★★★ Directed by: Matthew Ninaber Written by: Jannah Kitzman, Matthew Ninaber Starring: Kristen Kaster, Storm Steenson Film Review by: William Curzon Hy3na follows a desperate young woman as she falls under the control of a seductive predator, becoming both a pawn in a lethal power dynamic and the prime suspect in a series of brutal murders. As two detectives work tirelessly to track down a serial killer targeting patrons of an online sex worker, they get tangled up in the online web of sex and money. Hy3na adopts a fairly engaging non-linear narrative structure that shifts between past and present, exploring the relationship between the central characters Nicole (Kristen Kaster) and Rachel (Storm Steenson). This approach works well, as the screenplay delves deeply into their characterisation while never losing sight of the central mystery. The opening, in particular, is so fast-paced that it's almost overwhelming to process everything happening. That said, once the narrative gets going and delves deeper into the mystery aspect, it takes a more methodical approach, exploring each character's motivation. While the narrative becomes somewhat repetitive in the middle, it gets more pulse-pounding as it delves into the story’s sinister aspects. Despite some of its pacing issues, the filmmakers flesh out the characters in an engaging way, and it never overstays its welcome. The narrative explores themes of power dynamics in sex work and how certain characters have been exploited by men in the past. Another apt theme is repressed trauma, which works well with both central character arcs and never feels shoehorned in for narrative progression. It maintains its sinister tone throughout and commits to the bloody and disturbing odyssey into a world of sex and money. The filmmakers never shy away from these themes and convey the tension and severity of the conflict compellingly without ever feeling self-indulgent. The film’s neon-drenched aesthetic works incredibly well with the interior lighting and text pop-ups, effectively signalling shifts into new timeframes. Despite how aesthetically pleasing it is, it can feel overly stylised in certain scenes for no particular reason. Perhaps the most impressive aspect of the experience is Matthew Ninaber’s editing throughout. Given how much footage was captured, it's incredibly jaw-dropping how fluid the edit feels as it consistently cuts from a wide range of different perspectives without ever feeling jarring. The frenetic editing choices are apt, and they fit the narrative exceptionally well. Another astounding technical aspect is the camerawork. The cinematography mostly consists of tighter framing during dialogue-heavy scenes and shifts to camera rigging from the side of a moving vehicle. This is a highly suspenseful approach that pays off exceptionally well; the camera never shies away from the bloody violence, with some impressive VFX and makeup. The performances throughout are exceptional and convey their characters' emotions compellingly with a mix of rage and vulnerability. Kristen Kaster’s portrayal of Nicole is outstanding thanks to her commanding approach, as much of the material rests on her performance as the lead. Storm Steenson’s portrayal of Rachel is more subdued while maintaining authority, and as the narrative progresses, she becomes more intriguing. The chemistry between Kristen Kaster and Storm Steenson is incredibly magnetic and the heart and soul of the narrative’s central ideas. Hy3na is a disturbing and pulse-pounding experience that plunges audiences into a world of excess and crime. While it may suffer from a few pacing issues and an overly convoluted conclusion, the performances and neon-drenched backdrop make the experience worthwhile. HY3NA will have its World Premiere at Tube FrightFest on 31st August

★★★★ Directed by: Casey Walker Written by: Casey Walker, Peter Scott Vicaire, Pascal Trottier Starring: Luke Hemsworth, Kevin Durand, Craig Lauzon, Michael Pitt Film Review by: Jason Knight A Canadian period horror feature directed by Casey Walker, written by Walker, Peter Scott Vicaire and Pascal Trottier and starring Luke Hemsworth, Kevin Durand, Craig Lauzon and Michael Pitt. It is recommended that people do not look up what ''Ithaqua'' means before they view the film, in the interest of avoiding spoilers. Now, the plot: The year is 1821, and the location is a remote fur trade outpost named Fort Thomas in Canada. It is winter and snow has covered everything. American mercenary Cole (Hemsworth) is responsible for hunting and bringing food to the outpost. One night, a mysterious Native American girl arrives and is brought into the Fort. Soon after, faced with the issue of running low on food, the ones in charge decide to send a small trading party that includes Cole to locate the stranger's tribe in the hope of acquiring some food. During their journey, the group encounters a sinister force that threatens the lives of everyone. To better comprehend the contents of this film, one should think of the likes of From Dusk Till Dawn and the Oscar-winning feature Sinners. The narrative begins as a period drama about an isolated outpost, where finding food appears to be the main problem, along with tensions between Cole and his superiors. Things take a very dark turn when supernatural forces enter the picture, leading to many brutal killings and a desperate fight for survival. The screenplay effectively explores the characters, their struggles, and creates an atmosphere filled with dread and violence. The mise-en-scene is impressive, establishing an early nineteenth-century environment. The buildings, tipis (tents utilised by Native Americans), and weaponry look fantastic, and so does the clothing, the latter being the terrific work of costume designer Kristin Somborac. The dark force that threatens the characters turns people into sort of maniacs hungry for flesh, and the make-up and gore effects deserve commendations. The film is beautifully shot, with Walker creating some wonderful aerial shots of snow-covered landscapes that are supported by Bryn McCashin's cinematography, and the music is the kind that encourages dynamic emotions of adventure. Hemsworth's character has a troubled past. He is a hardened and well-meaning man who evidently wants to move on to better things. Leenah Robinson plays Cole's love interest and ally, a young Native American who lives just outside the outpost. American Michael Pitt and Canadian Kevin Durand are impressive as British nationals and military personnel, with Pitt's character pretty much being the antagonist and Durand's being a foe-turned-ally to Cole. This story is about survival, morality, dread, desperation and isolation. Simultaneously, it also explores Native Americans and Algonquian folklore. A desperate fight for survival. A battle of Good versus Evil. A brutal and blood-soaked tale that utilises Native American myths in order to tell a story. Ithaqua has its World Premiere at FrightFest London on Saturday 29th August. Coming soon to UK cinemas.

