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Film Festival Feature by Chris Olson In March, the streets of Austin, Texas, will once again be flooded with the heady scent of barbecue and the even more intoxicating aroma of cinematic ambition. For those of us who live and breathe film, the South by Southwest Festival is not just another date on the industry calendar; it is a vital, beating heart of independent storytelling. At UK Film Review , we have always championed the underdog and the visionary, and the 2026 lineup feels like a particularly potent blend of high-concept genre pieces and intimate, soul-baring narratives. The beauty of this festival lies in its refusal to be pigeonholed. You can spend your morning moved to tears by a #documentary about human composting and your midnight screaming at a slasher film about murderous cults. It is a playground for the bold. With the first wave of programming finally revealed, the task of narrowing down the must-see titles is a daunting one, but there are certain projects that leap off the page with that unmistakable SXSW energy. Here are the twelve films that have firmly planted themselves at the top of my watchlist for the 2026 festival. 1. I Love Boosters I Love Boosters Film Trailer Opening the festival with a jolt of pure adrenaline is Boots Riley’s latest offering, I Love Boosters. Riley has already proven himself a master of surrealist social commentary with Sorry to Bother You, and his return to the director’s chair is cause for celebration. Centred on a crew of professional shoplifters targeting a ruthless fashion mogul, the film boasts an ensemble cast that is frankly staggering: Keke Palmer, Naomi Ackie, LaKeith Stanfield, and Demi Moore. Knowing Riley, this will be far more than a simple heist movie. Expect a stylish, sharp-witted dissection of capitalism and consumer culture that will leave the opening night audience buzzing. 2. Ready or Not 2: Here I Come Ready or Not 2: Here I Come Film Trailer There is a specific brand of joy found in a well-executed horror sequel, and after the riotous success of the 2019 original, Ready or Not 2: Here I Come is easily one of the most anticipated titles in the Headliner section. Samara Weaving returns as Grace, the bride who fought her way through the world’s worst wedding night. This time, she is joined by Kathryn Newton in what promises to be another high-stakes game of life and death. If the directors can maintain that perfect balance of pitch-black comedy and genuine tension, this will be the crowd-pleaser of the festival. 3. The Sun Never Sets The Sun Never Sets One of the most intriguing additions to the 2026 Narrative Spotlight is Joe Swanberg’s The Sun Never Sets . Swanberg, a stalwart of independent cinema who essentially helped define the mumblecore movement, returns to Austin with a drama that feels both deeply personal and uncomfortably relatable. The film stars Dakota Fanning as Wendy, a woman whose life is upended when her boyfriend, Jack (played by the reliable Jake Johnson), decides they need "space" to evaluate their future. What follows is a messy, volatile triangle when Wendy unexpectedly reconnects with her ex, Chuck (Cory Michael Smith), during the hiatus. Featuring an impressive supporting cast including Anna Konkle and Lamorne Morris, the film promises to be a raw exploration of modern commitment and the ghosts of past relationships. It is exactly the kind of character-driven, performance-led storytelling that has made Swanberg a festival favourite for over two decades. 4. Over Your Dead Body Over Your Dead Body In the realm of high-concept genre cinema, few titles on the 2026 slate carry as much dark promise as Over Your Dead Body . Directed by Jorma Taccone—one-third of the legendary Lonely Island trio—the film is a world premiere that leans into the "lovers to enemies" trope with lethal commitment. The narrative follows a hopelessly dysfunctional couple who retreat to a remote cabin under the guise of saving their marriage, only for the audience to discover that both partners have arrived with meticulous plans to murder the other. Produced by the action heavyweights at 87North, including Kelly McCormick and David Leitch, the film promises a level of visceral, inventive stunt work to match its cynical wit. The cast is a masterclass in eclectic talent: Samara Weaving, who has become a modern scream queen, stars alongside Jason Segel, with the formidable Timothy Olyphant and Juliette Lewis rounding out a group that feels perfectly calibrated for Taccone’s brand of chaotic energy. Written by Nick Kocher and Brian McElhaney, this is a pitch-black marital satire that suggests the only thing more dangerous than falling in love is trying to get out of it. 5. They Will Kill You They Will Kill You Film Trailer Zazie Beetz leads this slasher-action-comedy as a housekeeper who discovers her employers are part of a murderous cult. Directed by Kirill Sokolov, They Will Kill You sounds like the kind of blood-soaked, high-octane genre mashup that thrives in the Headliner category. Beetz is an actress of immense range, and seeing her take on a lead role in a survival horror setting is a prospect that should have every genre fan reaching for their badge. 6. Brian In the Narrative Feature Competition, Brian stands out as a potential breakout hit. Directed by Will Ropp and starring Ben Wang alongside the legendary William H. Macy, the film follows an acerbic high school student with panic attacks who runs for class president to woo a teacher. It sounds like a classic coming-of-age tale with a modern, anxious edge. At UK Film Review, we always keep a keen eye on the competition slots for the next great indie voice, and Brian has all the hallmarks of a film that finds the extraordinary within the ordinary. 7. Black Zombie Black Zombie The Documentary Spotlight often provides the most thought-provoking moments of the festival, and Black Zombie looks to be no exception. This documentary uncovers the origins of the zombie film, tracing its deep roots back to Black culture and Haitian folklore. In an age where the zombie genre is a staple of mainstream entertainment, understanding its historical and cultural foundations is essential. This is the kind of educational, engaging filmmaking that reminds us why the documentary format is so vital. 8. Family Movie Family Movie Few things are as intriguing as a meta-horror comedy starring a real-life Hollywood family. Kyra Sedgwick and Kevin Bacon co-direct and star in Family Movie , alongside their children Travis and Sosie Bacon. The plot, involving a filmmaking family whose production takes a dark turn, allows for a fascinating exploration of the industry and family dynamics. It is a bold move to put one’s own family life under the cinematic microscope, especially within the framework of a horror-comedy. 