Search Results

Film Podcast Feature by Chris Olson In the ever-expanding universe of the UK Film Review Podcast , we are constantly seeking out the voices that define modern cinema. This particularly insightful instalment of " The Films Of ", presented by my esteemed colleagues Callum Ewing and James Leroyd, marks a significant milestone for the show as they pivot from dissecting directorial oeuvres to examining their first-ever actor: the indomitable Margot Robbie . The timing could not be more apt, with Robbie set to grace our screens in the upcoming Wuthering Heights . Over the course of their discussion, Callum and James trace the remarkable trajectory of an artist who has transitioned from a breakout star to the highest-paid actress of 2023, all while wielding significant power behind the camera through her production company, LuckyChap Entertainment. Wuthering Heights official trailer The Wolf of Wall Street The conversation naturally begins with the film that served as Robbie’s definitive breakout. Callum reminds us that while Robbie had appeared in About Time (one of my favourite all-time films!) it was Martin Scorsese’s The Wolf of Wall Street  that truly launched her into the stratosphere. At just 22 or 23 years old, she held her own against Leonardo DiCaprio, delivering a performance James describes as "iconic". They discuss how she wasn't just a "pretty face" in this role; she was a comedic "firecracker" with an impeccable New York accent. James highlights the "fucking owl" line as a testament to her early understanding of joke delivery and screen presence. It was a performance that announced a major talent, even if it initially risked her being over-sexualized by the industry. I, Tonya I, Tonya Official Trailer For Callum, the pinnacle of Robbie’s career thus far is her transformative turn as Tonya Harding in I, Tonya . This was the project that earned her a first Academy Award nomination and, more importantly, forced the world to take her seriously as a powerhouse actress. Callum notes how she fully committed to the role, from the physical demands of ice skating to the heartbreaking vulnerability of the courtroom scene. James, while less enamoured with the film's overall "assaultive" style, agrees that the courtroom moment is Robbie at her best, where the filmmaking finally slows down to let her performance breathe. It remains a definitive example of her ability to disappear into a character, moving far beyond the "bombshell" archetype. Babylon Babylon Official Film Trailer James offers a more divisive pick for his favourite performance: Nellie LaRoy in Damien Chazelle’s Babylon . Though the film itself split critics, James argues that Robbie is "at her best" here, showcasing an incredible energy and physicality. He describes her as a "dynamic screen presence" who hypnotises everyone around her, particularly during the manic opening sequences. The hosts discuss how Babylon  reflects the "gumption" Robbie brings to her work, handling the chaos of a film-within-a-film production with elegance. It is a "capital G great performance" that demonstrates her range and willingness to go to extreme emotional and physical places. Barbie Barbie Official Film Trailer No discussion of Margot Robbie would be complete without the cultural phenomenon that is Barbie . Callum and James view this as the "ultimate Margot Robbie movie," a perfect fusion of her stardom, her business acumen as a producer, and her ability to elevate material. They praise the "masterful" chemistry between Robbie and Ryan Gosling, which James suggests is her best pairing to date. Callum points out that while the role relies on her looks, it does so reflexively. Robbie plays a character designed for perfection who must navigate the choice to be human and flawed. James notes that while it's a quieter performance than Babylon , it is no less impactful, representing a peak of her professional life where she is firing on all cylinders. Once Upon a Time in Hollywood Once Upon a Time in Hollywood Official Film Trailer The hosts also take time to celebrate Robbie’s skill in supporting roles, specifically her portrayal of Sharon Tate in Quentin Tarantino’s Once Upon a Time in Hollywood . James dismisses the common criticism regarding her limited screen time, arguing that a supporting performance is meant to "elevate" the film, which she does with a sense of pure joy. The scene where Tate watches her own film in a cinema is singled out as a "wonderful" moment of performance that avoids being exploitative. It serves as a reminder that Robbie does not need to be the lead to leave a lasting impression on the audience. Suicide Squad and Birds of Prey Birds of Prey Official Film Trailer Robbie’s tenure as Harley Quinn is discussed with a mix of admiration and frustration. While they both find the original Suicide Squad  to be a "bad film" that over-sexualises the character, they agree that Robbie’s commitment to the role was its saving grace. Callum notes how she "saved the film" multiple times with her performance. They much prefer her later turns in the role, where the writing finally caught up to her talent. Through her production work on Birds of Prey , she was able to reclaim the character, moving Harley Quinn away from being a "nightmarish" caricature to a more fleshed-out and interesting figure. The Legend of Tarzan and Bombshell In the spirit of a complete retrospective, Callum and James also touch upon the less successful entries in her filmography. Callum selects The Legend of Tarzan  as a "mundane" low point, noting that while Robbie isn't bad in it, the character of Jane Porter is unmemorable and the film itself is largely forgotten. James is even more critical of Bombshell , describing it as a film that already feels "ancient" and "outdated". He finds Robbie's composite character to be awkwardly written, though he acknowledges she plays the emotional breakdown scenes well. These examples, they argue, are rare instances where the material fails to meet the standard of the performer. The Producer’s Path Beyond the acting, Callum and James are clearly impressed by Robbie’s "entrepreneurial spirit". Through LuckyChap, she has produced not only her own vehicles like I, Tonya  and Barbie  but also critically acclaimed hits like Promising Young Woman  and Saltburn . They conclude that Robbie is an actor who knows exactly what she wants, selectively choosing to work with world-class directors like Wes Anderson, Greta Gerwig, and Martin Scorsese. Whether she is playing a historical figure, a comic book anti-hero, or a plastic doll, she remains one of the most vital and interesting figures in cinema today. This episode of "The Films Of" is a deep dive into a career that is still, incredibly, in its early stages. We invite you to join Callum and James as they celebrate the range, the risk-taking, and the remarkable rise of Margot Robbie. It is a conversation that reminds us why we love the movies—and why we should always keep an eye on what Robbie does next.