Star rating: 2/5 Directed by: Dan Schaffer Written by: Dan Schaffer Starring: Caspian Faye, Nina Courson, Jasmine Sumner, Sylvia Soska Film Review by: Jason Knight Comic book artist Dan Schaffer makes his directorial debut with this dark expressionist horror feature, Electric Meat. Filmed in black-and-white, with spoken words non-existent, the story of this film takes place almost entirely inside a house. It would be fair to say, though, that this film is less focused on a narrative, concentrating instead on how the viewer will perceive the images and the content. What is the plot? A young photographer (Faye) lives alone in a house, and one day he brings home a woman's dead body, which he decides to utilise as a model. Creepy. So, what is there to see here, then? Well, a great deal of sinister stuff as reality gets mixed with nonreality. The photographer's property has walls covered with pictures, there is a huge crack in a wall that seemingly attracts his attention, and there is the dead body. So far, this seems to be reality. Then, there are televisions, quite a few of them, stacked on top of each other, turned on and showing what appears to be women sex workers behaving erratically, screaming mostly. There is also another woman (living), who pretty much just walks around the house, and the film often cuts to women apparently dressed as sex workers. All this (and more) gives the impression that they exist in the photographer's mind. It should be acknowledged that some parts are quite disturbing. What is there to hear? As mentioned, no dialogue. Instead, there is eerie music, whispers, and static sounds throughout. The visuals and the audio collaborate, and the result is an unsettling and frightening atmosphere. Electric Meat Official Film Trailer The thing is...repetition. From start to finish, along with the protagonist performing his gruesome ''art'', the viewer is constantly met with the same images time and time again, be it television sets on static or showing women, photos of women, an electrical substation, or the crack on the wall. Generally, not much happens; the pace is slow, so what keeps the viewer watching? Evidently, Faye's character is a guy who is profoundly disturbed. A loner who has very dark thoughts and sets out to make them a reality via photography. The supporting cast (consisting solely of women) succeeds in portraying eccentric, insane, and menacing characters. This feature provides a commentary regarding mental health, loneliness, and unspeakable desires. From a different perspective, it looks into the worlds of photography and the sex industry. It could be argued that pessimism dominates, with many negative traits being brought to the surface such as murder, isolation and maniacal instincts. A sinister journey into the mind of a disturbed youngster. The atmosphere is a plus; however, this is a slow burner with constant repetition. It is appreciated that this is an expressionist project; nevertheless, even this genre's biggest fans might find it hard to be constantly engaged. Perhaps a duration significantly shorter than ninety minutes would have been more effective? Electric Meat will have its World Premiere at Tubi FrightFest on 28th August.

Film Feature by Chris Olson Edith Bowman's Soundtracking Live Events Head to Everyman There are times when several of your absolute favourite cinematic passions converge in a single announcement, creating a moment of pure cultural perfection. As a long-standing, unashamed fan of Everyman cinemas, a fan of Edith Bowman’s exceptional broadcast work, and someone who considers Jodie Comer to be one of the most formidable screen talents of her generation, I could not be more thrilled by the news hitting my desk at UK Film Review today. Everyman and Range Rover have officially announced a major landmark partnership to continue bringing Edith Bowman’s Soundtracking Film Club exclusively to Everyman venues across the United Kingdom. Celebrating its milestone tenth anniversary this August, Bowman’s award-winning weekly podcast, which explores the profound, symbiotic relationship between cinema and music through in-depth conversations with directors, actors, and composers, is taking its unique big-screen event series to even greater heights. Supported by Range Rover’s commitment to creative excellence and pioneering craft, this partnership promises ten special live events throughout 2026. To kick off this exciting new chapter, tickets are now officially on sale for two extraordinary live episodes featuring some of the most compelling releases of the season. First up on Wednesday 2nd September 2026 at Everyman Borough Yards in London, film lovers are in for a rare treat. Ahead of its UK and Irish theatrical release on the very same day, audiences will be treated to a special screening of The Death of Robin Hood, followed by an exclusive live Q&A hosted by Edith Bowman with director Michael Sarnoski and the brilliant, Emmy- and BAFTA-winning Jodie Comer. Set in a world of myth and consequence, The Death of Robin Hood offers a darker, revisionist reimagining of the classic legend. The story follows a battle-worn, aging Robin Hood grappling with the bloody ghost of his past after a lifetime of crime and conflict. Gravely injured following what he assumed would be his final battle, he finds himself in the care of a mysterious woman—played by Comer—who offers him a final chance at spiritual salvation. Given Comer’s uncanny ability to bring fierce vulnerability and arresting presence to every role she touches, alongside Sarnoski’s visionary directorial touch, hearing them unpack the film’s music and dramatic heft live on stage will be an unforgettable experience. The Death of Robin Hood official film trailer The celebrations continue later in the month on Monday 14th September 2026 at Everyman at The Whiteley. Here, the film club will showcase Extra Geography, an intimate, witty, and authentic coming-of-age story that captures the messy, hilarious realities of teenage girlhood. Following two best friends and high achievers at a British boarding school, the narrative takes a chaotic turn when the pair decide to become more "worldly" by embarking on a project to fall in love with the next person they see—their geography teacher. As school productions and real-life romantic entanglements intermingle, their bond is tested in ways both funny and deeply moving. Following the screening at Everyman at The Whiteley, Edith will sit down for a live Q&A with director Molly Manners to discuss how the score navigates the film’s delicate balance of nostalgia, humor, and growing pains. Extra Geography Official Film Clip Both conversations will be recorded live from the comfort of Everyman’s plush velvet sofas and released as official Soundtracking podcast episodes across all major streaming platforms. However, nothing quite compares to being in the room itself. For me, Everyman has always represented the gold standard of theatrical exhibition. Across their 49 uniquely designed UK venues, they have successfully redefined what going to the movies means, seamlessly blending elite film programming with warm, sofa-bound hospitality. Pairing their iconic venue atmosphere with Edith Bowman’s unrivaled ability to draw out profound insights from world-class filmmakers—a talent that has earned her multiple nominations at the British Podcast Awards—creates a film club experience quite unlike anything else in the country. With Range Rover backing this cultural powerhouse, the Soundtracking Film Club is set to remain a vital fixture for moviegoers who value cinematic craft, extraordinary scores, and unforgettable live dialogue. Tickets for both the Jodie Comer event at Borough Yards and the Extra Geography evening at The Whiteley are available now, and if past events with the likes of Sofia Coppola, Dev Patel, and Andrew Scott are anything to go by, they will sell out in a heartbeat.

