Search Results

Film Feature by Chris Olson Well, here we are again. Just when the Scream franchise appeared to be finding its feet with the new 'Core Four' generation, the inevitable off-screen drama struck, forcing the seventh instalment to undertake a drastic, and frankly fascinating, creative retooling. It’s fair to say that the road to Scream 7 has been paved with more controversy than a typical Woodsboro body count, but the biggest news is that the series is finally coming home—not just to Neve Campbell’s Sidney Prescott, but to the very architect of the whole bloody enterprise, Kevin Williamson. After the high-profile departures of both lead actor Melissa Barrera and co-star Jenna Ortega—which scuppered the established 'requel' storyline—the studio, Spyglass, made the audacious and, frankly, necessary decision to bring back the original creative genius. Williamson, who wrote the first, second, and fourth films, is now in the director’s chair for the first time in the franchise’s history. This move signals a significant thematic pivot, shifting the focus entirely away from the Carpenter sisters and placing the spotlight squarely back on our original final girl, Sidney Prescott, for a new, deeply personal confrontation. If the production woes were a setback, the confirmed cast list is a clear sign that Scream 7 is now operating in damage control mode, deploying a nostalgic arsenal to win back fans. Neve Campbell returns as Sidney, a decision celebrated by fans who felt her absence in Scream VI acutely. Joining her is the ever-present Courteney Cox as Gale Weathers. It’s a joy to know that their perennial cat-and-mouse relationship with Ghostface will continue. However, the real head-turners are the confirmed returns of actors whose characters were emphatically—or at least seemingly—killed off in prior films. David Arquette is confirmed to reprise his role as the beloved Dewey Riley, whose emotional death in Scream (2022) sent shockwaves through the fandom. Perhaps even more stunning is the comeback of Matthew Lillard as Stu Macher, one-half of the original Ghostface duo from 1996. Stu’s fate has been the subject of fan debate for decades, and Lillard’s return, alongside Scott Foley (Roman Bridger, Scream 3), suggests the film is prepared to play directly with the franchise’s most enduring mysteries and meta-commentary. How these characters—particularly the deceased ones—will feature remains the franchise’s most compelling secret. Rumours abound regarding the use of AI or deepfake technology within the story, with a Ghostface perhaps using technology to torment Sidney by resurrecting dead loved ones or killers. If true, this provides a brilliant, meta hook for Williamson to satirise the modern technological landscape, much like the original films critiqued slasher conventions and sequels. We also have confirmation that the surviving 'new generation' members, Mason Gooding (Chad Meeks-Martin) and Jasmin Savoy Brown (Mindy Meeks-Martin) are returning, providing a bridge between the new and old eras, alongside the reliable Roger L. Jackson as the unmistakable voice of Ghostface. With the "Core Four" dynamic dissolved, the plot is now fiercely centred on Sidney. Franchise writers Guy Busick and James Vanderbilt, who co-wrote the story, have indicated that the film aims to be intensely personal. Kevin Williamson himself has stated that the film is about Sidney now, "where she is now, what she's become," and how she has managed to forge a life and raise a family despite her trauma. The narrative will reportedly take us "home" with Sidney, suggesting a more contained, domestic environment, contrasting sharply with the expansive, city-bound settings of the last two entries. We know that Joel McHale has been cast as Mark Evans, Sidney’s husband (who many speculate is the Mark Kincaid from Scream 3), and Isabel May has been cast as their daughter. The focus appears to be on Ghostface targeting Sidney’s family, forcing her to protect those dearest to her—a dark, yet logical, evolution of her journey. Neve Campbell has also voiced a desire for Scream 7 to dial back the sheer gore and instead "find the suspense and really concentrate on scary and not bloody," a clear nod to the suspenseful, Wes Craven-esque atmosphere of the earlier films. With filming wrapped earlier this year, the film is officially slated for release on February 27, 2026. After a turbulent production, all signs point towards a definitive, legacy-heavy chapter intended to pay tribute to the franchise’s enduring strength and, most importantly, provide a fitting narrative closure for the Queen of Scream, Sidney Prescott. Remember to subscribe to the UK Film Review Podcast for the latest movie reviews and all things film.

