I’m of course referring to the attack in the operating theatre, wherein the surgeons are picked off one by one in most subjective and horrifying fashion by the bionic arms of our antagonist – one of the most effective scenes of Raimi’s entire filmography. 3. A Simple Plan (1998) And thus, we find ourselves at the final three. A toss-up between two films which inarguably define the aesthetic of what we know to be a Sam Raimi Film, and another which couldn’t feel more distinct from his genre origins. A Simple Plan (1998) official trailer It almost feels wrong that the snowy crime-thriller A Simple Plan is Raimi’s single truly good film not belonging to a ‘Genre’ (you can dispute the technicalities of this, but you understand what I’m getting at). You would think the man had a better baseball movie in him, or even another claustrophobic drama; but a director’s DNA is what it is after all. The fact, therefore, that this movie is as fantastic as it is – but more than that, as reserved and carefully-measured as it is – can be considered nothing less than a miracle. If you haven’t seen it, the setup is one we know well: after stumbling across a load of money at the site of a plane crash, two brothers intend to keep the cash for themselves. Let’s just say that the titular plan doesn’t end up being so simple! It’s The Treasure of the Sierra Madre by way of Fargo. If that doesn’t sound like a good time to you, I’m not sure there’s much common ground between us. 2. The Evil Dead (1981) Sam Raimi was 21 years old when he directed his debut feature The Evil Dead and changed the face of, not just horror, but low-budget independent filmmaking forever. Is there anything more inspiring? For a filmmaker, not really. It’s the kind of legend which has inspired a generation of film-lovers to ‘simply go out and make something’, as they say. The Evil Dead (1981) official trailer Encapsulating the cabin-in-the-woods subgenre, the film is the result of pure ingenuity, directorial problem-solving and gooey fun. A highlight is Raimi’s innovation of the fast-moving wide-angled camera – an effect famously achieved, in part, by riding on a motorcycle – with the shot representing the perspective of some unseen spirit force lurking in the woods. This approach would be perfected in our next pick. Also important to note is that it’s as violent and bloody as any horror movie from this time could realistically get while also managing a wide theatrical release, testing the stomachs of audiences all over America. The same could not be said here in the UK, however, as it was an infamous early example of a ‘video nasty’ – banned from video outlets for many years. Some movies are just that good that us Brits can’t handle them. 1. Evil Dead II (1987) There’s no two ways about it. Evil Dead II is Sam Raimi’s masterpiece, and the movie which still represents the peak of the Horror-Comedy hybrid. The Evil Dead 2 (1987) official trailer Star Bruce Campbell eloquently labelled this film as a “requel” (something between a remake and a sequel) to address the fact that the opening few minutes of the film recounts the events of the first with different actors, only to then repeat the original formula (due to Raimi losing the rights to his first movie – a result of his lack of industry-savvy at that point). Yet this time we have a bigger budget, more kinetic camera techniques, and an unrivalled awareness of genre, style and performance. What’s quite beautiful is how every tonal decision manages to somehow complement some other tonal decision, no matter how opposed (on its surface) these moments of mood or style might be. Comedy and horror embrace one another, because a joke will either be setting up something terrifying, or a moment of genuine horror will communicate itself to such a degree that, much like the crazed, scarred Ash – staring wildly, mouth agape, laughing into Raimi’s eye-bulging wide-angle lens – we cannot help but laugh. Quintessential viewing for genre-lovers, the director’s unique vision – his sense of play and emphasis on visual expression – has never been better crystallised.

