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Star rating: 4/5 Writer: Kieran Moore Director: Kieran Moore Starring: Brandon McCaffery and Billie Hindle. We meet Tim, a 25-year-old gay man from Manchester, played by Brandon McCaffrey, who is by his own description an ‘ordinary lad’. Like many twenty-something ordinary lads, and lasses, in 2026 Britain, he is struggling financially as well as socially. Tim’s flatmate Jade, played by Billie Hindle, seems to be the constant in his life, as well as his Dad (Mark Benton)- and though financially more stable, Jade is broadly in the same boat as Tim. It is in fact Jade who suggests to Tim that becoming a courier might be a quick way out of unemployment. On his friend’s suggestion, he does this, joining Wallaby Couriers- and in doing so uncovers a whole government plot. Written and directed in a parody-like tone by Kieron Moore, Secrets of a Wallaby Boy hints, with outlandish humour, at the ills of the modern world: over-reliance on apps (this is how Tim gets his job, without talking to a single human), economic instability and the gig economy, social pressure and lack of connection, including sexual connection, narrating it through the well-meaning, confused and even innocent eyes of Tim, as he navigates both dark and funny situations in his life on a delivery bike. The good use of montage and extreme wide shots, as well as having an original score by Robert Drane, makes this a technically solid film. It features lovely views of various areas of Manchester and this rootedness in place highlights the realness of the story, which is in creative tension with the parodic tone, and this is to great effect. Meanwhile, the humorous and sincere performances are a nod to the best of British comedy, past and present. As he navigates plot twists in relation to the deepening of the influence of the Wallaby Couriers app on his life, Tim reckons he kickstarts a workers’ revolution-though he argues he himself hasn’t changed much. Here is a brilliant premise- we have heard before that each of us should ‘be the change you want to see’, and this is true; but perhaps system change does not require a change per se in how we are as humans, but instead a deeper level of consciousness. Comedy in general, and films like Secrets of a Wallaby Boy in particular, are perhaps a contribution to this.

Film Feature by Chris Olson This April, Los Angeles is set to host the world premiere of a project that, on paper at least, sounds like the most explosive addition to the genre in years: Dead City Punx . As someone who has spent a significant portion of my life submerged in the world of music documentaries, I find my anticipation for this particular release reaching a fever pitch. We often talk about "DIY culture" in the film world as a polished aesthetic, but Dead City Punx  seems poised to drag that definition back into the mud and the fire where it belongs. Presented by BEYOND THE STREETS, the film follows the eponymous band—Meka, Grumpy, Mike, and Adrian—who essentially resuscitated the Los Angeles music scene during the pandemic through sheer, illegal force of will. DEAD CITY PUNX - Official Trailer The pedigree behind the camera is what first caught my eye. The documentary is executive produced by Roger Gastman, Joseph Pattisall, and, most intriguingly, Zack de la Rocha . As a lifelong fan of Rage Against the Machine, seeing de la Rocha’s name attached to a film project carries immense weight. He has always been an artist who demands authenticity and systemic challenge; for him to put his stamp on the story of the Dead City Punx suggests that this is far more than a simple concert film. It is a political statement. From what we know so far, the story of the band is the stuff of underground legend. Born from stolen equipment and street-life connections, they didn't just play gigs; they staged tactical occupations. Using social media as a "bat signal," they drew massive crowds to illegal outdoor shows featuring shoplifted wooden stages, graffiti backdrops, and literal bonfires. These weren't just performances; they were confrontations that pitted the band against the LAPD, the LAFD, and the Mayor’s office. What fascinates me most about this upcoming premiere is the promise of "raw, unfiltered" footage. Much of the film is built from fan-filmed concert tapes and exclusive interviews, capturing the moments when police helicopters began to circle overhead. In an era where music can often feel commodified and safe, the idea of a band that "makes shows a crime scene" is incredibly refreshing. It forces the viewer to confront what punk actually means when the stakes move beyond fashion and into the realm of the right to assemble in public space. The world premiere screenings are taking place on 16 April 2026 at The Regent Theater in Los Angeles, with a follow-up gallery opening at BEYOND THE STREETS on 17 April. While I won’t be in the heart of the mosh pit at The Regent myself, the ripples of this release are already being felt across the Atlantic. For those of us in the UK film community, we are watching closely. We need films that remind us of the margins of society—the outcasts who refuse to be silenced even when the world shuts down. If Dead City Punx  can capture even a fraction of the mayhem it describes, we are looking at a landmark piece of music journalism.