Film Feature by Chris Olson It’s the question that has kept parents and children alike in a state of suspended animation since the credits rolled on 2019’s Frozen II: will we ever return to Arendelle? For years, speculation has run colder than a north mountain gale, but we can now deliver the news that should thaw even the iciest heart: Yes, Disney is indeed making Frozen III . And not only that, but the House of Mouse is laying the groundwork for a fourth instalment simultaneously, promising a truly epic, and potentially final, adventure for Elsa, Anna, and the gang. The confirmation has come directly from the source. The franchise's director, Jennifer Lee , has been open about the ambitious plans, suggesting that Frozen 3  and 4  could potentially form one large, coherent narrative. This is a significant creative gambit, moving beyond the traditional sequel model to attempt a genuine cinematic saga. Frozen III Confirmed Details Let's get down to the brass tacks. The date that should be circled on every Disney fan’s calendar is November 24, 2027 . That is the current, confirmed release date for Frozen III . While 2027 seems a glacial age away, it allows Walt Disney Animation Studios  the time required to maintain the exceptional quality that has defined the first two films—a crucial factor for a franchise that has set such a high standard for animation and songwriting. The studio has already offered a tantalising glimpse into the development. At the D23 event in 2024, the first snippets of concept art  were unveiled, confirming the return of the central trio: Anna, Elsa, and Olaf . While abstract, it served as a powerful reminder of the characters we're emotionally invested in. The narrative focus, however, is arguably the most intriguing detail to emerge. The writers and directors are actively working on a story that aims to provide definitive answers to lingering questions from the previous movies. Chief among these is, of course, the full origins of Elsa's powers . Frozen II  explored her connection to the elemental spirits and the history of her people, but many fans felt the mystery surrounding her unique abilities still had room for deeper explanation. Answering this fundamental question will be key to the third film's success. Equally fascinating is the hinted return of the most memorable human villain: Prince Hans . The ultimate fate of the treacherous royal from the Southern Isles was left somewhat ambiguous after his swift defeat. The notion of Frozen III  or IV  addressing what truly became of him offers a fascinating potential subplot, perhaps giving us a more complex antagonist than we saw in the first film. A Dual Production Gamble Perhaps the most jaw-dropping news is the parallel production  of Frozen 3  and Frozen 4 . This is an unprecedented move for an animated franchise of this magnitude. It underscores Jennifer Lee's vision for a singular, overarching story. This approach is reminiscent of major live-action fantasy sagas, where the narrative demands more than one feature-length instalment to reach a satisfactory conclusion. From a critical perspective, this dual development is a double-edged sword. On one hand, it suggests meticulous planning and a genuine commitment to narrative coherence across both films, mitigating the risk of a rushed or tacked-on sequel. On the other hand, it places an enormous burden on the creative team to sustain momentum and invention over two back-to-back mega-projects. Will they be able to maintain the emotional resonance and musical brilliance that made the first two films worldwide phenomena? The fact that Disney is investing this heavily, strategically planning two films that will require years of animation and storyboarding, shows the enduring financial and cultural confidence they have in the world of Arendelle. This isn't just a sequel; this is the establishment of a Frozen  saga . For now, we have our answers, and the future looks bright—or perhaps, beautifully ice-blue. The wait for November 24, 2027, will be long, but the prospect of finally seeing the origin of the Snow Queen’s magic and the resolution of the Hans mystery suggests it will be well worth the patience. The Frozen  phenomenon is far from over; it’s just getting started with an ambitious new chapter.

Film Feature by Chris Olson As the days shorten and the chill of winter sets in, there’s no better place to find warmth and wonder than at the cinema. This November, the UK’s cinematic calendar is bursting with an eclectic mix of highly anticipated releases, from blockbuster sequels to chilling genre films and everything in between. It's a month that promises to satisfy every taste, with a slate of films that have already garnered significant buzz from early screenings and film festivals around the globe. Leading the charge is undoubtedly one of the most talked-about films of the year: Wicked: For Good . The second part of Jon M. Chu's monumental musical adaptation, this film continues the story of Elphaba and Glinda, picking up right where the first instalment left off. With the first film already hailed as a triumph for its stunning visuals and standout performances from Cynthia Erivo as Elphaba and Ariana Grande as Glinda, anticipation is at an all-time high. For Good  promises to delve deeper into Elphaba's transformation into the legendary Wicked Witch of the West, exploring the complexities of her power and her fractured relationship with Glinda. The word from those who have seen it is that Chu has delivered a conclusion that is both emotionally powerful and visually breathtaking, cementing this two-part saga as a definitive cinematic event. For those who favour spectacle of a different, more terrifying kind, November delivers a thrilling sci-fi horror entry in the form of Predator: Badlands . Following the critical success of 2022's Prey , director Dan Trachtenberg returns to the franchise, this time with a film that reportedly offers a fresh and terrifying perspective on the iconic alien hunter. Unlike previous films that have focused on the human struggle for survival, Badlands  is said to place the creature front and centre, exploring its mythology and methods in a way never before seen. This unique approach, combined with Trachtenberg’s proven ability to craft suspense, has film critics buzzing. It’s being touted as a film that will restore the visceral terror of the original while pushing the franchise in a bold new direction. Another must-see for thriller enthusiasts is the new adaptation of Stephen King’s classic dystopian novel, The Running Man . While the 1987 version starring Arnold Schwarzenegger is a beloved cult classic, this new film is a much grimmer, more faithful take on the source material. It follows a brutal annual game show where contestants must literally walk to their deaths, with only one survivor. Early reviews have praised the film for its unflinching portrayal of the brutal contest and its potent social commentary. A review from The Guardian  described it as "the grimmest mainstream movie for some time," and a masterful psychological thriller that will keep audiences on the edge of their seats. This is a film that will undoubtedly spark conversation long after the credits roll. For a trip the whole family can enjoy, the highly anticipated Zootropolis 2  (or Zootopia 2 in the U.S) makes its debut. The first film was a runaway hit for Disney, captivating audiences with its clever world-building and memorable characters. This sequel reunites Officer Judy Hopps and Nick Wilde for another case in the vibrant and diverse city of Zootropolis. While plot details are being kept under wraps, the return of the original cast and creative team promises the same blend of witty comedy, action, and heartwarming moments that made the first film a global phenomenon. It’s the perfect antidote to the cold weather and a fantastic choice for a family outing. Lastly, the month is rounded off by the magical mayhem of Now You See Me: Now You Don't . The third film in the popular heist franchise, it brings back the core group of magician-thieves—The Four Horsemen—for what is promised to be their most ambitious and mind-bending trick yet. With a cast that includes Jesse Eisenberg, Woody Harrelson, and Morgan Freeman, the film is expected to be a high-octane thrill ride filled with elaborate set pieces and surprising twists. While some have been critical of the franchise's reliance on spectacle, there’s no denying the sheer fun and escapism it provides. In conclusion, November 2025 is shaping up to be an extraordinary month for UK cinema. With a line-up as diverse as it is compelling, there’s a film for every mood and every audience. So grab your popcorn, find your favourite seat, and get ready for a month filled with cinematic brilliance.