Filmmaker Interview by Chris Olson You are back with a new film, Noblestone. What's it about, and what made you want to return to the quirky caretaker character of Karen, and how did you approach evolving her story this time around? Noblestone is about an eccentric housemaid who is hired to live with a self-absorbed artist. The film features the return of ‘Karen’ the housemaid, who played a very similar role in my last feature, and had appeared before then in a few short films. I suppose Karen is less deranged here. Previously, she was much closer to a traditional horror villain. Here, she remains as creepy and extraterrestrial as ever, but there is far greater ambiguity surrounding both characters. Your sister, Lucia Goya-Betts, is back playing two characters. What were the technical and creative challenges of directing the same actor in both leading roles? It’s certainly time-consuming, as every scene must be shot twice in order to capture each side of the conversation. This also makes the editing process, particularly in terms of audio, much less enjoyable. Of course, the main frustrations come from rarely being able to have the two in the same shot, meaning that during certain moments I had to either stand in as Karen myself, or mask the two together in post. The story also had to be developed with this limitation in mind - meaning I couldn't go as far with the physical violence as I would have liked. At the same time, the one-actress thing works perfectly alongside Noblestone’s themes. I also think she does an outstanding job in both roles, and the radical difference between the two characters adds to the absurdity of their interactions. How do you balance the contrasting tones of absurdity and psychological suspense in the writing process? What is your writing process? The humour won't work for everyone, and some viewers may feel that it completely mismatches the tone of the rest of the picture. That wasn't something I thought about too much while writing. I wanted Noblestone to feel like a dream, and dreams are often absurd, terrifying, and beautiful at the same time. The jokes aren't incidental either; they're another language through which the film creates meaning. As for the writing process, the first few months consisted of mapping out the structure and storyboarding each scene. Once I had a visual blueprint, I could begin writing. I was particularly impressed with the cinematography in the film. What was your approach to this and how pleased are you with the final execution? I am generally pleased with it. I wanted the film to linger in the mind after viewing, much like a dream, and I think there are enough memorable images for that to be the case. A still from Noblestone the film However, the visual detail is richest during the first hour of the film, as shooting in my own home afforded me fewer constraints and more freedom. The material shot in Spain in my grandparents' house relies more on the use of space and colour to tell the story. While I like the cinematography overall, there is one conversation scene around the midpoint of the film that was shot horribly, and briefly detracts from the viewing experience. Were there specific classic thriller or horror cinema influences you were referencing, both in terms of visual storytelling and your choice of score? In terms of visual storytelling, Hitchcock and Kubrick are the gold standard, and their influence remains prevalent throughout Noblestone. Outside of horror, certain slow-cinema directors such as Tsai Ming-liang or Apichatpong Weerasethakul - the latter being one of my greatest filmmaking inspirations - have taught me a great deal about how to capture dreams on screen. My approach to music is largely inspired by the Golden Age of Hollywood, as well as twentieth-century European cinema, both of which utilise their scores in ways that seem almost non-existent these days. Noblestone was filmed in Spain and London. How did the natural beauty and light of the Spanish landscape influence the mood of the film compared to the interior, warmer domestic settings? Once again, I wanted Noblestone to feel like a dream, and that’s done through atmosphere. The film is filled with pillow shots, used to develop a strange psychogeography that isolates the characters and gives the impression that the story exists in some alternate reality. It's an approach I expect to continue in my future work. What central themes or questions were you most passionate about exploring through the interactions between the two main characters? Well, most of the thematic weight is carried by the visuals. The film is like a puzzle, and you attempt to solve it by paying attention to everything happening outside the immediate action and dialogue between the characters. The script is a fairly literal demonstration of the film's main themes playing out. The concept of determinism runs throughout the picture - the idea that every human choice is the result of internal and external factors beyond that person's control. With that as its backbone, Noblestone becomes an explosion of ideas, some more apparent than others, and those ideas are for the audience to experience. As a teenage filmmaker producing feature-length, highly distinct indie films under zero-budget constraints, what has the journey of stepping from Lady Governess (and your work as Tito Wiley) to Noblestone taught you about your evolving identity as a director? My old stage name was something I came up with when I was 11, so naturally I didn't want to be using it for the rest of my life. But I think the name change is appropriate alongside the completion of the new film. I like Noblestone because it's more consistent and complete than anything I’ve made before, and it contains a number of scenes and ideas that hint at the kinds of pictures I'd like to make in the future. What's next for you? Aside from some musical projects, I will be starting my next feature shortly. This time with a bigger cast, bigger crew, and bigger locations. It's a project I've had planned since I was making Noblestone, and I am looking forward to finally getting it made.

