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Film Feature by Hope Madden The 2026 program of Oscar-nominated animated shorts is characteristically brilliant. Artistic styles range from brushstrokes to stop motion to simple, hand-drawn animation and the tales told run an even wider gamut. Gorgeous, heartwarming, clever and endlessly watchable, the shorts celebrate the boundless talent and creativity in human artistry. The Three Sisters 14 minutes, directed by Konstantin Bonzit Konstantin Bonzit enlists spare but effective animation and no dialog at all to tell the most uproarious and delightful film of the lot. Three sisters life side by side by side on a tiny island until one day, a sole sailor docks looking for a place to stay. It’s a clever bit of fun, slyly told. Forevergreen 13 minutes/ directed by Nathan Englehardt and Jeremy Spears Stirring, gorgeous, dear, clever, joyous, heartbreaking, funny—Evergreen delivers it all, and in just 13 minutes. The story follows an orphaned bear cub who finds shelter and safety in the limbs of a loving evergreen tree. The animation is stunning, as is the film’s ability to draw so much emotion. Retirement Plan 7 minutes, directed by John Kelly Co-writer/director John Kelly (scripting with Tara Lawall) animates a clever, witty, delightful wish list from an unprepared middle-aged man (voiced to perfection by Domhnall Gleeson) listing all the things he will do once he’s retired and has the time. An utter joy. Butterfly (Papillon) 15 minutes, directed by Florence Miailh The brushstroke painting technique Miailhe uses is such a perfect medium for this tale of the water. The animation flows and moves, as Alfred Nakache’s life swims before our eyes. His youth, afraid of the water. His adolescence, a remarkable swimmer. His young adulthood, an Algerian-born Jewish Olympian in 1936’s German games. Memories of love, loss, and survival, all told from the water, leave a stirring impression. The Girl Who Cried Pearls 17 minutes; directed by Chris Lavis and Maciek Szczerbowski This enchanting, almost spooky stop-motion tale sees a wealthy grandfather spinning the tale of his most precious possession to his curious granddaughter. His tale is of his youth of poverty, his love for a sorrowful girl, and the tears of pearls that she shed. The unforgettable animation and Colm Feore’s beautiful voice work make this an unforgettable fable.

Film Feature by Rachel Willis This year’s collection of Oscar-nominated documentary shorts offers a mix of subjects, but each film displays a wealth of passion and talent. Perfectly a Strangeness 15 minutes. Directed by Alison McAlpine. As first light breaks on the horizon, three donkeys wander into the frame. These companionate creatures continue to roam as the camera follows them. Additional animals pop up on screen as the donkeys wander. A wary fox contemplates running but ultimately stands its ground. As the donkeys come upon an observatory, the mechanics of human ingenuity are juxtaposed with the donkeys’ simple rambling. This short is a serene, lovely piece of filmmaking. The Devil Is Busy 31 minutes. Directed by Christalyn Hampton and Geeta Gandbhir. At an abortion clinic in Atlanta, GA, the first person to arrive is the head of security. The protestors aren’t far behind. A man with a bullhorn belts out condemnation for abortion seekers before the sun has even risen. The short makes clear from the beginning the dangers the staff at the clinic face every day. It’s an appalling situation that the women seeking care find themselves in, as it is for the men and women who seek to serve them. “This is health care, period.” It’s a powerful testimony to the providers of women’s care. Armed with Only a Camera: The Life and Death of Brent Renaud 37 minutes. Directed by Brent Renaud and Craig Renaud. Brent Renaud and his brother Craig spent their adult lives documenting some of the world’s most dangerous places. From war torn neighborhoods to families hiding from gangs, the brothers captured the stories of people whose lives were upended by violence. The film does not shy away from brutal realities, often choosing to show very graphic and gruesome footage. When Brent is killed covering the war in Ukraine, Craig seeks to tell his brother’s story in the way he thinks Brent would have wanted. While at its heart, the film is a tribute from one brother to another, it’s also a testament to the importance and power of journalists. All the Empty Rooms 34 minutes. Directed by Joshua Seftel. Steve Hartman began reporting on school shootings in the United States in 1997. With each incident, he realized people were moving on more and more quickly. How could he do things differently, to keep people from accepting what’s unacceptable? Hartman refocused his efforts by visiting the bedrooms of the children who were taken too soon. Photographer Lou Bopp assists Hartman by trying to capture the souls of the children whose bedrooms he visits. It’s a profoundly moving effort, and director Joshua Seftel captures the final three visits with tenderness and compassion. Children No More: Were and Are Gone 36 minutes. Directed by Hilla Medalia. Every Saturday in Tel Aviv, Israel, a group of activists stand vigil, each displaying the photo of a child killed in the war in Gaza (children killed in Israel and the West Bank are included, too). The demonstrators don’t always agree on the best way forward, but their dedication is undeniable. Watching some of the hate directed their way is almost too hard to bear. But the importance of these quiet vigils is depicted vividly in Medalia’s extraordinary short film.

