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The Runner film review by UK film critic William Hemingway. Starring Madison Bailey, Colby Cyrus, Andrew Medeiros directed by Andrew Medeiros. HOME | FILMS | REVIEWS The Runner Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 20, 2026 Directed by: Andrew Medeiros Written by: Andrew Medeiros Starring: Madison Bailey, Colby Cyrus, Andrew Medeiros A couple living in a small, quiet, out of the way town, have their peace broken by the arrival of a police detective, who is looking for a fugitive that might have come their way. Samuel (Cyrus) and June (Bailey) are enjoying a restful day on the sofa, quietly reading their books and resting in the silence that surrounds them. It’s snowing outside and there’s a blanket of white lying across the landscape and hanging off the trees, softening the sound further and enhancing the feeling of solitude that their quiet cabin seems to offer. Rolling up to their house, however, is Detective Martin (Medeiros), an out-of-town policeman who is looking for information and wanting to ask questions of the couple. After rapping on the door, Detective Martin is needlessly enigmatic in his introduction, evading basic questions and finding it hard to reveal why he’s at the couple’s home. With a bit of badgering and sustained inquiry, he finally lets out that he’s looking for a fugitive who might be in the area, and we can at last get into the scenario of The Runner properly. Detective Martin is invited inside and eventually gets around to telling the story of The Runner , a woman who embezzled millions of dollars from her clients in California and then killed her husband when he found out about it. Samuel and June listen to the story intently, not recognising the events or story that the detective is telling, until finally he gets around to revealing that this all happened over two years ago. Now there’s new evidence and a new lead to suggest that The Runner might be in the area and so Detective Martin has turned up to see what he can turn up in the small town of Pinewood. At just over seven minutes long, The Runner doesn’t have a lot of time to explain its plot and work through its narrative. It’s a shame then, that time is wasted with bad dialogue and phony characterisation that offers nothing to the story or those telling it. Detective Martin takes an age to get around to the point of his visit and then doesn’t reveal the timeframe of the crime until past the midpoint of the film, stretching an already extremely thin scenario to near breaking point despite the fact that the film is so short. The cinematography, too, is underwhelming and unconsidered, as the snowy background beyond the porch of the house is a blanket whitewash with zero contrast and heightened reflective glare. The focus on Detective Martin is also out as he sits on the chair opposite the couple, who are each in perfect HD focus, and this fuzziness follows him out to the car after he has completed his interview. While writer/director/producer/star, Andrew Medeiros manages to select his shots, fill his frames, and build his narrative fairly well with his direction, he is let down by a nonsense script that brings up more questions than it answers. When the killer is finally revealed, and although I won’t give it away, gee whizz it doesn’t take much to figure out just who The Runner turns out to be, we really have to ask ourselves the question as to why Detective Martin didn’t click right away. Samuel manages to figure it out within the space of a minute, so you would imagine that someone who has been on the case for two years, and has had days to look over the CCTV screenshot of the presumed killer, would be able to make the link, or to know that he might be in danger. There is no tension, no surprise, and no thrill, in this supposed thriller, with the only saving grace being that it is so short that we don’t have to sit through extended scenes of the nothing that is presented to us. The turgid monologue at the end, voiced over a black screen to begin with, is indicative of the horrible scripting throughout the piece, as The Runner tries to philosophise, or soliloquise, or romanticise, or who knows what it is she’s trying to do, as she delivers some sort of killer’s lament to us about her way of life. There is not a lot to recommend The Runner to the audience, and in the end the only running that should really be going on is in the other direction, away from watching another bad short film. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

I Feel Lonely film review by UK film critic Holly Baker. Starring Diana Kostova, Kristian Kristen directed by Alexander Tomov - junior. HOME | FILMS | REVIEWS I Feel Lonely Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Mar 20, 2026 Directed by: Alexander Tomov - junior Written by: Alexander Tomov - junior Starring: Diana Kostova, Kristian Kristen I Feel Lonely , directed by Alexander Tomov-Junior, is a short Bulgarian horror thriller following a young solitary woman who appears to be suffering a mental decline. The film opens with atmospheric, moody shots of motorways and other liminal spaces to establish an eerie sense of dread and displacement. The settings are combined well to highlight empty spaces, building up to introducing the film’s protagonist, the viewer is already familiar with the isolation they will see her endure. After a crime thriller-esque opening, viewers are placed inside the protagonist's home. This is a sparsely decorated, coldly sterile apartment which swallows her form. She appears small