Directed by: James Buddy Day Produced by: Fat Mike Starring: Fat Mike, Aaron ‘El Hefe’ Abeyta, Eric Melvin and Erik 'Smelly' Sandin Documentary Review by : Chris Olson ★★★★ The band that seemed to be a precursor to all the other punk bands you have heard of, NOFX were in the headlines back in 2024 for announcing their farewell tour. Having been a formidable part of the underground punk rock scene since 1983, this swan song, unlike that from a lot of other aged rock bands, was an actual goodbye, with frontman and bassist Fat Mike declaring himself done with NOFX. This documentary, directed by James Buddy Day, is a snorts-and-all roc-doc that captures the band’s anarchic authenticity perfectly right through to their final three shows. As an audience, we are greeted with a significant amount of turbulence and drama in the band in the opening scenes of the film. We learn that Fat Mike has been recently diagnosed with diabetes (whether he knows which type is another thing) and must give up booze and drugs if he wants to keep living, something he’s not prepared to do at the same time as being a live performer with NOFX. His relationship with alcohol and drugs forms a big chunk of NOFX: 40 Years of Fuckin’ Up . We also learn that fellow band member Eric Melvin is taking legal action against Mike, accusing him of skimming money from their farewell tour. Known for being a DIY band, James Buddy Day has opted for a similarly unpolished environment for this piece to play out in. At times, it’s hard to determine what’s real drama and what’s tongue-in-cheek playfulness, and there is an anarchic spirit alive in every frame. Whether it’s the raw, live music shows, Mike’s penchant for fetishism and latex, or him openly snorting cocaine on camera, very little is off the table here (just make sure it doesn’t have holes in…the coke falls through). And whilst we are kept on our toes in terms of how much of the drama is theatrical licence, there is an undeniable melancholy to the whole journey. 40 years for any band is a long time, and having stuck it out for so long, eschewing labels and “selling out”, the toll is clear on this gaggle of punk rockers. Now in their late fifties, most of the band are moving on with other projects, calming down with hobbies and new passions, whilst trying to come to terms with the end of something artistically gigantic. There is an epic timescale for this band’s journey, which deserves the roc-doc treatment. We get some wonderful talking heads from the likes of Sum 41, The Offspring, and Frank Turner, as well as archive footage featuring Blink 182, Green Day and more. The final show itself saw an array of legends hit the stage with the band, playing from combo amps and generally going out with style. This network of ne’er-do-wells shows the immense legacy of NOFX and how far their influence spreads. With any roc-doc, we are always going to prepare for narcissistic groin rubbing and jolly outings to old haunts, or talking heads waxing lyrical. This feels more like a refreshing clamps-on-the-nipples type of journey with the blood, sweat, and tears (literally in the case of the former) coming out of both ends. Cue the duelling banjos, please.