Film Feature by Chris Olson It is always a pleasure to sit down with a filmmaker who not only understands the mechanics of the genre they inhabit but possesses a deeply ingrained passion for its history. In a recent conversation for UK Film Review, my fellow film critic, James Learoyd had the distinct pleasure of speaking with director Phil Claydon, a veteran of horror and comedy, as he discussed his latest feature, Helloween . The resulting interview was a fascinating deep dive into the creative compromises, stylistic choices, and nostalgic influences that coalesced into what Claydon proudly describes as his "most fun horror movie" yet. Helloween  is a film rooted in the all-too-recent cultural anxieties of the 2016 "creepy clown craze" that swept across the UK and beyond. Claydon outlined the core concept: a journalist named John Parker becomes convinced that the synchronised, identical clown makeup being worn by perpetrators is linked to an incarcerated serial killer, Cole Kaine, known in his bloody heyday as Kane the Killer Clown. Parker and psychiatrist Dr. Ellen Marx embark on a dangerous mission to uncover Kaine's insidious plans, a desperate attempt to thwart an impending, bloody threat. Claydon's ambition was to construct a "suspenseful, Purge -like horror" experience—contained within its immediate locations, yet surrounded by a palpable sense of a larger world descending into chaos. The discussion quickly moved to the film’s powerful cinematic influences, many of which are evident from the opening frames. For any horror aficionado, the nods to John Carpenter's seminal Halloween are impossible to miss. From the unsettling opening sequence depicting Kaine’s murderous childhood to the presence of a Dr. Loomis-esque figure who pronounces the killer as "pure evil," the film wears its homage with pride. Claydon, a self-confessed VHS junkie whose early diet consisted of genre classics like Poltergeist  and An American Werewolf in London , stressed that these references were born purely of instinct rather than calculated intellectualism. He saw an opportunity to honour the iconic opening of Carpenter's film by depicting young Cole Kaine’s first victims—a horrific trick-or-treat scenario where the child killer takes out his foster parents and a callous social worker. For Claydon, a successful homage is a vital handshake with the audience, establishing instantly: "somebody understands the genre... and they know what the audience is." Beyond the obvious influences, Claydon’s filmic DNA reveals a broader, more eclectic palate. He expressed profound admiration for Steven Spielberg’s ability to forge an emotional connection and generate phenomenal suspense and humour. Yet, in the horror camp, he revealed a particular fondness for John Carpenter’s 1980 supernatural chiller The Fog , citing its atmosphere and tension as a "massive influence" he watched even more frequently than the film that gave Helloween  its namesake. Other inspirations stem from the high-concept, fast-paced world of Larry Cohen ( Q the Winged Serpent ) and, notably, the anarchic camera work and inherent "playfulness" of Sam Raimi’s Evil Dead  series. For Claydon, making a movie is a "magic trick," and the goal is always to have fun with the audience, making them suspend their disbelief and enjoy the ride. This drive to connect with a contemporary audience led to one of the film's most crucial narrative elements: the pervasive influence of modern media. Claydon made incorporating the "internet bombardment of media" and social media discourse a central pillar of his script. This was a deliberate choice to ground the horror in a contemporary setting, reflecting how social platforms and news cycles can fuel division and sway opinions. By creating an outer world of "impending doom," driven by viral videos and digital unrest, Helloween  becomes a powerful, if uncomfortable, commentary on culture. Claydon observed that the current era is defined by the "loud mouse with extreme views" finding a platform, allowing a figure like Cole Kaine to gain power by speaking to those who feel neglected by the system—a chillingly relevant subtext. The interview also offered great insight into the technical constraints and creative leaps required when working at a microbudget level. Claydon wanted Helloween  to be a "very colourful horror movie," a true "circus of fear," consciously rejecting the desaturated palette so common in modern genre cinema. The DP, James Wesley, proved to be an indispensable ally, sharing Claydon's vibrant vision, even before they spoke. The challenge was executing this vision during a punishing nine-day shoot where the crew had to cover approximately nine pages of script a day, packed with set pieces and emotional moments. The DP's small, efficient team, capable of 10-15 minute turnarounds on setups, was vital. Claydon was keen to leverage bright aesthetics—neon pinks in a car park scene, for instance—that instantly recalled the colourful, stylised atmosphere of early Joel Schumacher films, such