Film Feature by Chris Olson There is something quintessentially British about a high-concept romantic comedy set against the backdrop of a university campus. It is a sub-genre that, when handled with the right balance of wit and sincerity, can capture the messy, exhilarating transition into adulthood like nothing else. This week, Focus Features and Working Title have pulled back the curtain on their latest collaboration, Finding Emily , and if the first-look images are anything to go by, we are in for a treat. Finding Emily Official Trailer Directed by Alicia MacDonald , who makes her feature film directorial debut here, Finding Emily  (originally developed under the working title CC: Emily ) looks to be a vibrant addition to the UK's rich history of rom-coms. MacDonald is a filmmaker whose star has been steadily rising in the television world. Having helmed episodes of the dark comedy Pure  and the acerbic Flack , as well as the second series of Stephen Merchant’s The Outlaws , she has proven she has a keen eye for character-driven comedy and sharp, visual storytelling. The premise of the film is a classic "meet-cute" with a modern, chaotic twist. When Owen (played by Spike Fearn ), a lovesick and somewhat disorganised musician, believes he has finally secured the number of the girl of his dreams, he thinks his luck has turned. In reality, he has been given the wrong digits. Desperate to track down the mystery woman, Owen finds an unlikely ally in Emily (played by Angourie Rice ), a driven and hyper-focused psychology student. What starts as a simple search quickly spirals into a campus-wide frenzy. As the two navigate the social minefields of university life, their mission to find "the one" begins to test their own hearts and professional ambitions. It is a narrative setup that feels ripe for the kind of situational comedy and emotional payoff that Working Title—the powerhouse behind Notting Hill  and Bridget Jones's Diary —is famous for. Actor Angourie Rice, director Alicia MacDonald and actor Amber Grappy on the set of their film, FINDING EMILY, a Focus Features release..Credit: Matt Squire / © 2026 FOCUS FEATURES LLC. The newly released images offer us a glimpse into the aesthetic world MacDonald has crafted. In the first behind-the-scenes shot, we see Angourie Rice  and Amber Grappy  in conversation with MacDonald on set. The setting appears to be a formal event, perhaps a university ball, given the elegant, dotted evening gown worn by Rice. There is a warmth to the lighting that suggests the film will lean into a lush, cinematic look while maintaining the grounded feel of a British production. Angourie Rice has quickly become one of the most dependable young actors working today. From her breakout role in The Nice Guys  to her recent turn as Cady Heron in the Mean Girls  musical, she possesses a natural charisma and intelligence that makes her perfectly cast as a "driven psychology student." Opposite her, Spike Fearn  is an actor whose momentum is impossible to ignore. After a standout performance in Alien: Romulus , Fearn seems to be embracing a very different kind of role here—trading sci-fi terror for the vulnerability of a romantic lead. Spike Fearn stars as Owen and Angourie Rice as Emily in director Alicia MacDonald’s FINDING EMILY, a Focus Features release...Credit: Matt Squire / © 2026 FOCUS FEATURES LLC.. The second image provides a more intimate look at the lead duo. Owen and Emily are pictured together at what looks like a pub or a student bar, illuminated by fairy lights. The chemistry between Fearn and Rice is palpable even in a still frame; there is a sense of shared wonder and perhaps a hint of the "frenzy" mentioned in the synopsis. The film is written by Rachel Hirons , whose previous credits include A Guide to Second Date Sex  and Powder Room . Hirons has a knack for capturing the awkwardness of modern romance, and her voice feels like a natural fit for this project. The production pedigree is equally impressive. Produced by Tim Bevan  and Eric Fellner  for Working Title alongside Olivier Kaempfer  for Parkville Pictures, Finding Emily  has the backing of a team that understands the global appeal of a British rom-com. The cinematography is handled by Rachel Clark , whose work here appears to embrace the architectural beauty of the film's Manchester filming locations, giving the campus setting a grand yet accessible feel. "Together, they spark a hilarious campus-wide frenzy that tests their own hearts and ambitions along the way." — Official Synopsis Finding Emily Release Information For those of us in the UK, the wait won't be much longer. Focus Features has confirmed that Finding Emily  is set to arrive in UK cinemas on 22nd May 2026 . This late-spring release date suggests the studio has high confidence in the film as a "feel-good" hit for the season. Interestingly, the US release follows a few months later in August, positioning it as a late-summer highlight for international audiences. As the official trailer begins to circulate, the buzz on social media is already building. In a cinematic landscape often dominated by franchises and blockbusters, there is something refreshing about a mid-budget, character-led comedy that simply wants to tell a story about two people trying to find their way. Finding Emily  looks set to be a charming, witty, and heart-swelling journey through the highs and lows of young love. Keep an eye out for more coverage as we approach the May release date.

Film Feature by Chris Olson If you had told me in 2010 that the small, gibberish-spouting yellow henchmen from Despicable Me  would eventually command a global box office of over $5.6 billion, I might have checked you for a fever. Yet, here we are in 2026, and the "banana" enthusiasts are not just part of the furniture; they own the house. Following the massive success of last summer’s Despicable Me 4 , Illumination has officially pulled back the curtain on their next venture: Minions & Monsters . As someone who holds the original Despicable Me  trilogy in high regard, I have always found the franchise's main line to be a masterclass in heart-driven slapstick. My relationship with the spin-offs, however, has been a bit more turbulent. While I thoroughly enjoyed the first Minions  film for its 1960s aesthetic and sheer chaotic energy, the subsequent entry ( The Rise of Gru ) didn’t quite capture that same lightning in a bottle for me. It is with a sense of cautious optimism, therefore, that I approach this latest teaser trailer. The Return of Pierre Coffin The most encouraging news for fans of the original films is the return of Pierre Coffin to the director’s chair. An Academy Award nominee, Coffin is essentially the architect of this universe, having directed the first three Despicable Me  films and the original Minions  outing. More importantly, he remains the definitive voice of the Minions themselves. There is a specific rhythm to his direction and vocal performance that feels essential; when he is involved, the mayhem usually has a purpose. Coffin is also pulling double duty as a writer, joined by Brian Lynch, who penned both the first Minions  and The Secret Life of Pets . With production handled by Illumination CEO Chris Meledandri and Bill Ryan—who recently oversaw the juggernaut that was The Super Mario Bros. Movie —the technical pedigree behind this project is undeniably strong. Hollywood, Mayhem, and Monsters The premise laid out by the studio is certainly ambitious. Minions & Monsters  is being billed as the "totally true story" of how our yellow friends conquered Tinseltown. The narrative apparently follows their rise to Hollywood stardom and their subsequent fall from grace, which leads to them accidentally unleashing literal monsters upon the world. It is a "save the planet" scenario born out of their own incompetence, which is exactly where the Minions thrive. By introducing "all-new characters" alongside the familiar horde, Illumination seems intent on expanding the scope of the franchise beyond the usual Gru-centric hijinks. Minions & Monsters Official Trailer Minions & Monsters Official Trailer UK Release Date For Minions & Monsters For those of us in the UK looking to clear our schedules for more animated anarchy, the date is now set. Minions & Monsters  is scheduled to arrive in British cinemas on 1 July 2026 . This puts it squarely in the middle of the summer blockbuster season, a slot the franchise has dominated historically. Whether this film can reclaim the charm of the first spin-off remains to be seen. However, with the original creative guard back in control and a premise that shifts the focus to a Hollywood setting, I am hopeful that this might be the entry to win back those of us who felt the series was drifting into autopilot. The Minions have spent over a decade as icons of their generation; if they can successfully pivot into the world of monster-hunting, they might just stay on top for another decade to come.