Film Feature by Chris Olson The curtains have fallen on the 98th Academy Awards, and while the Dolby Theatre has seen its fair share of predictable sweeps in the past, the 2026 ceremony felt like a genuine clash of titans. As we look over the wreckage of the awards season, it is clear that the night belonged to a gritty, sprawling American epic and a supernatural genre-bender that redefined the blockbuster. The evening’s biggest victor was undoubtedly Paul Thomas Anderson’s One Battle After Another . Still on my to-watch list, its dominance is impossible to ignore. Taking home Best Picture, Best Director, and Best Adapted Screenplay, Anderson has finally secured the "triple crown" that has eluded him for decades. The film also proved to be an acting powerhouse, securing Best Supporting Actor for Sean Penn. It is a formidable haul for a film that many critics have described as Anderson’s most demanding work to date, and its success here suggests the Academy is leaning back toward the "Big Film" era of filmmaking. One Battle After Another Wins Best Picture at The Oscars 2026 However, for those of us who championed the more visceral, genre-focused side of cinema this year, the success of Ryan Coogler’s Sinners  was the real story of the night. Having seen Coogler’s latest, I can attest that it is a masterclass in tension and atmosphere. Michael B. Jordan’s win for Best Actor felt like a just reward for a career-best performance; he anchored a film that was as much a psychological study as it was a supernatural thriller. Michael B. Jordan Wins Best Actor at The Oscars 2026 Sinners  didn't just stop at the acting categories; it cleaned up in the technical and creative fields, taking home Best Original Screenplay for Coogler’s tight, inventive script, as well as Best Original Score for Ludwig Goransson and Best Cinematography for Autumn Durald Arkapaw. The film’s visual and auditory identity was second to none this year, and I am thrilled to see the Academy recognise such bold, stylish choices. Jessie Buckley Wins Best Actress for Hamnet at The Oscars 2026 In the acting categories, Jessie Buckley continued her ascent to legendary status by taking home Best Actress for Hamnet . Although I am still catching up with Chloé Zhao’s latest, the buzz surrounding Buckley’s performance has been deafening since its premiere. Hamnet  also put up a strong fight in the craft categories, though it was often edged out by the night's other visual powerhouse: Guillermo del Toro’s Frankenstein . Del Toro’s Frankenstein  is a film I found utterly transfixing, a gothic dream that only he could conjure. While it may have missed out on the "Above the Line" trophies, it proved unbeatable in the aesthetic categories. The film won Best Production Design, Best Make-up and Hairstyling, and Best Costume Design. Seeing del Toro’s vision of the creature and its world rewarded in this way was a highlight of the ceremony; it is a film that breathes through its textures and shadows. KPop Demon Hunters Wins Best Original Song at The Oscars 2026 Perhaps the most delightful surprise for me was the success of KPop Demon Hunters  in the Best Animated Feature category. This film is a neon-soaked, high-energy riot that I enjoyed immensely (I have two young daughters who watch it on repeat), and seeing it best the likes of Zootopia 2  shows a refreshing willingness from the Academy to embrace international influence and contemporary pop culture. Its win for Best Original Song with "Golden" was the cherry on top, cementing the film as a cultural phenomenon rather than just a niche hit. As we look toward the 2026 cinematic calendar, the bar has been set incredibly high. Whether it was the sweeping historical scale of One Battle After Another  or the sharp, supernatural edge of Sinners , the 98th Oscars celebrated a year where cinema felt truly vital, diverse, and, above all, daring. The Full List of Oscar Winners 2026: Best picture WINNER: One Battle After Another Best actress WINNER: Jessie Buckley - Hamnet Best actor WINNER: Michael B Jordan - Sinners Best supporting actress WINNER: Amy Madigan - Weapons Best supporting actor WINNER: Sean Penn - One Battle After Another Best director WINNER: Paul Thomas Anderson - One Battle After Another Best animated feature WINNER: KPop Demon Hunters Best international feature WINNER: Sentimental Value Best documentary feature WINNER: Mr Nobody Against Putin Best original screenplay WINNER: Sinners - Ryan Coogler Best adapted screenplay WINNER: One Battle After Another - Paul Thomas Anderson Best original song WINNER: Golden - KPop Demon Hunters (by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park) Best original score WINNER: Sinners - Ludwig Goransson Best cinematography WINNER: Sinners - Autumn Durald Arkapaw Best film editing WINNER: One Battle After Another - Andy Jurgensen Best sound WINNER: F1 - Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A Rizzo and Juan Peralta Best visual effects WINNER: Avatar: Fire and Ash - Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett Best production design WINNER: Frankenstein - Tamara Deverell and Shane Vieau Best casting WINNER: One Battle After Another - Cassandra Kulukundis Best make-up and hairstyling WINNER: Frankenstein - Mike Hill, Jordan Samuel and Cliona Furey Best costume design WINNER: Frankenstein - Kate Hawley Best animated short WINNER: The Girl Who Cried Pearls Best live action short WINNER (TIED): The Singers WINNER (TIED): Two People Exchanging Saliva Best documentary short WINNER: All the Empty Rooms