Star rating: 4/5 Writer: Renee Marie Petropoulos Director: Renee Marie Petropoulos Starring: Tanzyn Crawford and Emily Grant Souvenir is a tense portrayal of young, same-sex female love. Keira (Tanzyn Crawford) and Zoe (Emily Grant) are young, in love and on holiday together in an idyllic setting in a tropical resort, with plenty of time and space for intimacy and fun. Despite this, tension is sparked when Zoe, inadvertently it seems, breaks the boundaries of intimacy by taking pictures during sex, which Keira is visibly uncomfortable with, questioning it at first but agreeing to it in the end. From here on, Keira, whose family they are on holiday with, struggles to process and react to this. Souvenir invites us to reflect on the premise of the boundaries of intimacy in romantic/sexual relationships and how the possibility of being recorded at any minute without wanting to, disrupts it when it is present during moments where it should be safe to be vulnerable and spontaneous, not pose dangers of feeling exposed. The tension continues throughout the film, which presents to us another situation where Keira is again exposed to the camera without her consent. Will Keira, at sixteen, find the healthy way to navigate this relational challenge? Souvenir is a sensuous film that contains great cinematography of golden hour summer evenings, sweaty summer evenings, and wide shots of the landscape that makes the viewer long for summer and its universal suggestion of physical pleasure and emotional release.  The performances are great, with Emily portraying Zoe’s effortless dominance quite fearlessly, and Tanzyn playing Keira’s anxiety and doubts with subtlety. The realities of intimacy, privacy and respect within relationships, particularly when young, shapes us deeply and for life. How do we deal with our boundaries being transgressed for the first time, and how do we react when this continues once we have expressed discomfort with this? Zoe and Keira are both young and we could argue both equally vulnerable to power dynamics and lack of empathy within their relationship. The interesting question here is whether love and the best attempts at communication are enough for respect and healthy intimacy to be firmly established.   SOUVENIR will screen at the 2026 SXSW Film Festival.

Film Feature by Chris Olson As we, as parents, endure the February half-term of 2026, the perennial challenge for parents and guardians across the United Kingdom remains the same: how to keep the younger generation entertained without depleting the household savings. In an era where the cost of living continues to exert pressure on family leisure budgets, the cinema has often been viewed as a luxury expense. However, Odeon Cinemas has once again stepped into the fray to ensure that the magic of the silver screen remains accessible to all. For this upcoming holiday period, the exhibitor has confirmed the return of its Odeon Kids screenings, offering tickets for the remarkably low price of just £1, including screenings of The Bad Guys 2 (screening 14-19 February 2026) and Gabby's Dollhouse (screening 21-22nd Feb). The Bad Guys 2 At UK Film Review , we have always championed the importance of the theatrical experience. There is a specific, incomparable alchemy that occurs when a child sits in a darkened room, eyes fixed on a giant screen, surrounded by the collective gasps and giggles of an audience. It is the birthplace of a lifelong love for cinema. By pricing tickets at £1, Odeon is not merely filling seats during a quiet morning period; they are facilitating a cultural initiation. This initiative removes the financial barrier that so often gatekeeps the cinematic arts, allowing families from all backgrounds to participate in the latest animated adventures and live-action family features. The Odeon Kids programme is specifically designed with families in mind. The screenings typically take place during the morning sessions, making them ideal for those with younger children whose energy levels are highest at the start of the day. The selection of films curated for the February half-term 2026 includes a mixture of recent blockbusters that may have slipped through the cracks during their initial run, and established family favourites that benefit immensely from the scale and sound of a professional auditorium. From a critical perspective, the value of these screenings extends beyond the price point. In a digital age where streaming services provide an endless conveyor belt of content on tablets and smartphones, the sensory focus of the cinema is more vital than ever. A £1 ticket encourages a move away from passive, isolated viewing towards an active, shared event. For