Film Feature by Jason Knight (amended Apr 2026 to include William Curzon's review) #8 - The Last Laugh (review by William Curzon) ★★★ Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. #7 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #6 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #5 - As You Wish ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Elliot Cable, Gillian Broderick, Natasha Robinson Spencer Anderson writes, produces, edits, and directs this short psychological drama, starring Elliot Cable, Gillian Broderick, and Natasha Robinson. The plot: World War II is taking place, and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distress Peter. This relatively short story manages to explore a number of significant themes and they include war trauma, desperation, comfort, regrets, and painful revelations. A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight

Film Feature By Chris Olson As a father of two young children, my home is an ongoing battleground between maintaining a shred of cultural sanity and surrendering to the hypnotic pull of toddler entertainment. Over the years, I have patiently endured endless hours of talking animals, singing tractors, and secondary animated characters with questionable accents. But there is one absolute titan of pre-school programming that strikes pure, unadulterated dread into my soul: CoComelon. For the uninitiated (you don't know how lucky you are), CoComelon is not merely a show. It is an unrelenting, hyper-vibrant sensory assault featuring giant-headed, pastel-coloured toddlers singing nursery rhymes on an endless, auto-tuned loop. It has haunted my living room TV screen, invaded my car stereo, and taken up permanent residency in the dark recesses of my brain. For years, I comforted myself with a single, fragile reassurance: at least it is confined to small screens. That comforting illusion has now been shattered. News reaching the newsroom at UK Film Review confirms that Universal Pictures, DreamWorks Animation, Moonbug Entertainment, and DNEG Group have joined forces to unleash CoComelon: The Movie into cinemas worldwide. The film is officially slated to hit silver screens in February 2027, with the UK release expected right around the mid-February half-term break. The moment I read the announcement, a cold sweat broke out across my forehead. February 2027 may feel a reasonable distance away for the average filmgoer, but for a parent, it represents a ticking clock counting down to an inescapable cinematic ambush. My two young children will be at the target age when this theatrical behemoth lands, and I am already plotting every conceivable strategy to avoid buying a ticket. Directed by Kat Good, an animation veteran known for her work as a story artist on Kung Fu Panda, the feature-length adaptation promises to take JJ, the famous round-headed protagonist, and his gang of cherubic pals out of their suburban setting and onto a grander, big-screen adventure. To make matters even more surreal, the production has recruited high-profile talent behind the scenes. Multi-platinum, Grammy-nominated songwriter Justin Tranter has been brought on board as Executive Music Producer to craft a slate of original songs. Even the voice cast reads like a fever dream of Hollywood talent juxtaposed against toddler media. Alongside young actor Connor Esterson voicing JJ, the supporting voice ensemble features an extraordinary array of stars, including Nicholas Hoult, SZA, Ike Barinholtz, Rhys Darby, Sarah Sherman, Ego Nwodim, and Cristo Fernández. How these incredible actors were persuaded to lend their vocal talents to a world where trying new vegetables constitutes a major dramatic plot point remains a mystery, but it certainly proves the staggering reach of the brand. From a commercial perspective, bringing this intellectual property to the big screen is an absolute no-brainer for the studios involved. Born on YouTube, where it has amassed hundreds of billions of views, CoComelon is a multi-billion-pound global phenomenon. Pushing that established audience into multiplexes is guaranteed to print money. Parents up and down the country will inevitably be dragged into auditoriums, surrendering their hard-earned cash for ninety minutes of brightly coloured pacification during the chilly February school holidays. Cocomelon: The Movie Official Teaster Trailer However, from the perspective of a parent who values their remaining brain cells, the thought of sitting in a pitch-black auditorium with Dolby Atmos surround sound blasting auto-tuned nursery rhymes is nothing short of a psychological thriller. Bad cinema is one thing; ninety minutes of giant digital babies blinking slowly while singing about washing their hands in high definition is quite another. In a cinema, there is no mute button. There is no discreetly switching over to the news. There is only you, your popcorn, and a room full of sugar-fuelled four-year-olds staring mesmerised at a giant screen. With the countdown to February 2027 officially underway, my mission over the next several months is simple: tactical evasion. I am currently drafting a comprehensive blueprint to ensure I am nowhere near a cinema when CoComelon: The Movie premieres. Plan A involves delegating all cinema-going duties to my wife under the guise of a generous weekend treat. Plan B requires volunteering for every out-of-town film festival taking place that week, no matter how obscure. If all else fails, Plan C will be inventing an urgent editorial crisis at UK Film Review that requires my undivided attention in an entirely different city. I wish the filmmakers, the talented voice cast, and the courageous parents who will inevitably populate those cinema seats the very best of luck. But as for me, my line has been drawn in the sand. JJ may have conquered YouTube, television, and now the big screen, but he will not be taking my Saturday afternoon.