Directed by: Ayden Mayeri Written by: Ayden Mayeri, Barry Rothbart Starring: Jessica Hall, Janet Kariuki, Ayden Mayeri Documentary Film Review by: William Curzon ⭐⭐⭐⭐ CREDIT: Dessie Jackson Summer 2000: The X-Cetra Story follows four childhood friends who recorded an album in the early 2000s and drifted apart due to pursuing careers in different paths. Their music is a love letter to the Y2K era of pop music, in hopes of being like the Spice Girls. When their forgotten music resurfaces online 20 years later, it suddenly goes viral, and the four girls, now adults, reunite to spark their youthful magic once again. Divided into chapters that follow the girls as they remaster their album, this documentary sheds a bright light on nostalgia and rekindling old friendships. The documentary is a unique concept, thanks to how the filmmakers mix themes of nostalgia, early 2000s girlhood and memory through the process of making an album. One of the most exciting elements of the piece is the blend of footage recorded on a VHS tape and the shift to handheld in the present-day interviews. The four friends reconnect through their art at a completely different stage in their lives, and they connect through nostalgia for the Y2K era of music and pop culture. The introduction to each member of the group is incredibly evocative, and the members offer a plethora of personality and perspective on their lives and their connection to the central figure, Ayden Mayeri. All four friends and members of the X-Cetra, including Jessica Hall, Ayden Mayeri, Janet Washburn and Mary Washburn, have their narratives fleshed out to a suitable degree, and the piece genuinely invests the viewer in their lives. Ayden Mayeri is an endearing central figure thanks to her ambitious personality and commitment to the piece, serving as director, co-writer and producer. She keeps the piece utterly engaging throughout and is the glue that holds the documentary's thematic core together. The sequences involving X-Cetra remastering their album are aptly engrossing, anchored by each member's chemistry, creative prowess and sheer ambition for the material that shines through every scene. The pacing is electrifying thanks to the captivating material, which combines the album process with the group reminiscing on their childhood to enrich each track through diary entries and memories. As the documentary is a love letter to the early 2000s and girlhood, X-Cetra, as a group, could potentially appeal to a broader audience, as the material could easily resonate with individuals who grew up during that decade. As the narrative primarily focuses on Ayden as the central figure, the brief exploration of her career as she grew up as an actress could also make viewers want to seek out her previous roles. The piece is also surprisingly emotionally resonant as each member unpacks their trauma and explores themes of toxic relationships and abuse. Despite slightly overstaying its welcome, most of the runtime is profoundly moving, and the piece wraps up in an emotionally satisfying manner. Summer 2000: The X-Cetra Story is a largely rewarding experience that opens a door for a new generation to be introduced to X-Cetra’s music and serves as a love letter to the Y2K era of music. While it may suffer from a prolonged conclusion and some repetitive sequences, it's a wonderful documentary that hopefully reaches a broader demographic after its festival run.

Star rating:  3/5 Directed by:  Robb Boardman Written by:  Robb Boardman, Donny Divanian, Cory Loykasek Starring : Cory Loykasek, Donny Divanian, Kirk Fox, Kevin Nealon, Frankie Quinones Film Review by:  Jason Knight Robb Boardman directs this feature crime comedy, written by himself, Donny Divanian and Cory Loykasek and the main cast includes Loykasek, Divanian, Kirk Fox, Kevin Nealon and Frankie Quinones. There is a guy in Los Angeles who is breaking into people's homes and stealing their plants. He is known as Plantman (Divanian). The main character though, is Cory (Loykasek), a reclusive guy who works for a car park company. A series of events will have him meeting and teaming up with Plantman, initially being unaware of the strange man's unconventional (and illegal) activities. As the two of them carry on, they are oblivious to the fact that a small group of men who were victims to Plantman's break ins. The screenplay for Plantman & Blondie: A Dress Up Gang Film contains numerous storylines. It has the rapport that develops between Cory and Plantman, Cory's working conditions as he works from home on his laptop, the two unlikely collaborators working with a group of greenhouse workers who share Plantman's purpose, Cory receiving advice from his best friend, Fox (Kirk Fox) and the three guys playing detective, tracking down Plantman. There are awkward moments, humorous moments and plenty of thoughtful statements about plants and Andrew Carroll's suspenseful and amusing music is a great contribution. Interestingly, many of the actors appear to be utilising their real-life names. Divanian plays a rather intriguing character. With curly long black hair and wearing aviator style sunglasses, he is a man on a mission and that mission is to save as many neglected plants as he can, whether that means breaking into people's home and stealing them or watering them. Cory is the one who goes through the most character development, beginning the story as an isolated man who works from home and recently lost his partner and spends most of his free time watching videos on TikTok, before coming to understand the value of nature and having people around. And then there is Fox, a former convict with an easy-going but cautious personality, who acts as a sort of mentor to Cory as he spends time with Plantman. An evident message that this film is communicating is the significance of plants and nature in general, how wonderful they are and that, unfortunately, many people seem to be neglectful when it comes to taking good care of the plants they have in their home. Furthermore, the story also promotes the idea of having a cause, an idea one strongly supports and pursuing it. This feature is also a commentary about self-discovery, social media and the joy of being with other people. A film that works well as a suspenseful and enjoyable crime comedy with interesting characters. Its primary aspect is probably that it raises awareness of nature being neglected.                                   Plantman & Blondie: A Dress Up Gang Film will screen at the 2026 SXSW Film Festival.