Directed by: Robin Bextor Starring: Andrew Insol Documentary Film Review by: Patrick Foley ⭐️⭐️⭐️⭐️ Few TV shows have ever genuinely managed to attain cultural phenomenon status. But when you have bars, whiskeys and festivals named in your honour, and a haircut and dress sense that instantly scream the name of your show (as well as ‘bit of a prick…’), it is fair to say you are worthy of the term. It is therefore impressive that Peaky Blinders – The Real Story manages to find an original angle at which to discuss Steven Knight’s epic historical drama. This #documentary delves into the history of Birmingham and the real-life gangs that inspired Peaky Blinders. Highlighting the conditions that blighted the working class and created conditions in which gangs could thrive, it brings to life the Tommy Shelbys of the day and dissects their actions and motivations, as well as their enigmatic natures that inspire interest a century later. The film also compares the show to epic westerns and gangster classics that inspired it – providing an effective explanation of the show’s high regard and the justification behind the hype. Sometimes, when shows or media become such a spectacle, it can be easy to forget why they became so successful in the first place. Peaky Blinders has transcended television, becoming a cultural signifier of everything from modern masculinity, fashion and cheap booze. So, on the eve of the upcoming movie sequel The Immortal Man, this hour-long documentary is a great reminder of how great the original series is and why it spawned such a following. Using comparison footage from the original series as well as its inspirations, it provides an informed contextualising of the show as a period drama and gangster epic, demonstrating how the same energies and themes that permeate throughout classics like The Godfather or Once Upon a Time in the West are present in Peaky Blinders, whilst remaining truthful to the setting of a post-WW1 Birmingham. It is not just a tour of what works, but an interrogation of why it works as well – and may trigger revelations about the show that even hardcore fans would not have otherwise picked up on. The film is told largely through archival footage of historic Birmingham, clips from the show and other films, and interview footage throughout – all accompanied by the wizened narration of Andrew Insol. The contributions of showrunner Steven Knight are particularly invaluable for a background of the production and writing of the show. Around half way through, local historian Carl Chinn takes central stage to detail the show’s relation to historic Birmingham. His passion and understanding of the local area shine through, particularly in adding context to the interwar years in the city and why the real gangs themselves emerged. There is an extended section wherein he highlights the changing of backgrounds to certain characters in the show based on real people, which raises the point that their local heritage is altered in the show without really digging into why – which leaves the viewer longing. Peaky Blinders – The Real Story is not just some whistlestop tour of historic murderers and robbers. By examining the development and writing of the show, the legacy context of its creation, and the historic bolstering that provided its source, it is a fine piece of media analysis that cuts through the many bells and whistles attached to the brand and acts as a reminder of what a refined and unique show Peaky Blinders is. Peaky Blinders: The Real Story is on UK digital 23 February from Reel2Reel Films. Peaky Blinders: The Real Story (2026) | Official Trailer

Film Feature by George Wolf A nice mix of variety in this year’s live-action nominees. You’ll find social commentary, cheeky parody, surprising comedy, warm humanity and a bitter cold look at the near future. As is the case every Oscar season, don’t miss the chance to catch the live action program on the big screen while you can. Jane Austen’s Period Drama The Singers United States 18 mins. Director: Sam A. Davis Writer: Based on Ivan Turgenev short story from 1850 You’ve probably been to some bars that have dollar bills stapled all over the walls, right? Well, in this smoke-filled dive, one of those bills is C-note, and pestering from one bothersome barfly leads the bartender to set up a competition. The best singer in the room gets free beer, plus that one hundred dollar bill! Surprises ensue. The Singers is a completely delightful talent show that you wish would go on a bit longer than its 18 quick minutes. A Friend of Dorothy United Kingdom 21 mins. Writer/director: Lee Knight An estate trustee (Stephen Fry) is ready to read the will of Dorothy (Miriam Margolyes) to two young men. Dorothy’s grandson Scott (Oscar Lloyd) is expecting a nice payout, and he doesn’t know why JJ (Alistair Nwachukwu) has also been invited. Through flashbacks, we see the tender friendship that developed after JJ accidentally kicked a soccer ball into the 87 year-old widow’s garden. The title may give you a clue about the lessons learned, and A Friend of Dorothy becomes a gently accessible reminder about kindness in a cruel world. Butcher’s Stain Israel 26 mins. Writer/director: Meyer Levinson-Blount Samir (Omar Sameer) is a quiet, hard-working butcher in an Israeli grocery. He’s a talented and well-liked employee, but Samir’s manager (Rona Toledo) tells him there is a problem. Someone has been tearing down the posters of Israeli hostages that hang in the break room. Another employee has reported that Samir is to blame. In less than thirty minutes, filmmaker Meyer Levinson-Blount (who also plays a small role) crafts a timely and well-earned message about suspicion and rushes to judgment when complex issues are reduced to hot takes and social posts. Two People Exchanging Saliva France/U.S. 36mins. Writers/directors: Natalie Musteata and Alexandre Singh Led by the perfectly detached narration from Vicky Kreips, we’re invited into a high-end department store in a strange, near-future world. Here, purchases are paid for with slaps across the face, and overall affection (specifically, kissing) is forbidden. Through the strange attraction that develops between the well-to-do Angine (Zar Amir Ebrahimi) and a rookie salesgirl (Luana Bajrami), filmmakers Natalie Musteata and Alexandre craft an intoxicating take on class, intimacy, pleasure and risk. This is probably the Oscar favorite. Jane Austen’s Period Drama United States 13 mins. Writers/directors: Julia Aks and Steve Pinder With names like Mr. Dickley, Vagianna, Mrs. Bitts and Dr. Bangley, you can quickly guess where this parody of suppressed ribaldry and sexual ignorance is headed. In 1800s England, Estrogenia Talbot (co-writer/co-director Julia Aks) is finally getting her long-awaited marriage proposal from Mr. Dickley (Ta’imua), when this Period Drama drops a dramatic period. Dickley mistakes the blood for a serious injury to Estrogenia, and the cheeky sendup of Austen is off and winking. It’s more amusing than outright hilarious, but Austen fans should especially appreciate a sendup that respectfully pokes fun at some classics.