9. Drag Drag The Midnighter section is where SXSW truly lets its hair down, and Drag sounds like a quintessential late-night treat. Starring Lizzy Caplan and John Stamos, the film follows two amateur burglars whose routine robbery turns into a nightmare when one of them throws out their back. It is a simple, high-concept premise that relies heavily on performance and comedic timing. With Caplan’s sharp wit and Stamos’s veteran presence, this could be a sleeper hit of the festival. 10. Campeón Gabacho Campeón Gabacho Directed by Jonás Cuarón and produced by Alfonso Cuarón, Campeón Gabacho brings a much-needed international perspective to the Narrative Spotlight. Jonás has previously shown a knack for building unbearable tension with Desierto, and his latest project, exploring the Mexican experience through a unique lens, is highly anticipated. The Cuarón name is synonymous with technical excellence and emotional depth, making this an essential watch for those looking for global stories told with masterful precision. 11. Obsession Obsession Curry Barker’s Obsession arrives with the "Festival Favourite" tag, and for good reason. The story of a man who uses a "One Wish Willow" to win over his crush, only to find the price is far too high, is a classic supernatural cautionary tale. It sounds like a modern-day Twilight Zone episode, focusing on the dark side of human desire. These kinds of grounded genre pieces often provide the most resonance, staying with the viewer long after the credits have rolled. 12. Mike & Nick & Nick & Alice Mike & Nick & Nick & Alice Finally, we have BenDavid Grabinski’s R-rated action comedy, Mike & Nick & Nick & Alice . While plot details remain somewhat under wraps, the title alone suggests a chaotic, character-driven romp. Grabinski has a reputation for playful, inventive writing, and in a festival often dominated by heavy themes, a well-crafted action-comedy can be the perfect palate cleanser. It represents the fun, unapologetic side of independent cinema that SXSW celebrates so well. Mike & Nick & Nick & Alice Teaser Film Trailer As we look toward March, the 2026 SXSW Film Festival promises to be a landmark event. From the high-budget spectacles of the Headliner section to the scrappy, inventive world premieres in the competition categories, there is a sense of renewal in the air. For those of us in the UK, looking across the Atlantic at this vibrant display of creativity, it serves as a reminder of the power of film to connect us, to challenge us, and, above all, to entertain us. Whether you are in Austin or following from afar, these twelve films are the ones to watch.

Film Feature by Chris Olson As the frost of January continues to bite, the British cinematic landscape is heating up with a slate of releases that suggests 2026 is going to be a vintage year for the silver screen. For those of us who spent the first half of the month nursing hangovers and catching up on the dregs of the holiday blockbusters, next week marks the moment where the "serious" cinema season truly begins. On Friday, 23rd January, the UK gets access to a diverse array of stories ranging from prestige literary adaptations and harrowing sporting dramas to the return of iconic psychological horror. It is a weekend that feels uniquely British in its distribution, offering a balanced diet of intellectual stimulation and visceral thrills. Here is what you can expect to find at your local multiplex and independent arthouse next week, or some home releases too. The History of Sound Paul Mescal in The History of Sound - releasing on MUBI Leading the charge is a film that has been whispered about in hushed, reverent tones since its premiere on the festival circuit. The History of Sound , directed by Oliver Hermanus, is a sweeping period drama that pairs two of the most formidable young talents of their generation: Paul Mescal and Josh O’Connor. Set during the First World War, the narrative follows two young men, Lionel and David, who embark on a journey across the American landscape to record the lives, voices, and music of their countrymen. The History of Sound official film trailer What begins as an ethnomusicological expedition quickly evolves into a deeply felt and clandestine romance. Mescal, who seems incapable of a false note, brings a soulful vulnerability to the role of Lionel, while O’Connor provides a counterpoint of restless energy. In a month where Mescal already dominates screens with Hamnet , it is his work here that may well define his year. It is a film about the ephemeral nature of life and the permanence of sound, captured with a painterly eye that demands the biggest screen possible. Expect this to be a heavy hitter when the awards nominations start rolling in. H is for Hawk For those seeking a more introspective, though no less emotional, experience, H is for Hawk  arrives via Lionsgate. Based on Helen Macdonald’s seminal memoir, the film stars Claire Foy as a woman grappling with the sudden death of her father (played in flashbacks by the reliably brilliant Brendan Gleeson). In her grief, she turns to a tradition as old as time but rarely seen in modern London: falconry. H is for Hawk official film trailer The film focuses on her relationship with Mabel, a young goshawk. It is a prickly, difficult, and ultimately life-affirming story about the wildness of grief and the discipline required to tame both a bird of prey and one's own internal demons. Foy’s performance is a masterclass in restrained anguish; she captures the jagged edges of a mind pushed to the brink. It is a quiet film, but one that lingers long after the credits roll, reminding us that sometimes the best way to process human loss is through a connection with the non-human world. Saipan On a completely different note, we have Saipan , a film that will likely dominate pub conversations across the country. This isn't just a sports movie; it is a dramatisation of a national trauma. Centred on the infamous 2002 World Cup incident, the film stars Éanna Hardwicke as Roy Keane and Steve Coogan as Mick McCarthy. Saipan official film trailer For the uninitiated, the "Saipan incident" was the moment the Irish captain walked out on his team—or was sent home, depending on whose side you took—following an explosive row over training facilities. Coogan is an inspired choice for McCarthy, capturing the pragmatic, weary frustration of a manager caught between a legend and a hard place. Hardwicke, meanwhile, has the unenviable task of portraying Keane’s singular, terrifying intensity. It is a claustrophobic, dialogue-heavy drama that plays out like a Shakespearean tragedy set in a Pacific island training camp. Whether you are a football fan or not, the clash of egos on display here is riveting. Return to Silent Hill If the psychological weight of the aforementioned dramas feels too heavy, Entertainment Film Distributors is offering a different kind of darkness with Return to Silent Hill . This marks a long-awaited return to the fog-shrouded town that defined survival horror for a generation. Director Christophe Gans, who helmed the 2006 original, returns to adapt the story of Silent Hill 2 , widely considered the narrative peak of the franchise. Return to Silent Hill final film trailer The film follows James Sunderland, a