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Film Feature by Chris Olson The news landed like a tremor in the geekosphere: Peter Jackson’s seminal fantasy trilogy, The Lord of the Rings, is set for a massive return to UK cinemas in January 2026 . For a generation of filmgoers, this is nothing less than a pilgrimage—an opportunity to witness the vast plains of Middle-earth, the epic battles, and the quiet weight of a hobbit’s burden, all in the place they truly belong: the gigantic, light-eating darkness of the big screen. It is an undeniably exciting prospect, one that speaks volumes about the enduring power of cinematic spectacle. But this latest, high-profile re-release begs a crucial question for the industry: should cinemas continue to rely so heavily on cycling popular, decades-old film franchises back into circulation? While the financial benefits are clear, we must consider the artistic cost of dwelling in the past. The immediate and most potent argument in favour of these re-releases is the power of nostalgia and the undeniable communal experience. For many, The Fellowship of the Ring, The Two Towers, and The Return of the King were pivotal events in their lives, perhaps even their first major blockbuster cinema trip. A re-run is not just a film; it’s a time machine, an emotional trigger that fills auditoriums with a shared, fervent appreciation that is often missing from a Tuesday night screening of the latest, lukewarm sequel. Furthermore, these franchises often possess the kind of visual scope and sound design that home viewing, even with the best modern technology, simply cannot replicate. The scale of the Millennium Falcon, the chilling echo of the Balrog’s roar, or the dizzying heights of Hogwarts are all diminished when constrained by a living room wall. Cinemas, at their best, are cathedrals of spectacle, and throwing a beloved classic back onto the silver screen ensures that the film’s original, ambitious vision is preserved and experienced as intended. It also serves a vital function in educating a new generation of film fans, allowing them to experience the works that shaped modern #filmmaking without the distraction of a phone screen or the pause button. Financially, they represent a safe bet, providing necessary revenue streams for exhibitors during traditionally quiet periods or when the theatrical release schedule is looking thin. Yet, this reliance on established intellectual property—even when packaged as a 'classic' event—carries a significant risk. For all the joy a re-release of Star Wars or The Dark Knight brings, every screen dedicated to a twenty-year-old film is a screen taken away from something new. Independent cinema, small-budget features, and emerging filmmakers already struggle immensely to secure even a handful of desirable slots in major multiplexes. When those precious few screens are instead handed over to a known quantity that has already recouped its cost a hundred times over, it chokes the oxygen supply for contemporary, original storytelling. The industry needs to be wary of becoming a museum of past glories. While honouring classics is essential, prioritising them over new voices sends a worrying signal: that the only films worth seeing in a cinema are those already validated by history and massive box office returns. It can also lead to a saturation point, where the special event status of a re-release is diluted. If everything is an event, then nothing is. The balance, as always, is key. The occasional, well-timed, and genuinely meaningful re-release—like the announcement for The Lord of the Rings—is a powerful tool to remind us why we fell in love with cinema in the first place, bringing financial stability and nostalgic comfort. However, if the business model shifts too far towards being an expensive rerun service, it ceases to be a forward-looking industry. Cinemas must continue to champion the new, the bold, and the risky, otherwise, they risk creating a sterile environment where innovation is sacrificed at the altar of comfortable, familiar franchise fanfare. We can cherish the past, but we must invest in the future.

Star rating: 4/5 Writer: Amrita Rainna Director: Amrita Rainna Starring: Amrita Rainna and Noel Taylor This film is a goofy comedy drama that goes deep on what heart break really means. We Were Islands, written and directed by Amrita Rainna, is a light-hearted piece about breaking up at 30-something and how this changes perspectives and outlooks on life, specifically from a female perspective. The main character, Reeta, has turned 30, and finds out her younger sister is getting married. For her South Asian family, this is a milestone of huge importance, and it makes Rita question her own situation as a single woman. That is, until one particular night when she meets Juliun, at the bar after her stand-up show. That changes everything, and poses new and challenging questions. Rita and Juliun, played by Amrita Rainna and Noel Taylor, are both goofy, misunderstood and pining for someone who they can truly connect with, someone who ‘gets’ them. The question throughout the film is whether they have found what they’ve been looking for. Amrita Rainna and Noel Taylor give us open hearted performances that show clear love for the material, which is a story of memorable characters- Reeta’s family are particularly funny- and true to life expressiveness. This is punctuated with out-there comedic moments which at various points seem almost too much, not in keeping with the characters’ ages, which narratively seems like an easy to reach for tool to portray a journey of maturity that is actually really interesting. Technically, the highlights of We Were Islands are the montages which are photographic, collage-like pieces, happening at various moments in the film which add to its comedic flavour, and punctuate the film accompanied by pieces of text in a way that is reminiscent of soliloquy in a play. The film also features a funny, unapologetic original soundtrack by Milo Coelo, which does real justice to the piece. A word also on the film poster- ethereal, and alluding to the film's title. As a story, We Were Islands highlights honesty and tenderness, from many perspectives. In unexpected ways that are parallel to and regardless of romance, we see Reeta find these, providing for a heartwarming character arch. Towards the end of the film we meet her grandmother, who shares her wisdom in a uniquely unassuming, sweet way. When Rita asks her about life decisions and their effect and consequences, she tells her that ‘they all work out, Reeta. They always do’. In a world that demands ease, perfection and ‘success’, gratitude is one of the noblest feelings we are capable of, and We Were Islands brings this to life.