a pound, a child is taught the etiquette of the cinema—the shared silence, the anticipation of the trailers, and the appreciation of visual storytelling on a grand scale. Gabby's Dollhouse Official Trailer It is also worth noting the logistical benefits of this offer. Odeon has ensured that the £1 deal applies to both children and the adults accompanying them, provided the booking is made for an Odeon Kids session. This transparency is refreshing. Often, "family deals" are bogged down by complex terms and conditions or hidden "convenience" fees that inflate the final price. By keeping the entry fee to a single pound, Odeon is making a definitive statement about inclusivity. Of course, the cinema experience is rarely just about the ticket. We often discuss the "popcorn tax" in our reviews, and while concessions remain a significant revenue stream for exhibitors, the initial saving on entry allows parents much more flexibility. Whether that saved money goes towards a treat at the kiosk or simply means the family can afford to attend the cinema twice during the week instead of once, the result is the same: more people engaging with film. As we look toward the mid-term break, I encourage our readers to take full advantage of this scheme. Whether you are introducing a toddler to their very first film or taking a group of boisterous primary schoolers to see an animated sequel, the Odeon Kids £1 offer is a beacon of affordability in the UK’s cultural landscape. Cinema is, and should always be, for everyone. This February, thanks to Odeon, the cost of entry is no longer an excuse to stay at home.

Film Feature by Chris Olson Rish Shah, Jamie Demetriou, Michael Workéyè, Alexander Skarsgård, Charli XCX, Mel Ottenberg and Tish Weinstock. Copyright Photo by StillMoving.Net for Universal Pictures The West End was set alight this Tuesday evening as Picturehouse Central hosted the high-profile UK premiere of The Moment . The dispatches and imagery emerging from the red carpet suggest an event that perfectly mirrors the high-octane, stylish energy of the film itself. With a release date set for 20th February, the buzz surrounding this project has reached a fever pitch, marking it as a significant milestone in this year’s cinematic calendar. The star-studded arrivals featured the film’s central powerhouse, Charli XCX, who serves as both the lead actress and a producer. She was joined by the formidable Alexander Skarsgård and the always-inventive Jamie Demetriou, alongside director and co-writer Aidan Zamiri. The guest list read like a "who’s who" of contemporary British and international culture, with the likes of Robyn, Simon Amstell, Chloe Burrows, and Shygirl in attendance. Such a diverse assembly of talent from the worlds of music, fashion, and film speaks volumes about the cross-cultural appeal Zamiri has cultivated with this debut. The Moment Official Film Trailer Directed by Zamiri and co-written with Bertie Brandes, The Moment appears to be a searing examination of the modern celebrity industrial complex. The synopsis promises a visceral journey: A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut. While we await the official press screenings to provide a full critical breakdown, the pedigree of the production team—including producers Charli XCX and David Hinojosa—suggests a film that eschews the glossy "pop star" clichés in favour of something far more biting and authentic. Hinojosa’s involvement, in particular, hints at the sophisticated indie sensibility that has defined some of the most compelling dramas of the last decade. The Cast for The Moment The cast list for The Moment  is arguably one of the most eclectic and intriguing of the year. Beyond the central trio of XCX, Skarsgård, and Demetriou, the film features: Rosanna Arquette  and Kate Berlant Rachel Sennott  and Rish Shah Kylie Jenner  and Hailey Benton Gates Isaac Powell  and Michael Workéyè This blend of seasoned dramatic veterans, cult comedy favourites, and global icons suggests a narrative that is as much about the "spectacle" of fame as it is about the individual at the centre of the storm. From my vantage point at UK Film Review , the anticipation for The Moment lies in its potential to be a definitive "zeitgeist" film. Aidan Zamiri has already established a reputation for a distinct visual shorthand in his previous work, and seeing that applied to a feature-length narrative is a mouth-watering prospect for any cinephile. As we look toward the nationwide release this Friday, the question remains: can The Moment capture the lightning-in-a-bottle reality of 21st-century stardom? If the energy of the London premiere is any indication, we are in for something electric.