man drawn back to the mysterious town after receiving a letter from his deceased wife. While video game adaptations are often a mixed bag, the early word on this is that Gans has leaned heavily into the Lynchian surrealism and body horror that made the source material so iconic. With a score that reportedly pays homage to Akira Yamaoka’s haunting industrial themes, this is a treat for horror purists. It is less about jump scares and more about the creeping dread of one's own psyche, manifested in the form of grotesque creatures and rusted, metallic corridors. Mercy For those craving a high-concept thriller, Timur Bekmambetov’s Mercy  arrives courtesy of Amazon MGM Studios. Starring Rebecca Ferguson and Chris Pratt, the film is set in a near-future where capital crimes are on the rise. Pratt plays a detective who finds himself accused of a crime he didn't commit and is forced to prove his innocence in a society where the justice system has become increasingly automated and merciless. Mercy official film trailer Bekmambetov, known for his kinetic visual style in films like Wanted , brings his signature energy to the proceedings. While it may not have the intellectual weight of The History of Sound , it serves as a necessary jolt of adrenaline for the January schedule. Ferguson continues to prove she is one of the most versatile actors working today, providing a grounded presence in a film that often moves at breakneck speed. The 23rd also sees a smattering of smaller, yet intriguing, releases. Dogs at the Opera  offers a bit of levity for families, an animated feature that is exactly what it says on the tin, though one suspects it might be more of a "wait for streaming" title for many. On the more experimental end of the spectrum, MUBI brings us No Other Choice , a film that promises to challenge audiences with its uncompromising look at contemporary social structures. Additionally, for the cinephiles who prefer the classics, Park Circus is re-releasing Steven Spielberg’s Duel . Seeing that 1971 masterpiece on the big screen remains a thrill; it is a reminder of how much tension can be wrung from a simple premise and a very large truck. The final full week of January 2026 offers a remarkably robust selection of cinema. We are seeing a trend of "double-headers" for certain actors—Paul Mescal being the prime example—which highlights the current star-driven nature of the UK market. Whether you are in the mood for the historical romance of The History of Sound , the grit of Saipan , or the nightmares of Return to Silent Hill , there is a genuine reason to brave the cold and head to your local cinema next Friday. The diversity of these releases suggests that distributors are no longer treating January as a dumping ground for subpar content, but rather as a launchpad for films that require a bit more breathing room than the summer blockbusters allow.

Star rating: 3/5 Writer: Chris Skotchdopole Director: Chris Skotchdopole Starring: Rigo Caray, Ella Peck, Lorraine Farris and John Speredakos Crumb Catcher is a sumptuous, ominous and tense thriller. It all starts very nicely, in the morning after the wedding of the two main characters, Shane, a writer, and Leah, a publisher, an American couple in their late twenties. On occasion of them getting married, they are giving an interview about Shein’s new book, which Leah has helped publish- closely binding the personal and professional. We quickly realise something does not seem to have gone quite well as Shane gets flashbacks of something he cannot quite remember. After the interview, as they leave for the honeymoon, the strangely clingy waiter at the party holds them up in their car to give them their cake. After managing to end the conversation with the waiter, and a long drive through American forest, they arrive at their honeymoon house, borrowed from Leah’s boss. In there, it all unravels. Crumb Catcher is technically beautiful. Close up shots of the couple, a deeply expressive wide shot of Leah, ominous close ups of the car rear lamps flashing red, a birds-eye-view shots of the thick woodland they are driving through, the film is of really high quality aesthetically. The cinematography and set design are deeply complementary, with autumnal light and earthy colours of the interiors working their magic visually. Meanwhile, the sound design really does justice to the film’s thriller genre, really playing with the sound of the characters’ physical movement and their breath for sound. In terms of the story, it is deeply gripping at the beginning, with an entertaining middle. The ending however feels excessively drawn out, tense to the point of it being easy for the viewer to tune out. It is saved somewhat by the actors’ performances. Both Rigor Caray, who plays Shane, and Ella Peck, who plays Leah deliver thought out, intentional performance that bring the character’s vulnerability to the surface. Lorraine Farris and John Speredakos go all out, fearlessly portraying the unhinged characters of John, the previously-mentioned waiter and his wife Rose. The ending is saved by their performances. Crumb Catcher is a thriller of high narrative, dramatic and technical quality, although its conclusion stressfully disappoints. Notwithstanding, there is a lot to like about this film.

Film Feature by Chris Olson Welcome to another week at the British box office. As we settle into the rhythm of 2026, the cinematic landscape is offering a stark and diverse trio of new releases. Next week, we see a return to a beloved horror franchise that has been reinvented for a new generation, a heartwarming exploration of human connection in modern Japan, and a devastating docudrama that demands our absolute attention. At UK Film Review , we often speak about the power of cinema to transport us, but this week’s line-up is more about the power of cinema to make us look at the world we currently inhabit. 28 Years Later: The Bone Temple UK Cinematic Release Date: January 14th, 2026 First, we return to the post-apocalyptic plains of Great Britain with 28 Years Later: The Bone Temple . Following the cliffhanger ending of last year’s 28 Years Later, this second instalment of the new trilogy sees director Nia DaCosta take the reins from Danny Boyle. DaCosta, working from a screenplay by Alex Garland, has crafted something that feels both connected to the legacy of the original 2002 film and entirely its own beast. 