Film Feature By Chris Olson There are few feelings more frustrating for a dedicated film enthusiast than watching a cinematic juggernaut tear through the global box office while stuck firmly on the sidelines. As someone who has been an unapologetic admirer of Spider-Man in all his big-screen guises, from the excellent Tobey Maguire era through Andrew Garfield’s underrated tenure to Tom Holland’s perfect landing in the Marvel Cinematic Universe, I find myself without that tingling feeling, as I still haven't seen Spider-Man: Brand New Day! While I am itching to see how Destin Daniel Cretton handles Peter Parker’s post-memory-wipe solitude, I have had to content myself with monitoring the financial charts. In the modern film industry, a blockbuster's commercial performance tells a story almost as dramatic as the one on screen. Following the gargantuan, multiversal triumph of No Way Home, the commercial pressure on this fourth installment was immense. Audiences and analysts alike wondered whether a more grounded, street-level Spidey could capture the same lightning in a bottle. Looking at the latest numbers registered on the film’s IMDb page, the answer is an emphatic, resounding yes. Spider-Man: No Way Home Film Trailer To truly measure the height of the web-slinger’s latest box office climb, one must begin with the initial investment. Modern comic book spectacles carry staggering price tags, and Spider-Man: Brand New Day was no exception. According to production details listed on IMDb, the film was mounted on a hefty production budget of $200 million. In a post-pandemic theatrical climate where studios have grown increasingly cautious with nine-figure investments, handing $200 million to a creative team for a darker, character-driven chapter was a clear signal of confidence from Sony Pictures and Marvel Studios. That capital went directly into delivering tactile rooftop action, sleek visuals, and a New York City that feels lived-in and volatile. Spider-Man: Brand New Day Official Trailer When the film finally arrived in cinemas, that financial gamble yielded instantaneous returns. During its opening weekend alone, Spider-Man: Brand New Day spun a jaw-dropping $165 million in North America. Landing an opening weekend of that magnitude instantly put to rest any lingering doubts about audience fatigue. Driven by glowing critical reviews and ecstatic word-of-mouth, fans flocked to premium formats in droves, eager to see Tom Holland’s hero pick up the pieces of his shattered life. The momentum in the domestic market has remained astonishingly strong since that explosive launch. Across the US and Canada, the film has built up a massive domestic gross of $355 million. Retaining top box office spots despite stiff summer competition, it has shown the kind of long-term theatrical legs reserved for genuine cultural events. Viewers aren't just dropping in once out of curiosity; repeat viewings are clearly fueling the engine, with fans returning to absorb the subtle details of Peter’s new status quo and his tense dynamic with Jon Bernthal’s Punisher. Yet, as impressive as the domestic figures are, Spider-Man has always been a global phenomenon, and the international numbers elevate this release into rare territory. Worldwide, Spider-Man: Brand New Day has racked up a gargantuan gross of $815 million. Comfortably sailing past its $200 million production budget and surging toward the billion-dollar milestone, the film has proven once again that the wall-crawler remains Sony's ultimate crown jewel. Crossing the $800 million mark worldwide confirms that Peter Parker’s journey of isolation, duty, and resilience transcends cultural boundaries. From an analytical perspective, these figures represent a major victory for the theatrical experience. In an era where streaming platforms continuously compete for audience attention, Brand New Day proves that when a beloved character is paired with thoughtful writing, strong directorial vision, and uncompromised star power, moviegoers will happily support it at the box office. For me, tracking these mounting millions only amplifies my eagerness to finally buy a ticket. Knowing that hundreds of millions of pounds have already been spent by fans around the globe makes me feel like the last Spidey fan left stranded on the sidewalk. Rest assured, I shall be booking my IMAX seat this very week to witness Tom Holland’s spectacular return for myself.

Film Festival Feature by Chris Olson There is something inherently cinematic about the River Thames. Flowing through the heart of London and stretching out toward the vast expanse of the estuary, its waters have borne witness to centuries of history, commerce, and human drama. For indie filmmakers, water has always provided a rich backdrop for storytelling, offering mood, movement, and a sense of timeless grandeur (Jaws, Life of Pi etc). That is why I am genuinely thrilled to highlight a wonderful initiative taking place this year: the Tidal Thames Film Competition 2026. Organised by the Port of London Authority, this fantastic initiative is designed to empower, enable, and celebrate emerging creative talent across the region, with a particular focus on young directors based around the Thames Estuary. If you are an aspiring filmmaker looking for a platform to showcase your vision, this competition represents an exceptional opportunity to make your mark on the British film landscape. Filmmakers are invited to submit short films of up to five minutes in length that explore the tidal Thames in whatever way resonates with them. The river is a living, breathing ecosystem, and the organizers are encouraging broad interpretations. Whether your concept centres on the hardworking communities along the banks, the intricate ecology of the water, historical heritage, or deeply personal human connections, the scope for creative expression is virtually limitless. Entries can range across any genre or style, be it documentary, narrative drama, experimental poetry, or conceptual pieces, so long as there is a clear, thoughtful connection to the river. Beyond the creative freedom, the rewards on offer are genuinely game-changing for early-career directors. The first prize winner will receive £5,000 toward funding their next film project, providing a crucial financial stepping stone in an industry where development capital can be notoriously difficult to secure. The second prize carries a generous £2,000 award for future production, while the third prize offers a £500 voucher for filmmaking equipment, training, or professional development. Crucially, as part of the initiative, the Port of London Authority is waiving standard filming fees for approved competition entries, removing one of the major administrative barriers for young crews wanting to shoot on location along the water. Tidal Thames Film Competition 2026 Film To be eligible, entrants must be aged between 16 and 25 on the submission deadline, which falls on 16 October 2026. Applicants should be current students or recent graduates from a college, university, or accredited film academy, and be able to demonstrate a clear link to the tidal Thames through where they live, study, or create. At UK Film Review, we have always championed grassroots filmmaking and the vital importance of supporting emerging voices. The Tidal Thames Film Competition 2026 is a stellar example of how local heritage and creative storytelling can come together to inspire the next generation of cinematic talent. So, grab your camera, find your angle on the river, and get filming before the autumn deadline arrives.