Directed by: Maya Annik Bedward Written by: Maya Annik Bedward Starring: Mambo Labelle Déese Botanica, Zandashé Brown, Tananarive Due Documentary Film Review by: Joyce Cowan ★★★★★ Black Zombie is a deeply illuminating work about the origin of the zombie and how the concept of a zombie has developed, in popular culture and cinema, since its discovery by Western society in 1927. Directed by Maya Annik Bedward, this documentary includes accounts that are fascinatingly varied, from film historians, to writers, to artists and spiritual seekers. The audience is taken through the origins of the zombie as it developed in Haiti. With the idea of a zombie rooted in the suffering of slavery that Africans transported to Haiti and Saint Domingue suffered at the hands of the French Empire, and the deep misinterpretation of this, and Haitian Voudou culture, by Westerners, especially Americans, we get told the fascinating story of this, from a cultural, sociological and historical perspective. Black Zombie is a truly interdisciplinary piece. From a cultural standpoint, the audience learns that while in American culture the zombie represents simply the scary idea of power beyond the grave, or the ‘undead’, in Haitian culture it has always represented the concept of ‘living under someone else’s thumb’, without agency or choice- much like a slave. It is akin to being stripped of your soul. Similarly, we learn that the idea of a zombie should not be fully conflated with Voudu religion, which is ‘a dance that keeps the history of Africa in our bodies’, as the Director of the National Bureau of Ethnology of Haiti explains. The documentary also offers a cinematic history of zombies, from the (deeply racist) White Zombie, based on the book written by the adventurer who introduced the West to the idea after spending time in Haiti, William Searbrook, called The Magic Island published in 1927, through the 1968 film Dawn of the Dead , which presented a very different type of zombie: no longer black, and whose soul purpose is to eat the flesh of those still alive- basically, our current idea of a zombie. The experts also attempt to share with the viewer their thoughts on why zombies and zombie stories are still so strong in popular culture, with the interesting conclusion that they are a representation of the ‘otherness’ and how our worst instincts respond to this. In this respect, the history of the zombie can be harnessed to reclaim what has been erased from black history, and the horror genre has been used by young filmmakers such as Zandashe Brown to attempt this, because, in her words, ‘ stories correct “history", they give us back what was taken ’. In a similar vein, Tananarive Duo, a film historian, argues that the horror genre in general is used by many to process fears and traumas, which include social traumas, not least the legacy of slavery that gave rise to the original concept of zombie. With brilliant shots of various relevant locations and a hypnotic original score by David Arcus, Black Zombie is an unmissable documentary.

Star Rating: 5/5 Directed by: Riley Engemoen, Liz Moskowitz Short Film Review by: Joyce Cowan Forcefield of Love is a short documentary about the eternal ability of love to transform, surprise and inspire. Dan and Doris, an American couple in their 80s, are the subject matter of this hugely life-affirming documentary. Together and very consciously, they go against the grain by embodying the energy of what society often regards as ‘young love’: clamorous, expressive, physical, and sexually active. ‘Dan and I, whatever we wanna do, we do it’, says Doris, fully expressing the freedom with which they live their lives and their relationship. ‘We’re just a couple in love’, says Dan as they visit a café, catching people’s attention with their energy, and turning heads with their colourful, totally fearless outfits. It is almost as if they are local celebrities. It won’t surprise the audience that Dan and Doris have each already had their long-lived love story, which in both cases ended with the loss of their partner, not separation. This is an important point because it surely has bearing on how they have approached life after those experiences - which seems to be with complete gratitude and love of the present. Forcefield of Love comprises relaxed, lively sit-down interviews with Dan and Doris, both separately and together, as well as following them as they relax together, go dancing, go out for coffee, walk together, and sit amongst flowers. Strangers who see them unfailingly respond to their energy. ‘I want to fulfil my humanity’ says Dan as he talks about what love means for him. This is a really precise phrase that gets to the heart of what love is- the essence of existence, the basis on which we should and can make our choices every day. It’s brilliant to see a documentary that showcases, without dramatism and quite philosophically, the magical and unexpected in how we relate to each other. Forcefield of Love is a real testament to the genre, as well as its inspiring protagonists.