Film Feature by Chris Olson The arrival of a major feature film directorial debut is always an event worthy of attention on the British cinematic calendar, but when that debut comes from an actor of Kristen Stewart’s unique trajectory, it demands closer inspection. On January 9th, UK audiences will finally have the opportunity to engage with her powerful new picture, The Chronology of Water . Adapted by Stewart herself from the unflinching 2011 memoir by Lidia Yuknavitch, the film is a deeply personal, impressionistic, and often confrontational exploration of trauma, survival, and the cathartic transformation of anguish into art. This is not a star slumming it; this is a serious artist launching herself fully into the realm of auteur cinema. Stewart’s career in the public eye has been one of fascinating evolution and constant self-redefinition. For millions, she will forever be known as Bella Swan, the human heroine of the multi-billion-dollar Twilight Saga  franchise. Yet, to focus solely on that juggernaut of popular culture is to miss the far more compelling narrative of her post-fame choices. Long before the vampires and werewolves, Stewart demonstrated her remarkable ability for nuanced, intense performance in films like David Fincher’s Panic Room  and Sean Penn’s Into the Wild . The years following the end of Twilight  saw her deliberately pivot away from Hollywood’s relentless machinery, favouring collaboration with distinctive auteurs from across the globe. She became the first American actress to win a prestigious César Award (the French equivalent of an Oscar) for her magnetic turn in Olivier Assayas’s Clouds of Sils Maria . She cemented her status as a critical darling with Assayas again in the spectral thriller Personal Shopper , before delivering a career-defining performance as Diana, Princess of Wales, in Pablo Larraín’s surreal biographical drama Spencer , earning her an Academy Award nomination. This remarkable filmography—a catalogue of challenging roles and fearless artistic alliances—makes her move to the director’s chair feel less like a whim and more like an inevitable and welcome next stage. The film trailer for Kristen Stewart’s directorial debut, The Chronology of Water , offers a potent and deliberately disorienting glimpse into the film’s unique approach to Lidia Yuknavitch’s memoir. Far from a conventional theatrical preview, this footage immediately confirms that Stewart is pursuing a deeply aesthetic and psychological vision, much as her impressive acting career suggested she would. This is not a film that will hold the viewer's hand. The overriding mood is one of fractured memory and intense emotionality, set against a backdrop of grainy, tactile 16mm cinematography. We hear Lidia (Imogen Poots) state early on, "that's not how I remember it, it's all a series of fragments," a line that acts as a mission statement for the trailer itself. The visuals are intimate, often unsettling, flicking between moments of self-destruction and the serene, blue escape found in competitive swimming. The element of water is central, shown not just as a physical refuge but as a symbolic, emotional space where Lidia can "surface with great force." The trailer highlights Imogen Poots' raw and commanding performance, which grounds the film’s more experimental flourishes. She portrays the protagonist’s vulnerability and her defiance with equal measure, promising the kind of physically and emotionally demanding turn that defines an actor's year. We see fleeting cuts of key supporting players, including the welcome sight of Jim Belushi, who plays the legendary counter-culture figure Ken Kesey. What the trailer excels at is establishing the thematic core: the transformation of painful history into narrative. We witness the protagonist's journey from a young woman haunted by her past—the voiceover observes that "no one is big enough to hold what happens to us"—to an artist capable of commanding her own story. The concluding voiceover is perhaps the most resonant: "memories are stories, so you better come up with one you can live with." This is a powerful, uncompromising piece of marketing that sells the film’s artistic ambition, not its star power. It suggests that on January 9th, audiences will be treated not just to a drama, but a lyrical, visual poem on survival. It is a bold statement from a first-time director, demonstrating a confidence that should thrill any serious cinephile.