Film Feature By Chris Olson When Sony and Marvel Studios struck their historic deal back in 2015 to bring Spider-Man into the Marvel Cinematic Universe, fandom was collectively holding its breath. We had already seen two distinct live-action iterations of the web-slinger in quick succession, and the prospect of yet another reboot felt, to some, like a dangerous exercise in brand saturation. Enter Tom Holland: a young British actor equipped with gymnast-level agility, an infectious boyish charm, and the terrifying task of stepping into boots previously worn by Tobey Maguire and Andrew Garfield. We love the animated Spidey but we are only talking live-action here, sorry. Fast forward through a decade of cinematic history, and the landscape looks vastly different. Following the monumental success of his solo trilogy and his integral role in the broader MCU ensemble, the debate surrounding who truly "owns" the mask seems to have reached a definitive turning point. With a staggering total of screen appearances that easily outpaces his predecessors, the question must be asked: has Tom Holland officially solidified his status as the definitive, indisputable Spider-Man for a generation of filmgoers? To answer that question, one must look at the sheer weight of numbers and narrative longevity. Tobey Maguire, who laid the bedrock for the modern superhero boom under Sam Raimi’s direction, led three standalone films before the franchise hit a wall in 2007 (we don't talk about Emo Spidey). Andrew Garfield, whose magnetic turn deserved far better scriptwriting material, managed two solo outings under the Amazing moniker before his tenure was abruptly cut short. Spider-Man: No Way Home Film Trailer Holland, by contrast, has racked up an unprecedented number of outings as Peter Parker. Beyond his own standalone blockbusters: Homecoming, Far From Home, and No Way Home, he has swung seamlessly through Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame, not to mention his recent return in Brand New Day. Counting his major film appearances, Holland has suited up more times as Peter Parker than Maguire and Garfield combined. He hasn't merely played the character; he has lived inside the suit across a decade of continuous, sprawling storytelling, growing up on camera in a way no other actor in the role has been permitted to do. Spider-Man: Brand New Day New Film Trailer However, becoming the "official" face of a legendary character requires more than just showing up on set more often than the next guy. It requires an intrinsic understanding of the dual identity that makes Peter Parker tick. Maguire excelled at the tragic, earnest plight of Peter, but his Spider-Man often lacked the quick-witted, wisecracking banter of the comic books. Garfield brought dynamic energy and brilliant quips to the suit, yet his Peter Parker occasionally felt a little too cool, a little too sleek for an awkward kid from Queens. Holland’s genius lies in his ability to bridge that gap. He captured the anxious, high-pitched enthusiasm of a teenage nerd trying to pass his physics test while simultaneously balancing the terrifying burden of saving the world. He made us believe that behind the high-tech suits designed by Tony Stark, there was still just a kid who made silly mistakes, suffered profound loss, and desperately wanted to do the right thing. Crucially, Holland’s version of the character was granted something his predecessors were denied: a true long-term evolution. Maguire’s Peter ended his trilogy essentially where he began, trapped in an eternal loop of tragic choices. Garfield’s arc was severed mid-stride before it could reach a satisfying resolution. Holland, on the other hand, was allowed to transition from a starry-eyed protege in high school to a lone, tragic figure operating out of a cramped studio apartment, stripped of his Avengers tech and forgotten by the world. It is a complete, satisfying character journey that gives his tenure an unmatched narrative weight. The Amazing Spider-Man 3D Official Trailer Of course, nostalgia is a powerful drug in cinema. For those who grew up in the early 2000s (like myself), Maguire will always hold a sacred place in their hearts. For others, Garfield’s emotional depth in No Way Home served as a poignant reminder of what could have been. But when you examine the cultural footprint, the box office records, and the sheer volume of work, Holland stands tall at the top of the skyscraper. He has navigated the immense pressure of a multi-billion-dollar franchise without losing the grounded humanity that makes Spider-Man the most relatable hero in comic book history. For an entire generation of filmgoers, Holland is not just a Spider-Man; he is the Spider-Man. Whether he decides to hang up the tights tomorrow or continue swinging through Manhattan for another decade, his legacy is firmly etched in cinema history. The mask may belong to Peter Parker, but for now, the mantle belongs entirely to Tom Holland.