28 Years Later: The Bone Temple Official Trailer Set nearly three decades after the initial Rage Virus outbreak, the film stars Ralph Fiennes as Dr Kelson, a man searching for a glimmer of humanity in a world that has institutionalised brutality. He is joined by Alfie Williams, reprising his role as Spike, and Jack O’Connell, who plays the terrifyingly charismatic Jimmy Crystal. In this chapter, the threat is no longer just the sprinting infected; it is the society that has emerged in the aftermath. DaCosta has moved away from the kinetic, grainy energy of Boyle’s earlier work to focus on a more atmospheric, ritualistic horror. The Bone Temple explores how survivors have rationalised violence, creating a cult-like existence that is perhaps more frightening than the monsters outside the gates. It is a bold, visceral continuation of a story that remains one of the most significant pillars of British horror. Rental Family UK Cinematic Release Date: January 16th, 2026 In complete tonal contrast, we have Rental Family , the latest feature from director Hikari. This film marks a significant and welcome return for Brendan Fraser, who stars as Phillip Vanderploeg, an American actor living in Tokyo. Phillip’s career has stalled, leaving him relegated to bizarre toothpaste commercials, until he finds a new calling working for a "rental family" agency. Rental Family Official Trailer The concept of hiring actors to play relatives—whether as a mourner at a funeral or a stand-in father—is a real-life phenomenon in Japan, and Hikari uses it to explore the profound loneliness of the modern age. Fraser brings his signature warmth and vulnerability to the role of Phillip, a man who finds his own emotional void being filled by the very roles he is paid to perform. His interactions with a young girl (played by Shannon Mahina Gorman) and an elderly client with dementia (Akira Emoto) provide the heart of the film. Rental Family is a luminous, gentle piece of cinema that avoids the trap of being overly sentimental. Instead, it offers a nuanced look at how we seek connection, even when those connections are built on a foundation of performance. It is a film that reminds us that, sometimes, playing a part is the only way we can learn to be ourselves. The Voice of Hind Rajab UK Cinematic Release Date: January 16th 2026 Finally, we come to a film that is undoubtedly one of the most important releases of the year. The Voice of Hind Rajab , directed by the Oscar-nominated Kaouther Ben Hania, is a harrowing docudrama that recounts the tragic death of six-year-old Hind Rajab in Gaza in early 2024. The Voice of Hind Rajab Film Trailer The film utilises a hybrid approach, blending real audio recordings from the Red Crescent dispatchers with meticulous scripted re-enactments. It is a single-location drama, set almost entirely within the walls of the rescue centre as the staff desperately try to navigate bureaucratic hurdles and military blockades to reach a child trapped in a car. Ben Hania’s decision to keep the violence off-screen makes the experience no less intense; the horror lives in the audio, in the waiting, and in the growing desperation of those trying to help. Our own Jack Salvadori recently reviewed the film for UK Film Review (read our The Voice of Hind Rajab film review ) and his words capture the weight of this experience perfectly. Salvadori noted that this is "cinema in its purest, most urgent form," describing it as a work that is less about entertainment and more an "act of witness." He highlighted the shattering effect of hearing Hind’s actual voice woven into the narrative, stating, "She is not performing, and we never see her. We only hear her words, while a photograph of her is pinned to the wall." Jack’s review emphasised that the film functions like a vice, tightening with every passing second as the audience is forced to confront a universal grief and a collective failure. As he so aptly put it, "It is impossible to watch The Voice of Hind Rajab and remain unchanged." Next week’s cinema offerings are a testament to the versatility of the medium. We have the high-concept horror of Nia DaCosta, the empathetic humanism of Hikari, and the urgent, essential truth-telling of Kaouther Ben Hania. Whether you are looking for the thrill of the genre or the profound impact of real-world storytelling, the UK box office has something that will stay with you long after the credits roll.

Film Feature by Chris Olson Priyanka Chopra and Karl Urban in The Bluff The landscape of the modern action epic is shifting. We have moved beyond the era of simple pyrotechnics into a space where emotional stakes and high-concept storytelling must coexist. This shift is perfectly exemplified in the latest offering from Amazon Prime Video, The Bluff . As we look ahead to its release on 25th February 2026 , there is a palpable sense that director Frank E. Flowers has crafted something that is both a relentless thrill ride and a poignant exploration of maternal ferocity. Priyanka Chopra Jonas in The Bluff At the heart of this gritty period thriller is Priyanka Chopra Jonas , delivering a fierce and physical performance that marks a significant departure from her previous roles. She portrays Ercell “Bloody Mary” Bodden, a woman who has traded the lawless life of a pirate for the quiet serenity of the Cayman Islands. However, peace is a fragile thing for those with blood on their hands. Karl Urban in The Bluff When her notorious former captain, Connor—played with a menacing edge by Karl Urban —resurfaces seeking a brutal revenge, Ercell is forced to reclaim the warrior identity she thought she had buried. This is not just an action heroine; this is a mother whose tactical brilliance and lethal swordsmanship are fueled by the indomitable strength of a parent’s love. One of the most striking elements of The Bluff  is its commitment to its setting. Directed by Frank E. Flowers , who co-wrote the script with Joe Ballarini, the film is steeped in the historical and cultural richness of the Cayman Islands . By filming on location, Flowers has captured the rugged beauty of the region, from the towering bluffs to the haunting atmosphere of the iconic Skull Cave. Location shot for The Bluff These real-world locations provide a grounded reality to the film’s non-stop action. The choreography is a masterclass in period combat, blending: Gripping, high-stakes sword fights. Intricate tactical traps. Gritty, bloody brawls that eschew Hollywood gloss for something more impactful. It is no surprise that the film looks to carry a certain cinematic ambition, given the involvement of AGBO . Producers Anthony Russo, Joe Russo, and Angela Russo-Otstot can offer the same precision and large-scale storytelling that defined their work on Avengers: Endgame . Their production house has become synonymous with high-concept projects that never lose sight of their emotional foundation. In The Bluff , they will need to balance the adrenaline of a pirate pursuit with the intimate story of a family under siege. The supporting cast, including Safia Oakley-Green , Temuera Morrison , and Ismael Cruz Cordova , will likely add depth to a narrative that questions the lengths one will go to protect their own. It is a story of survival and redemption that feels remarkably contemporary despite its 19th-century backdrop. As we prepare for its debut on Prime Video, The Bluff  stands out as a promising entry in the action-adventure genre. With a lean runtime of 101 minutes , it appears to be a focused, muscular piece of #filmmaking that prioritises pace and impact. For those seeking a film that offers both breathtaking spectacle and a complex, dynamic heroine, this will hopefully be a journey worth taking.