and insignificant within this sea of dull space, highlighting her vulnerability and weakness. The choice of costuming her in juvenile pyjamas and having her undergo her nightly routine conveys the idea that she is in a private space where she should feel comforted, yet lacks this sense of security due to the depraved nature of the setting. Quickly, the woman’s space is invaded by a force worse than cold isolation. She begins to hear voices from her sink drain, repeating ‘I feel lonely’. Perhaps a fantastical being is taunting her, or maybe it is her mind playing tricks on her, the film does an excellent job in blurring these possibilities, neither of which is any way more comforting than the other. Throughout the film, sound is used effectively to create an atmosphere of dread. Silence is heavily incorporated to add to the horror, with intervals of a musical score, building up to enhance suspense. There is minimal dialogue, making the viewer constantly aware of each small movement and minuscule sound, keeping us on edge. By depriving the viewer of stimulation, an atmosphere of isolation and directionlessness is created, and every action is highlighted as we too look for answers in the strangest of places, descending into our own insanity as we search. The setting shifts briefly from the woman’s apartment to the more communal areas of her residential building. Shaky handled camera work immerses the viewer within the space as if they were playing a video game, allowing the camera’s point of view to explore and observe the area. When outside her apartment, there is one conversation which takes place between the woman and a suspicious caretaker, and their interactions lack humanity in their uncanny tonelessness and their cold demeanours. Effectively so, despite this external stimulus, the viewer is never released from the eerie grasp that the space holds them in. As the film comes to a close, a strong sense of unease and uncertainty is maintained. Viewers may find themselves unsure how to feel sympathy for the protagonist, as well as fear for her, and perhaps their own minds may surface. Overall, I Feel Lonely is an unsettling short horror film which stands out through its strong use of sound to unnerve, as well as skilled camera work which subtly controls the viewer's gaze and attention. The film is well crafted and strongly succeeds in creating suspense, and a notably talented performance from Diana Kostova, who excellently plays the film’s protagonist, aptly unnerving to encapsulate both the film's message about mental illness, and its ability to engage the viewer through a well-conveyed storyline. About the Film Critic Holly Baker Short Film, Horror < All Reviews Next Film Review >

Dead City Punx film review by UK film critic Chris Olson. Starring Dead City directed by Roger Gastman. HOME | FILMS | REVIEWS Dead City Punx Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Mar 20, 2026 Directed by: Roger Gastman Written by: NA Starring: Dead City Born in the rage-fuelled streets of LA, punk band Dead City gained notoriety during COVID for their guerrilla gigs and massive, anarchic audiences. The band’s members, Meka, Grumpy, Mike, and Adrian, are on hand to explore the origins of their outfit, from stealing a drum kit from a local church to facing off with the LAPD. It’s as unapologetically punk as it comes, and a welcome antidote to the state of the modern music scene. With any roc-doc, there’s usually a degree of ego-stroking, and Dead City is completely aware of their cult status in LA as a catalyst for stoking the flames of frustration, particularly amongst younger audiences who saw their illegal gigs as a place to vent frustration. Whether that meant lighting a fire in the pit, setting off fireworks, lobbing bottles at the cops, or attacking a U-Haul with a hammer, nothing was off the table, and audience members took their own safety into their own hands by attending. The violence and chaos would escalate, as it always does, with a heavy police presence, which became a foregone conclusion for any Dead City gig. Once the rubber bullets started flying and the news footage provided the perfect PR, infamy was inevitable. The journey of the band highlights some fascinating aspects of the modern cultural state of live music. This is a DIY band, with no label, putting on huge, free shows with nothing but stolen concrete and word-of-mouth. They used Instagram to drop last-minute location flyers, and suddenly thousands of eager locals would turn up, set shit on fire, and become hardened devotees to the group. Tapping into this electric hunger has to be one of the band’s most important achievements and something other artists should take note of. As viewers, we learn of the band members’ childhoods, most of which are pretty rough. Abandonment, drugs, and homelessness are just some of their shared experiences, all of which pour into both their music and their potent onstage presence. It may be hard for some audiences watching the Dead City Punx documentary to connect with these guys, especially the criminal activities they openly regale us with, which range from graffiti to selling drugs (with worse being hinted at), but to eschew their realities for something more PG-13 would have been disingenuous and an affront to the scene they have become such a historic element within. Director Roger Gastman, whose previous films Rolling Like Thunder (2021) and Wall Writers (2016) also have strong explorations of graffiti, here manages to capture the dynamic appeal of the band and the commanding drive they have to ignite a forceful LA music scene even during a pandemic. Much like their shows, you may not like this, but it is exactly what it needs to be. The documentary premieres on April 16 in Los Angeles, CA, at The Regent Theater. There will be two screenings: 7:30 PM and 9:30 PM. The next day, April 17, there is a gallery opening at BEYOND THE STREETS. DEAD CITY PUNX is executive produced by Roger Gastman, Joseph Pattisall, and Zack de la Rocha. About the Film Critic Chris Olson Documentary, Music Video < All Reviews Next Film Review >