Film Feature by Hope Madden The 2026 program of Oscar-nominated animated shorts is characteristically brilliant. Artistic styles range from brushstrokes to stop motion to simple, hand-drawn animation and the tales told run an even wider gamut. Gorgeous, heartwarming, clever and endlessly watchable, the shorts celebrate the boundless talent and creativity in human artistry. The Three Sisters 14 minutes, directed by Konstantin Bonzit Konstantin Bonzit enlists spare but effective animation and no dialog at all to tell the most uproarious and delightful film of the lot. Three sisters life side by side by side on a tiny island until one day, a sole sailor docks looking for a place to stay. It’s a clever bit of fun, slyly told. Forevergreen 13 minutes/ directed by Nathan Englehardt and Jeremy Spears Stirring, gorgeous, dear, clever, joyous, heartbreaking, funny—Evergreen delivers it all, and in just 13 minutes. The story follows an orphaned bear cub who finds shelter and safety in the limbs of a loving evergreen tree. The animation is stunning, as is the film’s ability to draw so much emotion. Retirement Plan 7 minutes, directed by John Kelly Co-writer/director John Kelly (scripting with Tara Lawall) animates a clever, witty, delightful wish list from an unprepared middle-aged man (voiced to perfection by Domhnall Gleeson) listing all the things he will do once he’s retired and has the time. An utter joy. Butterfly (Papillon) 15 minutes, directed by Florence Miailh The brushstroke painting technique Miailhe uses is such a perfect medium for this tale of the water. The animation flows and moves, as Alfred Nakache’s life swims before our eyes. His youth, afraid of the water. His adolescence, a remarkable swimmer. His young adulthood, an Algerian-born Jewish Olympian in 1936’s German games. Memories of love, loss, and survival, all told from the water, leave a stirring impression. The Girl Who Cried Pearls 17 minutes; directed by Chris Lavis and Maciek Szczerbowski This enchanting, almost spooky stop-motion tale sees a wealthy grandfather spinning the tale of his most precious possession to his curious granddaughter. His tale is of his youth of poverty, his love for a sorrowful girl, and the tears of pearls that she shed. The unforgettable animation and Colm Feore’s beautiful voice work make this an unforgettable fable.

Film Feature by Rachel Willis This year’s collection of Oscar-nominated documentary shorts offers a mix of subjects, but each film displays a wealth of passion and talent. Perfectly a Strangeness 15 minutes. Directed by Alison McAlpine. As first light breaks on the horizon, three donkeys wander into the frame. These companionate creatures continue to roam as the camera follows them. Additional animals pop up on screen as the donkeys wander. A wary fox contemplates running but ultimately stands its ground. As the donkeys come upon an observatory, the mechanics of human ingenuity are juxtaposed with the donkeys’ simple rambling. This short is a serene, lovely piece of filmmaking. The Devil Is Busy 31 minutes. Directed by Christalyn Hampton and Geeta Gandbhir. At an abortion clinic in Atlanta, GA, the first person to arrive is the head of security. The protestors aren’t far behind. A man with a bullhorn belts out condemnation for abortion seekers before the sun has even risen. The short makes clear from the beginning the dangers the staff at the clinic face every day. It’s an appalling situation that the women seeking care find themselves in, as it is for the men and women who seek to serve them. “This is health care, period.” It’s a powerful testimony to the providers of women’s care. Armed with Only a Camera: The Life and Death of Brent Renaud 37 minutes. Directed by Brent Renaud and Craig Renaud. Brent Renaud and his brother Craig spent their adult lives documenting some of the world’s most dangerous places. From war torn neighborhoods to families hiding from gangs, the brothers captured the stories of people whose lives were upended by violence. The film does not shy away from brutal realities, often choosing to show very graphic and gruesome footage. When Brent is killed covering the war in Ukraine, Craig seeks to tell his brother’s story in the way he thinks Brent would have wanted. While at its heart, the film is a tribute from one brother to another, it’s also a testament to the importance and power of journalists. All the Empty Rooms 34 minutes. Directed by Joshua Seftel. Steve Hartman began reporting on school shootings in the United States in 1997. With each incident, he realized people were moving on more and more quickly. How could he do things differently, to keep people from accepting what’s unacceptable? Hartman refocused his efforts by visiting the bedrooms of the children who were taken too soon. Photographer Lou Bopp assists Hartman by trying to capture the souls of the children whose bedrooms he visits. It’s a profoundly moving effort, and director Joshua Seftel captures the final three visits with tenderness and compassion. Children No More: Were and Are Gone 36 minutes. Directed by Hilla Medalia. Every Saturday in Tel Aviv, Israel, a group of activists stand vigil, each displaying the photo of a child killed in the war in Gaza (children killed in Israel and the West Bank are included, too). The demonstrators don’t always agree on the best way forward, but their dedication is undeniable. Watching some of the hate directed their way is almost too hard to bear. But the importance of these quiet vigils is depicted vividly in Medalia’s extraordinary short film.