Film Feature by Chris Olson There is something about the bounce of a basketball on a hardwood floor that stays with you. As someone who spent a significant portion of my teenage years on the court—alternating between the thrill of a successful fast break and the frustration of a missed free throw—the sport has always held a special place in my heart. It is a game of rhythm, precision, and, above all, the pursuit of greatness. It is perhaps fitting, then, that Sony Pictures Animation’s latest venture is titled GOAT, leaning into the "Greatest of All Time" moniker that has sparked a thousand playground debates. The buzz surrounding this project is hard to ignore. For a basketball fan, the pedigree behind the scenes is enough to pique interest. The film is produced by none other than Stephen Curry and his Unanimous Media banner. Having one of the greatest shooters in NBA history overseeing a film about his own sport suggests a level of authenticity that often goes missing in Hollywood’s athletic endeavours. Even in an animated world populated by animals, one hopes the mechanics of the game—the arc of the shot, the spacing of the floor—are treated with the respect they deserve. GOAT UK Release Date The wait for GOAT is nearly over. For those of us in the UK, the film is scheduled to hit cinemas on 13 February 2026. The timing is deliberate, aligning with the NBA All-Star Weekend, a period when the global basketball community turns its eyes toward the spectacle of the game. In a cinematic landscape often dominated by sequels and established franchises, there is a refreshing energy to an original sports comedy. Sony Pictures Animation has a formidable track record lately—they are, after all, the studio that gave us the visual revolution of the Spider-Verse films. If they can bring even a fraction of that stylistic innovation to the basketball court, we might be looking at something truly special. The casting details suggest that Sony is aiming for a broad, multi-generational appeal. Leading the pack is Caleb McLaughlin, known to many from Stranger Things, who provides the voice for Will. Will is our protagonist—a small goat with massive ambitions. In the world of GOAT, the sport is known as "roarball," a high-intensity, full-contact version of the game dominated by the biggest and fiercest animals. GOAT Official Film Trailer GOAT Official Film Trailer Joining McLaughlin is a stellar ensemble. Gabrielle Union, who has her own deep ties to the basketball world, stars as Jett Fillmore, a veteran panther and elite star of the league. It is always encouraging to see sports films that embrace co-ed dynamics, and Union’s involvement brings a certain gravitas to the "veteran" role. The roster continues with David Harbour as Archie Everhardt, a rhinoceros, and Nicola Coughlan—a personal favourite from Derry Girls and Bridgerton—taking on the role of an ostrich named Olivia Burke. The cast is rounded out by the likes of Nick Kroll, Jenifer Lewis, and Patton Oswalt. Of course, Stephen Curry himself isn’t just staying behind the camera; he lends his voice to a character named Lenny Williamson, a giraffe who presumably has a very high release point on his jumper. When I played as a teenager, the local court was a sanctuary. It didn't matter if you were the tallest or the strongest; it mattered if you had the heart to stay in the game when the legs started to get heavy. From what I’ve gathered, GOAT leans heavily into this "underdog" or "undersized" narrative. The film’s tagline, "smalls can ball," is a direct nod to Curry’s own career path—a player once told he was too slight to make it at the highest level, only to go on and redefine how the sport is played. Animation is the perfect medium for a sports story like this. It allows for a literal "stretch" of reality, where the physics of a dunk or the speed of a crossover can be exaggerated to match the emotional weight of the moment. There is a specific kind of magic in seeing a character overcome physical limitations through sheer skill and willpower. I am hopeful that GOAT manages to capture that feeling. I want to see the sweat on the brow (even on an animal), the squeak of the trainers on the floor, and that singular, satisfying sound of a ball snapping through the net. If the film can marry the heart of a classic sports drama with the visual flair we’ve come to expect from this studio, it could very well become a staple for families and basketball enthusiasts alike. We are currently in a bit of a golden age for animation that refuses to talk down to its audience. We’ve seen films tackle complex themes of identity and legacy, and there is no reason a sports comedy shouldn't do the same. As we look toward the February release, my fingers are crossed that GOAT delivers more than just slapstick animal antics. Fans of the classic 1996 movie Space Jam should also start doing their stretches. Space Jam Official Trailer If GOAT can remind us why we fell in love with the game in the first place—the camaraderie of a team, the discipline of practice, and the joy of a well-played game—then it will have earned its title. Whether you’re a seasoned vet who still remembers your old jersey number or a newcomer who just likes a good underdog story, GOAT seems to be positioning itself as the must-watch family event of the season. See you at the tip-off.

Star rating: 4/5 Writer: Alex Volz Director: Vito Trabucco Starring: Jessica Sonneborn, Vincent Cusimano, Hilary Powers, and Bemjamin Kauffman. A quirky, funny, 'alternative' Western. The year is 1820 and the setting is the Mojave Desert in the United States, where a family of 5 (soon to be 6) arrive in a bandwagon in search for a life in the West. Papa Youngman, Mama Youngman, their sons Jeb and Luke, and Jeb's wife Maggie as the classic white American homesteaders. As they arrive, they don't meet Indian communities or come face to face with wolves, although a rattle snake does make a consequential appearance. Instead, they come across a smartphone, called Britney. This is the premise of this funny film. Britney Lost Her Phone is written in a punchy, irreverent tone reminiscent to a British viewer of Horrible Histories. Like the show, it poses really deep questions in an out of context sort of way that makes them all the sharper. What would survival in the tough dessert conditions have been like with access to Google, YouTube and Spotify?   Technically, the film's highlight of the film is that it takes place entirely outdoors, except for scenes inside the bandwagon, featuring breathtaking views of the North American wilderness. The really charismatic characters are brough to life by witty, committed performances. The actors pay cheeky homage to the larger-than-life approach of the Western genre. As many films in the genre, the score of the film adds to its character: an originally composed American-rock 'anthem'. Yet another cheeky homage something 'all-American', with a sound like Green Day's many hits. The opening features really evocative illustrations which serve really well to bring the viewer into the story from the start.    The premise of a smartphone accessible to a family during the 'Manifest Destiny' days leads to questions deeply resonant today: problems of pure survival, and ultimate violence, against problems of fear, addiction and all- pervasive 'information'. Mama Youngman is convinced the smartphone Britney is the work of the devil: a false prophet full of lies (fake news, anyone?). In particular, the problem of addiction is portrayed particularly cleverly, as Jeb goes from fearing to becoming deeply dependent, and not for knowledge. 'Unfortunately, it only teaches you what you want to learn', says Jesus, a stranger who meets the Youngman family towards the end of the film. The definition of echo chambers and atomisation we are subjected to today. This alternative Western is smart and incisive in a funny and escapist sort of way.