Film Feature by Chris Olson There is a distinct, prickly sensation that washes over a film editor when the entire internet appears to be spinning a vast web of enthusiasm for a movie he has not yet had the privilege to watch. As someone who has unashamedly championed Tom Holland’s tenure as Peter Parker, from his wide-eyed debut in Civil War right through to the multiversal heartbreak of No Way Home, I am currently caught in a sticky situation. My calendar has conspired against me, keeping me glued to my desk while audiences and critics nationwide rush to cinemas to witness Spider-Man: Brand New Day. Living vicariously through the critical consensus is a dangerous game, but reading the early reviews has left my senses tingling in overdrive. By all accounts, director Destin Daniel Cretton’s takeover of the franchise has delivered a narrative that doesn't just swing for the fences; it hooks its webs onto the highest skyscraper in town and launches the character into a bold, emotionally fraught new era. Leading the charge in pushing my excitement to a fever pitch is our very own George Wolf at UK Film Review. In his glowing Spider-Man: Brand New Day film review, George awarded the picture a stellar 4-star review, marveling at how the story brilliantly handles the devastating aftermath of Doctor Strange’s memory-wiping spell. George pointed out that far from hitting the reset button as a mere gimmick, the narrative forces Peter to grapple with profound isolation. It turns out that living in a pokey New York apartment where nobody remembers your name makes for rich dramatic soil. George praised Holland for delivering his most grounded, layered performance to date, swinging effortlessly between world-weary grit and that trademark, relatable warmth that made us fall in love with his Spidey in the first place. Spider-Man: Brand New Day Final Movie Trailer George is far from a lone voice shouting into the void of the Daily Bugle’s newsroom. Across the aggregate landscape, the film is catching critics in a sticky trap of near-unanimous acclaim. Over on Rotten Tomatoes, the film debuted to a dazzling score up in the nineties, placing it firmly alongside the most revered superhero chapters of modern cinema. Sifting through the verified reviews, a clear trend emerges: reviewers are praising this fourth installment for daring to strip away the grand, multiversal spectacle of its predecessor in favour of a more tactile, character-driven story. Industry commentators on platforms like Collider and Esquire have highlighted the film's surprising tonal shift. While the previous trilogy bathed in the bright, energetic glow of high school comedies, Brand New Day plunges Peter into the gritty, unforgiving reality of young adulthood. The integration of street-level Marvel elements, most notably Jon Bernthal’s brooding Punisher, has been singled out as a masterstroke, creating a tense, ideological friction that challenges Peter’s moral compass like never before. Over on IMDb, where early audience scores and user reviews are flooding in, the sentiment is equally charged. Viewers are raving about the stunning sequence work and practical stunt craft. Film critics across social media have noted that Cretton trades in heavy, weightless CGI for punchy, grounded fights across rainy Manhattan rooftops, giving every punch and web-slinging leap a bone-crunching sense of impact. There is also endless chatter surrounding Sadie Sink’s mysterious role, with reviewers teasing that her performance introduces an intriguing, unpredictable dynamic that keeps the audience guessing throughout. Yet, for all the talk of practical action and gritty combat, what truly resonates across the critical landscape is the enduring heart of Holland’s performance. Tom Holland Talks Spider-Man: Brand New Day Many critics have remarked that despite the suit, the villains, and the high-stakes heroics, the core of the film remains a deeply human drama about grief, independence, and the heavy price of duty. The bittersweet dynamic between Peter and Zendaya's MJ, who now looks at him as a complete stranger, is reportedly handled with such delicate, romantic-comedy flair and tragic undertones that more than a few hardened film writers have admitted to shedding tears. Naturally, a few contrarians have grumbled that the film spends a little too much time marinating in Peter’s existential angst rather than offering wall-to-wall superhero brawling. But frankly, that only increases my appetite. I have always maintained that the best Spider-Man stories are the ones where Peter Parker’s personal life is falling apart just as fast as he can web it together. With great reviews, however, comes great responsibility, chiefly, the responsibility to clear my diary, buy an oversized tub of popcorn, and get myself into a cinema seat at the earliest possible opportunity. If the film critics are to be believed, Tom Holland has not only proved that there is plenty of life left in the old web-shooter, but he has also delivered a spectacular, triumphant chapter that redefines what a Marvel movie can be. Now, if you will excuse me, I'm off to fight my way through ticket queues before the entire plot is spoiled for me.

Star rating: 4/5 Writer: James Ersted and David R. Larson Director: James Ersted Starring: Dylan Nunez, Paul Parducci, Kira Omans, Ari Hader and Alain Mora. What Happened to Suzie? is an absorbing thriller. Written by James Ersted and David R. Larson, and directed by James Ersted, this film is composed as a documentary, in the style of a 'mockumentary', but with a twist, and 100% in the dramatic genre. We meet Andy, played by Dylan Nunez, whose sister Suzie disappeared without a trait years before. He is collaborating with a documentary crew to tell his story. They organically build trust and get deeper into the story, including the fact of close family always being suspected first in disappearance cases. Unbeknownst to Andy, Don (Paul Parducci), who as director and main cameraman is the leader of the film crew, is already aware his uncle was the main suspect for a long time- when he tells Andy, alarm bells start ringing, but, after some strong hesitation, Andy ultimately decides to go through with and even deepen the collaboration, and get to the truth of what happened, with grave consequences. Technically, this film is brilliant. Visually it is gripping, with adept use of a huge variety of points of view, including CCTV footage, screen view of online calls and chats, and unique views from corner windows. The performances are brilliant, with the actors’ naturalism shines through- not an easy feat when playing high tension situations. The theme of empathy runs all the way through this film- the documentary crew, with the exception of Cynthia (played brilliantly by Kira Omans) shows no emotional interest in Andy's situation. Don even tells him that whatever Andy gets filmed doing, to add to the piece, 'doesn't have to be real, it just needs look that way for the camera'. A big question here is who can we ever really trust with our stories, pain and problems. That's the difference between being supported, or these spiralling out of control. The ultimate theme, however, is the power of organised crime, and the destructive effects it has on people, families and even entire communities. Can we ever really combat it?