The Charitable Sisterhood of the Second Trinity Victory Church film review by UK film critic Chris Olson. Starring Kathryn Hartman, Libby Fleming, Helen Kim, Kelly Monisse, Dilroop Khangura directed by Dean Owen-Sims. HOME | FILMS | REVIEWS The Charitable Sisterhood of the Second Trinity Victory Church Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Mar 18, 2026 Directed by: Dean Owen-Sims Written by: Bo Wilson, Dean Owen-Sims Starring: Kathryn Hartman, Libby Fleming, Helen Kim, Kelly Monisse, Dilroop Khangura Based on a play of the same name by Bo Wilson, and adapted for the screen/directed by Dean Owen-Sims, The Charitable Sisterhood of the Second Trinity Victory Church finds a heartfelt balance between comedic jibing and poignant drama through its sensational cast of five extraordinary female characters. Set in 1977 in small-town Virginia, we witness a charity drive run by a selection of devoted women. Because of a raging storm, only a few local gals have responded to the flyers put out by Bea (Kathryn Hartman), whose standing as the local pastor’s wife and penchant for exactness make her a formidable leader in the group. We meet first, however, Lorraine (Libby Fleming), a mother of nine (yes, nine! And one hamster) and newcomer Tina (Helen Kim), who strike up a friendly banter until the rest of the characters arrive. Later, we meet the fabulously dressed Janet (Kelly Monisse) and the timid Riley (Dilroop Khangura), completing the gaggle of do-gooders. As the friendly banter and pointed gossiping progress, more than a few secrets get unearthed, with potentially life-changing ramifications. The duration of the feature-length film is set in one room, creating a palpably theatrical atmosphere. Characters enter and leave sporadically, but the ensemble is generally in front of several cameras throughout. This setup may immediately distress some viewers, but for those of us who like contained drama and stories, director Dean Owen-Sims proves to be a safe pair of hands. Razor-sharp, rapid dialogue and fantastic performances all round make this a compelling watch. This gets elevated by the powerful themes that are subtly explored, such as religion, friendship, sexism, and power plays disguised as altruism. Whilst it would be tempting (and ironic) for viewers to dismiss the film’s content of ladies nattering, they would miss the stark realizations coalescing about society and, in particular, the female experience. An incredible aesthetic is created in The Charitable Sisterhood of the Second Trinity Victory Church , which feels undoubtedly seventies. Recreating this period transports the viewer into a bygone time where these characters were both pinnacles of the community and also shackled to its injustice, without feeling soaked in argumentative division that a modern tale could have fallen foul of. Minor criticism lies in the slightly underwhelming plot that, whilst moving, fails to leave a lasting impression, and the moments where the dialogue (whilst generally great) feels contrived - a difficult pothole to miss when adapting a play and filming it like one. That being said, faith-based comedy dramas are rare, and this one is a powerful statement on the capacity for movies (and theatre) to deliver something potent without feeling the need to “thrill” us every other frame with a new location or arbitrary distraction. We get treated to an intelligent, vigorous dissection of womanhood and morality in Western society that is as compelling as it is tragically relevant in 2026. The film will be released in theaters later this year in the UK, US, and Australia (limited theatrical release). Afterwhich the movie will live on in streaming at ee.watch/sisterhood About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Ready or Not 2: Here I Come film review by UK film critic Hope Madden. Starring Samara Weaving, Kathryn Newton, Elijah Wood directed by Matt Bettinelli-Olpin, Tyler Gillett. HOME | FILMS | REVIEWS Ready or Not 2: Here I Come Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 19, 2026 Directed by: Matt Bettinelli-Olpin, Tyler Gillett Written by: Guy Busick, R. Christopher Murphy, Matt Bettinelli-Olpin Starring: Samara Weaving, Kathryn Newton, Elijah Wood Back in 2019, filmmakers Matt Bettinelli-Olpin and Tyler Gillett released Ready or Not . This tale of scrappy hero Grace (Samara Weaving) delivered a giddy, action-oriented, splatter-fueled horror comedy with the relatable central message that rich people are evil. Weaving is back for the sequel Ready or Not 2: Here I Come . Grace is paired with her sister and reluctant sidekick Faith (Kathryn Newton), as both are forced to endure Round 2. Last go round, newlywed Grace had to survive until dawn on the evening of her wedding while her husband’s family tried to kill her. There were rules, specific weapons—they aren’t savages. They’re Satanists. Well, in surviving the Le Domas family’s game of hide and seek, Grace triggered a second game. And what this game teaches us is that the entire world is run by a bunch of