Film Feature by Chris Olson Film fans, and myself included, are often cynical about the "legacy sequel" trend, but when the news broke that the original trifecta of Meryl Streep, Anne Hathaway, and Emily Blunt were officially returning to the offices of Runway , even my stony critic’s heart skipped a beat. I haven't had the pleasure of a private screening yet—trust me, I’ve checked the post every morning—but the flurry of information surrounding The Devil Wears Prada 2  has me more excited than Nigel (Stanley Tucci) at a sample sale. After stumbling upon the official trailer on YouTube, I knew it was time to dive into what we actually know about this high-fashion homecoming. The UK Release Date for The Devil Wears Prada 2 Mark your calendars and perhaps start looking for a coat that doesn’t look like a "lumpy blue sweater." 20th Century Studios has confirmed that the film will have a simultaneous global rollout. For those of us in the UK, The Devil Wears Prada 2  is currently scheduled to hit cinemas on 1 May 2026 . Bear in mind, this can all change, so don't shout at me if it gets pushed back. It’s a poetic bit of scheduling, landing almost exactly twenty years after the original film redefined the workplace comedy. While there was some initial internet chatter about a potential streaming-only debut, the massive trailer views have clearly convinced the studio that this is a "theatrical-must". The Devil Wears Prada 2 Official Film Trailer The Devil Wears Prada 2 Casting The biggest draw, of course, is the return of the "Holy Trinity." Meryl Streep  is back as Miranda Priestly, and from the early whispers, she hasn’t softened with age. Anne Hathaway  reprises her role as Andy Sachs—reportedly now a senior Features Editor—while Emily Blunt  returns as Emily Charlton. The plot twist? Emily is no longer the assistant scurrying for coffee. Reports from Variety  and The Hollywood Reporter  suggest she is now a high-powered executive at a luxury conglomerate, holding the very advertising dollars that a struggling Miranda desperately needs to save Runway  in a dying print market. Adding to the excitement is a stellar supporting cast. Stanley Tucci  is back as Nigel (thank goodness), joined by newcomers including Kenneth Branagh  (playing Miranda’s new husband), Lucy Liu , Justin Theroux , and Simone Ashley . There are even confirmed cameos from Lady Gaga  and Donatella Versace , ensuring the fashion credentials remain impeccable. The Official Trailer If you haven't seen the trailer that dropped earlier this week, and someone skipped past it in this article, you are missing out on some sparky fun. These characters don't seem to have been impacted by the distance since their last outing, coming across as engagingly wry and full of snide and disdain for each other. Whilst we have been mildly let down by sequels emerging decades after the original (looking at you Happy Gilmore 2), and the original film here being another lightning-in-a-bottle moment, with director David Frankel  and screenwriter Aline Brosh McKenna returning, there is a real sense that this isn't just a cash-grab. It’s a continuation of a story that, much like a classic Chanel suit, never truly goes out of style.

Film Feature by Chris Olson If there is one thing that fuels the engine of the film industry more than caffeine and blockbuster budgets, it is the glorious, chaotic, and often contradictory world of internet speculation. We are currently staring down the barrel of 2026, and the anticipation for Spider-Man: Brand New Day  has reached a fever pitch that would make even J. Jonah Jameson’s blood pressure spike. Tom Halland in Spider-Man: Brand New Day Suit Reveal I must admit I am finding an almost childlike joy in the sheer variety of "leaks" and "confirmed" reports floating around the digital ether. I’ve been happily drowning in the sea of theories. From street-level mobsters to reality-warping goddesses, the internet seems convinced that Peter Parker isn’t just facing a villain; he’s facing an entire phone book of them. The Seven-Year Itch: Michael Mando’s Scorpion The most persistent—and frankly, most satisfying—rumour involves the return of Michael Mando  as Mac Gargan. We first met him in 2017’s Spider-Man: Homecoming , and the internet has never forgotten that mid-credits scene.  Collider  and various scooper sites have been buzzing about Mando finally donning the stinger. He also currently sits on the film's IMDb page. There is a delicious irony in the "Brand New Day" title if the film reaches back nearly a decade to settle an old score. Rumours suggest he might be the "big bad" or perhaps an enforcer funded by a certain angry newsman. After Mando’s powerhouse performance in Better Call Saul , the consensus online is that we are long overdue for a bit of Scorpion-themed mayhem. SPIDER-MAN: BRAND NEW DAY - Day One on Set The Crime Boss: Marvin Jones III as Tombstone One of the more concrete "leaks" that has sent fans into a frenzy comes from Flickering Myth  and several production trackers, claiming that Marvin Jones III  has been cast as Lonnie Lincoln, better known as Tombstone. Spider-Man Brand New Day Adds Marvin Jones Who Reprises Tombstone What makes this so delightful is the meta-layer: Jones already voiced the character to chilling effect in Into the Spider-Verse . The internet is currently debating whether he will be a hulking, street-level rival to the Kingpin or a supernatural force. Either way, the idea of a monochromatic mob boss terrorising a post-memory-wipe Peter Parker fits the "back to basics" tone Kevin Feige has been teasing. The Nicole Kidman Mystery: Chameleon or Spider-Queen? This is where the speculation gets truly wild. Heroic Hollywood  and several Reddit sleuths have been dissecting a rumour that Nicole Kidman  is being eyed for a major antagonistic role. The guesses here are all over the map. Some think she’s a gender-swapped Chameleon , a master of disguise who could explain how a "mysterious force" begins to unravel the city. Others are holding out hope for the Spider-Queen , suggesting a more horrific, "Man-Spider" mutation plotline inspired by the 90s animated series. There’s even a vocal minority wondering if she’s a multiverse-hopping threat like Shathra . It’s the kind of high-profile casting rumour that keeps the forums alive at 3 am. The Anti-Hero Antagonists: Punisher and Savage Hulk While not strictly "villains" in the traditional sense, the internet is convinced that Frank Castle and Bruce Banner will be giving Spidey a very hard time. Screen Rant  and GamesRadar  have highlighted set photos (reportedly from the Glasgow shoot) showing Jon Bernthal ’s Punisher pointing a firearm directly at our web-slinger. The prevailing theory is that Spidey will be caught in the crossfire of a brutal gang war, with Bernthal’s Punisher acting as a lethal foil to Peter’s "no-kill" rule. Add to that the whispers from The Cosmic Circus  about Mark Ruffalo  returning as a "Savage Hulk"—triggered by trauma or perhaps the