Film Feature by Chris Olson As the Christmas decorations come down and we move into the first full week of 2026, the cinematic landscape is already beginning to shift. While the blockbusters of the winter usually dominate the conversation this time of year, there is a particular thrill in seeing the slate open up for homegrown stories and prestige dramas that carry a bit more grit and emotional weight. This week, two films in particular have been circling my radar, and their arrival in UK cinemas this Friday feels like a significant moment for British and Irish talent. Giant, in UK Cinemas 9th January, 2026 On Friday, 9th January, we see the release of Giant , a film that has generated considerable buzz since its world premiere at the BFI London Film Festival late last year. For those of us who grew up in the 1990s, the name Prince Naseem "Naz" Hamed is synonymous with a specific kind of peacocking brilliance. He was not just a boxer; he was a cultural firebrand who brought a sense of theatre—and leopard-print shorts—to a sport that often took itself far too seriously. Giant  is directed by Rowan Athale, a filmmaker who has always shown a keen eye for the textures of British life. What makes me particularly excited about this project is the central casting. Amir El-Masry takes on the mantle of "Naz," and from the early footage, he seems to have captured that lightning-in-a-bottle charisma that made Hamed a global icon. Giant Official Film Trailer However, the real intrigue for many will be Pierce Brosnan. Transitioning from his suave, post-Bond years into more weathered, character-driven roles, Brosnan plays Brendan Ingle, the legendary Irish trainer who operated out of a church crypt in Sheffield. The relationship between the disciplined, understated Ingle and the flamboyant Hamed is the stuff of sporting legend. Seeing that dynamic play out between Brosnan and El-Masry promises to be one of the highlights of the month. The film carries a 15 certificate, suggesting that Athale has not shied away from the harsher realities of the Sheffield boxing scene or the complexities of Naz’s meteoric rise from humble beginnings. Hamnet, in UK Cinemas 9th January, 2026 Simultaneously arriving this Friday is Hamnet , a film that feels destined for the upcoming awards conversation. Based on the celebrated novel by Maggie O’Farrell, the film explores the domestic life of William Shakespeare and his wife, Agnes, in the late 16th century. Hamnet While we have seen countless adaptations of Shakespeare’s plays, Hamnet  looks to offer something far more intimate: a portrait of the family tragedy that arguably changed the course of English literature. The story follows the birth of their son, Hamnet, and the devastating impact of his untimely death—a loss that would eventually find its echoes in the halls of Elsinore and the writing of Hamlet . The pedigree behind this production is staggering. It is directed by Chloé Zhao, the Academy Award winner behind Nomadland and The Rider - which I absolutely loved. Zhao has a unique ability to find the vastness in small, quiet moments, and her naturalistic style seems like a perfect match for O’Farrell’s lyrical prose. In the lead roles, we have two of the most compelling actors working today: Jessie Buckley as Agnes and Paul Mescal as William. Buckley has an earthy, unpredictable energy that feels ideal for a character often described as having an almost mystical connection to the natural world. Pairing her with Mescal—who has cornered the market on sensitive, fractured masculinity—is a masterstroke of casting. I am incredibly eager to see how they navigate the profound grief at the heart of this story. With a 12A certificate, it is a film that likely aims for a wide, empathetic audience, focusing on the universal experience of love and loss rather than just historical biography. It is refreshing to see January kicking off with such distinct offerings. In Giant , we have a high-energy, rags-to-riches sporting biopic that celebrates British-Yemeni identity and the grit of the North. In Hamnet , we have a stately, poetic meditation on art and mourning. Both films represent a strong start for the UK box office in 2026, leaning on powerful performances and directors with very specific, uncompromising visions. Whether you are looking for the adrenaline of the ring or the quiet reflection of the Tudor countryside, the cinema remains the essential place to be this weekend. As always, keep an eye on our full reviews as the week progresses, you can already read our Hamnet film review here.

Film Festival Feature by Chris Olson There is a specific kind of electricity that fills the air at the Glasgow Film Theatre during the final week of February. It is a mixture of cinematic anticipation and civic pride—a feeling that the eyes of the international film community are fixed firmly on Rose Street. Today, that excitement has found its lightning rod with the announcement that the 22nd edition of the Glasgow Film Festival (GFF26) will open on 25 February with the UK Premiere of Everybody To Kenmure Street . Everybody To Kenmure Street For those who follow the trajectory of Scottish documentary filmmaking, the name Felipe Bustos Sierra carries significant weight. His 2018 debut feature, Nae Pasaran , was more than just a critical success; it was a cultural moment. That film told the incredible story of East Kilbride Rolls-Royce workers who grounded the Chilean Air Force in protest against Pinochet’s regime. It felt only fitting that it closed the festival back then. Now, Bustos Sierra returns to open the proceedings with a story that hits even closer to home. Everybody To Kenmure Street  chronicles the extraordinary events of May 2021. For the uninitiated—or those outside the Glasgow "bubble"—a dawn raid by the UK Home Office in Pollokshields was met with a spontaneous, community-led blockade. In one of Scotland’s most diverse neighbourhoods, on a day meant for Eid celebrations, a handful of local residents grew into a crowd of hundreds. They surrounded an immigration enforcement van for eight hours, eventually securing the release of two of their neighbours. EVERYBODY TO KENMURE STREET KICKSTARTER What makes this announcement particularly tantalising for a film critic is the approach Bustos Sierra has taken to the material. Rather than a standard "talking heads" documentary, the film is described as a multifaceted tapestry. It utilises crowd-sourced footage from the day, archive film, and meticulously designed scenes captured by cinematographer Kirstin McMahon. In a bold, creative choice, actors are used to relay verbatim testimonies from contributors who wished to remain anonymous. This technique allows for a depth of perspective that news cameras simply cannot capture. It moves the narrative away from the politics of the Home Office and into the living rooms and hearts of the people who stood on the tarmac. Executive produced by the formidable two-time Oscar winner Emma Thompson, the film promises to be as much a piece of art as it is a record of resistance. Thompson herself has noted that the film demonstrates the "innate and deep decency" of people in the face of institutional structures that lack that very quality. Adding further local DNA to the project is the original score by Barry Burns of Mogwai. Anyone familiar with the band's work knows their ability to build atmospheric, emotionally resonant soundscapes that mirror the grit and grandeur of Glasgow itself. The combination of Bustos Sierra’s investigative eye and Burns’ sonic textures suggests an immersive theatrical experience that will likely leave Glasgow Film Festival's audience in stunned silence before the inevitable standing ovation. The director himself has described the film as a "snapshot of a day" and a "joyful reminder" of what a community can achieve. His wait to watch it with a hometown audience is shared by many who remember the headlines but crave the human story behind them. Glasgow Film Festival Highlight Reel The opening of GFF26 with Everybody To Kenmure Street  marks a significant trend for the festival. For the second year running, Scotland’s largest film gathering will both open and close with major Scottish features. Following the UK Premiere of James McAvoy’s directorial debut, California Schemin’ , as the closing gala on 8 March, the festival is effectively bookending its 22nd year with voices that reflect the city’s own identity. California Schemin' official film trailer Paul Gallagher, the Head of Programme for Glasgow Film Festival, described the film as capturing the "people-loving heart" of Glasgow. In a world where cinema can often feel like a conveyor belt of globalised content, GFF continues to prove that the most universal stories are often the most local ones. For those looking to secure their place at what will undoubtedly be the most talked-about ticket in town, set your alarms. Tickets for both the Opening Gala on 25 February and the Closing Gala on 8 March will go on sale at 10 am on Monday, 19 January 2026. The full festival programme, always a highlight of the January calendar, will be unveiled on 21 January. Following its festival debut, the film will be released in UK and Irish cinemas from 13 March 2026 by Conic.