Directed by: Oliver Cox Written by: Oliver Cox Starring: Reece Henderson, Gregory Fung, Ka-Yee Chan Film Review by: Holly Baker ⭐⭐⭐⭐⭐ 49 Miles More is a wholesome comedy drama, centred around insurance salesman Max, who, along with his university friends, is about to embark on their yearly endeavour to Orford. Each year, they make this journey and gather together to honour their late friend. This is Oliver Cox’s second directorial feature, after Lure, a horror film, which was released earlier in 2026 and received a mixed reception. In contrast, 49 Miles More is a brilliant film; it is full of tender moments and a strong testament to friendship and loss. With various laugh-out-loud comedic moments, viewers will feel transfixed by Max and Doug’s bonding, as their journey to Orford goes awry when Max’s tyre gets punctured. We are introduced to Max in the world of soulless corporate doom, as he is bluntly told by his manager that his unsuccessful sales record will lead to restrictions on his holiday. Viewers quickly get a glimpse into Max’s misery; he lives alone, and his life seems to lack much excitement or enjoyment. Gradually, as his journey with best friend Doug unravels, Max’s adventurous nature comes to light, particularly when encouraged by the fun-loving, free-spirited, adorable character of Doug. When Max’s journey begins, we sense his reluctance to engage with Doug. His inability to be quiet and allow Max any peace comes across as irritating, but in a way that you can’t help but love him. Reece Henderson, who plays Max, fantastically conveys his irritation along with the soft spot he clearly has for Doug. After his car is deemed unfit for use, and their 2-hour road trip becomes a tremendous hike through the wilderness, Max’s wall slowly breaks down, and we see the two men bond most beautifully. Their chemistry is dazzling to watch, magnified by their naturalistic performances and dialogue; viewers feel as though they’re watching real people. Throughout their journey through the woods, long, still takes are heavily incorporated, skillfully allowing Henderson and Fung (AKA Doug) to charm the screen. In true Hunt For The Wilderpeople (2016) fashion, the pair quickly become lost and must adapt to their environment. The gorgeous British countryside landscape works fantastically in highlighting the two men’s freedom and ability to express themselves without any external pressures, marvellously contrasting the grim corporate hell of Max’s everyday life and the claustrophobic nature of Doug’s home life, where his mother is starkly against Doug leaving the house. There is a lot that feels incredibly original to this film. On the one hand, 49 Miles More has many similarities to other filmmakers’ dedications to male friendship, and the role of nature in that. For instance, this is seen in the already mentioned Wilderpeople, Rob Reiner’s classic Stand by Me (1987), and the cult favourite Dead Poets Society (1989), particularly in the way that the natural environment evokes freedom of expression, allowing men to become truly vulnerable. What stands out particularly in this film is its handling of shared grief, and the way that this impacts friendships. Max and his friends have not lost their humorous side, particularly when dealing with the topic of their late friend, and they can simultaneously grieve him and express their sadness whilst making lighthearted jokes. This charming, realistic, very British way of handling difficult events makes the characters feel all the more real, and gives the emotional scenes a stronger impact in their heartwarming relatability. The film has a very small ensemble, with Max and Doug as the main characters, and viewers are only introduced to the side characters briefly. However, each character contributes memorably, as they are all written and performed with great care, providing great additions and perspectives to Max and Doug’s story. This is especially so for the character of an older lady, a stranger to Max and Doug, whose kind gesture of help to the pair adds a delightful, hopeful feeling to the film. There is a subtle sense that her assisting Max and Doug had a great impact on her as well as it did them, bringing forth a warm message about the importance of helping each other when in need. As the film closes with the nostalgic, beloved inclusion of a blooper reel, those who watch will find themselves fulfilled on all emotional levels. 49 Miles More is a tender story, with strong comedy and very careful handling of difficult themes. It’s rare for a depiction of male friendship to hit all the marks whilst avoiding cliches, or tropes derived from toxic masculinity, yet this film does so marvellously. In this way, 49 Miles More feels incredibly fresh and full of love, and unlike Max’s career as an insurance salesman, it is a great success! 49 Miles More is on UK digital 17 August from Reel2Reel Films

★★★ Directed by: Bart Simpson Written by: Harvey Kurtzman et al. Starring: Harvey Kurtzman, Adele Kurtzman, Denis Kitchen, Terry Gilliam, Robert Crumb Film review by: William Hemingway Harvey Kurtzman, along with his closest family members and colleagues, take us through the history of his illustrations and his publishing career, from the highs of creating MAD Magazine in the 1950’s all the way through to his final days as a lecturer in New York. Harvey Kurtzman (1924-1993) has been considered by some to be more important than Ken Kesey, Timothy Leary, Woodstock, Flower Power, or LSD ever were in the counterculture movements leading from the 50’s into the 60’s and beyond. Despite being quite an introverted figure in his home life, he instead got all of his feelings, concerns, and criticisms out onto the page in cartoon form from a very early age. Drawing and writing about all the things that bothered him in the real world, Kurtzman lanced, lampooned, lambasted and satirically lynched those in power and authority, desperate to get the word out to the people that those in the establishment were lying to them – and lying to them every day in a big way. From his early college days, drawing cartoons and comic strips for his fellow class members to pore over on noticeboards and the like, Kurtzman joined the team at Timely Comics, which eventually became Marvel Comics, and was set to work by the editor, a man by