Film Feature by Chris Olson The rumour mill has been churning for months, but a new, deliberately understated poster for Kristoffer Borgli’s 2026 feature, The Drama, has finally given us something tangible to sink our teeth into. And, as expected from an A24 production helmed by the singular talent behind Dream Scenario, the first piece of publicity is far from conventional. It’s an intimate, grainy photograph that speaks volumes about the star power and potentially unsettling tone awaiting us when the film lands on April 3. The poster itself immediately establishes a certain aesthetic. It’s styled like a vintage Polaroid, complete with the slight blurring and warm, saturated colours typical of an old photograph. It’s an immediate signal that this is not a sweeping epic or a glossy blockbuster. It suggests a certain observational intimacy, perhaps a character study, a window into a private life. Front and centre are the two colossal talents the entire project hangs on: Zendaya and Robert Pattinson. Pattinson, sporting a pair of thick-rimmed spectacles and a slightly dishevelled look, leans into the camera with an expression that is half-smirk, half-surprise. He has entirely shed the brooding gothic cape of his early career, having expertly navigated a transition into the world of challenging, auteur-driven cinema. The glasses alone suggest a shift away from physical action towards something more cerebral, perhaps a writer or an academic caught up in the titular conflict. Positioned close behind him is Zendaya, her arm looped around his neck, her hand resting on his chest, a distinctive ring catching the light. She gazes directly at the viewer with a measured, knowing look that is utterly magnetic. The chemistry, even in this static image, is palpable—a mixture of comfort and co-dependence that hints at a complex relationship at the film’s core. It is the kind of image that raises a flurry of questions: Are they a couple? What is the ‘drama’ they are facing? Is the invitation “cordially invited to” an invitation into their private turmoil? Sick of Myself Official Trailer The involvement of Kristoffer Borgli is arguably as exciting as the pairing of the lead actors. Borgli has an established flair for dark satire and the anxieties of the modern age. His previous works, such as Sick of Myself, demonstrate a willingness to dissect the uncomfortable facets of ambition and ego with a surgical precision wrapped in bleak comedy. Knowing this, the seemingly benign intimacy of the poster takes on a subtly unsettling edge. We can expect The Drama to be a far cry from a typical romantic comedy; instead, it is likely to be a darkly comedic dissection of a contemporary relationship under pressure. With the formidable backing of A24, a studio synonymous with distinctive, uncompromising filmmaking, and a director who thrives on boundary-pushing narrative, The Drama instantly vaults into must-see territory for 2026. The new poster is a masterclass in minimalist publicity, achieving maximum buzz through quiet confidence. It doesn't need explosions or a lengthy synopsis; the image of its two brilliant leads, framed so intimately, accompanied only by the director's name and the promise of a date—April 3—is more than enough to have the entire UK critical establishment counting down the days until release.

Star rating: 5/5 Writer: Joe Burden Director: Joe Burden Starring: Ken Ogborn and Paige Kimberley This political, unapologetic film is a strong, thought-provoking and piece. It’s a good moment to reveal to our readers one of my unpopular opinions: brutalist architecture is amazing, and beautiful. The British iteration of the brutalist movement brought with it the concept of ‘neighbourhoods in the sky’, first proposed by Peter and Alison Smithson in the 1960s. The aesthetic result of this idea was immortalised, for example, in the cover of The Beatles’ first album. The Brutalist bring this spirit to life fully. The main character in the film, a middle-aged photographer, rages against the iPhone when a photography enthusiast approaches him and takes pictures with her phone. We discover that he is working on a documentary about brutalist architecture, its functionalities, vision and spirit. He tells the viewers about the social architecture approach, and how the movement considered lived spaces, for ordinary people. There is, we are told, a sharp difference in how society developed in the decades following, a shift that culminated in neo-liberalism and an abandonment of the communal ideas that Brutalism embraced- the Thatcherite turn, we might call it. The film showcases beautiful and imposing shots of a Leicester landmark, the Lee Circle Car Park, opened in 1961, which was the first of its kind in Europe. The photographer manages to make the space the main character; low-angle close ups, wide shots, all bring the huge structure to life. The cinematography of the night-time scene it ends with adds to the film’s message and spirit. The Brutalist is a must-watch for anyone with a particular love for locations, which always include built heritage, and their role in film as an art form. ‘People get what they deserve’, says our photographer. Perhaps, although I would look at it from a different angle: people don’t get what they don’t ask for. The unapologetic energy and far-reaching view of art which The Brutalist expresses is deeply inspiring.