Star rating: 4/5 Writer: Renee Marie Petropoulos Director: Renee Marie Petropoulos Starring: Tanzyn Crawford and Emily Grant Souvenir is a tense portrayal of young, same-sex female love. Keira (Tanzyn Crawford) and Zoe (Emily Grant) are young, in love and on holiday together in an idyllic setting in a tropical resort, with plenty of time and space for intimacy and fun. Despite this, tension is sparked when Zoe, inadvertently it seems, breaks the boundaries of intimacy by taking pictures during sex, which Keira is visibly uncomfortable with, questioning it at first but agreeing to it in the end. From here on, Keira, whose family they are on holiday with, struggles to process and react to this. Souvenir invites us to reflect on the premise of the boundaries of intimacy in romantic/sexual relationships and how the possibility of being recorded at any minute without wanting to, disrupts it when it is present during moments where it should be safe to be vulnerable and spontaneous, not pose dangers of feeling exposed. The tension continues throughout the film, which presents to us another situation where Keira is again exposed to the camera without her consent. Will Keira, at sixteen, find the healthy way to navigate this relational challenge? Souvenir is a sensuous film that contains great cinematography of golden hour summer evenings, sweaty summer evenings, and wide shots of the landscape that makes the viewer long for summer and its universal suggestion of physical pleasure and emotional release.  The performances are great, with Emily portraying Zoe’s effortless dominance quite fearlessly, and Tanzyn playing Keira’s anxiety and doubts with subtlety. The realities of intimacy, privacy and respect within relationships, particularly when young, shapes us deeply and for life. How do we deal with our boundaries being transgressed for the first time, and how do we react when this continues once we have expressed discomfort with this? Zoe and Keira are both young and we could argue both equally vulnerable to power dynamics and lack of empathy within their relationship. The interesting question here is whether love and the best attempts at communication are enough for respect and healthy intimacy to be firmly established.   SOUVENIR will screen at the 2026 SXSW Film Festival.