the name of Stan Lee. After a few years of producing the strip, Hey Look!, and getting close to his future wife, Adele Hassan, whom he emancipated from her relationship with his sometime business partner, Will Elder, Kurtzman swivelled towards EC Comics and began to get more and more work from there. These comics focused more on the harsh realities of the world and Kurtzman was enlisted to draw strips about subjects such as contracting syphilis, and the ever-present theatre of war. Kurtzman’s work brought comics into a new age and a new realm as they dealt with these everyday, serious subjects, and treated them more with reverence, respect, and realism than the fantastical fantasies that were the backbone of comic books and comic book stories at the time. Through this he eventually created the comic book, MAD in 1952, scripting every story in the first twenty-three issues, and having them fleshed out and drawn in by his team of artists which included his old friend, Will Elder. The rest, as they say, is history. In The Mad World Of Harvey Kurtzman, we are invited into some of the small, out of the way spaces that he inhabited, and in which a lot of his drawings and work still reside. His youngest daughter, Nellie, takes us to his old partner and cartoonist, Denis Kitchen’s place, where he manages what’s left of the estate, and we are then drawn into the story of how Harvey managed to create the world, or worlds, that he drew for everyone else. Along the way we are treated to many interviews of the time, with such figures as Stan Lee himself, as well as lots of the illustrators and publishers that Harvey worked with during these periods. We also get to hear contemporary testimony from those still alive who loved and worked with Harvey, including Terry Gilliam, Robert Crumb and Matt Groening. These talking heads are all interspersed with many reams of paper evidence and video contextualisation, as we see invoices, memos, telegrams, sketches and whatever else to help build the story around what the people are saying. Every so often Harvey pops up in some wide-ranging interview to tell us himself about how he feels about his work, and so we are carefully led through his story by an intricate pattern of memory, nostalgia, anecdotes, and physical evidence, that is as fastidious about the facts and history of Kurtzman’s work as he was himself in producing it. With MAD only being one in a long line of publications that Kurtzman created or worked for, the documentary takes time to remind us of all the other things that Harvey did once he left the contemporary cornerstone he’d helped create. In a full ninety-minute feature we get a near birth to death storyline that can only realistically serve as a highlight reel, or a best-of anthology, that skims us through all the relevant bits of his work and a little bit of his private life. While the documentary is explicit in what it does tell us, there are many other things that are necessarily left out for the sake of time, or fluency, or narrative structure, that could be construed as ‘holes in the plot’. While this does not impinge on the information or the enjoyment of what we see, the audience is however aware of the fact that we are missing parts of the story. For what is a quick and light documentary about the man and his work, The Mad World Of Harvey Kurtzman will no doubt appeal to fans and to a new generation of comic book nerds who need to brush up on the origin story of the true comic genius of his time. For those who are looking for a more in-depth look into the feelings and motivations behind the scenes, they may very well be disappointed, as may those who are being inducted into Kurtzman’s work for the first time and would prefer a more theatrical, cinema friendly film to do that, as a lot of it still remains quite dry. While there are no revelations or big reveals to speak of, The Mad World Of Harvey Kurtzman is a good way to become initiated and informed about his work, which is told with care and attention by those who knew him best. The World Premiere of ‘The MAD World of Harvey Kurtzman’ at Edinburgh International Film Festival took place on Sunday 16th August

Film Feature by Chris Olson For film enthusiasts who have spent years hearing whispers about lost masterpieces and legendary acts of censorship, the upcoming theatrical release of Ken Russell’s The Devils is nothing short of a landmark event. BFI Distribution, in partnership with Warner Bros. Clockwork, has unveiled a brand-new trailer featuring never-before-seen footage from the long-awaited 4K restoration. Opening in cinemas across the UK and Ireland on 30 October 2026, this release marks a historic occasion fifty-five years in the making: for the very first time, audiences will be able to experience the definitive, uncensored version of the film exactly as Russell intended it to be seen. For someone who has never seen the original, hearing about its mythic status through seasoned film historians has only fuelled my excitement. Now, the prospect of witnessing this visionary work for the first time, not on a compromised bootleg tape, but fully restored in 4K on a massive cinema screen, is incredibly exciting. THE DEVILS Oliver Reed and Vanessa Redgrave Courtesy Warner Bros_Clockwork The scale of this restoration is staggering. Assembly was completed from the original camera negative, restoring footage that was sliced away over half a century ago due to its controversial themes. Director and BFI Fellow Guillermo del Toro put the sheer ambition of the project into perspective, describing the painstaking restoration process as "like cleaning the Sistine Chapel with saliva," while praising the epic, overwhelming visual power of seeing the film on the big screen. Set in 17th-century France and inspired by the true story of priest Urbain Grandier, The Devils explores a terrifying intersection of religious persecution, mass hysteria, and state corruption. Oliver Reed stars as Grandier, a charismatic priest accused of witchcraft after a convent of nuns becomes engulfed in collective mania, while Vanessa Redgrave delivers a powerhouse performance as Sister Jeanne des Anges. Beyond its magnetic leads, the trailer showcases a stunning gathering of artistic craft. The film features exquisite work from Oscar-winning cinematographer David Watkin, legendary editor Michael Bradsell, and visual artist Derek Jarman, whose revolutionary work as production designer marked his feature film debut. After receiving overwhelming critical acclaim at its Cannes Film Festival world premiere in the Cannes Classics strand, this definitive cut is finally making its way home to UK cinemas just in time for Halloween. For anyone who loves the transformative power of cinema, 30 October 2026 cannot come soon enough. Watch the new trailer below: KEN RUSSELL’S THE DEVILS 4K Restoration New Trailer