as The Lost Boys . The visual idea was to create a carnival-esque Halloween vibe that starts colourful but gets increasingly "murky and as nasty and grimy" as the story progresses. On the set, everything was "very well drilled," a necessity born of the tiny crew and lack of time for manoeuvre. However, even the most meticulous planning can be derailed. Claydon recounted a particularly challenging car scene where a planned suspenseful reveal—using the car bonnet to obscure the killer—was ruined by the discovery of a large gap under the hood of the crew member's vehicle they were using. Claydon had to "think on his feet," but ultimately discovered the tension worked purely because the audience knew a presence was near, a moment that proved the power of suggestion over spectacle. In a similar vein, the film's modest use of gore was not just a budgetary decision but a conscious stylistic one. Claydon acknowledged that practical gore effects are time-consuming, and instead drew inspiration from the "extremely bloodless" work of Carpenter and Tobe Hooper ( The Texas Chain Saw Massacre ). The director realised that by obscuring the violence or making it happen quickly, the audience's mind fills in the blanks, often making the result more terrifying because what we think  we see is far worse than what is actually shown. Reflecting on his career, which includes Lesbian Vampire Killers  (a straight comedy) and Within  (a more traditional studio horror), Claydon noted that Helloween  is closest to his personal sensibilities. Despite starting as a brief from the financiers, the ability to write the screenplay himself allowed it to become his "baby." After a nine-day shoot described as "blood, sweat, and tears," Claydon spent two gruelling years in post-production, personally handling everything from editing to VFX, a testament to the dedication required in independent filmmaking. With Helloween —releasing digitally on 29th September from Miracle Media and on Blu-ray from 101 Films on 13th October—now complete, the energetic #filmmaker is already looking ahead. He teased two future projects: Lust , a self-described R-rated Amblin-style teen sci-fi comedy reminiscent of Weird Science  meets John Hughes, and Dead X , a twist on the slasher genre, which he pitched perfectly as a fusion of Fleabag  meets Scream . It is clear that whatever creative constraints he faces, Phil Claydon remains a resourceful and enthusiastic voice, one who continually finds new ways to delight and disturb British audiences. Watch the interview in full below, or click here to listen on Apple Podcasts .

The Schwartz Is Strong: Original Cast Reunites in Shock Announcement After decades of speculation, rumour, and the faint, unsettling whiff of stale pizza, the impossible has finally occurred: Spaceballs 2 has officially commenced production. The sci-fi parody sequel, first mooted over a year ago, has confirmed its status as a concrete cinematic reality, marked by a historic table read that saw the return of some of the original film’s most beloved stars. Image via Instagram @amazonmgmstudios - https://www.instagram.com/p/DPBx0Pzjysu/ The biggest revelation—and arguably the most exciting news for British film fans—is the official return of Rick Moranis as the gloriously diminutive villain, Dark Helmet. Moranis, who has been largely absent from the silver screen for many years, took his place alongside Bill Pullman (Lone Starr) and Daphne Zuniga (Princess Vespa) for the reading. George Wyner is also reprising his role as Colonel Sanders. The sight of the principal cast gathered for the script read-through, which cheekily spoofed the famous photo from J.J. Abrams’ The Force Awakens production start, confirms that the meta-comedic spirit of the 1987 classic remains intact. Original visionary Mel Brooks is also back on board as a producer and star (President Skroob and Yogurt), though he participated in the table read remotely via video conference—proving that even the greatest spoof artists embrace modern technology. Filling the huge boots of the new generation is a stellar line-up of contemporary talent. The ensemble is bolstered by the likes of Josh Gad, who co-wrote the script with Benji Samit and Dan Hernandez and is also taking a starring role. They are joined by Keke Palmer (Nope), the highly-regarded Anthony Carrigan (Barry), and, in a fascinating piece of casting symmetry, Lewis Pullman, son of Bill Pullman and star of Thunderbolts*. Directing the non-prequel, non-reboot sequel is Josh Greenbaum, known for the wonderfully eccentric comedy Barb And Star Go To Vista Del Mar. His appointment suggests a suitably off-the-wall sensibility guiding the project. With a potential release date pencilled in for 2027, the long-awaited return of Lone Starr, Dark Helmet, and the denizens of the Spaceballs-verse appears set to capitalise on the current desire for high-calibre spoof cinema, following the recent success of other revival projects. It seems the Schwartz is indeed with them. We, for one, are utterly chuffed.