Film Feature By Chris Olson There are certain literary treasures so pure, so thoroughly perfected across decades of adaptation, that any attempt to dismantle and reconstruct them ought to come with a health warning. Charles Dickens’s A Christmas Carol is chief among them. For generations, readers and filmgoers alike have held up various screen incarnations of the infamous Victorian miser as gold standards of holiday storytelling. Alastair Sim captured the ghost-riddled guilt with haunting authenticity in 1951, while Albert Finney brought musical flair to the Victorian gloom in 1970. Yet, for my money, and I suspect for many who cherish true cinematic perfection, no actor has ever matched the towering, deadpan brilliance of Sir Michael Caine in 1992’s The Muppet Christmas Carol. Playing it entirely straight opposite a felt frog and a blue whatever-he-is, Caine delivered a masterclass in emotional arc, vulnerability, and genuine redemption. You believed his heart was breaking; you believed his joy when he bought the prize turkey. So, when news reached my desk at UK Film Review that Paramount Pictures had mounted a brand-new, horror-infused reinterpretation entitled Ebenezer, starring none other than Johnny Depp as the titular humbug, my initial reaction was not excitement. It was a cold, creeping sense of dread. Ahead of its scheduled November release, I must judge what we know so far based on trailers, casting announcements, and studio fanfare. And frankly, as someone who holds the classic adaptations near and dear, I am pessimistic. Ebeneezer Official Film Trailer Directed by Ti West, the indie horror filmmaker behind X, Pearl, and MaXXXine, this new iteration promises a decidedly gothic, supernatural take on the 1843 novella. From the footage unveiled in the recent trailer release, West is leaning heavily into jump scares, bleak snowscapes, and stylized terror. The film positions itself as a darker origin-adjacent study of how Ebenezer became the cold-hearted miser who despises humanity, complete with harrowing ghostly encounters that look more suited to an October horror marathon than a cozy December evening by the fire. While horror and Dickens have always shared common roots, Dickens did, after all, write ghost stories; there is a fine line between chilling atmospheric tension and overwrought grimness. When a story shifts its focus entirely toward macabre spectacle, it risks losing the essential warmth and moral resurrection that gives A Christmas Carol its enduring soul. Michael Caine didn't need blood-curdling frights to convey a soul in torment; a subtle tremble of his lip and a tear in his eye did the work of a thousand jump scares. On paper, the supporting ensemble for Ebenezer is undeniably impressive. Sir Ian McKellen steps into the heavy chains of Jacob Marley, while Andrea Riseborough portrays the Ghost of Christmas Past. Tramell Tillman takes on the Ghost of Christmas Present, Daisy Ridley appears as the Ghost of Christmas Yet to Come, and Rupert Grint plays the long-suffering Bob Cratchit. However, all eyes are inevitably fixed on Johnny Depp. The project marks his first major Hollywood studio production in eight years, framing the film as a high-stakes comeback vehicle. We have seen Depp construct iconic, larger-than-life characters over the decades, from Edward Scissorhands to Captain Jack Sparrow. But in recent times, his performance style has often tilted toward eccentric caricature rather than grounded dramatic truth. During a recent promo stunt at San Diego Comic-Con, Depp appeared in full Victorian costume, scowling at attendees and barking in character. It was classic circus showmanship, but it did little to assuage my fears that this performance might end up as another parade of exaggerated accents, prosthetics, and theatrical tics. Scrooge requires a subtle heart underneath the frost. If Depp treats the role as merely another quirky creature in his gallery of misfits, the central emotional core of the narrative will simply collapse. The challenge with remaking a legend is that you are constantly standing in the shadow of giants. When Caine sang alongside Kermit and Gonzo, he treated the material with absolute sincerity, grounding a fantastical world in real, human heartbreak. By contrast, a heavy-handed, horror-adjacent blockbuster risks feeling hollow; a stylish exercise in gothic aesthetic that forgets why people fall in love with Dickens’s tale every winter. I hope Ti West and Johnny Depp will prove me wrong when Ebenezer finally arrives in cinemas this November. Perhaps the gloom will give way to a genuinely moving story of redemption. But until the lights go down and the credits roll, I remain deeply sceptical. For now, I suspect I shall be sticking with Tiny Tim, Rizzo the Rat, and Sir Michael Caine.