Film Feature by Chris Olson As we, as parents, endure the February half-term of 2026, the perennial challenge for parents and guardians across the United Kingdom remains the same: how to keep the younger generation entertained without depleting the household savings. In an era where the cost of living continues to exert pressure on family leisure budgets, the cinema has often been viewed as a luxury expense. However, Odeon Cinemas has once again stepped into the fray to ensure that the magic of the silver screen remains accessible to all. For this upcoming holiday period, the exhibitor has confirmed the return of its Odeon Kids screenings, offering tickets for the remarkably low price of just £1, including screenings of The Bad Guys 2 (screening 14-19 February 2026) and Gabby's Dollhouse (screening 21-22nd Feb). The Bad Guys 2 At UK Film Review , we have always championed the importance of the theatrical experience. There is a specific, incomparable alchemy that occurs when a child sits in a darkened room, eyes fixed on a giant screen, surrounded by the collective gasps and giggles of an audience. It is the birthplace of a lifelong love for cinema. By pricing tickets at £1, Odeon is not merely filling seats during a quiet morning period; they are facilitating a cultural initiation. This initiative removes the financial barrier that so often gatekeeps the cinematic arts, allowing families from all backgrounds to participate in the latest animated adventures and live-action family features. The Odeon Kids programme is specifically designed with families in mind. The screenings typically take place during the morning sessions, making them ideal for those with younger children whose energy levels are highest at the start of the day. The selection of films curated for the February half-term 2026 includes a mixture of recent blockbusters that may have slipped through the cracks during their initial run, and established family favourites that benefit immensely from the scale and sound of a professional auditorium. From a critical perspective, the value of these screenings extends beyond the price point. In a digital age where streaming services provide an endless conveyor belt of content on tablets and smartphones, the sensory focus of the cinema is more vital than ever. A £1 ticket encourages a move away from passive, isolated viewing towards an active, shared event. For a pound, a child is taught the etiquette of the cinema—the shared silence, the anticipation of the trailers, and the appreciation of visual storytelling on a grand scale. Gabby's Dollhouse Official Trailer It is also worth noting the logistical benefits of this offer. Odeon has ensured that the £1 deal applies to both children and the adults accompanying them, provided the booking is made for an Odeon Kids session. This transparency is refreshing. Often, "family deals" are bogged down by complex terms and conditions or hidden "convenience" fees that inflate the final price. By keeping the entry fee to a single pound, Odeon is making a definitive statement about inclusivity. Of course, the cinema experience is rarely just about the ticket. We often discuss the "popcorn tax" in our reviews, and while concessions remain a significant revenue stream for exhibitors, the initial saving on entry allows parents much more flexibility. Whether that saved money goes towards a treat at the kiosk or simply means the family can afford to attend the cinema twice during the week instead of once, the result is the same: more people engaging with film. As we look toward the mid-term break, I encourage our readers to take full advantage of this scheme. Whether you are introducing a toddler to their very first film or taking a group of boisterous primary schoolers to see an animated sequel, the Odeon Kids £1 offer is a beacon of affordability in the UK’s cultural landscape. Cinema is, and should always be, for everyone. This February, thanks to Odeon, the cost of entry is no longer an excuse to stay at home.

Film Feature by Chris Olson Rish Shah, Jamie Demetriou, Michael Workéyè, Alexander Skarsgård, Charli XCX, Mel Ottenberg and Tish Weinstock. Copyright Photo by StillMoving.Net for Universal Pictures The West End was set alight this Tuesday evening as Picturehouse Central hosted the high-profile UK premiere of The Moment . The dispatches and imagery emerging from the red carpet suggest an event that perfectly mirrors the high-octane, stylish energy of the film itself. With a release date set for 20th February, the buzz surrounding this project has reached a fever pitch, marking it as a significant milestone in this year’s cinematic calendar. The star-studded arrivals featured the film’s central powerhouse, Charli XCX, who serves as both the lead actress and a producer. She was joined by the formidable Alexander Skarsgård and the always-inventive Jamie Demetriou, alongside director and co-writer Aidan Zamiri. The guest list read like a "who’s who" of contemporary British and international culture, with the likes of Robyn, Simon Amstell, Chloe Burrows, and Shygirl in attendance. Such a diverse assembly of talent from the worlds of music, fashion, and film speaks volumes about the cross-cultural appeal Zamiri has cultivated with this debut. The Moment Official Film Trailer Directed by Zamiri and co-written with Bertie Brandes, The Moment appears to be a searing examination of the modern celebrity industrial complex. The synopsis promises a visceral journey: A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut. While we await the official press screenings to provide a full critical breakdown, the pedigree of the production team—including producers Charli XCX and David Hinojosa—suggests a film that eschews the glossy "pop star" clichés in favour of something far more biting and authentic. Hinojosa’s involvement, in particular, hints at the sophisticated indie sensibility that has defined some of the most compelling dramas of the last decade. The Cast for The Moment The cast list for The Moment  is arguably one of the most eclectic and intriguing of the year. Beyond the central trio of XCX, Skarsgård, and Demetriou, the film features: Rosanna Arquette  and Kate Berlant Rachel Sennott  and Rish Shah Kylie Jenner  and Hailey Benton Gates Isaac Powell  and Michael Workéyè This blend of seasoned dramatic veterans, cult comedy favourites, and global icons suggests a narrative that is as much about the "spectacle" of fame as it is about the individual at the centre of the storm. From my vantage point at UK Film Review , the anticipation for The Moment lies in its potential to be a definitive "zeitgeist" film. Aidan Zamiri has already established a reputation for a distinct visual shorthand in his previous work, and seeing that applied to a feature-length narrative is a mouth-watering prospect for any cinephile. As we look toward the nationwide release this Friday, the question remains: can The Moment capture the lightning-in-a-bottle reality of 21st-century stardom? If the energy of the London premiere is any indication, we are in for something electric.