Star rating: 4/5 Writer: Joshua Howes Director: Joshua Howes Starring: Charlotte Biseker, Josh Ryan Greenaway, Christian Dennis, Luke Boswell, Leoni Inwood, and Alastair Duncan. Mythology is foundational to human culture, without exceptions across history or geographically. Ancient Greek mythology and its Roman iteration are the basis for much of Western Art and culture, but Nordic mythology has given northern Europe and its people its singularity. Written and directed by Joshua Howes, How Freyja Saved Asgard is a quick, fun and effective introduction to Norse mythology for those who, like me, are not very knowledgable of it. It sets the scene for our understanding of the central concept of it, the Aesir-Vanir War, which results in the unification of all Norse Gods into a single Pantheon. The film approaches the interesting, escapist and ultimately 'cultured' subject matter with humour and ease, reflecting the essence of mythology as story. The performances by starring actors Charlotte Biseker, Josh Ryan Greenaway, Christian Dennis, Luke Boswell, Leoni Inwood, and Alastair Duncan, are comedic and carefree, almost theatrical in their emphatic approach to dialogue, which fits with the classical nature of the material. The film is made with a technical frugality which in fact really works. The particular, sharp angles chosen for the indoor shots, reminiscent of the documentary style, fit the tone. There is even the use of special effects to transition from day to night. Fun is how this viewer would describe it! It definitely bring the viewer’s attention to the importance of landscape and nature in Norse mythology. The locations, a forest and a forest cabin, are unmistakably Nordic, both visually and sonically alive with the same essence as the mythology the audience is learning about. The same can be said for the main piece of prop, Thor’s famous hammer, showcasing real artistry by the props team. Mythology offers us an appreciation of the sublime, narratively, aesthetically and emotionally. In a world which increasingly values shock as a quality form of attention but seems to have forgotten the sublime, mythology is something we can all enjoy, and should, with the help of films like this one, which is deeply entertaining.

Directed by: Tasha Hubbard Written by: Tasha Hubbard, Emil Sher Starring: Michael Greyeyes, Michelle Thrush, Carmen Moore, Alex Rice Film Review by: Holly Baker ⭐️⭐️⭐️⭐️ L to R: Carmen Moore, Michael Greyeyes, Alex Rice and Michelle Thrush in MEADOWLARKS by Tasha Hubbard Courtesy of BOAF Films EFF Inc./BOAF Films JFL Inc. Meadowlarks , directed by Tasha Hubbard, follows 5 siblings who are reunited after being separated from their parents during the Sixties Scoop of 1955-1985, in which over 200,000 Indigenous Canadian children were forcibly taken from their families and adopted by white families or placed under foster care. This Canadian drama piece is rich and moving, using a real-life story to create a motion picture which captures the beauty and tragedy of the character's situation. The film is based on a documentary called Birth Of A Family which was released in 2017. Birth Of A Family informs viewers about the lives of Betty Anne, Rosalie, Ben, and Asther who grew in white families and have now found one another and seek to formulate their true, new family. Meadowlarks takes a dramatic approach, presenting the siblings’ struggle with identity as well as the way they have all suffered with feeling as though they are lesser due to being indigenous as a result of the way society and their white families treated them. The film opens in a scenic cottage looking over a lake, a holiday lodge picked by one of the siblings for the five of them to stay whilst they get to know each other and recite their childhood memories. Aesthetically, this location is beautiful, allowing for many wide landscape shots which emphasise the natural beauty of the Canadian wilderness, as well as importantly drawing attention to the fact that these gorgeous woodlands and plains were once inhabited by the siblings' ancestors. Therefore by placing the film's characters in this timeless setting, the film importantly emphasises the siblings’ belonging here, as this was their land before it was unjustly taken away from them during the infamous Sixties Scoop. The casting of the five siblings is impressively accurate to their real life counterparts, making it easy for viewers of the documentary to identify which actor is playing which sibling. As well as this, the performances are naturalistic and raw. Viewers can sense the awkwardness and tension between the siblings, as they are initially unsure how to act around one another, and face tribulations along the way as they disagree on important matters. Such a unique true story is handled with care in Meadowlarks, as details are not brushed over, for instance during a dusting ritual. The ritual is carried out respectfully and accurately in order to capture the vibrancy and intensity of the performance and the way it impacts the siblings, perhaps eliciting discomfort and intrigue in viewers unfamiliar with the practice. The siblings endure many emotionally intense moments when reflecting on the past and their choices meaning there are several heartfelt scenes in the film which aptly take their time to present the characters feelings. Here, the acting is always on point, as the cast lean into their emotional vulnerability and the power of the words they say, rewriting a perspective for themselves from weak and small to having a right to be themselves and carrying their pain with pride. Official Trailer for Meadowlarks The story flows slowly, lingering through the siblings' reunion gradually and carefully. This gives the film a steady feel, with a meandering pacing as the narrative has no clear direction. This works for the film as there is no definitive plot, viewers are rather witnessing a reunion and a reflection, therefore the slow, lingering pace aptly portrays the feelings of the siblings and crucially focuses on moments of connection between them, rather than involving any key plot events. Viewers may struggle to engage with this approach as it lacks excitement, so it is important to surrender to the film’s style, and allow oneself to take in what the film presents to us, without attempting to rush through anything. Overall, Meadowlarks is an insightful and beautiful film. The film tells a unique true story which many viewers may not have been aware of before viewing, capturing the realness of each character and moment, looping itself into the true history of what occurred in 20th century Canada. It is refreshing to see stories which have been forgotten or brushed over, able to take their time to present themselves through several different mediums. From documentary to film, this story matters, as does history.  Meadowlarks will screen at the 2026 Palm Springs Film Festival on January 3rd, 5th, 9th, and 10th.