★★★★ Directed by: Jamie Kiernan O’Brien Written by: Jamie Kiernan O’Brien Starring: Jake Junkins, Fannie Massarsky, Austin Cassel Film Review by: William Hemingway A transgender student on a feminist literature course explores her body and her sexuality as she comes to terms with what it means to be a woman in the eyes of others. Maisie (Junkins) is in a room with a class full of girls. There’s one man with them, Aaron (Cassel), the teaching assistant, and he seems to be getting the attention of Rachel (Massarsky), who Maisie deems to be the prettiest girl in the room. Rachel flirts and displays her interest readily as she desires to be wanted by Aaron, ready to throw herself at him at his request, and revel in the attention and status she receives from being that girl. Maisie, however, has not yet had that gaze fall upon her, and doesn’t know what it feels like to be desired in that way. She takes her cues from Rachel, borrowing her lip gloss in the bathrooms, trying her best to emulate the girl that every boy wants and every girl wants to be, without realising just what that entails and just how that feels when the gaze inevitably shifts. Still, buoyed by the studying of Edith Wharton’s exploration of sexual awakening, Summer, Maisie decides to try it out for herself and embarks upon a pointed seduction of Aaron, to see if she has what it takes to elicit the same desire and gaze that she sees others receiving. Written, directed, and edited by transgender filmmaker, Jamie Kiernan O’Brien, Gender Studies becomes a semi-autobiographical tale for her, showcasing a lot of the thoughts and ideas that surround feminism and femininity in the modern age. The theme of acceptance rides high amongst the narrative, as Maisie just wants to be one of the girls as she is introduced to and navigates the world of sexual interest. Being asked if she has a tampon is a big win for Maisie, aside from the fact that she is utterly at home in the women’s toilets and is completely accepted there, but it is the desire of men that is the big test of femininity for her, and she intends to find out if she’s just as able in that regard as Rachel is. What she finds is that actually it doesn’t take much at all, and when you act with passion and desire, what others might look at and call ‘being a slut’, the attention falls at your feet in droves. The reality of the male gaze isn’t exactly what Maisie had imagined though, and with this awakening comes a whole host of new thoughts and problems that inevitably comes with wanting male attention. This is all handled with obvious care and attention by O’Brien, but is also presented with a heavy dollop of reality, as we are invited into some of the most personal and safe spaces for women to get up-close and personal with the facts of the situation. For a film that is only eleven minutes long, there is a large amount of unease and tension created by O’Brien. While nothing is overtly graphic in its depiction, we are privy to some very personal details, and are invited to get under the skin of the characters we are watching. We get in the faces of Maisie and Rachel, hear their breath and watch their smiles grow, and become enclosed in the world of bathrooms, where almost all of the salient narrative takes place. The feeling is one of overwhelming claustrophobic desire, and O’Brien ensures that we get ourselves right into the middle of it all to experience it along with Maisie, offering a unique and honest perspective. Gender Studies is a tour-de-force in the opening of eyes to transgender relationships. With its direct approach and knowledgeable writing and direction, it forces us to challenge our ideas of feminism and femininity, and ask ourselves just what we are teaching young women, and who they are learning from, in order to make themselves feel seen and accepted. In a very short space of time, Gender Studies covers enough ground to fill an entire syllabus, with the uneasy nature about what’s being learnt seemingly the exact point of the lesson. Gender Studies will premiere at the 2026 SXSW Film Festival.