Interview by Chris Olson Creator of The Brettflix Podcast and popular on social media for his quick-fire reviews, fun quizzes, trivia challenges and sharp takes on the latest movie, TV and entertainment trends, I interviewed Brett Harman to find out more about his latest work. Your content spans quick-fire reviews to deep-dive podcasts. How do you decide which format is best for a particular film or pop culture topic? Is there a piece of content that you think worked exceptionally well in one format but might have failed in another? The content I create can focus on either new releases or older films. For older movies, quizzes or sharing interesting facts are often included to engage viewers who appreciate nostalgia. "Guess the movie by the intro" has attracted significant attention, with one video receiving nearly 15 million views. Reviews of recent films tend to reach audiences interested in viewing recommendations. Additionally, watching and reacting to specific scenes can be effective, though this approach occasionally leads to copyright concerns on social media platforms. You've built a massive following with sharp takes and a witty approach. What's the biggest misconception people have about being a "movie creator" on platforms like TikTok and Instagram? Do you ever feel pressure to conform to a certain style or opinion to please your audience? Social media has enabled creators to share their opinions, even controversial ones. Although I was hesitant to express strong views or negative reviews at first, I now value originality and unique interpretations. I no longer feel pressured and enjoy developing my own content style. The film world is often seen as very serious, yet your content is fun and accessible. How do you balance being a legitimate voice on cinema with the kind of lighthearted, "unfiltered" entertainment your audience loves? As a creator, I aim to show my humanity and sensitivity on topics in film. If it is a serious film then no need to be facetious. You can slightly adjust the content if it’s centred around a comedy movie. Social media can be a way of escapism, and I enjoy making people smile through sketches or quizzes. My goal was never to present a serious critique page, but to entertain, educate and inform whilst injecting some of my personality within the content. Sometimes life is too serious, and I endeavour to produce comedy and light-hearted approaches so people know it’s a fun and safe space. Beyond the usual blockbuster releases, what's a film or TV show that you believe is underrated or deserves more attention from UK audiences right now, and why? A movie called “what dreams may come” is one I value and is underrated and not spoken of. It features Robin Williams in a non-comedic role, and it is such a touching story about finding a loved one in heaven. It is so important to me after losing my partner last year to cancer. Your podcast has tackled "big questions" like "what would Nicolas Cage’s meal deal look like?" In a world of serious film criticism, why do you think these kinds of fun, quirky questions resonate so much with people? The podcast presents content that differs from the regular videos I create by focusing on casual conversations among friends about everyday topics. You feel involved as if you are on the couch having a chat with us. While some podcasts address serious or thought-provoking subjects, this podcast emphasises relatability through discussions of common experiences and humorous topics. The intention is to offer viewers accessible and light-hearted topics that may reflect conversations they have had with others. As a rising creator in the UK, what do you think is unique about the British film and pop culture landscape? Are there any UK-specific trends or content that you're particularly passionate about? Streaming shows and movies at home has become a huge part of people’s lives, especially since the COVID pandemic. The “what to watch” trend, especially on TikTok, is really kicking off and viewers seem to be extremely engaged and influenced by creators’ recommendations. Many of your followers are younger, digital-native film lovers. How do you see their relationship with cinema—from what they watch to how they discover it—differing from previous generations? Many followers are finding new movies through discussions on my content and others. Social media makes it easy for viewers to get instant updates and recommendations, especially from creators who see early screenings. It's also great to watch younger audiences discover and react to older films, including 80s cult classics that they would never have considered watching before. What's one film you can watch over and over again and never get tired of, and what is it about that film that keeps you coming back? Beetlejuice . It is my no. 1 movie and even though the CGI and cinematography have aged, the script, humour and wacky scenes make it a fun, re-watchable film. Gothic comedy is not made much anymore, and this movie just ticks all the boxes. Scary, funny, emotional, shocking, suspenseful, crazy. The list goes on. When you’re not reviewing or creating content, what kind of film-related activities do you enjoy? Do you ever try to completely switch off from the movie world, and if so, what do you do? I still love going to the cinema. Some movies must be watched on the big screen. I go to regular meet-ups with other creators to see early screenings or take part in film and TV events to talk all things entertainment. I am also a voice actor, and this allows me to create characters and manipulate my voice in a fun way. Sometimes it is great to switch off completely from the movie world and get away from a screen. I love spending time with my 3-year-old daughter or even getting fit at the gym which has been a big passion of mine lately. What's the most exciting change you've seen in the film or entertainment industry in the last few years, and where do you hope to take your own brand, Brettflix, in the next few years? The rise of social media has given film enthusiasts, like me, a platform to share and recommend movies, moving beyond the usual voices of traditional critics in papers and magazines. With Brettflix, I aim to grow the podcast’s audience and aim to relate with the viewers and give them an escape from the everyday stresses of life. My goal is to become a full-time film journalist, collaborate with major studios, and generate excitement for new films. I love my work as a content creator, and I hope my passion for film shows through my content. Where to Find Brett: Brett Harman (aka Brettflix) is a rising content creator, podcaster and presenter, specialising in movies, entertainment and pop culture. With over 265,000 followers across TikTok and Instagram, and 5.7 million like on TikTok alone, he engages a loyal audience through quick-fire reviews, quizzes, trivia, and sharp takes on the latest trends. This summer, he launched The Brettflix Podcast, blending humour, insight and unfiltered commentary on pop culture topics. Please visit www.BrettHarman.co.uk , and you can follow Brett on TikTok @Brett_Harman , Instagram @brettflix_official , and listen to The Brettflix Podcast on all major podcast platforms.