Film Podcast Feature by James Learoyd and Callum Ewing Best/Favourite Christopher Nolan Film Christopher Nolan has become one of the defining filmmakers of the 21st century, with a filmography marked by critical acclaim, major box office success and lasting cultural influence. His work is now instantly recognisable for its non-linear narratives, themes of memory, identity and time, striking practical effects, vast sense of scale, intense scores and protagonists consumed by a singular obsession. These qualities have made Nolan a brand in his own right, a status reinforced by Oppenheimer’s box office performance and The Odyssey’s historic IMAX run, with screenings reportedly sold out around the world until September. The Odyssey is also expected to become Nolan’s biggest-earning film, making him one of the few directors to have three films earn over $1 billion. The Odyssey Official Film Trailer Just like with Steven Spielberg, I have a different answer for what I consider Christopher Nolan's best film and what my favourite film of Nolan's is. To me, Oppenheimer is Nolan’s magnum opus and the film that won him Best Director and Best Picture at the Oscars for the first time. Oppenheimer showed that Nolan could create a 3-hour talky biopic about the creation and aftermath of the atomic bomb and make it an intense and enthralling masterpiece. Oppenheimer Official Film Trailer The film contains one of the best acting ensembles I have ever seen, with numerous masterful performances and some of the best dialogue in a Christopher Nolan film. The film also contains some of the best editing and scores in a Nolan film that, despite the complicated science and politics, keeps you on the edge of your seat throughout. Oppenheimer and Dune Part 2 are the two best big-budget films of the 2020s to me. However, my favourite Christopher Nolan film is still The Dark Knight. As a lifelong Batman and Nolan fan, it felt like the perfect combination, and it became a film I grew up loving. The Dark Knight Rewind Trailer It also changed how people viewed comic book films, proving they could be serious, prestigious cinema. Its controversial omission from the Best Picture category is widely seen as one reason the Academy expanded the number of nominees from five to ten. The Dark Knight was also one of the first major films to use IMAX cameras for selected sequences. The film turns the Batman story into a gripping thriller, using Batman, the Joker and Harvey Dent to explore terrorism, fear and the limits of human morality. Heath Ledger’s Joker remains one of cinema’s greatest villains, thanks both to the writing and to Ledger’s performance, which I consider one of the best of all time. Honourable mention: Inception For James, Nolan's strongest by about a mile is, conventionally enough, the film for which he claimed Best Picture at the Academy Awards. There's an argument to be made that Oppenheimer is the definitive Hollywood movie of the 2020s. Not necessarily in terms of 'quality' - although it's certainly a masterpiece - but in terms of contemporary Hollywood machinery (or what's left of it) being operated at its most effective. There are many comparisons to be made here between this WW2 biopic and another Best Picture Winner: 1997's Titanic (with Cameron being a previous podcast focus of James and Callum's). Each - for their respective eras and focuses - utilise the biggest stars of the time to tell a story which is emotionally revealing and visually spectacular. And both, despite being about truly horrific historic events, manage to reach the biggest audiences and strike a chord with the current moment. The magic of Oppenheimer is the screenplay. It's pretty fascinating that maybe Nolan's crowning achievement - despite being viewed as a purely technical creative - is a written work of adaptation about the conflicting nature of guilt, self and legacy; a stunningly operatic build-up of tension elevated by his always ambitious structural rearrangement, then elevated even further by some of the most charismatic performances of the decade. James' favourite supporting performance is David Krumholtz as the orange-slice-offering Isidor Rabi. "Eat," he says. "If you get any skinnier, we're gonna lose you between the seat cushions." Weakest Film Tenet is an easy pick for me to be Nolan's weakest film, although I still like it and find the creative idea and action set pieces to be magnificent. It also holds a special place in my heart for being the first film I watched back in cinemas during the pandemic, as it came out in August 2020. The film can also be traced back as one of the earliest controversies between Nolan and Warner Brothers that ended their long relationship and caused Nolan to produce Oppenheimer and The Odyssey with Universal. The main reason why I find Tenet to be Nolan's weakest is that I struggle to understand what is going on. I enjoy the complexity that Nolan puts in his films, but Interstellar, Inception, and Memento are all more engaging despite their complex narratives. Tenet is too messy and complicated to the point where I do not care about the characters or about what is driving the plot forward. As an opposite to Oppenheimer, the film contains the weakest dialogue in Nolan's filmography, with too much on-the-nose exposition. Despite Nolan being a leading filmmaker who has changed the cinematic landscape, a couple of rookie errors still appear in his filmmaking even in his best films. While his large-scale action set pieces are wondrous, his close combat choreography is not the best, with shaky cam constantly being used. His main problem, however, is that the sound mixing in some of his films is all over the place. The worst culprit is Tenet, with already complicated dialogue and plotting being made worse