Film Feature by Chris Olson There is a specific kind of cinematic magic that occurs when hard science meets the infinite, terrifying, lonely void of deep space. As a critic who has often found solace in the meticulous world-building of Christopher Nolan or the grounded humanity of About Time , I find myself increasingly drawn to stories that challenge our intellect while tugging firmly at our heartstrings. The wait for the big-screen adaptation of Andy Weir’s celebrated novel has been long, but with the arrival of the official trailer for Project Hail Mary , it appears the wait has been entirely justified. Directed by the powerhouse duo Phil Lord and Christopher Miller, this is a project that feels like a significant shift for the filmmakers. Known for their kinetic energy and sharp wit in everything from The Lego Movie  to 22 Jump Street , they are now stepping into the realm of high-stakes science fiction with a scale that looks truly monumental. The trailer suggests a film that is as visually arresting as it is narratively dense, capturing the isolating beauty of the cosmos with a precision that demands the largest screen possible. The Official Final Trailer: Project Hail Mary The trailer opens not with a bang, but with a disorienting, clinical silence. We see Ryan Gosling’s character, Ryland Grace, waking up in a sterile, white environment, surrounded by machinery and a palpable sense of confusion. This isn't the charming, confident Gosling we saw in Barbie  or the rugged hero of The Fall Guy . Here, he is vulnerable, an amnesiac science teacher tasked with a mission he cannot remember and a weight he didn’t ask to carry. Project Hail Mary Official Final Trailer from Amazon MGM Studios As the footage unfolds, the mystery deepens. We learn that Grace is on a desperate mission to save the Sun, and by extension, humanity, from a catastrophic threat. The trailer masterfully balances the "hard science" elements that made Andy Weir’s The Martian  such a success with a sense of wonder and existential dread. The visual effects are nothing short of breath-taking; the Hail Mary spacecraft itself looks lived-in and functional, a stark contrast to the ethereal, shimmering beauty of the stars outside its viewports. Perhaps the most intriguing aspect of the trailer is the hint of an unexpected friendship. While the marketing is careful not to reveal too much, there is a sense of companionship that promises to be the emotional core of the film. It suggests that even in the furthest reaches of the galaxy, the universal need for connection remains our greatest strength. The Cast of Project Hail Mary While the film rests heavily on the shoulders of Ryan Gosling, the supporting cast is equally impressive. Gosling has always had an innate ability to convey deep internal conflict with minimal dialogue, and Project Hail Mary  looks to be a masterclass in his understated brilliance. His performance as Ryland Grace seems to capture the "everyman" quality necessary to make the complex scientific stakes feel personal. Joining him is the sensational Sandra Hüller, fresh from her powerhouse performances in Anatomy of a Fall  and The Zone of Interest . Hüller portrays Eva Stratt, the indomitable leader of the international task force responsible for the mission. Having an actress of her calibre involved suggests a film that prioritises intellectual and emotional weight over simple spectacle. The trailer gives us a glimpse of her commanding presence, providing a grounded, terrestrial anchor to Grace’s celestial journey. The cast is further bolstered by talented performers such as Milana Vayntrub, Ken Leung, and James Ortiz. Each appears to bring a distinct energy to the high-pressure environment of the mission, ensuring that the human element is never lost amidst the staggering CGI and astronomical concepts. The UK Release Date For Project Hail Mary (2026) For those of us in the UK, the anticipation is reaching fever pitch. Project Hail Mary  is scheduled for a nationwide theatrical release on 20th March 2026. Given the visual fidelity teased in the trailer, this is undoubtedly a film that should be experienced in IMAX. In an era where many blockbusters feel like they are coming off an assembly line, there is something deeply refreshing about a film that feels this intentional. It is a story about the triumph of human ingenuity and the enduring power of hope, even when the odds are mathematically impossible. From Drew Goddard’s screenplay to Lord and Miller’s direction, it is hard not to feel that we are on the precipice of a new science-fiction classic. The trailer for Project Hail Mary  does exactly what a great trailer should: it asks fascinating questions, showcases stunning craftsmanship, and leaves us desperate for answers. This March, it seems we will all be looking toward the stars once again, hoping that Ryland Grace can find a way to save us all.