Film Feature by Chris Olson It’s the film that has been quietly dominating film searches on streaming platforms, proving that a brutally effective neo-western can still cut through the noise of blockbuster cinema. Director Nick Rowland’s searing crime thriller, She Rides Shotgun , has been met with significant critical praise and overwhelming audience approval since its release. Now, for film fans across the United Kingdom who have been waiting patiently, the good news is that the picture is readily available. You can watch She Rides Shotgun right now on Amazon Prime Video. Based on the highly-regarded novel by Jordan Harper, the film is far more than your typical 'man on the run' story. It’s an unflinching examination of inherited trauma, the dark pull of a criminal past, and the profound, transformative bond between a father and daughter who are forced together by circumstance. Featuring a pair of astonishing lead performances from British talent Taron Egerton and the truly exceptional young actor Ana Sophia Heger, this is a film that demands to be watched, and its arrival on Prime Video ensures that UK audiences can now fully appreciate its considerable power. The film's pedigree is immediately evident. Nick Rowland, who previously delivered the brooding and excellent Irish drama, Calm With Horses, brings that same commitment to raw emotional truth and gritty atmosphere to the American landscape. As our own George Wolf at UK Film Review noted in his She Rides Shotgun film review , the film shares the same roots of generational violence that propelled Rowland’s earlier feature. Here, however, the focus is shifted to craft sharp edges from the tragically familiar backdrop of the American meth epidemic, a world where the law and the criminal element are often indistinguishable. Rowland's direction is measured and controlled, working levels of camerawork, pace, and performance that give familiar themes relevant, vital life. Taron Egerton stars as Nate McClusky, an ex-convict who, upon his release from prison, discovers he has been marked for death by the powerful Aryan Steel street gang—a consequence of a prison vendetta. Nate’s family are targeted, forcing him to whisk his eleven-year-old daughter, Polly, away from school. With his ex-wife murdered, Nate becomes the prime suspect in a kidnapping and murder investigation, painting a target on his back from the authorities as well as the gang members hunting them down. He must take Polly on the run, cutting and dying her hair to evade the authorities and embarking on a bloody, desperate journey to survival. Egerton’s commitment to the role is absolute; he delivers a passionate performance as the desperate man who has one last shot at redemption. He is intense, taut, and terrific, channelling a barely controlled violence that is always underpinned by his fierce, singular desire to keep his daughter alive. Yet, the true discovery of the film is Ana Sophia Heger as Polly. She is, quite simply, the one audiences will be talking about long after the credits roll. George Wolf highlighted her work as one of the most impressive child performances in years. Polly is precocious and wary, thrown into an adult world of violence and fear, yet she does not shrink from it. As the film progresses, the dramatic intensity increases, and Heger simply amazes, displaying a wonderfully authentic chemistry with Egerton that shines in their quiet moments of bonding. We watch as the father teaches the daughter how to survive, and in turn, she teaches him about unconditional love. The film’s emotional climax is delivered through a gradual, extended close-up on Heger, a sequence that leaves you astonished at her level of emotion and control. It is a gripping reminder of the boundless potential of this young actor and elevates the entire picture beyond its genre trappings. Adding to the tension is the formidable presence of John Carroll Lynch. The reliable character actor digs into the role of the crooked Sheriff Houser, the self-proclaimed “God of Slabtown,” who facilitates the local criminal enterprise. Lynch is superb, mining tension and terror through a measured commitment to brutality, providing a suitably chilling adversary for Nate and Polly. She Rides Shotgun is a raw, modern noir, where violence and tenderness are intertwined, set against the unforgiving canvas of the American Southwest. It is a privilege to have a film of this quality so accessible for UK audiences. Whether you are drawn in by the explosive action and neo-western atmosphere or by the powerful, complex performances, She Rides Shotgun is an essential addition to your Prime Video queue. It’s a film that works on all cylinders, providing both an exhilarating ride and a deeply moving emotional core.