Film Feature by Chris Olson There is a specific kind of cinematic magic that occurs when hard science meets the infinite, terrifying, lonely void of deep space. As a critic who has often found solace in the meticulous world-building of Christopher Nolan or the grounded humanity of About Time , I find myself increasingly drawn to stories that challenge our intellect while tugging firmly at our heartstrings. The wait for the big-screen adaptation of Andy Weir’s celebrated novel has been long, but with the arrival of the official trailer for Project Hail Mary , it appears the wait has been entirely justified. Directed by the powerhouse duo Phil Lord and Christopher Miller, this is a project that feels like a significant shift for the filmmakers. Known for their kinetic energy and sharp wit in everything from The Lego Movie  to 22 Jump Street , they are now stepping into the realm of high-stakes science fiction with a scale that looks truly monumental. The trailer suggests a film that is as visually arresting as it is narratively dense, capturing the isolating beauty of the cosmos with a precision that demands the largest screen possible. The Official Final Trailer: Project Hail Mary The trailer opens not with a bang, but with a disorienting, clinical silence. We see Ryan Gosling’s character, Ryland Grace, waking up in a sterile, white environment, surrounded by machinery and a palpable sense of confusion. This isn't the charming, confident Gosling we saw in Barbie  or the rugged hero of The Fall Guy . Here, he is vulnerable, an amnesiac science teacher tasked with a mission he cannot remember and a weight he didn’t ask to carry. Project Hail Mary Official Final Trailer from Amazon MGM Studios As the footage unfolds, the mystery deepens. We learn that Grace is on a desperate mission to save the Sun, and by extension, humanity, from a catastrophic threat. The trailer masterfully balances the "hard science" elements that made Andy Weir’s The Martian  such a success with a sense of wonder and existential dread. The visual effects are nothing short of breath-taking; the Hail Mary spacecraft itself looks lived-in and functional, a stark contrast to the ethereal, shimmering beauty of the stars outside its viewports. Perhaps the most intriguing aspect of the trailer is the hint of an unexpected friendship. While the marketing is careful not to reveal too much, there is a sense of companionship that promises to be the emotional core of the film. It suggests that even in the furthest reaches of the galaxy, the universal need for connection remains our greatest strength. The Cast of Project Hail Mary While the film rests heavily on the shoulders of Ryan Gosling, the supporting cast is equally impressive. Gosling has always had an innate ability to convey deep internal conflict with minimal dialogue, and Project Hail Mary  looks to be a masterclass in his understated brilliance. His performance as Ryland Grace seems to capture the "everyman" quality necessary to make the complex scientific stakes feel personal. Joining him is the sensational Sandra Hüller, fresh from her powerhouse performances in Anatomy of a Fall  and The Zone of Interest . Hüller portrays Eva Stratt, the indomitable leader of the international task force responsible for the mission. Having an actress of her calibre involved suggests a film that prioritises intellectual and emotional weight over simple spectacle. The trailer gives us a glimpse of her commanding presence, providing a grounded, terrestrial anchor to Grace’s celestial journey. The cast is further bolstered by talented performers such as Milana Vayntrub, Ken Leung, and James Ortiz. Each appears to bring a distinct energy to the high-pressure environment of the mission, ensuring that the human element is never lost amidst the staggering CGI and astronomical concepts. The UK Release Date For Project Hail Mary (2026) For those of us in the UK, the anticipation is reaching fever pitch. Project Hail Mary  is scheduled for a nationwide theatrical release on 20th March 2026. Given the visual fidelity teased in the trailer, this is undoubtedly a film that should be experienced in IMAX. In an era where many blockbusters feel like they are coming off an assembly line, there is something deeply refreshing about a film that feels this intentional. It is a story about the triumph of human ingenuity and the enduring power of hope, even when the odds are mathematically impossible. From Drew Goddard’s screenplay to Lord and Miller’s direction, it is hard not to feel that we are on the precipice of a new science-fiction classic. The trailer for Project Hail Mary  does exactly what a great trailer should: it asks fascinating questions, showcases stunning craftsmanship, and leaves us desperate for answers. This March, it seems we will all be looking toward the stars once again, hoping that Ryland Grace can find a way to save us all.