Film Feature by Chris Olson As we emerge from the festive haze and settle into the quiet, frosty stretch of January, the streaming giant Netflix remains our most reliable companion for those long, dark evenings. This month, the platform has curated a selection that is as eclectic as it is ambitious, ranging from sun-drenched romantic dramas and gritty crime thrillers to high-stakes live events and ethereal animation. At UK Film Review, we have always maintained that the "Netflix effect" has fundamentally altered how we consume stories, and the January 2026 slate suggests a streamer that is increasingly comfortable blending traditional cinematic narratives with avant-garde formats. People We Meet on Vacation Netflix Release Date UK: January 9th, 2026 Kicking off the month on 9 January is People We Meet on Vacation , a film that carries the heavy weight of literary expectation. Based on the beloved novel by Emily Henry, the story follows Poppy Wright (Emily Bader) and Alex Nilsen (Tom Blyth), two polar opposites who have maintained a decade-long tradition of taking a summer trip together. Directed by Brett Haley—whose work on Hearts Beat Loud  demonstrated a deft touch with human connection—the film serves as a poignant exploration of the "slow-burn" romance. The chemistry between Bader and Blyth is the engine of this production. As they navigate various picturesque locales, the film uses its non-linear structure to peel back the layers of their friendship and the "ill-fated final trip" that led to a two-year silence. It is a comforting, yet emotionally resonant piece of cinema that captures the bittersweet reality of growing up and the terrifying prospect of losing the one person who truly knows you. For those looking to escape the January chill, the warmth of Poppy and Alex’s world is a welcome refuge. The RIP Netflix Release Date UK: January 16th, 2026 Matt Damon and Ben Affleck in The Rip (2026) On 16 January, the tone shifts dramatically with the arrival of The RIP . Directed by Joe Carnahan, this crime thriller marks the high-profile reunion of Matt Damon and Ben Affleck. Set against the neon-soaked backdrop of Miami, the film follows a team of police officers who stumble upon millions of dollars in cash within a derelict stash house. What begins as a professional discovery quickly descends into a psychological battleground as the sheer volume of the money causes trust within the unit to fray. Carnahan, known for his visceral and propulsive style in films like Narc , brings a gritty, 1970s-inspired aesthetic to the production. The supporting cast—including Steven Yeun, Teyana Taylor, and Sasha Calle—adds significant weight to the ensemble. However, it is the telepathic connection between Damon and Affleck that provides the film's core tension. The RIP  is a relentless exploration of greed and the fragility of brotherhood, reminding us that sometimes the most dangerous threat isn't the criminals on the street, but the person standing right next to you. Kidnapped: Elizabeth Smart Netflix Release Date UK: January 21st, 2026 Netflix continues its dominance in the documentary space with Kidnapped: Elizabeth Smart , premiering on 21 January. Directed by Benedict Sanderson, this feature-length film revisits the 2002 abduction of fourteen-year-old Elizabeth Smart from her Salt Lake City home. While the case was a media sensation at the time, this documentary is distinct because it is told largely in Elizabeth's own words. Blending archival footage with never-before-seen material and exclusive interviews, the film traces the nine months of her captivity. It is a harrowing watch, but one that is ultimately defined by a sense of ownership. Smart’s involvement ensures that the narrative focuses on her resilience and the psychological terrain of survival rather than the lurid details of the crime. It is a powerful testament to the human spirit and a necessary piece of storytelling that offers context and clarity to a story that once belonged only to the headlines. Cosmic Princess Kaguya! Netflix Release Date UK: January 22nd, 2026 For those seeking something more ethereal, Cosmic Princess Kaguya!  arrives on 22 January. Marking the feature-length directorial debut of Shingo Yamashita—celebrated for his work on the opening sequences of Jujutsu Kaisen —this original anime film is a vibrant, modern reimagining of the classic Japanese folktale, The Tale of the Bamboo Cutter . The film is set in "Tsukuyomi," a dreamlike virtual realm where music and emotion are the primary currencies. The story follows Iroha, whose life is upended when a carefree runaway from the Moon named Kaguya moves in and convinces her to perform as a virtual idol. Produced by Studio Colorido and Studio Chromato, the animation is nothing short of breathtaking, blending hand-drawn aesthetics with a futuristic, digital glow. With a soundtrack featuring renowned Vocaloid producers like ryo and kz, Cosmic Princess Kaguya!  is a sensory feast that explores the intersection of internet culture, mythology, and the universal desire for connection. Skyscraper Live Netflix Release Date UK: January 24th, 2026 Finally, the month closes with an event that blurs the line between documentary and live sports: Skyscraper Live . In this two-hour special, world-renowned Free Solo  climber Alex Honnold attempts a feat that feels like something out of a Mission: Impossible film: free-climbing Taipei 101. Standing at 1,667 feet, it is one of the tallest buildings in the world, and Honnold will attempt to scale it without ropes or safety equipment. Netflix’s push into live programming reaches a new peak here. The inherent danger of the task ensures an "adrenaline-induced spectacle" that demands to be watched in real-time. It is a fascinating study of human capability and the psychological fortitude required to face such a vertical challenge. While it lacks the scripted narrative of the other entries this month, the stakes are undeniably real, making it one of the most talked-about events of the new year. January 2026 on Netflix is a month defined by range. Whether you are in the mood for the emotional intimacy of a summer romance, the tense suspicion of a heist gone wrong, or the visceral thrill of a live ascent, the streamer has ensured that there is no reason to leave the house.