billionaires, each of whom is unspeakably, irredeemably evil. Just like real life! But in the movie, the evil billionaires face consequences. So Ready or Not 2 is a cathartic joy. Weaving and Newton share a fun, funny, bickering chemistry. Their backstory becomes the spine of a film that, like the original, delivers series of entertaining, bloody set pieces. Bettinelli-Olpin and Gillette surround the sisters with a great ensemble, including the legendary David Cronenberg as the Danforth family patriarch. Elijiah Wood is an understated hoot as Satan’s lawyer, reteamed for the first time since The Faculty with Shawn Hatosy, effortlessly psychotic and endlessly familiar as that white guy born into loads and loads of money. (Titus is his name.) Sarah Michelle Gellar also stars as Titus’s twin sister Ursula Danforth. Geller’s turn is a manipulative delight, a billionaire convinced that a little evil is OK in the grand scheme of things if you do good stuff too. Kevin Durand, Nester Carbonell, Maia Jae and the whole set of entitled hangers on are also spot on and fun. The entire film feels a little like therapy, honestly. If you enjoyed Ready or Not , I’m hard pressed to believe its sequel won’t also leave you smiling. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Hay Man film review by UK film critic William Curzon. Starring Melodious Zach, Dave Allen, Sue Zy directed by Melodious Zach. HOME | FILMS | REVIEWS The Hay Man Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Mar 19, 2026 Directed by: Melodious Zach Written by: Dave Allen, Melodious Zach, Sue Zy Starring: Melodious Zach, Dave Allen, Sue Zy The Hay Man follows two estranged brothers, Sherm (Melodious Zach) and Orson (Dave Allen), as they reconnect to face an evil threat that looms over their family farm. The piece was made with a production cost of only $600 and utilises hand-drawn artwork, 3D models, and VFX that contribute to the lo-fi aesthetic the filmmakers were clearly aiming for. The Hay Man ultimately feels like a home-made piece of filmmaking, which is evident in its visual aesthetic and the clear passion from the filmmakers and cast that shines through the material. The estranged brothers are portrayed wonderfully by Dave Allen and Melodious Zach, the latter of whom also serves as the director. At times, the actors worked only with a crew of two individuals, which makes the experience even more commendable. The chemistry between Dave Allen and Melodious Zach is incredibly endearing and easily the most compelling aspect of the film. Orson and Sherm have to reconnect despite their differences to face the evil threat that haunts both of them, and the sequences of dialogue are engaging thanks to their energy bouncing off one another. A standout scene is one involving a board game which creatively utilises voiceover, and this is incredibly fun to witness, accompanied by the musical score, giving the film a much-needed propulsive energy. The film's incredibly low budget plays well into the more absurd elements of the narrative, as the visuals are clearly an intentional approach from the filmmakers. While the narrative structure is disjointed, certain elements, including the Sunshine Show, are endlessly endearing due to their commitment to this singular vision. It can be frustrating, however, to piece together where the story is going as the lethargic pacing and bizarre tonal shifts are jarring. The use of indistinct lensing adds to the lo-fi aesthetic, which is fittingly applied throughout the duration of the runtime. Despite the film's budget constraints, the mix of black and white photography filtered in throughout surreal sequences is mostly effective and adds to the charm. Dave Allen and Melodious Zach, also serving as the film's composers, deliver an enthralling musical score which heightens the moments of intensity and the more intimate dialogue-heavy scenes. While the flat and indistinct imagery can be unappealing, the use of point-of-view shots from the perspective of the creatures around the farm is a visceral approach. The filmmakers make the most of their limited budget by also utilising puppetry for certain creatures, which works incredibly well. Despite the piece suffering from lethargic pacing issues, the latter half of the narrative is far more gripping when conflict arises from the evil threat. Its prolonged runtime doesn't quite justify its length due to the disjointed nature of the first half in comparison to the third act, where it comes together. That being said, the narrative primarily takes place around a remote farm setting and with budget constraints working against the production value, writer/director Melodious Zach does his best to bring all the narrative threads together in a satisfying manner. The Hay Man is a creative piece of filmmaking with its heart in the right place, with a genuine passion for the material despite the film's shortcomings. Anchored by Melodious Zach’s dedication to the entire project and his chemistry with Dave Allen on screen, The Hay Man is a worthwhile experience. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Dream Story film review by UK film critic Hope Madden. Starring Nikolai Kinski, Laurine Price directed by Florian Frerichs. HOME | FILMS | REVIEWS Dream Story Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 19, 2026 Directed by: Florian Frerichs Written by: Florian Frerichs, Arthur Schnitzler, Martina van Delay Starring: Nikolai Kinski, Laurine Price It takes chutzpah to choose to follow Stanley Kubrick, but Florian Frerichs is undeterred. His Dream Story , based on the same novel as Kubrick’s 1999 film Eyes Wide Shut , mines the sordid tale of high society orgies for a few different ideas. We are still focused on the bored, rich, and horny, though. Set in Berlin, where it does feel at home, Dream Story follows Jakob (Nikolai Kinski), a wealthy doctor. After putting their precocious, opera loving son to bed, Jakob and his wife Amelia (Laurine Price) reminisce about a recent night out. When Amelia admits to a powerful, unfulfilled longing for a stranger, Jakob’s marital contentment begins to feel like foolishness. What’s a guy to do but visit a secret, cloak-and-mask orgy? While most of the story beats echo those from ’99, there are some clear differences. Dream Story is indifferent to Kubrick’s themes of the grotesque heartlessness of the wealthy. In Eyes Wide Shut , the rich are so accustomed to treating everyone as a commodity and everything as a transaction that they’ve lost their humanity. Frerichs is more concerned with the “dream” in Dream Story (a title derived from the English translation of writer Arthur Schnitzler’s original title). Upon hearing of his wife’s unsatisfied lust, it’s as if Jakob wakes from the dream of a loving bond. Now, insecure and hurt, he wanders as an almost childlike outsider looking to be a bad boy. Frerichs amplifies the dreamy quality of the film with fanciful moments—Jakob’s operatic fantasies and instances when he breaks the fourth wall, for example. There’s also a trippy animated sequence to deepen the spell. Frerichs, who adapts Schnitzler’s 1929 novella Traumnovelle with frequent collaborator Martina van Delay, also enlists bloody imagery. This he does less for the sake of horror and more to signal Jakob’s own mortality. Frequent callbacks to the death of a patient in Act 1 keep the doctor’s preoccupation with his own morality top of mind. His quest to do something debauched, springs from a sudden sense of all he’s wasted being faithful to a woman who may not even want him. Dream Story is, in the end, more of a love story. In carving out so clearly a new path with the material, Frerichs delivers a whole new reason to watch. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

1000 Women in Horror film review by UK film critic Hope Madden. Starring Mary Harron, Jenn Wexler, Nikyatu Jusu, Mattie Do, Rosanne Liang directed by Donna Davies. HOME | FILMS | REVIEWS 1000 Women in Horror Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 18, 2026 Directed by: Donna Davies Written by: Alexandra Heller-Nicholas Starring: Mary Harron, Jenn Wexler, Nikyatu Jusu, Mattie Do, Rosanne Liang Shudder has produced some fascinating and enlightening documentaries about the genre they serve. Both the film Horror Noire: A History of Black Horror and the series Queer for Fear: The History of Queer Horror shine overdue light on the history of films and filmmakers genre lovers need to know. In that vein comes Donna Davies’s 1000 Women in Horror . The doc is written for the screen by Alexandra Heller-Nicholas, on whose nonfiction book it’s based. Longtime film critic and genre expert, Heller-Nicholas contributed brilliantly to Alexandre O. Phillipe’s 2024 Texas Chain Saw Massacre doc Chain Reactions , as well as Kier-La Janisse’s 2021 doc Woodlands Dark and Days Bewitched . She knows her way around a horror documentary, is what I’m saying. So does Davies, for that matter, whose 2009 TV doc Pretty Bloody: The Women of Horror swam similar waters. The title is an intentional joke. As the film makes clear, women have been a driving creative force in horror films for more than a century. But the film doesn’t spend much time focusing on individual women as much as it does basic genre themes that relate to women: childbirth, the depiction of women on screen at different stages of their lives, and rape, for example. We do hear from some powerful creators, though. Mary Harron (American Psycho ), Nikyatu Jusu (Nanny ), Jenn Wexler (The Sacrifice Game ),Gigi Saul Guerrero (Bingo Hell ) and loads more shed light on how women create and are reflected in horror cinema. The interviews are sometimes fascinating and often ferocious. Kate Siegel expresses the conflict underlying childbirth in horror better than most could. Throughout, it’s such a joy to deconstruct certain tropes with women, to hear how these tropes—for better or worse—influenced these filmmakers. A little more of a history lesson would have been appreciated. I’d love to have made myself a list of vintage horror and, more importantly, early pioneers to dig into after the film was through. But when I think of the number of documentaries on cinema I’ve seen over the decades that included solely the voices of men, having just one that asks the opinions of only women experts feels revolutionary in itself. About the Film Critic Hope Madden Digital / DVD Release, Documentary < All Reviews Next Film Review >

Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. . Brand new film trailers. Dune: Part Three The spice must flow one last time. After months of feverish speculation and a wait that felt as long as a trek across the deep desert, Warner Bros. has finally released the official teaser trailer for Dune: Part Three . For those of us who found Denis Villeneuve’s first two entries to be nothing short of transcendental, this first glimpse into the conclusion of the trilogy is a momentous occasion for cinema. Picking up roughly seventeen years after the seismic events of Part Two , the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three —an adaptation of Frank Herbert’s Dune Messiah —looks to be a far more claustrophobic and tense affair. We find Timothée Chalamet’s Paul Atreides not as a young hero, but as a weary Padishah Emperor, burdened by the weight of a holy war that has claimed billions of lives. The teaser opens with a surprisingly tender, nostalgic flashback between Paul and Chani, played by Zendaya. They discuss the names of future children—Leto and Ghanima—a moment that feels achingly human against the backdrop of the impending tragedy. It is clear that despite their fractured relationship at the end of the previous film, the bond between these two remains the emotional heartbeat of the story. However, the "Holy War" is in full swing, and the visual scale remains staggering. We see glimpses of new planets and a much older, scarred Paul Atreides who looks remarkably different from the fresh-faced youth we met in 2021. The most electrifying addition to the cast is undoubtedly Robert Pattinson as the villainous Scytale. Sporting a bleached-blonde buzzcut and a chillingly calm demeanour, Pattinson appears to be the perfect foil for Chalamet’s brooding Emperor. The trailer also gives us our first proper look at Anya Taylor-Joy as an adult Alia Atreides. Her casting was one of the most inspired surprises of the second film, and here she looks every bit the "Abomination" described in the books—a character possessing the wisdom and memories of generations. There is also the "impossible" return of Jason Momoa as Duncan Idaho—or rather, a Tleilaxu ghola named Hayt—which is sure to send shockwaves through the fan base. Technically, the film looks as impeccable as its predecessors. While Linus Sandgren has taken over cinematography duties from Greig Fraser, the "broodier palette" mentioned in early reports is on full display. The shots of Arrakis feel more dangerous, and the political conspiracies lurking in the shadows of the palace are palpable. As Paul asks his mother, Lady Jessica, "How did Father do it?", her response—"Your father never started a war"—perfectly encapsulates the darker, more introspective journey we are about to embark upon. Villeneuve has promised an "action-packed and tense" thriller that serves as a cautionary tale about the dangers of messianic figures. Dune: Part Three is scheduled to arrive in cinemas on 18 December 2026. If this teaser is anything to go by, it will be the definitive cinematic event of the decade. I, for one, am ready to return to the sands. Words by Chris Olson for UK Film Review. Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring.

Phoenix Jones: The Rise and Fall of a Real Life Superhero film review by UK film critic James Learoyd. Starring Phoenix Jones, Rainn Wilson, El Caballero directed by Bayan Joonam. HOME | FILMS | REVIEWS Phoenix Jones: The Rise and Fall of a Real Life Superhero Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Mar 17, 2026 Directed by: Bayan Joonam Written by: *N/A Starring: Phoenix Jones, Rainn Wilson, El Caballero Phoenix Jones: The Rise and Fall of a Real Life Superhero is a new documentary, directed by Bayan Joonam. It aims to remove the mask on a real vigilante. This is a morally complex portrait of a man and the ambiguous movement he came to represent. Technically speaking, this is a well-assembled, researched and paced chronicle – as well as being a fascinating fusion of formats. Every subject is very nicely captured, with a crystal-clear look at play. Light and colour are treated with contrast and clarity. More than anything else, in terms of content, I would say that this film is about contradiction. It’s telling that news outlets seem to be more focused on the iconography of the superhero (taking a simplistic angle), as opposed to the ethical ambiguity at the heart of Phoenix’s story. But this documentary finally provides a more dynamic and confrontational perspective on a real person who decided to put on a suit, head out into the city, and fight crime. There’s always something concerning about vigilantism; and this documentary isn’t afraid to explore the danger, toxicity and authoritarianism which are inherent to a movement such as this. It’s especially disconcerting to see one interviewed subject – a ridiculous, aggressive individual – who attended his interview carrying a loaded weapon. On the flip side of this, however, is a more rational philosophy – expressed by Jones himself relating to how it is the direct result of a corrupt government which leads the individual to take matters into their own hands (I’m paraphrasing). Whilst an undeniably fascinating portrait, one would hope that the audience takeaway be two-fold: one, that this is a biproduct of institutional issues; two, that activism and peaceful protest are far more admirable than this form of vigilantism (the film puts a lot of emphasis on the difference between peaceful and non-peaceful protest, perhaps to the detriment of a greater lesson). Much of this film leaves a slightly sour taste in my mouth – especially with fascistic forces such as ICE in the US and malignant, reactive incel culture feeling more and more relevant day after day. For some, the “take matters into your own hands” attitude is a negative one; a phrase that may excuse or enable someone’s pro-violence set of beliefs and then taking the step to enforce those beliefs. But I would argue that Phoenix’s heart is ostensibly in the right place, even if it manifested in frequently damaging, messy and unconstructive ways. There’s a willingness on the documentarian’s part to enter dangerous situations and to confront reality with the camera. More than any individual featured in the film, you could argue that the filmmakers themselves are far more admirable for their want to present truth. I quite admire this style of filmmaking. The director knows that true perception – when it comes to grey topics like these – can be attained through gradual, non-biased accumulation of testimony, intentionality and context. The result is this movie: something rich, thought-provoking and open-ended. As stated in the film, it’s an effective depiction of “people who were desperately seeking community and purpose.” About the Film Critic James Learoyd Film Festival, Documentary, Indie Feature Film < All Reviews Next Film Review >