★★★★ Directed by: #LelandMontgomery Written by: #LelandMontgomery Starring: #ChrisAguila, #CassBuggé, #ZoeChao, #WilliamThomasHodgson Film Review by: Darren Tilby Family dramas are nothing new, we’ve all suffered them at some point. And unfortunately, they often seem to come to the fore during significant and/or personal events - birthdays, weddings, etc. In Leland Montgomery’s slice-of-life exploration of sibling dynamism, that event is the death of a mother. We join three sisters – Olga (Cass Buggé), Mary (Zoe Chao) and Irene – and their younger brother, Andy (Chris Aguila), at the funeral of their recently deceased mother. And while there is an apparent closeness, there also seems to be resentment bubbling just below the surface. Resentment that, while the three sisters, still living in the family home, are “trapped” in their backwoods, go-nowhere town, Andy has managed to move out and on with his life. But, after the group decides to sell the family home, the chance for the sisters to escape their existence seems tantalisingly close. Unfortunately, with family, nothing is ever that simple. It’s an intimate cast that presents itself in Like Animals, one with an incredible amount of personality, especially for a 14-minute-long short film. Each of the sisters is easily discernable from one another, not just by the obvious differences in their appearance, but by the way they carry themselves and their attitude and mannerisms in general. It’s a truly remarkable cast, and every character here seems well developed and vital to the story, and with ample reason for their actions. The only problem here is the nature of the film itself. It’s just a tiny window into a story that should have more substance. And, sadly, it doesn’t. Thematically, Like Animals deals mainly with the usual family stuff – selfishness, anger, love and loss – and so the basic setup is pretty straightforward. But there’s certainly nothing wrong with this, in fact, the movie benefits from it immensely. However, behind this veneer lies a superlative exploration of personal choice, regret and missed chances. Eli Arenson’s work on the movie’s cinematography thoroughly emphasises the scale and prevailing sense of emptiness in the girl’s lives. Which is achieved through brilliant framing of the film’s dustbowl-like exteriors. While I do think – maybe with a little more time, or more concise writing – this could have been better, there’s a compelling examination on the complicated nature of sibling relationships here. Like Animals is a well-made piece of filmmaking and the underlying themes of regret and resignation are subtle but effective; they elevate the movie no end. But the real stars are its characters (which is fitting for a film that’s so character-oriented). The performances by the actors are superb, and the character writing itself is some of the best I’ve seen in a short film for quite some time. Like Animals is available on YouTube and linked below. And it’s well worth 14-minutes of your time.

Film Feature by Chris Olson There is a particular kind of weight that comes with the name Paul McCartney. For many of us, his melodies are not just songs; they are the architectural blueprints of our musical understanding. As an avid singer-songwriter myself, I have spent countless hours hunched over an acoustic guitar, trying to deconstruct the effortless genius of a McCartney bridge or the deceptive simplicity of his lyrical phrasing. My obsession was not born in a vacuum, of course. Like so many of my generation, I was introduced to The Beatles through my parents, whose vinyl collection served as my primary education. It is with this personal history in mind that I greeted the news of the upcoming Amazon Prime Video release, Man on the Run . Set to debut on the streaming platform later this month, the film promises an intimate, deep-dive exploration of arguably the most challenging and creatively fertile period of McCartney’s life: the immediate aftermath of the world’s most famous band breaking up. Directed by the acclaimed Morgan Neville, the documentary focuses on the decade following 1966. While the world often focuses on the "Mop Top" era or the psychedelic studio years of the late sixties, Man on the Run  looks at the man behind the myth as he navigated the 1970s. This was the era of Wings, of domestic bliss on a Scottish farm, and of a man desperately trying to find his voice again while the shadow of the Fab Four loomed large over everything he touched. As a songwriter, I find this specific narrative arc incredibly compelling. There is a profound vulnerability in seeing a global icon retreat from the stadium lights to start again from scratch. The trailer and promotional materials suggest a film that is less of a standard tribute and more of a psychological profile. We see Paul and Linda McCartney forging a new path together, defying the critics who dismissed Wings as a mere vanity project, and eventually conquering the charts once again with Band on the Run . The film utilizes a wealth of never-before-seen archival footage, including home movies and photographs from the McCartney family’s personal collection. For a fan, this is holy grail territory. To see the domesticity that fuelled hits like "Maybe I’m Amazed" provides a context that only enriches the music. It reminds us that behind the multi-platinum records was a man trying to protect his family and his sanity during a period of immense legal and emotional turmoil. Man on the Run Official Film Trailer Some people may know I am a huge fan of the "rockumentary" as a genre, but also that those movies can sometimes feel formulaic. However, with Neville at the helm—the man responsible for the sublime 20 Feet from Stardom —there is every reason to believe this will be a cut above the rest. The focus seems to be on the transition from the "we" of The Beatles to the "me" of a solo artist, a journey that is fraught with creative insecurity and the sheer terrifying freedom of having nothing left to prove but everything to lose. Man on the Run  feels like a necessary piece of the puzzle. It is likely to be a testament to the endurance of McCartney’s spirit. As the film prepares to land on Prime Video, I find myself reaching for my guitar, and breaking out a cat-distressing rendition of Let It Be.