mental manipulations of a hidden foe—and you have a recipe for a film that feels less like a solo outing and more like a street-level "Civil War." The Mister Negative Debate For a few weeks, the internet was certain that Mister Negative  and his Inner Demons were the primary threat, sparked by set photos of an armoured truck bearing a very familiar "demon" logo. However, in true internet fashion, the tide has recently turned. The Cosmic Circus  recently suggested that Martin Li might not appear at all, or that the "demon" imagery was a misdirection. This has led to a fascinating split in the fanbase: half are mourning the loss of a live-action Steven Yeun as Li, while the other half are pivoting to the idea that the "demons" are actually enforcers for Tombstone  or Hammerhead . Whatever the truth may be, the joy is in the guessing. Whether we get a grounded crime thriller or a supernatural nightmare involving Nicole Kidman as an insect goddess, the internet has ensured that Spider-Man: Brand New Day  is already the most talked-about enigma of 2026. Spider-Man: Brand New Day: Suit Reveal

Film Feature by Chris Olson I have a confession to make, and it feels somewhat appropriate given the title of the film currently dominating every headline in Hollywood. I have not yet seen Sinners . As the editor of UK Film Review , I usually pride myself on being at the front of the queue, but life—and perhaps a subconscious fear of Ryan Coogler’s vampire-infested Mississippi Delta—got in the way. However, after my UK Film Club Podcast  co-host Brian Penn declared it his absolute favourite film of 2025, I’ve found myself in a state of frantic anticipation. Brian is not a man given to easy hyperbole; if he says a supernatural thriller set in the Jim Crow era is a masterpiece, you book the IMAX ticket immediately. The Academy clearly agrees, as Sinners  has just made history by racking up a staggering 16 nominations . Here is a breakdown of the nods for the film that has me feeling like the only person left in the dark. Best Picture This is the big one. Sinners  joins an elite club of films that define their era. By securing 16 nominations, it has surpassed the record of 14 held by All About Eve  (1950), Titanic  (1997), and La La Land  (2016) . For a horror-inflected drama to be the frontrunner for the night's top prize suggests Coogler has crafted something far more profound than a mere genre piece. Best Director - Ryan Coogler It is almost hard to believe this is Coogler's first nomination in this category. After being arguably overlooked for Black Panther , he has finally forced the Academy’s hand. He follows in the footsteps of legends like William Friedkin  and Jordan Peele , who proved that "genre" films can be high art. Sinners Official Film Trailer 2 Best Actor - Michael B. Jordan Jordan pulls double duty here as the Smokestack twins, Elijah and Elias. To be nominated for playing two characters in one film is a rare feat, reminiscent of Nicolas Cage  in Adaptation  or Jeremy Irons  in Dead Ringers . Brian tells me the distinction between the two brothers is so seamless you forget you’re watching the same actor. Best Supporting Actor - Delroy Lindo Lindo plays Delta Slim, and his inclusion was one of the morning's most celebrated surprises. Lindo has long been a titan of the screen, and seeing him nominated brings to mind the late-career recognition of actors like Christopher Plummer  for Beginners . Best Supporting Actress - Wunmi Mosaku As Annie, a Hoodoo practitioner, Mosaku has supposedly delivered the performance of her career. The Academy has a history of rewarding powerful supporting turns in atmospheric dramas, much like Mo’Nique  in Precious . Mo’Nique  in Precious Best Original Screenplay - Ryan Coogler Coogler didn’t just direct; he wrote this haunting tale of twins returning to a hometown that holds more than just human monsters. This nomination puts him in the company of storytellers like Quentin Tarantino , who often blend historical tension with explosive fiction. Best Casting - Francine Maisler This is a historic nomination, as it marks the inaugural year for the Best Casting  category. Sinners  is a fitting first nominee, given the ensemble that ranges from veterans like Lindo to the film debut of Miles Caton . Best Cinematography - Autumn Durald Arkapaw Arkapaw is only the fourth woman ever nominated in this category. Her work on Sinners  is being compared to the lush, terrifying visuals of Robert Richardson ’s work. Seeing the 1930s South through her lens is, apparently, a transformative experience. Best Original Score - Ludwig Göransson Göransson is quickly becoming the most decorated composer of his generation. Having already won for Oppenheimer , his work here blends Delta blues with supernatural dread. It’s a sonic landscape that follows the trail blazed by Ennio Morricone . Oppenheimer Official Film Trailer Best Original Song - "I Lied To You" The music is central to Sinners , and this nomination highlights the film’s "musical-adjacent" soul. It sits in the tradition of haunting cinematic songs like Bruce Springsteen ’s "Streets of Philadelphia." Best Film Editing - Michael P. Shawver Cutting a film where the lead actor plays twins requires surgical precision. Shawver’s nomination reflects the technical mastery required to make the "Smokestack Twins" a reality, much like the seamless editing in The Social Network . Best Production Design - Hannah Beachler and Monique Champagne Beachler already made history with Black Panther , and her recreation of a 1930s Mississippi "juke joint" is said to be a character in its own right. It’s the kind of world-building that won The Great Gatsby  its Oscars. The Great Gatsby Official Film Trailer Best Costume Design - Ruth E. Carter With this fifth nomination, Carter becomes the most-nominated Black woman in Oscar history. Her ability to tell stories through fabric is legendary, following the path of great designers like Edith Head . Best Makeup and Hairstyling Transforming Michael B. Jordan into two distinct men—and presumably dealing with the more "vampiric" elements of the plot—earned the team this nod. This category has previously honoured the transformative work in films like An American Werewolf in London . Best Sound In a film where music and supernatural horror collide, the soundscape is vital. This nomination acknowledges the intricate balance between the foot-stomping blues and the chilling whispers of the night. Best Visual Effects Rounding out the 16 is a nod for the effects that bring Coogler’s "music-loving vampires" to life. It’s a testament to the film’s scale that it can compete here alongside the biggest blockbusters of the year. I feel like a sinner myself for having missed this cinematic event during its initial run. Brian’s relentless praise was the first spark, but these 16 nominations have turned that spark into a bonfire. It is time for me to catch up, and luckily, Sinners is currently available to watch in the UK on Sky Cinema/NowTV.