Don't Look Up - Again film review by UK film critic India Gwyn-Williams. Starring Nisha Taylor, Bradford Konowitz, Bridget Ingal, Alexandria Saylor directed by Nisha Taylor. HOME | FILMS | REVIEWS Don't Look Up - Again Film Review average rating is 3 out of 5 Critic: India Gwyn-Williams | Posted on: Mar 16, 2026 Directed by: Nisha Taylor Written by: Nisha Taylor Starring: Nisha Taylor, Bradford Konowitz, Bridget Ingal, Alexandria Saylor Nisha Taylor’s feature length documentary Don’t Look Up - Again explores the lead up to the 2023 Youth Spring Climate Justice Act. This represents a successful but delayed recognition of youth groups who, fearing the state of their future with the threat of global warming, demanded change. The documentary and its title refer to Adam McKay’s 2021 black comedy film Don’t Look Up, which presents a world very similar to ours. It is fated to end with the impact of a comet and while the protagonists endeavour to warn people of such a sincere threat, they are met with ignorance and dismissal. Such concepts imitate the real world where many, from youth groups to scientific experts, desperately try to communicate the threat of global warming with little success or recognition. The film’s satirical imitation of actual events in the world sparked a level of activism in people to improve the state of the planet, and this documentary explores one of the impressive effects the film had. The informative aspect of Taylor’s documentary shows passion and dedication - it offers a multitude of interviews from individuals who responded publicly to Don‘t Look Up and were thus involved in the social media uproar that followed. The documentary presents a chronological expansion - beginning with a central subject of McKay’s film and its critical response, to the response of real media personnel. The insight into this audience subgroup was incredibly engaging. As people both inspired by the film and belonging to a profession which offers a level of visibility, this specific audience were able to draw the message of Don’t Look Up from a satirical context into the real world. The narrative sequence offering their tales of rebellion against their superiors makes for incredible storytelling. Though this instance of the storytelling is effective, it is a majoritively abandoned aspect in the body of the documentary - made up by a number of interview clips. A steady progression remains in the story through the phases, identifiable by their introductions of people affected by the film and thus portraying the vastness of the audience. What begins as an enclosed conversation of McKay’s film grows to individual stories of people in the media and in climate change research who were impacted, inspiring youth groups and real world change. The ripple effect is large, impressive, and the documentary effectively conveys the extent of the growing conversation on climate change, but viewers may feel that the frequent, consecutive clips of news anchors is repetitive. It arguably restricts the flow of the documentary, affecting the viewing experience. While this could have been improved by a clearer or stronger line of narrative from its maker, the informative aspect remains impressive and well-researched. It is an intricate accumulation of people affected by the message of Don’t Look Up , stories of them risking their careers and reputation to affirm it and an exploration into its impact on our world. All the while, it is proving the power of film and solidarity, which means that simply by existing, Don’t Look Up Again it is an aid to an incredibly important instruction - save our world. About the Film Critic India Gwyn-Williams Documentary < All Reviews Next Film Review >

Summer of '94 film review by UK film critic William Hemingway. Starring Alexi Lalas, Bora Milutinović, Cobi Jones, Tony Meola, Marcelo Balboa directed by Dave LaMattina and Chad Walker. HOME | FILMS | REVIEWS Summer of '94 Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 15, 2026 Directed by: Dave LaMattina and Chad Walker Written by: N/A Starring: Alexi Lalas, Bora Milutinović, Cobi Jones, Tony Meola, Marcelo Balboa In the Summer of ‘94 , the USA was hosting the World Cup for the first time. They had been hammered in Italia ‘90, after not even qualifying for the competition since 1950, and needed to make sure that they got good enough within the next four years to avoid an unmitigated disaster on the world’s stage, while on their home soil. Even then, the World Cup was subject to global politics, and early on we see Ronald Reagan standing with Pelé, trying to convince the world to bring the game they called Soccer to the USA. In 1994 it happened, and judging by the state of FIFA today, you can bet that was no accident. So with four years to go, a squad had to be built, a team had to be forged, and the USA had to learn what football was. We pick up from after the Italia ‘90 loss and follow some of the squad