Film Feature by Chris Olson January. It’s that time of year when the festive cheer has been packed away, the weather is resolutely grey, and the cinematic landscape, traditionally, becomes a dumping ground for the films studios have little faith in. It’s the ‘January curse,’ where the high-quality prestige pictures have just finished their December award-qualifying runs and the summer blockbusters are months away. But for those of us who live and breathe cinema, the first month of 2026 is set to break that mould entirely, offering a phenomenal slate of must-see releases that demand we shake off the New Year's lethargy and head straight to the picture house. If 2025 was a year of gentle recovery for the industry, January 2026 is poised to be a month of confident statement-making. We’ve got high-octane sequels, much-anticipated literary adaptations, and a sprinkling of the best in independent genre cinema. This is less of a post-Christmas slump and more of a starting pistol for a year of genuinely thrilling releases. The first massive date circled in red on my calendar is Friday, January 16th, which sees the arrival of a sequel that has been talked about for what feels like an eternity: 28 Years Later: The Bone Temple . The third chapter in one of the most beloved British horror franchises, this instalment promises to take the terrifying 'Infected' narrative into a startling new direction. While details are, quite rightly, being kept under lock and key, the pedigree of the creative team suggests a return to the visceral, heart-stopping tension that made the originals modern classics. This is a film you simply must see on the biggest, loudest screen you can find. It’s the kind of cinema that seizes you by the throat and doesn't let go until the final credit rolls. Another high-stakes sequel is landing just a week earlier on January 9th. For those who enjoy their adrenaline rushes with a side of global disaster, Greenland 2: Migration  continues the journey of the Garrity family as they navigate a ravaged world. The original was a surprisingly intimate and grounded take on the cataclysm genre, focusing on human connection over special effects spectacle, and the migration element in this follow-up suggests a wider scope and an even more emotionally resonant story. It’s a sure-fire bet for anyone needing their fix of large-scale action drama early in the year. The January 23rd slot is reserved for genre devotees with the UK release of Return to Silent Hill . The atmospheric dread of the classic Konami source material has always translated well to the big screen, and with the new team promising a deep dive back into the psychological horror that made the games so compelling, this is a film that could truly define the month's horror output. It’s one for the cinephiles who appreciate atmosphere and genuine terror over simple jump scares. The first month of the year is also when many of the big US festivals and late 2025 releases finally make their way across the Atlantic, meaning we in the UK often get treated to films that are already attracting serious awards chatter. The clear heavyweight champion in this category is Chloé Zhao’s adaptation of Maggie O’Farrell’s novel, Hamnet , arriving on January 9th. This film, which looks at the life of William Shakespeare’s wife, Agnes Hathaway, and the devastating loss of their son, has generated immense buzz. Starring Jessie Buckley and Paul Mescal, Zhao’s signature contemplative, visually stunning filmmaking style is expected to be a perfect match for the deeply emotional and historical material. This is cinema as art—a profound exploration of grief, creation, and enduring love. It promises to be a gorgeous, moving picture that will likely be dominating the conversation right up until the BAFTAs. Adding to the prestige line-up, the latter half of the month brings Mercy  on January 23rd. While details are still emerging, this major studio fantasy-drama is tipped as a visual masterpiece, bringing together a stellar cast for a tale that looks to be part mythological epic, part contemporary character study. Expect grand scale and complex themes—the perfect counterpoint to the January gloom. What makes a cinema calendar truly great is the depth of its offerings, and January 2026 is rich with fascinating smaller titles. Kicking off the month on January 1st, alongside the intriguing release of Saipan , is Song Sung Blue , a title that suggests a more intimate, perhaps British-centric drama. New Year's Day releases often carry a quiet confidence, and this could well be the unassuming gem that catches everyone by surprise. For the genre enthusiasts, the AI horror picture SOULM8TE  on January 9th looks set to tap into modern anxieties. Following a man who acquires an Artificial Intelligence android that goes lethally wrong, this is a James Wan-produced thriller that promises to be a slick, sharp exploration of loss and technology. It’s exactly the kind of smart, scary genre picture that flourishes early in the year. The Voice of Hind Rajab Meanwhile, the documentary landscape is well-represented, with Altitude Film Distribution bringing the important The Voice of Hind Rajab  to cinemas on January 16th. These releases are often the most urgent and thought-provoking, and this one looks certain to offer a powerful, essential viewing experience that shines a light on vital global issues. We also see the arthouse distributor