Directed by: Alexander Franskevich-Leie Written by: Marina Cheblakova, Alexander Franskevich-Leie, Denis Nupreichik Starring: Aleksandr Abramovich, Yosef Ash, Sergey Belyakovich Film Review by: Holly Baker ⭐️⭐️ Stork of Hope (2026) follows the lives of two brothers who are orphaned during the Nazi occupation of Europe. Directed by Alexander Franskevich-Leie, the story is told retrospectively by Ilya, now an old man with a family of his own. He narrates the perils he and his brother endured during the Nazi occupation, highlighting the fact that he and his brother were forcibly separated. Many viewers may find a film with a central topic of the Holocaust leading with the theme of hope to be fundamentally wrong. This is because the Holocaust itself, as recitals tell us, lacked any form of hope for those who were victims of it. Just as Schindler’s List (1993) was criticised for having an optimistic message through using the drama of The Second World War's events as well as heartfelt characters based on real events, Stork of Hope uses a true story to shift the tone of real events into something unidentifiable compared to what actually occurred. There is no filmic method of capturing the events of the Holocaust; there is nothing redeemably hopeful about what happened in the Nazi concentration camps, as well as outside of these camps. These are things which are abysmal beyond words. The film suffers, as do many more recent films set during the war periods – such as The Choral – from a nonsensical look of cleanliness. Though the characters are suffering through one of the worst occurrences in history, they mostly appear in freshly ironed clothes, and the film has a look of sleekness which bypasses the grim reality of the era. Besides some overarching issues, the film has some excellent presentations of hopelessness with several hard-hitting moments involving senseless violence. In a harrowing scene where Jewish residents are rounded up out of their own homes, their fear and confusion are highlighted excellently, as is the evil and mercilessness of the Nazi soldiers who begin to take their lives. In Stork of Hope, viewers witness not only the evil mentality of the Nazis but also the brutality of the violence, as the film does not shy away from showing explicit gore and disturbing hanging sequences. Stork of Hope Film Trailer Clearly borrowing from Schindler's List, the film’s colour grading during the flashback sequences is extremely washed out, with red being the only identifiable colour which pops out to highlight the death of hope. Whilst this works and effectively gives the film the appearance of hopelessness and outlines the remorselessness of the Nazis, the contrast to the present-day scenes where Ilya is an old man is jarring. These moments are in full colour, as well as being incredibly well-lit. The transition between these scenes can be off-putting for viewers, as well as undermining the actual despair of the scenes set during the war. The film’s main performances, such as that of Ilya as a young boy, are highly convincing and well-acted. The child actor does an excellent job at expressing Ilya’s suffering, enhancing the tragedy of the film’s main plot, as well as demonstrating a genuine attempt to capture the horrific realities of World War Two. When the film focuses on the present day, however, the acting is strangely nonchalant towards the story’s events. Ilya himself is reflecting as an old man, and his younger relatives listen nonexpressively as he recites his childhood to them. Viewers may find that the emotional detachment that the modern-day characters have from the actual history doesn’t quite work, especially when the scenes which take place in the past depict a huge amount of trauma on an incredibly large scale, and though time has passed, things are not necessarily any brighter now, as there are still currently disastrous war crimes taking place. Overall, Sork of Hope’s hopeful, optimistic tone makes the film difficult to digest. Though there is certainly credit in the film’s grim presentation of true historical events, as well as several of the performances, its messaging is disoriented with its switching styles and moods as we move from past to present. Stork of Hope is on digital 5 January from Miracle Media

Star rating: 5/5 Writer: Alan Barr Director: Alan Barr Starring: Edgar de Santiago, Enrique Arreola and Fatima Favela Accidental Expat is a brilliant, warm story of a young life upended by politics of the worst kind, and the road to re-building materially, spiritually and emotionally. We meet Raymond, a Mexican-American in his late 20s, as he is about to be deported from the USA to Mexico- the country of his heritage, but which he does not know much about. With his mother and brother back in the US, Raymond goes to his father’s house. They haven’t met since Raymond left as a baby, so it is a challenging circumstance to say the least. He seems to set the tone for Raymond, telling him they have ‘something in common’ because they ‘both fucked up’, and what follows is a story of self-discovery in the face of deep injustice. Accidental Expat showcases the full range of feelings that flood in when being uprooted, from fear, to curiosity, to frustration, to excitement. Edgar de Santiago’s performance as Raymond is deep and intentional, while we get a fantastically raw, heart-in-hand performance from Enrique Arreola as Raymond’s father. They paint the complex picture of the story with a clearly in-depth knowledge of the material, almost reveling in the film’s high-quality, bi-lingual dialogue. Technically the film solid, making use of a wide range of shots to convey the different types and layers of conversations Raymond experiences- with friends, a love interest, his father and even virtually with his mother and brother. They reflect both the intimacy of the situation and the enormity of it, the deep pain of it as much as the possibilities it offers. The locations, which are a variety of places throughout Mexico City, are brilliantly chosen as they all bring an aspect if the story to life- Raymond’s father house where it seems he just half-lives, the call centre Raymond works at which is a demanding yet supportive environment, and the bars and small restaurants where, as he socialises, he can begin to truly experience his new reality, and discover parts of him that hadn’t come to light before. ‘I’m not broken’, Raymond tells his father in a moment of deep confrontation. Accidental Expat is a colourful, sweet exploration of how despite the odds being stuck against you, despite injustices, upheavals and circumstances caused simply by injustice, where the last thing we want to do is trust anybody, the only way to go on is to be completely open to what the future might hold. The essence of true survival, the key to not being broken, is to take every day as a new chance, to look at every old and every new pair of eyes we encounter with kindness, and perhaps, just perhaps, things might work out.