Film Feature by Chris Olson There is a particular kind of audacity required to walk into a London record label and demand to be heard, but it takes an entirely different level of chutzpah to do so while pretending to be from California when you are actually from Dundee. This is the incredible, almost unbelievable true story at the heart of California Schemin , and with the release of the new official trailer, we are finally getting a proper look at what promises to be one of the most vibrant British films of the year. The film serves as the directorial debut for James McAvoy, a man whose acting pedigree needs no introduction to the UK Film Review audience. Having spent decades in front of the lens delivering powerhouse performances in everything from small-scale indies to Hollywood blockbusters, McAvoy has stepped into the director's chair to tell a story that feels remarkably close to home. It is a bold first step into filmmaking, and if the trailer is anything to go by, he has brought a kinetic, gritty, and deeply empathetic energy to the project. Based on the real-life exploits of Gavin Bain and Billy Boyd, the film explores the rise and fall of Silibil N’ Brains. In the early 2000s, these two aspiring Scottish rappers found themselves repeatedly shut out by a music industry that simply would not take two lads with thick regional accents seriously. Their solution was as chaotic as it was brilliant: they reinvented themselves as a hard-partying duo from the West Coast of America. The new footage shows just how far they were willing to go, swapping their Dundonian vowels for Californian drawls and successfully conning the very gatekeepers who had previously laughed them out of the room. Califonia Schemin Official Trailer Califonia Schemin Official Film Trailer from Studiocanal The official trailer for California Schemin introduces us to the central duo, played by Séamus McLean Ross and Samuel Bottomley. There is an immediate chemistry between the two that seems to anchor the film’s more outlandish moments. Ross, in particular, looks to be channelling a desperate, wide-eyed ambition that feels both hilarious and heartbreaking. We see the pair in their cramped flats, meticulously practising their accents and fabricating a past of "sunny LA" while staring out at a rainy Scottish landscape. It is a classic underdog setup, but one infused with a sharp, modern edge. What makes this trailer stand out is the way McAvoy seems to be balancing the tone. While there is plenty of humour to be found in the absurdity of the con, the footage also hints at the heavy price of living a lie. As the duo gains traction, signing a record deal and finding themselves on MTV, the cracks begin to show. The pressure of maintaining the persona starts to erode their friendship and their own sense of identity. It is not just a comedy about a prank; it is a study of the lengths people will go to for a seat at the table when the doors are perpetually locked. The supporting cast is equally impressive, featuring Lucy Halliday and Rebekah Murrell, alongside a cameo of sorts from McAvoy himself as a record producer. The visual style, captured by cinematographer James Rhodes, looks to be a blend of high-energy music video aesthetics and grounded, kitchen-sink realism. It perfectly reflects the dual lives the protagonists are leading—the neon-soaked fantasy of the pop world versus the grey reality of their origins. For McAvoy, choosing this specific story for his debut feels like a statement of intent. It is a film about class, about the regional biases of the British creative industries, and about the sheer, unadulterated power of "faking it until you make it." There is a clear affection for the characters and the setting, suggesting that McAvoy is not just interested in the spectacle of the hoax, but in the heart of the people behind it. Califonia Schemin UK Release Date As we look toward the 10 April 2026 release date, the anticipation is certainly building. UK Film Review has always championed stories that find the extraordinary in the ordinary, and California Schemin appears to be doing exactly that. It is a film that looks to celebrate the Scottish spirit while taking a healthy swing at the vanity of the music business. With a soundtrack that promises to be as brash as the boys themselves, and a directorial vision that feels surprisingly assured for a first-timer, James McAvoy might just have a hit on his hands. This isn't just another biopic; it’s a riotous, rhythmic, and quintessentially British tale of what happens when you decide to stop asking for permission and start taking it—even if you have to lie through your teeth to do so.