Directed by: Luís Hindman Written by: Luís Hindman, Sufiyaan Salam Starring: Eben Figueiredo, Gurjeet Singh, Kulvinder Ghir Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️⭐️ Magid / Zafar (2025) is a 19-minute short film depicting rising tensions, set inside a Pakistani-British takeaway restaurant. There are many tensions at play here, such as the juxtaposition between modernity and traditionalism and between a Pakistani and a more Western way of life. These conflicts are presented through music, costume, and a heart-wrenching narrative, as the protagonist, Magid, must face his future and what it entails. Can Magid accept leaving his old life behind, or will the brewing tensions take over and leave him lost between two worlds? Inside the busy kitchen, the heat, noise, and energy are constantly at an all-time high. Shifty camera movements combined with jumpy short takes bring this stressful environment to life, creating a strong impression that much is happening in this confined space. Whilst the kitchen is sizzling with chefs hard at work and the counter is bustling with customers, many interruptions add to this energetic soundscape, such as music being changed and phones pinging. A sense of frustration begins to take shape here regarding the intense environment becoming more stressful, and through a generational gap, which becomes apparent through conflicts in music choice and a disdain towards the use of mobile phones. These rising tensions set the scene marvellously for what is later revealed about Magid’s marital situation, as in a revelation, he is unveiled to be stuck between two crossroads and forced to take a route that does not align with what his heart may desire. This film deals strongly with the feeling of being trapped and wanting to run away, aptly using a single-shot location of a kitchen to convey a claustrophobic environment where so many things are expected of you, and yet nothing is ever within your control. Like Christopher Storer’s The Bear, as seen on Disney+, and the 2021 BBC film Boiling Point, the setting of a busy restaurant is masterfully utilised to enhance viewers' engagement with characters’ emotions and frustrations both within their workspace and in their personal lives. Magid / Zafar is cinematically beautiful, effectively using colour and costume to create a fittingly vibrant palette. Viewers will almost be able to smell the spices and sauces being cooked and feel the energy radiating out of the kitchen. The carefully combined soundscape, combined with an artistic, dreamy use of neon lighting, adds to the film’s spirit of feeling both an authentic portrayal of life working in a kitchen and a necessary setting to enhance the film’s themes of escapism and conflict. Around halfway through the film, there is a sudden shift in its energy levels. The latter segment of the film is entirely shot within a store cupboard, relying heavily on performances by Eben Figueiredo (Magid) and Gurjeet Singh (Zafar) to keep the viewer engaged, and both actors certainly succeed in doing so. The film’s former, highly stressful feel is halted by a vulnerable, tender scene, the soft performances here reminiscent of remarkable performances by River Phoenix in My Own Private Idaho (1991) and Timothée Chalamet in Call Me By Your Name (2017). Figueiredo and Singh are both continuing the legacy of having young male characters on screen who are rawly portrayed as they struggle with vulnerable emotions surrounding their identities, and the result is a tearful climax to close the film. The film’s director, Luís Hindman, is currently working on his debut feature film, which audiences can eagerly await after the gorgeously shot Magid/Zafar . This film’s moving story captures viewers through its initial mayhem, stuns with its unexpected turn, and hits home in an emotionally poignant final shot.

Film Feature by Chris Olson Well then, here we are, another year, another brilliant lineup from the Tokyo International Film Festival (TIFF). As a critic who's always looking for a good yarn and a bit of cinematic magic, the latest announcement from the 38th TIFF has certainly piqued my interest. They've just unveiled their Closing Film, some of the Gala Selection titles, and a few animated gems, and it's looking to be a festival of truly impressive scale and prestige. The big news, and rightly so, is that Academy Award-winning director Chloé Zhao's newest film, Hamnet , will be the festival's Closing Film. Based on the critically acclaimed novel by Maggie O'Farrell, this film follows the powerful story of love and loss that inspired William Shakespeare's masterpiece, Hamlet . With a cast that includes the ever-brilliant Jessie Buckley and Paul Mescal, who apparently deliver triumphant performances, this film has already made a splash, picking up the People's Choice Award at the Toronto International Film Festival. It's a real coup for Tokyo, and what's more, Zhao herself will be there to receive the Kurosawa Akira Award. What a way to wrap things up! Looking at the Gala Selection, it's clear the festival is pulling out all the stops. We've got Ari Aster's Eddington , which boasts a cast list that includes Joaquin Phoenix, Pedro Pascal, and Emma Stone. Then there's Rental Family  from director HIKARI, a joint USA-Japan production featuring Brendan Fraser. These high-profile international titles sit alongside some of the best of Japanese cinema, showcasing the festival's broad appeal. And for those who, like me, appreciate the art of animation, the lineup is looking very strong. The selection includes a 4K restoration of the Japanese classic Angel's Egg  and a range of international works, such as the French film Allah is Not Obliged  and the Spanish film Decorado . It's a delightful mix that promises a feast for the eyes and the mind. The festival will run from October 27 to November 5, and I, for one, can't wait to see how it all unfolds. Opening, Closing, and Gala Selection Climbing for Life (Opening Film) Tokyo Taxi (Centerpiece) Hamnet (Closing Film) Blue Boy Trial Bring Him Down to a Portable Size Can't Cry with Your Face Eddington Holy Night: Demon Hunters Love on Trial Night Flower One Last Throw Rental Family She Has No Name Sirat Sons of the Neon Night Springsteen: Deliver Me from Nowhere Animation Lineup Allah is Not Obliged Angel's Egg 4K Restoration Chao Decorado Edge of Time I am Frankelda Jinsei Labyrinth The Last Blossom Little Amélie or the Character of Rain The Obsessed Momotaro, Sacred Sailors