Film Feature by Chris Olson As we look toward the arrival of Peaky Blinders: The Immortal Man , directed by Tom Harper, the anticipation is not merely about the continuation of a narrative; it is about the elevation of a saga that has defined a decade of television. Set against the scorched-earth backdrop of 1940s Birmingham during the second World War, the film promises a visceral, cinematic expansion of Steven Knight’s world. While the smoke-filled streets of Small Heath remain familiar, the casting for this feature-length outing suggests a project of immense prestige, blending seasoned series regulars with some of the most formidable talent in modern cinema. Cillian Murphy / Robert Viglasky / Netflix Cillian Murphy It feels almost reductive to suggest that the Peaky Blinders movie could exist without the presence of its central heartbeat. Cillian Murphy returns to the role of Thomas Shelby, a character he has inhabited with a twitchy, profound intellectual depth since 2013. Following his monumental, Academy Award-winning turn in Christopher Nolan’s Oppenheimer, Murphy brings a renewed gravity to the role of the shell-shocked patriarch. Tommy Shelby is an enigma of strategic brilliance and existential dread, and seeing Murphy tackle this persona on a cinematic canvas is a masterstroke. His career has long been defined by an ability to balance blockbuster intensity with internal character studies, as seen in his early breakout in 28 Days Later and his hauntingly precise work in The Wind That Shakes the Barley. In this new chapter, Tommy is drawn back from exile to face a reckoning that feels final, and Murphy’s magnetic energy remains the film’s essential lightning rod. Rebecca Ferguson Rebecca Ferguson in Peaky Blinders: The Immortal Man / Credit: Steven Barham/Netflix / Cr. Courtesy of Netflix © 2025 The addition of Rebecca Ferguson to the ensemble is perhaps the most intriguing narrative choice of the production. Ferguson has carved out a space as one of the most versatile actresses working today, leaping from the high-stakes espionage of Mission: Impossible - Rogue Nation to the epic, tatu-faced iconography of Lady Jessica in Dune . In Peaky Blinders: The Immortal Man, her role remains shrouded in mystery, yet her pedigree suggests a character of significant weight. Whether she will play a figure of political intrigue or a new antagonist in the lawless streets of the 1940s, Ferguson’s presence elevates the film’s status to that of a global event. Her ability to portray women who are both enigmatic and incredibly powerful, as evidenced in the dystopian series Silo and the musical spectacle of The Greatest Showman , makes her a perfect fit for the murky moral waters of the Shelby world. Stephen Graham Stephen Graham reprises his role as Hayden Stagg, the dockworker union leader who first appeared in the final season of the television series. Graham is an actor who feels tailor-made for the grit of the Peaky universe. From his visceral performance as Combo in This is England to the frantic, claustrophobic brilliance of the kitchen-set drama Boiling Point, Graham possesses a kinetic energy that is almost unmatched. His inclusion ensures that the film maintains its connection to the working-class industrial roots of the story. Graham’s Stagg was a man who dared to stand up to the Shelbys, and his return suggests that the internal politics of the Liverpool and Birmingham docks will remain a vital conflict in this wartime setting. He is an actor who finds the human being underneath the iconography of the "tough guy," and his presence here is a welcome anchor. Barry Keoghan Barry Keoghan in Peaky Blinders The Immortal Man / Credit: ROBERT VIGLASKY PHOTOGRAPHY In an era of extreme cinematic talent, Barry Keoghan is a name that commands immediate attention. The Irish actor, known for his hauntingly strange and phenomenal performances in films like Saltburn and The Banshees of Inisherin, joins the Peaky Blinders cast in an undisclosed role. Keoghan has a unique ability to immerse the viewer in dark, brooding mysteries, often playing characters who are unpredictable and unsettling. His work in the MCU’s Eternals showed he could handle the scale of a major production, but it is in his more intimate, gritty roles—such as in the harrowing The Killing of a Sacred Deer (one of my personal favourites) where he truly shines. Adding Keoghan to a cast that already includes Murphy and Graham creates a powerhouse of intensity that promises to provoke heated debates in the foyer long after the credits roll. Tim Roth A veteran of the industry with a penchant for playing characters with a sharp, cynical edge, Tim Roth is another heavyweight addition to the film. Best known for his iconic collaborations with Quentin Tarantino in Reservoir Dogs and Pulp Fiction, Roth brings a certain pedigree of cool to the project. Much like his role in The Hateful Eight, one suspects Roth will lean into the darker, more unsettling corners of the Peaky world. While his specific character remains under wraps, the prospect of Roth sharing the screen with Murphy is a thrilling one. His career has spanned everything from independent British classics like Made in Britain to mainstream appearances in the MCU as the Abomination. In the context of a 1940s gangster saga, Roth’s veteran presence adds a layer of sophisticated menace that the franchise has always excelled at. Ned Dennehy For fans of the series, the return of Ned Dennehy as Charlie Strong is essential. Charlie has always been the logistics man of the Shelby operation, a non-biological uncle who provides the practical support needed for Tommy’s grand designs. Dennehy has a face that feels lived-in, perfect for the industrial textures of the period. Outside of the Shelby stables, Dennehy has delivered memorable performances in the bleak drama Tyrannosaur (which was incredible) and showed his range in the fantastical Good Omens. His role in the film ensures that the legacy of the Shelbys is protected, providing a bridge between the old ways of the 1920s and the new, dangerous realities of a world at war. Sophy Rundle Peaky Blinders: The Immortal Man. Sophie Rundle as Ada in Peaky Blinders: The Immortal Man. Cr. Courtesy of Netflix © 2025 Finally, the film would not be complete without Sophy Rundle as Ada Thorne. As the only Shelby sibling who consistently challenged Tommy’s path, Ada has evolved from a young socialist rebel into a sophisticated, integral part of the family’s political power. Rundle’s performance has been a mainstay of the series, and her return is vital for the emotional stakes of the movie. Rundle has established herself as a leading talent in British drama, with standout roles in Gentleman Jack and Bodyguard. In the film, Ada will likely be the one forced to navigate the precarious balance between the family’s criminal legacy and the shifting tides of British society during the war. Her presence ensures that the female perspective remains central to the unfurling conflict, grounding the epic scale of the movie in the complicated bonds of blood. The Peaky Blinders movie is more than a simple conclusion; it is a bold, experimental step into the darkness of the 20th century. With a cast this robust, it is clear that Steven Knight and Tom Harper are not looking to play it safe. They are creating a version of the story that feels vital, immediate, and definitively cinematic. Peaky Blinders: The Immortal Man Official Teaser Trailer