Netflix Film Feature by Chris Olson There is something inherently calming about a story that finds magic in the mundane, and if the first teaser for Remarkably Bright Creatures is anything to go by, Netflix might just have found the cinematic equivalent of a warm blanket for the soul. Based on Shelby Van Pelt’s sensationally popular novel, the film appears to be leaning heavily into the quiet, poignant charm that made the book such a word-of-mouth hit. While I have not yet had the pleasure of a full screening, the brief glimpse offered by this new trailer suggests a production that understands the delicate balance between human grief and the whimsy of the natural world. At the heart of the story is Tova, played by the incomparable Sally Field. Seeing Field back in a lead role that requires such a nuanced mixture of strength and vulnerability is always a treat for any film lover. She portrays a widow who takes a job working the night shift at an aquarium, a setting that the teaser captures with a beautifully ethereal, almost nocturnal glow. It is here that she forms an improbable bond with Marcellus, a giant Pacific octopus. Now, bringing a sentient, highly intelligent mollusc to life on screen is no small feat, but the teaser introduces us to the voice of Alfred Molina as Marcellus, and it feels like a stroke of casting genius. Molina has that perfect blend of gravitas and weary wit, providing a narration that suggests the octopus might just be the most observant character in the room. The supporting cast looks equally impressive, suggesting a depth to the narrative that extends well beyond the glass of the aquarium tanks. Lewis Pullman, who has been on a fantastic run lately, appears as Cameron, a young man at a crossroads who finds his life intersecting with Tova’s in ways neither of them expected. The ensemble is bolstered by veteran talents like Colm Meaney, Joan Chen, and Kathy Baker, which gives me a great deal of confidence in the emotional weight of the piece. When you see names of this calibre attached to a project, it usually signals a script with real meat on its bones. Director Olivia Newman, who previously showed her knack for adapting atmospheric, landscape-driven bestsellers with Where the Crawdads Sing, seems to be the right hand at the tiller here. The teaser suggests a film that is visually lush but grounded in the tactile reality of a small coastal town. There is a sense of mystery hinted at, a life-changing discovery that ties these characters together, but the trailer wisely keeps the specifics under wraps, focusing instead on the atmosphere of wonder and the theme of finding connection in the most unlikely of places. As a critic, I am always a bit wary of adaptations that rely on a non-human narrator, but there is something so distinctly charming about the way this teaser presents Marcellus’s perspective on the blundering nature of humans. It feels less like a gimmick and more like a fresh lens through which to view our own struggles with loss and loneliness. If the film can maintain the heart-swelling sincerity shown in these few minutes of footage, we are in for something quite special. Remarkably Bright Creatures premieres on Netflix 8th May, and it is certainly sitting right at the top of my must-watch list for the spring. It looks to be a film that celebrates the quiet victories of the human spirit, aided by a very clever eight-armed friend. Remarkably Bright Creates - Official Netflix Teaser Trailer

Film Feature by Chris Olson The wait is finally over, and if you are anything like me, your levels of anticipation for this sequel have reached a fever pitch. As a massive fan of the first film, which was a colourful, joyous celebration of everything we love about the Mushroom Kingdom, I have been keeping a very close eye on what Illumination and Nintendo have been cooking up. They have delivered the goods in spectacular fashion by dropping the final trailer for The Super Mario Galaxy Movie , and it looks like an absolute cosmic beauty. Watching the first film back in 2023, I remember feeling a sense of pure relief that they had finally gotten Mario right on the big screen. It was fun, fast, and full of heart. But this new trailer suggests that the filmmakers, Aaron Horvath and Michael Jelenic, are not just resting on their laurels. They are taking the plumbers and the rest of the gang into deep space, and the visual scope on display here is frankly breathtaking. The final trailer gives us our best look yet at the gravity-defying action that defined the original Wii game, and seeing Mario engage longer with Bowser Jr. in glorious animation is enough to give any long-term fan goosebumps. The plot looks to be raising the stakes significantly. We see a miniaturised Bowser, still reeling from his defeat in the first film, but the real threat this time appears to be his son. Bowser Jr. is making his big cinematic debut, voiced by Benny Safdie, and he looks like a fantastic addition