by the fact that it is hard to hear. I still like Tenet, but as Clemence Poesy says to the protagonist in the film— “don't try to understand it. Feel it.” I certainly do that while watching Tenet, as I witness a building blown up in reverse and then blowing up again while listening to another amazing Ludwig Göransson score. As for what happens in the film, I still have no idea. Dishonourable mentions: Following and The Dark Knight Rises It would be quite unfair, despite its many shortcomings, to label Following as Nolan's weakest. It's a film that just doesn't quite work; but for a debut feature, it's got a great concept and wonderful texture. The opposite of Following, in more ways than one, is The Dark Knight Rises, which is James' pick for his worst film to date. Unlike Following, The Dark Knight Rises feels humongous, has about five different concepts operating in tandem (maybe one of which works), and holds little to no texture to speak of. Is the action impressive? Often, yes. One must concede, it's cool to see a plane do that for real, and the man can handle individual moments of spectacle. Yet all of his worst characteristics as a director are on clear display: the cutting back and forth between multiple locations to attempt to form the illusion of tension and connection, with no success; characters used as paper-thin plot devices to bridge between set-pieces with no clear intentionality; score overuse to the point of distraction. And the character of Batman has never been less interesting. Give me Schumacher over this any day. Underrated Christopher Nolan Film My pick for Nolan’s most underrated film is Insomnia, his follow-up to Memento. A remake of the 1997 Norwegian film, it is the least typical Christopher Nolan film in his career, which makes it a refreshing change from the complex, large-scale films he became known for later. It was also Nolan’s first collaboration with Warner Bros. and remains the only film he directed without a writing credit, with the screenplay written by Hillary Seitz. The story unfolds in chronological order and uses minimal action, focusing instead on the tense relationship between Al Pacino and Robin Williams as their characters play a cat-and-mouse game. One of the film’s strongest elements is its Alaskan setting, where the constant natural light becomes central to the story. Because the sun barely sets, Pacino’s character develops insomnia, and the film captures that harsh brightness so effectively that the audience can feel his exhaustion and disorientation. It is refreshing to see Nolan make this kind of film, proving he does not need a huge budget to create something gripping. I love his current era, and no one is making blockbusters better right now, except perhaps Denis Villeneuve, but part of me would still like to see him return to a smaller-scale project. Would anyone else be interested in a low-budget Christopher Nolan horror film? Honourable mention: Dunkirk Dunkirk Official Film Trailer Dunkirk is James' pick for most underrated. People don't give Nolan enough credit for this one; for having the utter restraint to eliminate all baggage, all excess, and use his technical abilities and fascination with a clockwork multi-chronology to craft a story that feels genuinely stripped down. It's a shame that the film has dropped out of the public consciousness slightly in the last decade, so you may forget that it was Nolan's biggest critical success at the time, with five-star reviews across the board. Here, the director plays to his strengths and gets rid of the fat. James feels that a mention should also go to Tenet - a movie which is incredibly difficult to get on with. By design, it's polarising. But it's also Nolan's most unusual release. The fact that he allowed himself to produce something so uncompromisingly him, without regard for the viewer's patience (slightly backhanded, I know), means that this misunderstood expression deserves some recognition. Callum’s Final Ranking 1. Oppenheimer 2. The Dark Knight 3. Inception 4. The Odyssey 5. Interstellar 6. Memento 7. Batman Begins 8. Insomnia 9. Dunkirk 10. The Prestige 11. Dark Knight Rises 12. Following 13. Tenet James’ final ranking 1. Oppenheimer 2. Memento 3. Dunkirk 4. The Odyssey 5. Interstellar 6. The Prestige 7. Tenet 8. Batman Begins 9. The Dark Knight 10. Inception 11. Insomnia 12. Following 13. The Dark Knight Rises

Star rating: 5/5 Directed: Kanhaiya Trivedi This 16 minute short film is made of two love letters to the best city in the world. With deep love, 2 international students describe their feelings for London and how it has shaped the people they are becoming. Both the spoken testimony and the filmic record of Yours Faithfully leave the viewer with no doubt that London heightens the senses. 'Trust', 'euphoria' and 'zest for life' are some of the words chosen to describe the city and its electric energy. 'There will always be something for you', says one of our 'letter writers' over long takes of iconic locations such as London Bridge, Camden Town, King's Cross, Battersea, and Picadilly circus, and its people as they fully inhabit the city. On a boat on the canal or playing football with my friends, she says 'I felt like I belong somewhere'. Takes of the classic locations mentioned before are combined with those of the more modern bits of London: such as North Greenwhich and Canada Place. Football, pub and pints, food and music from around the world, busking in Tube stations, public transport, sprawling urban parks- Yours Faithfully showcases London not just as a place, but as a culture. East London fashion gets a shout out- with outfits on Brick Lane like a public catwalk. Our second 'letter writer' also mentions the elation and challenges of London. The city, she says, 'has a way of welcoming everyone' and 'facilitates growth'. The takes in this film are simply stunning Extreme wide shots of St Paul's and of the City from a South London hill at night (hills alive with the sound of music, much like those famous ones in Salzburg) and yes, a majestic cloudy sky. 'Arrived a local, left a foreginer', the film proclaims at the end. If only politicians truly realised that what makes the city unique is simply its people. Whether born or arrived- the essence of London is humanity and its unending capacity to express itself.