Film Feature by Chris Olson This February, Netflix is offering a slate that ranges from the grim reality of British true crime to the delicate nuances of South Korean romantic drama. Having already promoted several other New Movies on Netflix 2026 , I was thrilled to see a few more added to their lineup. These additional offerings are a mixed bag of emotional weights and cultural perspectives. We have a documentary that has already sparked a firestorm of ethical debate, a historical biopic from Sweden that aims to rewrite a chapter of the Second World War, and two Asian features that explore identity and connection with remarkable tenderness. It is a month for viewers who like their entertainment with a side of introspection. The Investigation of Lucy Letby The Investigation of Lucy Letby Official Trailer Released on the 4th of February, The Investigation of Lucy Letby  is perhaps the most high-profile and controversial addition to the platform this year. Produced by ITN Productions, this ninety-minute documentary arrives amidst a chorus of disapproval from Letby’s own parents, who have publicly condemned the film as an "invasion of privacy." From a filmmaking perspective, the documentary employs the kind of "unprecedented access" that has become a Netflix hallmark. It features previously unreleased footage of Letby’s arrest at her home in Chester, alongside interviews with the police officers and legal minds who navigated the complexities of Britain’s most prolific child serial killer case. What is most striking here is the shift in tone. While earlier coverage of the trial focused heavily on the horrific nature of the crimes, this film attempts to pull back the curtain on the procedural mechanics. However, one cannot ignore the ethical discomfort. By including footage of Letby in her domestic setting—the "dressing gown arrest" that has become a focal point of the family's criticism—the filmmakers tread a very thin line between public interest and sensationalism. As a critic, I find the craft of the documentary impressive, but as a viewer, there is a lingering question about whether some stones are best left unturned for the sake of the victims’ and families' dignity. This Is I This Is I Moving from the dark realities of the UK to the vibrant, neon-lit streets of Japan, This Is I  (premiering on the 10th of February) offers a much-needed emotional counterpoint. Directed by Yusaku Matsumoto, this is a biographical drama centered on Ai Haruna, a beloved Japanese transgender icon. The film is a beautiful exploration of the human spirit. It follows Kenji, a young boy with dreams of becoming an idol like Seiko Matsuda, who eventually undergoes the first gender confirmation surgery in Japan performed by the pioneering Dr. Wada. Haruki Mochizuki, an eighteen-year-old newcomer, delivers a performance of incredible vulnerability and strength as Ai. Opposite her, the esteemed Takumi Saitoh brings a grounded, compassionate energy to the role of Dr. Wada. What makes This Is I  stand out is its musicality. The film is peppered with hits from the Showa and Heisei eras, using J-pop as a narrative tool to express the protagonist’s inner joy and longing. There is a sequence where Ai steps out into the city in a red dress for the first time, choreographed by Akane, that is pure cinematic bliss. It reminds us why we watch films: to see the world through someone else’s eyes and feel their triumph as if it were our own. The Swedish Connection The Swedish Connection On the 19th of February, Netflix takes us back to the 1940s with The Swedish Connection . In the tradition of Schindler’s List  or The Imitation Game , this film seeks to illuminate the life of a forgotten hero. That hero is Gösta Engzell, a bureaucrat within the Swedish Foreign Ministry during the Second World War. Sweden’s "neutrality" during the war has long been a subject of historical scrutiny, often painted with a brush of moral ambiguity. This film challenges that narrative by focusing on Engzell’s quiet rebellion. Through bureaucratic manoeuvring and sheer moral fortitude, Engzell helped save thousands of lives from Nazi persecution. The film is a taut, intellectual thriller. It doesn’t rely on explosive set pieces but rather on the tension of the "paper war." It explores how one man, working within a rigid and often indifferent system, can become a "moral superpower." For fans of historical dramas that value nuance over melodrama, this is essential viewing. It is a sombre, well-constructed piece of cinema that asks what we owe to our fellow man when the world is falling into darkness. Pavane Pavane (2026) Finally, on the 20th of February, we have Pavane , a South Korean romantic drama directed by Lee Jong-pil. Based on the novel Pavane for a Dead Princess  by Park Min-gyu, the film is a delicate, melancholic study of beauty and perception. The story follows three individuals who have, for various reasons, retreated from the world. Mi-jung (played by Go Ah-sung) lives under the weight of society’s judgmental gaze regarding her appearance; Yo-han (Byun Yo-han) is a rock-loving free spirit; and Gyeong-rok (Moon Sang-min) is a man who has traded his dreams for the daily grind. Their lives intersect in the subterranean world of a department store car park. Lee Jong-pil has a knack for finding the extraordinary in the ordinary. Pavane  is a film of small moments—shared laughter, quiet observations, and the slow thawing of guarded hearts. It is a "melodrama" in the best sense of the word, focusing on the internal landscapes of its characters. The chemistry between the lead trio is palpable, making the central question of the film—whether one can truly love again after being hardened by life—feel deeply resonant. It is a poetic conclusion to a month of heavy hitters. February 2026 on Netflix feels like a month of confrontation. Whether it is confronting the ghosts of a criminal investigation in the UK, the rigid social structures of mid-century Europe, or the personal barriers we build around ourselves in modern-day Asia, these films demand something of the audience. As always, I encourage you to seek out the stories that challenge you. While the Letby documentary may be a difficult watch for many, the bravery shown in the narratives of This Is I  and Pavane  offers a hopeful balance.