Film Feature By Chris Olson There is a distinct, agonising torture reserved for film critics who, due to the chaotic juggling of editorial schedules, family commitments, and an unrelenting tide of indie screeners, find themselves fashionably—or unfashionably—late to the biggest cinematic event of the decade. I must confess, with a mixture of professional chagrin and profound jealousy, that I have not yet sat down in a darkened theatre to experience Christopher Nolan’s sprawling epic, The Odyssey. Every time I open my social media feeds, tune into cinema podcasts, or glance at our very own site, I am inundated with rapturous praise. Chief among those tormenting my fear of missing out is our own George Wolf at UK Film Review, whose dazzling five-star review hailed the picture as a monumental achievement in modern blockbuster filmmaking. George’s glowing write-up left me practically itching to sprint straight to the nearest IMAX screen. But while I wait for a precious three-hour window in my calendar to embark on Odysseus’s mythical voyage, I have been keeping a very close eye on another epic journey currently unfolding across the global box office charts. When a film of this staggering scale hits cinemas, the critical discourse is only half the story. The other half, the cold, hard commercial realities of modern Hollywood, is just as compelling. Mounting Homer’s ancient Greek poem on a canvas of IMAX film stock was always going to be a colossal risk. Audiences in recent years have grown notoriously selective, often choosing the comfort of streaming platforms over the price of a cinema ticket unless a project promises something truly unmissable. Yet, if the latest figures are anything to go by, Nolan’s retelling of the legendary voyage back to Ithaca has proven to be an absolute commercial titan. Moviegoers around the globe are voting with their wallets, turning what could have been a costly gamble into one of the most remarkable box office triumphs in recent memory. To truly understand the magnitude of this financial achievement, one has to start with the sheer scale of investment required to get the project off the ground. According to official figures listed on the film's IMDb page, the production budget for The Odyssey came in at an eye-watering $250 million. In an era where studios are increasingly hesitant to spend a quarter of a billion dollars on non-superhero fare, handing that kind of capital to a creative team for a grand, period-accurate mythological drama was a bold statement of faith. Yet, as history has repeatedly shown us, betting against Nolan on the big screen is rarely a wise move. That $250 million budget was visible in every frame of the promotional material, from vast practical sea battles to intricate creature craft and sweeping landscapes, promising a level of cinematic spectacle that simply cannot be replicated at home. The Odyssey Official Trailer That massive financial investment paid immediate dividends as soon as the film opened to the public. During its opening weekend alone, The Odyssey sailed to a breathtaking $123.5 million in North America. An opening weekend of that magnitude for an auteur-driven historical epic is practically unheard of in the contemporary box office landscape. It instantly silenced any sceptics who questioned whether mainstream audiences still possessed an appetite for classical storytelling on an unhurried scale. Driven by glowing critical consensus and immediate word-of-mouth chatter, moviegoers packed out premium large formats, eager to be immersed in the treacherous world of Sirens, Cyclopes, and divine intervention. Since that explosive launch, the film’s momentum has shown virtually no signs of slowing down. In the domestic market across the US and Canada, The Odyssey has accumulated a staggering gross of $286.4 million (as of the date of publishing). Holding strong week after week against tough summer competition, it has demonstrated the kind of long-term theatrical endurance that defined classic blockbusters of decades past. It is not merely riding the wave of an aggressive marketing campaign; it is sustaining its box office presence because audiences are returning for repeat viewings and urging their friends to catch it on the biggest screen possible, exactly as George Wolf urged our readers in his review. However, it is on the international stage where Odysseus’s journey has truly transformed into a global phenomenon. Worldwide, The Odyssey has racked up an astonishing gross of $639.6 million so far. Crossing the $600 million threshold in such a brief window is a monumental feat, comfortably sailing past its original $250 million production budget and pushing decisively toward massive profitability. Overseas audiences have embraced the timeless tale with immense enthusiasm, proving once again that high-concept, director-led cinema possesses a universal resonance that transcends linguistic and cultural borders. Looking at these figures from an editorial standpoint, the commercial narrative surrounding the film is almost as satisfying as the story on screen promises to be. In an industry currently obsessed with safe intellectual property, endless sequels, and pre-packaged cinematic universes, the huge financial success of The Odyssey offers a beacon of hope for traditional filmgoing. It proves that when vision, substantial financial backing, and uncompromised craftsmanship align, the general public will happily fill cinema seats in droves. As for me, watching these box office totals skyrocket every single day only intensifies my desperation to finally experience the film for myself. George Wolf’s magnificent five-star review made it crystal clear that this is a film designed to be felt as much as seen, a sensory masterpiece that demands undivided attention in a darkened auditorium. Knowing that over $639 million worth of tickets have already been sold around the world makes me feel like the last filmgoer left standing on the shore while the rest of the world sails off into cinematic history.

Star rating: 4/5 Writer: Zach Huber Director: Zach Huber Starring: Matt Bergonzine, Katherine Tompkins and Evan Michael Ewing Betrayal is arguably one of the worst feelings that exists, and Deceive to Achieve illustrates this with really precise narrative. Written and directed by Zach Huber, in this 5-minute long short film, we meet Johnny (played by Matt Bergonzine), our main character, an independent film director who is currently struggling. He is working with Connor and Alicia on a film scripted by him. When Connor hears their true thoughts, his way of seeing his work, and life, collapses. Taken for granted, used to the point of abuse and deceived for reasons that have in reality nothing to do with him. Quite the definition of betrayal. Technically, Deceive to Achieve is a really strong piece, with clear, simple dialogue, and editing being is strongest point. It is hugely effective in visually expressing betrayal, the internal shifts it creates in a person. The use of wide aperture for blurred effect on some of the pivotal scenes is also a brilliant creative choice for this story. The performances are strong, in particular Evan Michael Ewing’s portrayal of Connor’s nonchalant approach to using Johnny. The question is whether Johnny will truly liberate himself from this. In this age of individuality, where everybody is seemingly in it just for themselves, an urgent antidote is needed for this individualism.