★★★★ Directed by: #LelandMontgomery Written by: #LelandMontgomery Starring: #ChrisAguila, #CassBuggé, #ZoeChao, #WilliamThomasHodgson Film Review by: Darren Tilby Family dramas are nothing new, we’ve all suffered them at some point. And unfortunately, they often seem to come to the fore during significant and/or personal events - birthdays, weddings, etc. In Leland Montgomery’s slice-of-life exploration of sibling dynamism, that event is the death of a mother. We join three sisters – Olga (Cass Buggé), Mary (Zoe Chao) and Irene – and their younger brother, Andy (Chris Aguila), at the funeral of their recently deceased mother. And while there is an apparent closeness, there also seems to be resentment bubbling just below the surface. Resentment that, while the three sisters, still living in the family home, are “trapped” in their backwoods, go-nowhere town, Andy has managed to move out and on with his life. But, after the group decides to sell the family home, the chance for the sisters to escape their existence seems tantalisingly close. Unfortunately, with family, nothing is ever that simple. It’s an intimate cast that presents itself in Like Animals, one with an incredible amount of personality, especially for a 14-minute-long short film. Each of the sisters is easily discernable from one another, not just by the obvious differences in their appearance, but by the way they carry themselves and their attitude and mannerisms in general. It’s a truly remarkable cast, and every character here seems well developed and vital to the story, and with ample reason for their actions. The only problem here is the nature of the film itself. It’s just a tiny window into a story that should have more substance. And, sadly, it doesn’t. Thematically, Like Animals deals mainly with the usual family stuff – selfishness, anger, love and loss – and so the basic setup is pretty straightforward. But there’s certainly nothing wrong with this, in fact, the movie benefits from it immensely. However, behind this veneer lies a superlative exploration of personal choice, regret and missed chances. Eli Arenson’s work on the movie’s cinematography thoroughly emphasises the scale and prevailing sense of emptiness in the girl’s lives. Which is achieved through brilliant framing of the film’s dustbowl-like exteriors. While I do think – maybe with a little more time, or more concise writing – this could have been better, there’s a compelling examination on the complicated nature of sibling relationships here. Like Animals is a well-made piece of filmmaking and the underlying themes of regret and resignation are subtle but effective; they elevate the movie no end. But the real stars are its characters (which is fitting for a film that’s so character-oriented). The performances by the actors are superb, and the character writing itself is some of the best I’ve seen in a short film for quite some time. Like Animals is available on YouTube and linked below. And it’s well worth 14-minutes of your time.

Film Feature by Chris Olson There is a particular kind of weight that comes with the name Paul McCartney. For many of us, his melodies are not just songs; they are the architectural blueprints of our musical understanding. As an avid singer-songwriter myself, I have spent countless hours hunched over an acoustic guitar, trying to deconstruct the effortless genius of a McCartney bridge or the deceptive simplicity of his lyrical phrasing. My obsession was not born in a vacuum, of course. Like so many of my generation, I was introduced to The Beatles through my parents, whose vinyl collection served as my primary education. It is with this personal history in mind that I greeted the news of the upcoming Amazon Prime Video release, Man on the Run . Set to debut on the streaming platform later this month, the film promises an intimate, deep-dive exploration of arguably the most challenging and creatively fertile period of McCartney’s life: the immediate aftermath of the world’s most famous band breaking up. Directed by the acclaimed Morgan Neville, the documentary focuses on the decade following 1966. While the world often focuses on the "Mop Top" era or the psychedelic studio years of the late sixties, Man on the Run  looks at the man behind the myth as he navigated the 1970s. This was the era of Wings, of domestic bliss on a Scottish farm, and of a man desperately trying to find his voice again while the shadow of the Fab Four loomed large over everything he touched. As a songwriter, I find this specific narrative arc incredibly compelling. There is a profound vulnerability in seeing a global icon retreat from the stadium lights to start again from scratch. The trailer and promotional materials suggest a film that is less of a standard tribute and more of a psychological profile. We see Paul and Linda McCartney forging a new path together, defying the critics who dismissed Wings as a mere vanity project, and eventually conquering the charts once again with Band on the Run . The film utilizes a wealth of never-before-seen archival footage, including home movies and photographs from the McCartney family’s personal collection. For a fan, this is holy grail territory. To see the domesticity that fuelled hits like "Maybe I’m Amazed" provides a context that only enriches the music. It reminds us that behind the multi-platinum records was a man trying to protect his family and his sanity during a period of immense legal and emotional turmoil. Man on the Run Official Film Trailer Some people may know I am a huge fan of the "rockumentary" as a genre, but also that those movies can sometimes feel formulaic. However, with Neville at the helm—the man responsible for the sublime 20 Feet from Stardom —there is every reason to believe this will be a cut above the rest. The focus seems to be on the transition from the "we" of The Beatles to the "me" of a solo artist, a journey that is fraught with creative insecurity and the sheer terrifying freedom of having nothing left to prove but everything to lose. Man on the Run  feels like a necessary piece of the puzzle. It is likely to be a testament to the endurance of McCartney’s spirit. As the film prepares to land on Prime Video, I find myself reaching for my guitar, and breaking out a cat-distressing rendition of Let It Be.