MUBI bringing the critically acclaimed No Other Choice  on the 23rd, ensuring that there is no shortage of challenging and diverse international cinema for those who seek it. Finally, a nostalgic treat: January 16th also sees a limited re-release of a stone-cold classic, The Lord of the Rings: The Fellowship of the Ring . There is simply no substitute for seeing Peter Jackson's sprawling epic on the big screen, where it belongs. It’s a welcome reminder of the shared, immersive joy of the cinema experience. In short, 2026 is starting with a bang. This January, don't stay in. From the high drama of Hamnet  to the terrifying spectacle of 28 Years Later: The Bone Temple , the UK film slate is bursting with reasons to grab a ticket. Get out there and support the big screen—you won’t regret it. For the latest movie reviews, listen to me and Brian on the UK Film Club Podcast:

Film Feature by Chris Olson The news we’ve all been waiting for—the rumble of drums from Moria, the soaring sound of a score that defined a generation—is finally here. Peter Jackson’s masterful cinematic epic, The Lord of the Rings: The Fellowship of the Ring , is officially returning to UK cinemas early next year. This is not just a standard re-release; this is the launch of the film’s massive 25th-anniversary  celebrations, and for film lovers, it is truly a precious event. For those of us who remember queuing in the biting December cold back in 2001, the feeling was akin to witnessing an event of mythic proportions. The Fellowship of the Ring  was more than a film; it was a promise kept to the legions of J.R.R. Tolkien devotees and an unprecedented introduction to Middle-earth for the rest of the world. Now, we are being granted the glorious opportunity to once again witness the start of that magnificent journey  on the biggest screen possible. The dates to mark in your calendars are definitive, having been officially confirmed by Fathom Entertainment: The Fellowship of the Ring  will grace UK screens on Friday, January 16, 2026, and again on Friday, January 23, 2026 . This gives us a glorious fortnight to prepare our travel plans, pack our provisions, and bid our farewells to the comforts of home, just as the nine companions did when they departed from Rivendell. For a generation brought up on this trilogy, the sheer scale of the vision is often lost on smaller screens. Whilst watching the Extended Edition  at home, tucked into a comfortable armchair, is a pleasure, it simply cannot compare to the enveloping, thundering experience of a cinema presentation. We are talking about the vast, verdant beauty of The Shire , the terrifying, cavernous depths of the mines, and the dizzying height of the towers—all sights that demand the largest possible canvas. Peter Jackson, alongside his dedicated cast and crew, delivered an adaptation so meticulous and so artistically ambitious that it set a new benchmark for fantasy filmmaking, creating a world we could truly believe in. Think about those moments that defined early 21st-century cinema. The chilling introduction of the Ringwraiths , their terrifying, whispered hunt for the hobbits; Gandalf’s heartbreaking confrontation with the Balrog, delivering that immortal line, “ You shall not pass! ”; or the quiet, profound courage shining in Frodo Baggins’ eyes as he takes up the impossible burden. These are not merely scenes; they are cultural milestones, brilliantly rendered and perfectly scored. The brilliance of The Fellowship of the Ring  lies in its heart. It’s a spectacular blockbuster, yet at its core, it is a profoundly British tale of friendship, resilience, and the bravery of the small folk . It is a testament to the idea that even the smallest person can change the course of the future. The emotional resonance of the first act, where the quiet life of the hobbits is shattered by the call of destiny, remains absolutely pitch-perfect. It draws us in immediately, making us feel every mile of the quest. We are not just viewers; we are honorary members of the Fellowship . This anniversary celebration, kicking off in January 2026, feels timely. In a world often fractured and complicated, there is comfort in revisiting a story where light battles darkness, where hope persists against overwhelming odds, and where good ultimately triumphs, even if the sacrifice is great. Returning to the cinema to witness the magic of Middle-earth is a chance for a new generation to see why this film is considered a modern classic, and for veterans to feel that wave of nostalgia wash over them once more. These limited screenings—just two dates for the first film and two each for the other two movies (17th & 24th for The Two Towers, and 18th & 25th for Return of the King) —mean that tickets will be scarcer than mithril. You must not dally! Don't be caught wandering like a lost ranger when the box office opens. This is an invitation to step out of your comfy hobbit hole and embark on an adventure with your fellow film enthusiasts. Go and see The Lord of the Rings: The Fellowship of the Ring  as it was meant to be seen. You owe it to yourself, you owe it to the history of cinema, and frankly, you owe it to poor Frodo, who really needs a bit of moral support on those January dates. Make sure you don't miss out on this fantastic opportunity. This cinematic journey is one you must definitely take. Catch me and Brian on the UK Film Club Podcast's latest episode.