Film Feature by Callum Ewing and James Learoyd The Best Steven Spielberg Films Trying to choose the best Steven Spielberg film is nearly an impossible task. The great man himself has changed the cinematic landscape on multiple occasions creating classic after classic. From creating the modern-day Summer blockbuster with Jaws, to reinventing the sci-fi genre with Close Encounters of the Third Kind to revolutionising CGI and animatronics with Jurassic Park, Spielberg has a fair few films to pick from. A.I: Artificial Intelligence - Steven Spielberg However, I would offer two different answers to the question of what Steven Spielberg's best film is. On one hand I would say my favourite film of Spielberg’s is Raiders of the Lost Ark – a film that again changed the action-adventure genre and has become an absolute classic. Raiders of the Lost Ark with its sweeping John Williams score, thrilling set pieces and quintessential action hero ushered in a new type of film. Despite my love for Raiders of the Lost Ark, I cannot commit to saying it is Spielberg’s best film when Schindler’s List exists. The only Spielberg film that has won Best Picture and a film that transcends the genre. The film redefined education on the Holocaust with the events becoming more aware in the public consciousness. No longer did people have to read out of history books to learn about the tragic events. The most important part about the film and its legacy is the creation of the USC Shoah Foundation, where Spielberg has established an archive at the University of Southern California that preserves testimonies from the Holocaust, Armenian, Cambodian, and Rwandan genocides. These archives are used in global education. Perhaps that is why I consider Schindler’s List his best film, not because of its extraordinary filmmaking and winning best picture but because of its legacy outside of Hollywood. Jaws Official Film Trailer - IMAX Honourable mentions to: Jaws, Close Encounters of the Third Kind, E.T, Jurassic Park, Saving Private Ryan, Catch Me If You Can, Minority Report and Lincoln. For James, Jaws and E.T.: The Extra-Terrestrial both mark the pinnacle of Spielberg as a populist filmmaker and a technical master. Each film becoming the highest-grossing releases up till that point in time respectively, there’s a reason why these works captured the public consciousness – beyond their ability to entertain with spectacle and feeling. What modern-day studio people seem to forget when they’re attempting to emulate the success of Jaws is just how elemental a masterpiece it is. In terms of both scenario and form, it’s a movie that’s completely stripped to the bone. Outside of the less-is-more score for the film (which requires no discussion), this idea is illustrated by the classic’s legendary final hour. It’s just three people in one unchanging location (a boat at sea), one objective (shark), and a series of practical factors that are either going right or going wrong. The elegance is in its simplicity, and it truly feels like you, the viewer, are out there with them. E.T Film Trailer E.T. is different but operating on the same level. Instead of a thriller-based cat-and-mouse setup, we have an emotional bond that goes beyond the norm. The filmmaking then, in turn, needs to match the feelings of the central relationship (between boy and alien); and so we get one of the most awe-inspiring scores of all time from Williams, and some of Spielberg’s most effortlessly poetic imagery and long-lasting iconography. In many ways, it could be defined as the ultimate Steven Spielberg film: empathy-based science-fiction from a child’s perspective, elevated by inimitable cinematics. Honourable mentions for Best Film: Jurassic Park, Close Encounters, Catch Me If You Can, Lincoln Lincoln Official Film Trailer The Worst Steven Spielberg Films Despite being one of the greatest directors of all time and a filmmaker that as mentioned before has changed the landscape of cinema even Steven Spielberg has had a couple of bad days at the office. Given the size and quality of Steven Spielberg’s filmography, his hit rate is remarkable, but a few films either disappointed or failed to live up to expectations. One would could easily point fingers to his sequels to his two biggest franchises: Jurassic Park and Indiana Jones. Both the Lost World and Kingdom of the Crystal Skull failed to meet the lofty expectations set by their predecessors, but I do not consider these two films to be bad, and both are fun to watch. However, they pale in comparison to the originals with poor scripts letting the films down. Indiana Jones and the Kingdom of the Crystal Skull Movie Trailer Another recent disappointment could be Disclosure Day which was one of my most anticipated of 2026 and unfortunately did not quite have the thrills or wonder that the trailers promised. This is despite an outstanding performance by Emily Blunt and some masterful directing in the film. However, my pick for my least favourite Spielberg film is his attempt at the screwball comedy with 1941. A film that came quickly after both Jaws and Close Encounters and contained a star-studded cast but for me does not make me laugh. The film has its strengths, including striking visuals, impressive set design and the occasional funny moment, but it is often too loud and chaotic, and too many of its jokes fail to land for me. The Terminal Film Trailer The Terminal is Spielberg’s least functional movie in James’ eyes; however, here he argues that Amistad is the most significant misapplication of the Spielberg style (perhaps a far greater sin than a flimsy feel-good misfire). The latter of his two 1997 releases recounts the court case of the uprising on the slave ship Amistad, and its ultimate relevance to slavery and the slow, politically motivated progressions relating to human rights (a topic that Spielberg revisits far more adeptly in 2012’s Lincoln). Despite a phenomenal opening depicting said uprising – executed with visual viscera without the use of dialogue – the rest of the picture can’t help but adopt the glossy, Hollywood approach that the director is so used to. Whilst this courtroom