to the rogue’s gallery. The way he abducts Peach’s entire castle and hauls it into the stars sets the stage for an adventure that feels much bigger than the Mushroom Kingdom. It is that classic Mario charm mixed with a genuine sense of wonder that only a space-faring adventure can provide. The Super Mario Galaxy Movie Final Film Trailer One of the biggest talking points from this final trailer is the incredible voice cast. We already knew that Brie Larson would be joining as the ethereal Princess Rosalina, and she sounds perfectly cast as the protector of the Lumas. However, the new trailer also confirmed some massive additions that have me even more excited. Donald Glover is lending his voice to Yoshi, and based on the snippets we hear, he brings a wonderful energy to the iconic green dinosaur. Seeing Mario and Yoshi finally reunited on screen is a moment I have been waiting for since the post-credits tease of the last movie. We also got confirmation that Luis Guzmán will be voicing Wart and Issa Rae will be playing the Honey Queen, which shows just how deep into the lore this sequel is willing to go. The music, once again handled by the brilliant Brian Tyler, sounds like it is going to be a highlight. The trailer is underpinned by orchestral arrangements of those classic Galaxy themes that are so synonymous with grand, sweeping adventure. It is clear that the team understands the emotional weight that those melodies carry for the fans. I cannot wait for April 1 to arrive. There is a slight worry that the release date might be an elaborate April Fools’ prank by Nintendo, but given that tickets are already on sale, I think we are safe to start the countdown. The Super Mario Galaxy Movie looks like it will be everything a sequel should be: bigger, bolder, and more imaginative, while still retaining the core magic of its predecessor. It is going to be a long few weeks, but if this trailer is anything to go by, it will be well worth the wait.

Star rating:  4/5 Directed by:  Mauro Borrelli Written by:  Mauro Borrelli, John Collins Starring:  Jamie Ward, James Oliver Wheatley, James Faulkner, Robert Knepper Film Review by:  Jason Knight A biblical drama feature directed by Mauro Borrelli, written by Borrelli and John Collins and starring Jamie Ward, James Oliver Wheatley, James Faulkner and Robert Knepper. As the title indicates, the story involves Jesus Christ (Ward) and a significant part of it takes place during the Last Supper. The narrative begins with Jesus and his apostles arriving in Jerusalem for the final meal, after having become known for his preachings and miracles. Tensions are high, as Caiaphas (Faulkner), the High Priest of Israel, condemns Jesus's actions and plots his downfall and Judas (Knepper), one of his disciples, is unconvinced of his teacher's beliefs and contemplates turning against him. The Last Supper Film Trailer The screenplay views the events through the perspectives of Jesus, Peter (another close apostle of Jesus), Caiaphas and Judas and contains significant events, including the Last Supper, Jesus feeding a crowd of thousands by multiplying fish and loaves, his Crucifixion, Caiaphas convincing Judas to betray Jesus and Jesus realising that he will be betrayed by one of his own disciples. The film concentrates significantly on Jesus's preachings and the protagonists' struggles regarding Jesus's imminent fate. Visually, the feature looks terrific, with an impressive production value. Costume designer Nezha Dakil does a great job and the buildings and furniture are very convincing, all of which look even better thanks to Vladislav Opelyants's cinematography. The audio is also a big plus, with the music by Leo Z being very appropriate and the song No Greater Love  by Chris Tomlin effectively ending the film.  Ward proves that he was a good choice for the role of Jesus, portraying the preacher and religious leader sympathetically, presenting him as a man of wisdom and righteousness. A great deal of time is devoted to Peter and Wheatley dramatically reveals the struggle that his character is going through due to believing that he failed Jesus. Faulkner is sinister as Caiaphas, a character who works as the antagonist. Knepper plays Judas as a troubled and disorientated individual, repeatedly being tormented by a snake (Satan). Other appearing characters include Mary Magdalene (Nathalie Rapti Gomez), Nicodemus (Henry Garrett) and John the Apostle (Charlie MacGechan). This version of the story of Jesus Christ tells a story about religion, faith, courage, betrayal, goodwill, desperation and cruelty. Moreover, it encourages hope and unity and states that Good triumphs over Evil. So many films have been made about Jesus and it would be fair to say that this one does not explore anything new. Nevertheless, it is a very well-made film and a rather decent addition to the category of biblical features.            Dazzler Media presents The Last Supper in UK and Irish cinemas from 20th March.