Star rating: 4/5 Writer: Samantha Robinson Director: Ruth Carney Starring: Samantha Robinson and Keeley Lane This intriguing drama about online connections, new friends in adulthood and risk-taking is deeply in tune with our times. Written by Samantha Robinson, this story set in Sheffield around a Rick Astley gig showcases the experience of connecting with someone through a shared interest, and the unexpected surprises this can bring. Sadie and Amelia, played by Samantha Robinson and Keeley Lane, are Rick Astley superfans, having connected over this online and meeting in person for the first time for his gig. The question of trust is posed from the beginning as they chat online, with Amanda reminding Sadie of the tickets and telling her, in a half-joke-half-true sort of way that she hopes she is not a ‘catfish!’ It is also explored in how Amelia does not tell her friends she is going to the gig. Both actresses give beautifully naturalistic performances and paint the full picture of the characters’ quite contrasting personalities. This is also shown through the script itself, with them making small talk about their contrasting views on trains (‘I hate them’, says Amelia), and their costume, smart casual vs comfortable and colourful. Technically this film takes quite a gritty drama approach to its shot choices, its lighting and its sound. There are gripping close ups at the beginning as Sadie and Amelia are chatting online, lovely moving shots and wide shots of them walking to the gig, with amazing views of the hills surrounding Sheffield. Location-wise, the station and lovely residential streets where the story unfolds fully add to the tone of the story, they are great choices. There is a heartfelt bit of dialogue where Sadie calls herself and Amelia Rick Astley’s biggest fans in the North, from Lancashire and Yorkshire, so ‘we’ve got all the Roses covered’! This pride of place and funny reference to history brings the location to life and it’s always brilliant to see a strong connection between story and place in a film. We could describe Idol as a bit of a thriller- tonally, the opening is subtly suggestive that there is more to the story, and the plot twist we are shown near the end confirms this. Risk-taking, especially once we are well into adulthood, can feel different than it used to previously in life. But sometimes all it takes is showing up, as the story that unfolds in Idol asks us to consider.

Star rating: 5/5 Writer: Sophie- Dominique Parea Director: Sophie- Dominique Parea Starring: Ana Parvu, Damian Reyes- Fox This beautiful romantic drama written by Sophie- Dominique Parea asks the audience, softly: what do they think love is? Play Pretend is an incisive, wonderfully simple portrait of true emotional intimacy. This is done with a cast of two. Charlie and an unnamed female character (this is a problem) are our characters: two twenty-somethings who have been friends for some time and share their thoughts about navigating today’s dating world in a city, possibly London. They are the only characters in this sparse, thoughtful and precise script, in which we see the characters go through a huge, puzzling change in their bond. When an energy shifts in a deep relationship, it is hard to grasp and inhabit. Play Pretend portrays this fact of love and life really powerfully. ‘Relationships are trial and error’, says Charlie. The point is whether those errors can be surmounted. Our female character, on the other hand, does not believe in 'happily ever after' and is more about bottling perfect but ephemeral moments if she could. What will they conclude as they chat for a long time over wine, before she goes on a date? Ana Parvu and Damian Reyes-Fox give us brilliant, paced, get-under-your-skin performances to take us on this journey. In a humorous, original scene, the characters start mixing English with the languages of their heritage- in which they say things that are not contrary to but go even deeper than what they are saying to each other in this dialogue. Brilliant, original writing that makes sense as Charlie and his friend know each other since young and are therefore familiar with but cannot fully understand or speak each other’s ancestral languages. Technically, Play Pretend showcases brilliant simplicity- this is a less is more approach. It features an eye-catching full length shot of Charlie smoking outside his front door, and this is brought full circle in the final scene. The locations are homely, fully in tune with the script’s intimacy: Charlie’s front door, his kitchen and his living room, and the cinematography is warm. The film also features inspired use of sound at the very end, almost as the credits roll, to suggest the real conclusion to the conversation we have been witnessing between our characters. A word also on the choice of title- which creatively poses the question, what are our characters pretending? To love, or not to love? In any case, that is always the question.