Film Feature by Chris Olson There is a particular kind of audacity required to walk into a London record label and demand to be heard, but it takes an entirely different level of chutzpah to do so while pretending to be from California when you are actually from Dundee. This is the incredible, almost unbelievable true story at the heart of California Schemin , and with the release of the new official trailer, we are finally getting a proper look at what promises to be one of the most vibrant British films of the year. The film serves as the directorial debut for James McAvoy, a man whose acting pedigree needs no introduction to the UK Film Review audience. Having spent decades in front of the lens delivering powerhouse performances in everything from small-scale indies to Hollywood blockbusters, McAvoy has stepped into the director's chair to tell a story that feels remarkably close to home. It is a bold first step into filmmaking, and if the trailer is anything to go by, he has brought a kinetic, gritty, and deeply empathetic energy to the project. Based on the real-life exploits of Gavin Bain and Billy Boyd, the film explores the rise and fall of Silibil N’ Brains. In the early 2000s, these two aspiring Scottish rappers found themselves repeatedly shut out by a music industry that simply would not take two lads with thick regional accents seriously. Their solution was as chaotic as it was brilliant: they reinvented themselves as a hard-partying duo from the West Coast of America. The new footage shows just how far they were willing to go, swapping their Dundonian vowels for Californian drawls and successfully conning the very gatekeepers who had previously laughed them out of the room. Califonia Schemin Official Trailer Califonia Schemin Official Film Trailer from Studiocanal The official trailer for California Schemin introduces us to the central duo, played by Séamus McLean Ross and Samuel Bottomley. There is an immediate chemistry between the two that seems to anchor the film’s more outlandish moments. Ross, in particular, looks to be channelling a desperate, wide-eyed ambition that feels both hilarious and heartbreaking. We see the pair in their cramped flats, meticulously practising their accents and fabricating a past of "sunny LA" while staring out at a rainy Scottish landscape. It is a classic underdog setup, but one infused with a sharp, modern edge. What makes this trailer stand out is the way McAvoy seems to be balancing the tone. While there is plenty of humour to be found in the absurdity of the con, the footage also hints at the heavy price of living a lie. As the duo gains traction, signing a record deal and finding themselves on MTV, the cracks begin to show. The pressure of maintaining the persona starts to erode their friendship and their own sense of identity. It is not just a comedy about a prank; it is a study of the lengths people will go to for a seat at the table when the doors are perpetually locked. The supporting cast is equally impressive, featuring Lucy Halliday and Rebekah Murrell, alongside a cameo of sorts from McAvoy himself as a record producer. The visual style, captured by cinematographer James Rhodes, looks to be a blend of high-energy music video aesthetics and grounded, kitchen-sink realism. It perfectly reflects the dual lives the protagonists are leading—the neon-soaked fantasy of the pop world versus the grey reality of their origins. For McAvoy, choosing this specific story for his debut feels like a statement of intent. It is a film about class, about the regional biases of the British creative industries, and about the sheer, unadulterated power of "faking it until you make it." There is a clear affection for the characters and the setting, suggesting that McAvoy is not just interested in the spectacle of the hoax, but in the heart of the people behind it. Califonia Schemin UK Release Date As we look toward the 10 April 2026 release date, the anticipation is certainly building. UK Film Review has always championed stories that find the extraordinary in the ordinary, and California Schemin appears to be doing exactly that. It is a film that looks to celebrate the Scottish spirit while taking a healthy swing at the vanity of the music business. With a soundtrack that promises to be as brash as the boys themselves, and a directorial vision that feels surprisingly assured for a first-timer, James McAvoy might just have a hit on his hands. This isn't just another biopic; it’s a riotous, rhythmic, and quintessentially British tale of what happens when you decide to stop asking for permission and start taking it—even if you have to lie through your teeth to do so.

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.