members as they recall their time in the training camp at Mission Viejo, California, along with their coach Bora Milutinović. What we know already, is that we are not talking to a team of winners here. They didn’t lift the World Cup and triumph over everyone in a Hollywood kind of way. However, what they did do is leave a legacy, one that still resonates to this day, and which still has echoes and input into the game even now. The reason we are telling the story of the Summer of ’94 is because it changed the trajectory of football in the USA, and probably the entire world, forever. The American team only made it out of the group stages, and then got beat by eventual winners Brazil, but that was a great result for them. It didn’t matter that they didn’t lift the trophy; the games they’d played already in front of a home crowd, beamed out and showcased around the world, with their stand-out moments of heroism and brilliance, meant that football was there to stay in the USA, as well as all the money and merchandising that went with it. For a full ninety minutes, and five more for injury time, we relive this journey with some of the team, and Bora, as we get thrown back to the ‘90’s with video footage from tv broadcasts and news stations, as well as some pretty candid, never before seen, behind-the-scenes filming from the team. The players we meet are certainly on a journey, and so are we as we join them to hear their story, but it is definitely clear that Bora Milutinović is the captain of the ship, even if it seems like he doesn’t know where he’s going. At the heart of the team, and this film, Bora carries us through why everything worked and magic was made that summer with those men. His unorthodox approach to football management is a joy to behold, as it filters out into the men around him, and they bond, building a team for themselves that they can believe in. As Bora goes around playing some sort of free-jazz with his coaching style, the players strengthen their ties at camp, travel the world playing anyone and everyone, and lose their fear of being in front of the world’s gaze. As they talk to us and tell us their stories, we feel the emotion that is tied between them and just what it meant to them to be pioneers of their sport on a frontier that had long rejected it as girly or silly. So why does this all matter? They didn’t win. It’s not like we’re talking about the Wildcats (1986) here, or anything. Should we really be interested in some athletes we’ve never heard of just because they had a good day, once? And do we really need another plucky American tale, about how they got through by their grit and steely determination, to show that actually, they’re pretty darn great? But the proof is in the seeing. Once you are back in the Summer of ’94 , you remember (or see) what it was like to be alive in those days, pre-internet, pre-mobile phones, pre-personalised advertising, and you get to see how football was built in America. In just one team of young men, most of whom had been criticised or ridiculed for their choice to play, and who were not celebrities or made rich or included in college sports, America had to build an entire industry and a sustained cultural interest off their backs. Their story is one of quiet resilience and bravery in the face of all odds, it exists outwith and in a time before media and merchandising rights got to them, it’s a personal story of knowing who you are and succeeding by your own merits. And that’s why it matters. To see how football is now, with the World Cup once again coming to America to be the biggest show on Earth, under the auspices of the Orange Emperor, it is easy to see why this story matters today. With FIFA following the money in recent World Cups, showing a corrupt nature in their dealings, a disregard for human rights issues, and a willingness to fawn over dangerous oligarchs in order to further their own agenda, the story of America doing something right is extremely important. What these men did was stand up for their country, they lost all ego and selfishness, stopped their complaining and noise, sucked it up when it hurt, and got to the business of showing themselves and their country off to its very best. They weren’t ever in it for fame, fortune, and legacy, even if they got that in the end, but only to not embarrass their nation in front of the world, and this is perhaps something a certain few other Americans could do with thinking about. Summer of ’94 is a story of good, old-fashioned, American triumph from the before times, that reminds us of just how we looked up to them in those days. It may be difficult for another story of American triumph, especially one which looks like a cash-in on the upcoming World Cup, to find an audience elsewhere around the world, but that would be to the detriment of all those who dismiss it. Hopefully though, it will be Americans who come out to see it, to remember (or find out) what it was like in the 90’s, when the level of the USA’s embarrassment on the world’s stage only extended to the performance of its newly anointed soccer team, and that the fear of not being very good at something was enough to bring the nation together in a positive, constructive way. If you’re looking forward to this year’s World Cup, or even if you’re not, and if you’re American, or even if you’re not, a trip back to the Summer of ’94 is a good way to build yourself up for what’s to come this summer at USA ’26. About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, Documentary, Film Festival < All Reviews Next Film Review >