Film Feature by Chris Olson The musical biopic has become a staple of the modern cinematic landscape, a genre that often teeters between hagiography and gritty realism. From the foot-stomping success of Bohemian Rhapsody to the psychedelic flourishes of Rocketman , audiences have proven they have a nearly bottomless appetite for the origin stories of their idols. However, none carry the cultural weight, the complexity, or the sheer visual potential of the latest subject to take centre stage. The official trailer for Michael has finally arrived, and if the first look is anything to go by, director Antoine Fuqua is aiming for nothing less than a definitive epic of the man who redefined the very concept of global stardom. Scheduled to arrive in UK and Ireland cinemas and IMAX on 24th April 2026, Michael promises to be a sprawling exploration of the King of Pop’s life and legacy. For those of us who track the trajectory of British and international film, this is the kind of project that demands attention not just for its subject matter, but for the formidable creative team assembled behind the camera. Produced by Graham King—the man who navigated the Freddy Mercury story to box office records—and written by three-time Academy Award nominee John Logan, the pedigree here is undeniable. The trailer opens with a haunting intimacy, immediately addressing the dual nature of Jackson’s existence: the immense public pressure and the internal drive for perfection. We hear voices of encouragement and demand—reminders of being "the greatest of all time" set against the harsh reality of Joe Jackson’s disciplinarian roots. "In this life, you’re either a winner or you’re a loser," bellows Colman Domingo’s Joe, grounding the film in the industrial grit of Gary, Indiana. It is a striking starting point that highlights the film’s intent to look "beyond the music," as the official synopsis suggests. The most anticipated element of this production is, of course, the lead performance. Casting a figure as physically and vocally unique as Michael Jackson is a Herculean task, yet the choice of Jaafar Jackson—Michael’s own nephew—feels like a masterstroke of both authenticity and poetic symmetry. In the footage provided, the resemblance is frequently uncanny. It isn’t just the prosthetics or the iconic costumes; it is the way he holds himself, the softness of the speaking voice, and the explosive energy of the choreography. This is Jaafar’s feature film debut, and the trailer suggests a performance of immense vulnerability and physical precision. Fuqua, known for his visceral directing style in films like Training Day and The Equalizer, seems to have traded his usual gritty palette for something more expansive and luminous. The trailer showcases a breadth of eras, from the Motown days of the Jackson Five—where Juliano Krue Valdi portrays a young Michael with startling charisma—to the solo heights of the 1980s. The cinematography captures the "magic" that Michael speaks of in the final moments of the teaser, promising a front-row seat to the creative process that birthed the visionary artist. The supporting cast is equally impressive, adding significant weight to the drama. Academy Award nominee Colman Domingo appears to be a formidable presence as Joe Jackson, while Nia Long portrays the family matriarch, Katherine Jackson, with a quiet strength that serves as the emotional anchor of the trailer. Miles Teller and Laura Harrier also feature, suggesting a film that isn't afraid to populate its world with heavy-hitting dramatic talent to match the scale of the production. What stands out most in this first look is the film’s focus on Michael’s personal philosophy. "I believe music can change the world," we hear him say, expressing a desire to spread "love, joy and peace." It is a sentiment that contrasts sharply with the glimpses of the media circus and the internal family pressures that sought to turn the Jackson name into a "brand" akin to Coca-Cola. By framing the story as a "relentless pursuit to become the biggest entertainer in the world," John Logan’s screenplay appears to be examining the cost of that ambition. For UK audiences, the promise of an IMAX release is particularly enticing. Jackson was an artist who thought in terms of grand scale—short films rather than music videos, and spectacles rather than concerts. To see these iconic performances recreated on the largest possible screen will be a nostalgic trip for long-time fans and a revelation for younger viewers who only know him through digital archives. The trailer hints at recreations of legendary stage moments that look set to benefit from the immersive power of the IMAX format. As a film critic, one is always wary of the "sanitised" biopic, particularly when family members are involved in the production. However, the involvement of John Branca and John McClain, alongside the dramatic sensibilities of Fuqua and Logan, suggests a film that aims to be a serious piece of cinema rather than a mere tribute act. It seeks to humanise a man who was often treated as a myth or a tabloid fixture, returning the focus to the "visionary artist" and the "relentless pursuit" of his craft. In the final seconds of the trailer, as the lights go down and the iconic silhouette emerges, there is a palpable sense of excitement. Whether you grew up during the height of Thriller-mania or discovered his music decades later, the influence of Michael Jackson is inescapable. Come April 2026, cinema-goers in the UK and Ireland will have the opportunity to see if Fuqua has successfully captured that lightning in a bottle. If the trailer is any indication, Michael will be the cinematic event of the year—a complex, vibrant, and deeply moving portrait of a life lived in the blinding glare of the spotlight. This is where his story begins, and on the evidence of this footage, it is a story that still has the power to captivate the world.

Star rating: 3/5 Writer: Oliver Cox Director: Oliver Cox Starring: Silvia Presente, Kit Eruso, Joe Lockhart, Paul David-Cough, Gregory Fung, Sammy Elkhatib and Reece Henderson. Lure is a convoluted, violent cinematic metaphor for searching for ‘the one’. It all starts very nicely. Tom, a young 20 something from London, is being driven by his father to a party where he will get the opportunity to find a new crowd. Or so he thinks. He arrives at a typical British country house, where he is greeted by Islay, who is supposedly hosting the party and who tells him he is the first to arrive where he asks where the others are. It turns out this is no party, and Tom is about to join the worst ‘game’ of his life, where his qualities will be tested in relation to other men’s, with a view to be the father of Islay’s ‘perfect’ future child. This ‘game’ at the centre of Lure is like a nasty version of The Traitors, the worst you’ve ever seen, and here is where the film becomes a really gratuitous piece, with near constant scenes of torture that are unpleasant to watch. The film is somewhat saved by the actor’s performances, and the set and costume design. In terms of the performances, Silvia Presente is rather brilliant as Islay, putting on an almost theatrical display. The whole cast responds with truly energetic performances- as much as performing about 60 minutes of tension and torture can be called ‘energetic’. But the quality of the cast is undeniable. The set design meanwhile is tasteful, and powerful, with an earthy though dark colour tones. These match the costume design, particularly Islay who wears a monochrome outfit that is at once beautiful but somehow also fitting the nasty occasion. Frustrated by her continued failed attempts at these games, Islay asks her mother ‘when will I find one?’. 'You cannot rush these things', is the answer given to Islay. This is a question that resonates deeply for my generation (just reached 30) who yearns for connection while on many occasions searching for it the wrong way, or in the wrong places. We are, on the whole, a violent generation. Perhaps we may even see Lure as a somewhat intelligent metaphor of the modern 'dating game', where it can go awfully wrong, be unpleasant as an experience and is taken as being all about the result, the end game (including having children), with massive disregard for feelings or actual connection. Lure has sparks of an interesting argument not just about dating but about navigating the pain and frustrations of 'searching' for a partner, and the feelings of those at the other end of our 'searching', but the gratuitous violence means I personally would not watch it again. Lure is on UK digital 2 February from Reel2Reel Films.