drama is indeed broken up by flashbacks to the most horrific sequences of torture against the captive Amistad slaves, the rest is decidedly by-the-books. A jarring dramatisation that lacks a required ruthlessness and probing political perspective; something that’s also notably absent from many of Spielberg’s most lacklustre historic pieces. Underrated/Overlooked Steven Spielberg Films Given the size of Steven Spielberg’s filmography and the lasting reputation of many of his films, several titles could qualify as underrated or overlooked. One option is 2017’s The Post, which, despite marking the first collaboration between Meryl Streep and Tom Hanks and earning a Best Picture nomination, is rarely discussed among Spielberg’s major works. The film whist not one of his masterpieces is still a great film about the Washington Post deciding to publish the Pentagon Papers. The Post Official Film Trailer I could also highlight The Fablemans and West Side Story two of his most recent films that were also nominated for Best Picture and were critical successes, but both did not make much of an impression at the box office. War of the Worlds is another pick for an overlooked film despite its critical and box office success as the film does seem to get lost in conversation due to its bleak tone compared to Spielberg’s other sci fi or adventure films. However, my pick for his most underrated/overlooked is his very first film released in 1971 – Duel. A film that has a simple premise of a massive semi- truck chasing down a traveling salesman called David Mann for about 90 minutes and yet is so effective at making a thrilling film. Made on a budget of $450,000 and as a TV movie the film is a great way to see a young Spielberg already laying down the foundations and traits that could be seen in his later films. The film follows an “everyman” hero who is an ordinary man in an extraordinary situation and has gone through some sort of cathartic change by the end of the film. Duel also showcases long tracking shots, the now-famous “Spielberg face” of dread or wonder, and careful use of shots and sound to make the semi-truck feel enormous and threatening. Honourable mentions to: The Colour Purple, Empire of the Sun, the Last Crusade and A.I. James feels it should be mentioned that The Sugarland Express is criminally underseen. The directorial confidence and production on display in the 1974 film, especially for only his second (or even first) theatrical piece, couldn’t be more striking. Such a handsome-looking movie should be discussed in tandem with some of its 70s contemporaries. Malick’s Badlands is an easy comparison, for example – both for its crime-centred road trip narrative, and its shimmering, sunset aesthetic. Close Encounters film trailer James argues that this and Close Encounters are his two best-looking movies and stands by it. Yet in terms of more contemporary Spielberg that already feels as if it’s been left behind, you can’t get much better than his outstanding Bridge of Spies which boasts one of the most deserved Best Supporting Actor wins in recent memory in the case of Mark Rylance. But it’s A.I. Artificial Intelligence that’s James’ personal favourite Spielberg film and also fits nicely in the ‘most underrated’ category. Where to start... What if E.T. was severely messed up? What if this is our future? What if a robot boy named David had the capacity to love, didn’t know what to do with that horrific feeling, and was willing to bend the very fabric of lived reality because of some inventor’s whim? In A.I., the very language of Spielberg’s cinema is being deconstructed before you. It’s unpleasant, it’s gorgeous, it’s Pinocchio on acid by way of 2001. Speaking of which, many viewers take issue with the common complaint that the style is an amalgamation of Kubrick’s original conceit and Spielberg's realisation; that the tones don’t quite match. But for me, that’s what sets this apart from the rest of his filmography. It should be viewed as its own beast, with its own self-contained style and tone. Spielberg’s camera treats David’s distress and yearning with the same level of emotional import as some of his more explicitly ‘upsetting’ efforts, and it’s one of the most affecting movies of all time because of it. Underrated: West Side Story, Kingdom of the Crystal Skull, The Adventures of Tintin Callum Top 10 1. Schindler’s List 2. Raiders of the Lost Ark 3. Jaws 4. Close Encounters of the Third Kind 5. Jurassic Park 6. E.T 7. Saving Private Ryan 8. Minority Report 9. Catch Me if You Can 10. Lincoln James Top 10 1. A.I. Artificial Intelligence 2. Jaws 3. E.T. The Extra-Terrestrial 4. Close Encounters of the Third Kind 5. Catch Me If You Can 6. Lincoln 7. Jurassic Park 8. West Side Story 9. Bridge of Spies 10. Minority Report Now listen to James and Callum in Part 1 of their special podcast episode of The Films of Steven Spielberg

Star rating: 4/5 Created by: Diana Galimzyanova Nothing Happens is an introspective Russian short film, a story told without dialogue, and a great soundtrack. Written and directed by Diana Galimzyanova, this 8 minute long film follows a man, somewhere between his mid -30s and early 40s, who works in a bar that is also a live music venue. This character, who remains nameless, leads a life where different nights and different events seem to blur together. He surrounded by people and music but seems to be, to coin a phrase, lonely in a crowded room. He observes but doesn’t speak, simply getting on with what he has to do. Technically this film is very interesting. Not only does it showcase a brilliant soundtrack, including bits of covers of David Bowie songs, and great cinematography that transports you fully to a night out. It Is also deeply naturalistic, almost documentary-like, to the point where you wonder if these are scenes from real life being filmed, and edited for expression. We see some brilliant framing and inspired points of view throughout. This piece might be expressing monotony and pessimism, but it might equally be expressing patience and a strong sense of self, that we need the most at so many points in our lives. It’s good, thoughtful work.