Directed by Cody Farren Written by: Cody Farren Starring: Dane Whyte O’Hara, Johnny Harkin, Claire J. Loy Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️⭐️ Animal (2023) strikes home like a blade to the heart. Cody Farren’s dramatic short deals with heavy topics surrounding adolescent teens, such as abuse and mental health; therefore, viewer discretion is advised. Like Netflix’s Adolescence (2025), this film contains an important message about youth violence and bullying and the way these issues are often linked to external factors as children grow up. The story follows a schoolboy who is a victim of brutal, relentless bullying from an older peer. He seeks violent revenge against him; however, his plan quickly falls apart, leading to a tragic outcome. Although a short piece (15 minutes in length), each moment makes a profound contribution to the film’s wider message. I would not be surprised if schools were eager to screen this to draw attention to the realities of bullying and so that children feel seen when dealing with mental health problems and abuse. Aside from its vital message, there are some significant creative achievements here. The film’s use of music to create tension is remarkable, and viewers may find moments uncomfortable due to the distressing impact this has. Additionally, the film’s artistic use of lighting distinguishes its scenes brilliantly, each setting having its own distinct atmosphere through its colouring and the unique feel these create. The film combines moments of surrealism with intimate, naturalistic filmmaking techniques. Viewers may find this film to have the same familiar realism as the BBC’s Normal People (2020), which enacts similar methods, both pieces resulting in an enhanced, emotional feel. An example of realism in Animal is in its inclusion of the social media app Snapchat to depict an interaction between two characters. Crucially, a relatable modern-day online space is used to tell a story that is representative of an unfortunate reality. As well as this, similarly to Adolescence, the film has an effective use of young actors in its cast, adding to the realistic feel of the piece and enhancing its harrowing impact. The film’s contrasting use of a 1:1 aspect ratio in the film’s first third to a wide aspect ratio in the rest of the film effectively uses space to visually demonstrate the significance of how small, confined moments can have drastic consequences. The transition, about 5 minutes in, to a wide aspect ratio is the actualisation of these consequences, both symbolically, through framing, and through what occurs here in the plot. Dane Whyte O’Hara, who plays Mark, the film’s bully, exceptionally portrays his character's disturbance. As is usually the case, Mark is a victim of verbal and physical violence, leading to his struggle with addiction and his becoming a bully himself. O’Hara performs Mark’s complexity masterfully, demonstrating how bullying is usually a result of difficulties elsewhere, leading to a continuous, toxic cycle of abuse. More than anything, Animal feels like a call to action. Urgently, adolescents and young people struggle with life-altering mental health problems, which stem from a system that lacks the ability to identify and support those in need. This film acts as a vital conversation starter, drawing attention to the issues that desperately need it. Through viewing this film, audiences will hopefully gain a deeper understanding of the struggles young people face, perhaps leading to a world where instances similar to the one presented in this film can be prevented.

Film Feature by Chris Olson The year 2025 sees the arrival of a highly anticipated cinematic event: the second film adaptation of Stephen King’s dystopian novel, The Running Man . Directed by Edgar Wright and starring a remarkable ensemble cast, this new take on the classic story promises to be a fresh and exhilarating experience, a far cry from the celebrated 1987 action film starring Arnold Schwarzenegger. While Schwarzenegger's portrayal of Ben Richards became an action hero staple, this new version, with its star-studded cast, aims to delve deeper into the satirical and human elements of King’s original work. Leading the charge is Glen Powell as Ben Richards, the everyman protagonist thrust into a deadly game of survival. Powell, who has recently risen to fame with roles in Top Gun: Maverick and Twisters, brings a new kind of physicality to the character. As he has noted in interviews, his portrayal is less about superhuman strength and more about the grit and determination of an ordinary man fighting against extraordinary odds. He is joined by Jayme Lawson, who plays his wife, Sheila Richards. Her character’s illness is the driving force behind Ben's decision to enter the game, grounding the high-stakes plot in a relatable, human struggle. The film's satirical core is brought to life by two formidable actors in key villainous roles. Josh Brolin steps into the shoes of Dan Killian, the show's ruthless and ratings-obsessed producer. Brolin's portrayal promises to be a chilling masterclass in corporate amorality, showcasing a character who views human lives as nothing more than a commodity for public consumption. Sharing the villainous spotlight is Colman Domingo, who plays Bobby Thompson, the charismatic and sinister host of the deadly reality show. Domingo’s performance as the “host-with-the-most” captures the dark showmanship that feeds the public’s bloodlust and highlights the film’s commentary on media sensationalism and societal decay. Beyond the central trio, the cast is filled with a variety of compelling characters. Lee Pace takes on the role of Evan McCone, a formidable hunter tasked with tracking down and eliminating Richards. His presence adds a layer of constant threat and tension to the film. Karl Glusman also joins the ranks as another of the hunters. Richards also finds unexpected allies on his journey. Michael Cera plays Elton Parrakis, a rebel who helps Richards and works against the corrupt government. This role will allow Cera to showcase his talent for playing unconventional characters, adding a unique dynamic to the story. Legendary actor William H. Macy also appears as a stranger who provides aid to Ben during his desperate run. Emilia Jones plays a privileged woman, Amelia Williams, who is initially blind to the oppression of the government and encounters Richards during his escape, a character that serves as a mirror to the societal issues at play. The film's supporting cast further enriches the narrative. Katy O’Brian and Daniel Ezra portray fellow contestants on The Running Man, offering a glimpse into the fates of others caught in this brutal game. David Zayas and Sean Hayes round out the cast in supporting roles, contributing to the rich tapestry of the dystopian world. With Edgar Wright at the helm, a director known for his kinetic and stylish filmmaking, this new adaptation promises to be a visually and narratively thrilling experience. By staying true to the spirit of Stephen King's novel while updating it for a modern audience, The Running Man is poised to be a major cinematic event of 2025, driven by the talent and collective power of its extraordinary cast.