Harbinger (2026) Directed by: James Crow Written by: Harry Boxley, Simon Cluett Starring: Peter Woodward, Jeanine Nerissa Sothcott, Nick Nevern Film Review by: Holly Baker ⭐⭐⭐⭐ Harbinger (2026) is a thrilling, feature-length supernatural horror film. The film is directed by experienced horror writer and director James Crow. Crow has exclusively worked within this gory genre, with previous works such as the Christmas scarer Nightmare on 34th Street (2023) and the folk horror/mystery thriller Curse of the Witching Tree (2015) gaining a fair amount of traction and critical praise. Harbinger continues his legacy, with a gripping original story and striking visuals, and fresh, talented faces, adding marvellously to the continuously growing genre. Horror is certainly having its moment on the cinema stage now in 2026. Films like Curry Barker’s Obsession (2025) and Kane Parson’s Backrooms (2026) are huge successes, both putting an original spin on the genre, using it to provoke ideas, and playing on our biggest fears. Similarly to Backrooms and Obsession, Harbinger uses themes like desire and identity to create fear, warping relationships, family, and intimacy to elicit discomfort. The aspect of identity has always been a huge influence in the horror genre. This is seen in the emergence of the gothic genre, which had creatures of the night, Vampires who would walk among the rest of humanity, their evil nature undetectable and therefore all the more sinister. Harbinger plays excellently on that deep-rooted fear in all of us, that people we know are not who they say they are- starting with our protagonist's husband, Decker. Harbinger Official Film Trailer We are introduced abruptly to the disturbing truth behind Julia and Decker’s relationship ending. The couple had been happily married before Julia discovered Decker's gruesome habit of demon worship and serial femicide. This is all revealed in the film’s brutal opening segment, in which Julia almost reaches her own fatal end, but fights back just long enough before authorities can shoot him down. This satisfying scene sets the story into motion, establishing Julia as a heroic and refreshing final girl character, breaking casting stereotypes, notably by being an older woman. Following this traumatic attack, Julia suffers from PTSD and is struggling to get her life back together. She is approached by keen showrunners of a ghost hunting TV show who ask for her involvement in their investigation of the house she shared with him. She reluctantly agrees, hoping to face her demons and be finally free of the hold Decker’s memory has on her. However, their evening of filming does not quite go to plan, as something truly evil seems to reside within the home that the crew are no match for… Like Obsession, with its infamous “One Wish Willow”, Harbinger brings in traditional folk horror aesthetics of the divine supernatural. In the house, the crew stumbles across a fortune-telling Harbinger, which is fantastically horrifying in its playful yet sinister nature. The costume design in Harbinger is excellently fearful, with the use of practical effects, make-up, and masks which are incredibly creepy yet simple. In this simplicity, the film has a very British, Dr Who-esque feel to it, giving it a nostalgic and homely feel, solidifying its place within the British horror landscape. By utilising the darkness of the house, combined with neon lighting, particularly the focus on sharp contrasts between blue and red, Harbinger is bursting with colourful character. The fearful atmosphere is buzzing with visual style, similar in look to Halina Reins’s brilliant satire comedy horror Bodies Bodies Bodies (2022), giving the film a smoky, fluorescent edge, and highlighting the dark shadows fabulously. The choice of containing the action within one space is always at the risk of the film becoming visually repetitive. However, the set design in Harbinger, with its intricate incorporation of the bedroom and bathroom spaces containing vulgar scares, certainly makes this risk pay off. This is all brought home by the cast and their brilliant performances. In typical British, Dr Who-like fashion, the most gruelling sequences are not so over the top, with the performances remaining committed, but wholly naturalistic as the story goes on. Though only featured briefly, Peter Woodward AKA Decker is fantastically vibrant in his villainous role. Decker’s evil is conveyed alluringly, charming and intriguing viewers into his darkness. Most notably, Jeanine Nerissa Sothcott is thrilling, and Julia is Harbinger’s final girl. Viewers can get a strong sense of her trauma and impressive bravery as she faces what she fears most. Overall, Harbinger excellently incorporates traditional horror tropes in original ways to convey a modern take on the genre. The film contains several striking visuals through honourable practical effects and lighting choices. Sothcott and Woodward carry the film’s most poignant moments through their naturalistic performances, with the support of a fully committed ensemble. Fans of contemporary horror such as Ready or Not (2019) will find the film satisfying, and a healthy amount of both scary and fun. Viewers may look forward to James Crow’s upcoming work, The Wicker Children, also on its way to be released in 2026 along with several other horror features and shorts. Harbinger is on UK digital 10 August and US digital 11 August from Miracle Media

Film Feature by Chris Olson There are certain casting announcements that instantly grab your attention and demand space on your calendar. When you pair two absolute titans of screen acting together in a pressure-cooker genre piece, anticipation levels inevitably hit the roof. That is precisely why audiences (and I) are counting down the weeks until writer and director Padraic McKinley’s acclaimed feature debut, The Weight, arrives in UK and Irish cinemas on Friday, October 2nd, courtesy of Vertical. Ethan Hawke is a performer of immense versatility, but he has always held a special place in cinematic hearts for his sheer intensity. His blistering, Oscar-nominated turn opposite Denzel Washington in Training Day remains a high-water mark for crime cinema, while his grounded, nerve-shredding performance in the original The Purge proved he can anchor a high-concept survival thriller better than almost anyone in the business. Opposite him stands Russell Crowe, an actor whose screen presence commands immediate respect. Whether he is delivering iconic, towering gravitas in Gladiator or sinking his teeth into complex, heavyweight historical drama in Nuremberg, Crowe brings an undeniable power to every frame he inhabits. Seeing these two heavyweights share the screen for the first time in a tense, atmospheric period crime drama is the kind of cinema pairing movie lovers dream of. Set during the Depression era in 1933, The Weight follows Samuel (played by Hawke), a man cruelly torn away from his young daughter and thrown into a brutal prison camp. His only lifeline comes from Warden Clancy (Crowe), who presents him with a high-stakes deal: smuggle stolen gold out of a remote mine alongside a dangerous crew of fellow convicts, and he will earn his freedom. However, as the group treks into the unforgiving wilderness, the harsh terrain quickly becomes the least of their worries. Surrounded by paranoia, greed, and impending violence, betrayal begins to fester within their own ranks, forcing Samuel to risk everything to survive and reunite with his child. Drawing inspiration from the introspective, character-driven action cinema of the 1970s, McKinley’s film promises to balance gritty survivalist set pieces with intelligent dialogue and razor-sharp tension. The visual language is brought to life by Matteo Cocco’s vivid cinematography and a harrowing score from brothers Latham and Shelby Gaines. Alongside the lead duo, the film boasts what Screen Daily hailed as a "formidable ensemble," including Julia Jones, who brings dignity and defiance to her role as Anna, the sole woman in the group, as well as Austin Amelio, Avi Nash, and Sam Hazeldine. The early word on the film has been exceptionally strong. Following its world premiere at the Sundance Film Festival, Variety praised the production, noting that "Hawke is a classical hero" delivering a muscular, resourceful performance as a man pushed to his absolute limits, while Crowe provides a quietly menacing foil as the calculated warden. With its blend of period grit, survivalist tension, and world-class acting, The Weight looks set to be one of the autumn’s absolute highlights.