Star rating: 5/5 Writer: Sam Winterton Director: Sam Winterton Starring: Sam Winterton, Helen Regan and Anthony Wright Duskman is a superhero film with a difference. Jim, an ordinary lad with a job he doesn’t very much enjoy and doesn’t pay well, and a music side-hustle, finds relief within his imagination- what his counsellor would describe as ‘a coping mechanism’ in the face of trauma. From the opening scene, which features a cartoon- style animation of a city sweetly reminiscent of Townsville from Powerpuff Girls, the viewer is gripped and entertained. ‘Sometimes I need the city more than it needs me’, says Duskman- Jim’s superhero alter-ego. The superhero’s love for his town and its people is a principle in every story of the genre, but in Jim’s case it is different, because he seems to need to re-assess his relationship with the place he lives, a place where, according to one of the villains, ‘bad things happen all the time’. Duskman features a brilliant cast playing really memorable characters. It’s delightful to see two really well defined and strong female characters, Jim’s friend Ellen, and his counsellor. They are the ones he seems to trust the most, who are truly present. There is a lovely scene between Jim and Ellen portraying a spontaneity that is unusual between friends in 2025. These female characters are also really well brought out by a wonderfully dynamic, rhythmical script. Duskman is written in such a way that the characters’ struggles and imagination are consistently interwoven, bringing their stories to life with a huge level of creativity. Technically this is a brilliant film, seamlessly switching between cinematic, drama genre style and the superhero genre style of shots and lighting, giving it a genuinely original voice. Added to this technical attention is the inspired choice of locations: alleyways, Jim’s unloved work office, time-worn redbrick buildings, railway bridges, walls covered in colourful, meaningful graffiti art. The contrast between this unmistakably British town setting- Leicester to be precise- and the Townsville of Jim’s imagination is attention- grabbing in a brilliant, almost comic-like way and makes this a really atmospheric film. The costume and make up departments deserve a huge shout out, especially for the superhero scenes- they are imaginative and bold and blend consistently in with the locations. A word also about the great original score. Both musically and lyrically they make real justice to the film. In today’s world, we really need humorurs, sincere and genuinely entertaining films like Duskman.

Star rating: 5/5 Writer: Marshall Malone Director: Marshall Malone Starring: Jaron Wallace, Aimee Ortiz and Jas Abramowitz ‘That’s what family does’ is the resounding phrase of this warm, giggly short comedy narrated in the ‘mockumentary’ format. Mockumentary is a brave choice of genre, having such a rich comedic heritage including The Office and This Country, but this film is beautifully done. Starring Jaron Wallace as the weighed-down protagonist, and Aimee Ortiz and Jas Abramowitz as his burdened family, The Weight is a comedy for our times exploring mental health and emotional responsibility. Family is a lot of things, above all the group of people who knows us inside out, the light and the shade, and this is brilliantly showcased in this piece which features funny, sincere performances by its whole cast. Aimee’s performance expressing uncertainty and affection in equal measure is particularly brilliant, accessible work. Internal turmoil, fear, mental health challenges, experienced by so many people but understood seemingly by very few, is explored here not in a dramatic way, but from a more ordinary, even mundane point of view: the way it erupts on the everyday, on routines, on ways of living, and the way it disrupts assumptions about the home, and shared spaced more generally, and ultimately makes us see the world differently than we otherwise might. ‘Normally I would just let it go to voicemail’ is a usual response from people to those suffering with a mental health crisis when they call. But in The Weight, a change occurs. The audience gets taken through The Problem, the Reaction, and the Solution. We see clear cinematic influence here in the use of a narrative structure reminiscent of the documentary. Technically the film is very dynamic, with great close-up and birds-eye-view shots we might see in documentaries, making it a coherent piece. The family home, including the garden, is the only location of the film, as this is a great set up in which to tell this story- we are being ‘let in’, the way documentaries let us into knowledge and experience. ‘Knowledge is your ally’, the protagonist is told by his brother. In the real world, which art and film aim to reflect, it is increasingly more evident that connection with our physical surroundings, being present in each moment, and belonging to a community are key tools to surmounting crises, of almost any kind- including emotional and psychological. Because certain situations in life turn out like a film, but some turn out like the bloopers at the end of this particular one which are a delightful addition. Hooray for heartwarming, tender films like The Weight.