Film Feature by Chris Olson It seems like only yesterday that we were taking our seats in the cinema, our hearts aflutter with anticipation for the first part of Jon M. Chu's cinematic spectacle, Wicked. And what a spectacle it was. Now, a year on, the wait is almost over. On the 21st of November, the UK will finally get to experience the second and concluding chapter of this fantastical saga, Wicked: For Good. The first film was a whirlwind of colour, song, and emotion, successfully translating the magic of the West End and Broadway stage to the big screen. Cynthia Erivo's Elphaba was nothing short of a revelation, her powerful vocals and nuanced performance capturing the very essence of the green-skinned outcast. And who could forget Ariana Grande's perfectly pitched portrayal of Glinda, a character whose superficial charm concealed a heart grappling with genuine friendship and moral quandaries? But as any fan of the musical knows, the first film was merely the overture. The second Wicked film, Wicked: For Good is where the real drama unfolds. This is the moment the narrative pivots from the origins of a friendship to the defining choices that will forever cement the destinies of its two leads. The film’s title, of course, gives away the central theme: the idea of change, both personal and for the wider world, and whether it can truly be for the better. Expectations are stratospheric. The first film's success, both critically and at the box office, has set a monumental bar. With the stage now set for the most iconic numbers of the show’s second act — think the soaring, heart-wrenching duet "For Good" and the rebellious fury of "No Good Deed" — the pressure is on Erivo and Grande to deliver. The trailers have hinted at an even grander scale, with the consequences of Elphaba's defiance of gravity leading her down a darker, more isolated path. Wicked: For Good official trailer For us, the audience, this is more than just a film; it's a cultural event. The divide between Glinda and Elphaba, the corruption of power, and the complex nature of friendship are themes that resonate far beyond the Land of Oz. And in an age of fragmented viewing, the shared experience of watching this epic conclusion on the big screen feels more significant than ever. So, mark your calendars. November 21st promises to be a date to remember. Grab your fellow Oz enthusiasts, perhaps even a broomstick or a bubble machine, and prepare to be transported back to a world of emerald splendour and bittersweet goodbyes. Wicked: For Good is not just the end of a story; it's the culmination of a decade-long cinematic dream, and we, for one, can't wait to see if it truly does defy gravity.

Directed by: Khvicha Emiridze and Tinatin Emiridze Short Film Review by: Holly Baker ⭐️⭐️⭐️⭐️ Black Sea (2021) is an ode to the art of stillness and quiet. Through imaginative cinematic depictions and the use of silence, the film conveys a strong sense of grief and despair without ever directly addressing its subject matter. By being vague and short, capturing small moments of these characters’ lives, this brief procession of scenes creates a voiceless sense of death which permeates its entire runtime. A family are living on the shores of the Black Sea and seems to have had their everyday routines halted by a life-altering event. Directed by Khvicha Emiridze and Tinatin Emiridze, this Georgian short film, just under 15 minutes in length, lacks any dialogue, relying solely on performance, sound, and mise en scène to convey its story. Each shot lingers, allowing the viewer a few quiet moments of contemplation to grasp what may be occurring here for the small family, both emotionally and literally. Black Sea is composed of subtly gut-punching wide shots. Each shot appears as if it could be a painting, symbolically hinting towards the family’s situation. Sparking curiosity and a sense of dread, the still, wide shots of the film create an effective, mysterious, gloomy feel that maintains itself throughout. There is a deathly stillness to many moments in this film, leading to an eerie feeling of dread and sorrow, enhanced by its lack of dialogue. Some of these moments come across as unsubtly stark but necessary to bring to light what has occurred. An element of blandness comes through in the film’s first half. From the greyscale of the characters’ costumes to the beige food that is on the table in front of them, the use of bland colour schemes creates a sense of dull emptiness that seems to permeate these characters’ lives. The sullen performances in Black Sea are heavily impactful. Through facial expression and body language, viewers get a sense of the character’s internal turmoil. Notable is the performance of the father figure in the film, played by Niko Tavadze, whose subtly frustrated body language adds a layer of nuance to the family’s grief. Musical elements of this film, which are sporadic and at times nonsensically jarring, create a delirious feeling of confusion. This adds to the heartrending sense that the characters are unable to process or speak about what has happened, just as the film itself can find no suitable way to address it. The film’s title – Black Sea – aptly draws attention to the sea’s personified importance. The sea is a sinister character here, concealing secrets whilst offering a possible escape. It is also at the centre stage of many of the film’s most powerful, beautiful shots, setting the tone for the film’s overall mysterious visual landscape. Black Sea is quietly chilling. Through imagery and performance, the film has the structure of a poem, finding abstract ways to present a story that pulls on the viewer’s emotions and engages the senses. Whilst hinting towards the family’s dynamic and situation through intrinsic performances, the film is continuously mysterious in substance, allowing the viewer subtle clues of what they are seeing. Featuring beautifully memorable shots, crafted to linger, Black Sea is profoundly impactful.