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Star rating:  4/5 Directed by:  Mauro Borrelli Written by:  Mauro Borrelli, John Collins Starring:  Jamie Ward, James Oliver Wheatley, James Faulkner, Robert Knepper Film Review by:  Jason Knight A biblical drama feature directed by Mauro Borrelli, written by Borrelli and John Collins and starring Jamie Ward, James Oliver Wheatley, James Faulkner and Robert Knepper. As the title indicates, the story involves Jesus Christ (Ward) and a significant part of it takes place during the Last Supper. The narrative begins with Jesus and his apostles arriving in Jerusalem for the final meal, after having become known for his preachings and miracles. Tensions are high, as Caiaphas (Faulkner), the High Priest of Israel, condemns Jesus's actions and plots his downfall and Judas (Knepper), one of his disciples, is unconvinced of his teacher's beliefs and contemplates turning against him. The Last Supper Film Trailer The screenplay views the events through the perspectives of Jesus, Peter (another close apostle of Jesus), Caiaphas and Judas and contains significant events, including the Last Supper, Jesus feeding a crowd of thousands by multiplying fish and loaves, his Crucifixion, Caiaphas convincing Judas to betray Jesus and Jesus realising that he will be betrayed by one of his own disciples. The film concentrates significantly on Jesus's preachings and the protagonists' struggles regarding Jesus's imminent fate. Visually, the feature looks terrific, with an impressive production value. Costume designer Nezha Dakil does a great job and the buildings and furniture are very convincing, all of which look even better thanks to Vladislav Opelyants's cinematography. The audio is also a big plus, with the music by Leo Z being very appropriate and the song No Greater Love  by Chris Tomlin effectively ending the film.  Ward proves that he was a good choice for the role of Jesus, portraying the preacher and religious leader sympathetically, presenting him as a man of wisdom and righteousness. A great deal of time is devoted to Peter and Wheatley dramatically reveals the struggle that his character is going through due to believing that he failed Jesus. Faulkner is sinister as Caiaphas, a character who works as the antagonist. Knepper plays Judas as a troubled and disorientated individual, repeatedly being tormented by a snake (Satan). Other appearing characters include Mary Magdalene (Nathalie Rapti Gomez), Nicodemus (Henry Garrett) and John the Apostle (Charlie MacGechan). This version of the story of Jesus Christ tells a story about religion, faith, courage, betrayal, goodwill, desperation and cruelty. Moreover, it encourages hope and unity and states that Good triumphs over Evil. So many films have been made about Jesus and it would be fair to say that this one does not explore anything new. Nevertheless, it is a very well-made film and a rather decent addition to the category of biblical features.            Dazzler Media presents The Last Supper in UK and Irish cinemas from 20th March.

Directed by: Leon Joosen Written by: Martin Casella, Francesca Longrigg, Tony Nottage Starring: Mel Brooks, Helena Bonham Carter, Ewan McGregor Film Review by: Holly Baker ⭐⭐⭐ Directed by Leon Joosen, The Land of Sometimes is a spritely addition to the children’s Christmas film genre. This animated piece is a well-crafted, vibrant, and touching creation that will light up family TV screens this Christmas. With dazzling performances from the entire cast, most notably Helena Bonham Carter, who delivers her usual sinister yet alluring demeanour, parents of children will feel engrossed and nostalgic as they become immersed in this film’s lively world. The film follows a small family centred around twins Alfie and Elise. They live in an isolated countryside area and eagerly await Christmas every year. Despite the family’s economic struggles, the twins are grateful for the gifts they receive and wholeheartedly enjoy the Christmas traditions their parents uphold. One year, however, their father’s duties as a soldier are extended, leaving Alfie and Elise with just their mother over Christmas. The absence of their father has caused the family dynamic to become disturbed, the twins are ungrateful and estranged from their mother. As a last resort for their mother, as her frustration begins to overflow, she gifts the children with a mysterious pocket watch- the catalyst for their adventure, which will follow. Alfie and Elise are transported into the magical Land of Sometimes, guided by an alluring Guardian who informs them they have a limited number of wishes which they may use whilst in this land. The land itself is full of excitement and creativity, unique creatures rule the bizarre landscape, and the whole thing has an air of surrealism which effortlessly draws you in.  As is customary for children’s films, there is a clear moral lesson that gradually surfaces throughout the twins’ adventure. Adults may easily detect where the moral of the story will go; however, they will find themselves rooting for the twins nonetheless as their characters develop, and their relationship softens as they find the sentiment of family to be what is most important to them after all.  The Land of Sometimes Film Trailer The animation style is quite basic, however, it is made up for with creative artistry through well-thought-out character designs and world-building. Whilst the children come across as slightly irritating at first, the film carefully gives them grace, particularly for Elise, who’s very much transformed by the events of the film. The film falters slightly in centering itself around a nuclear family of four in an era when family and Christmas can mean so many different things, coming in all shapes and sizes. It feels a slight shame to reinforce this traditional model and relate it strongly to what Christmas means, when there have been so many interesting, touching animated films with a loving sentiment suitable for all children. For instance, The Nightmare Before Christmas and Frozen are recent holiday favourites which brilliantly divert societal norms surrounding what family is and what Christmas should look like, making them lovable for people from all backgrounds, an important feature of children’s films of today to convey an acceptance of diversity and a celebration of all kinds of love.  Despite its slightly basic format, with its short run time, unique narration, and an ability to touch on darker themes whilst maintaining a lively Christmas spirit, The Land of Sometimes is certainly one to put on the list this Holiday season, or perhaps even a few months before. The Land of Sometimes will be in UK Cinemas from 20th March

Film Event Feature by Chris Olson It seems fitting that Brick Lane, the iconic creative corner of the capital, has been chosen as the staging ground for the upcoming Spring Edition of the Day Job Film Festival. As someone who spends a significant portion of my life immersed in the world of independent cinema, I find myself increasingly drawn to events that eschew the velvet ropes of the West End in favour of something more tangible, more raw, and more human. Taking place on the 21st and 22nd of April, this two-day celebration of the moving image is set to occupy Galleria Objets. From what I have gathered, this is not your typical, sterile screening room experience. With a modest 70-capacity limit, the festival appears to be leaning heavily into the "intimate" side of indie filmmaking. For a UK film critic, there is something deeply intriguing about a venue where the barrier between the creator and the consumer is practically non-existent. It suggests an environment where the post-film discussion is just as vital as the frames projected on the screen. The ethos behind the event " Made by emerging filmmakers. For emerging filmmakers " is a refreshing mantra. In an industry that often feels gated by nepotism or astronomical entry fees, Day Job Films seems determined to rebuild London’s grassroots scene from the ground up. The organisers have curated a selection of ten short films from over seventy international submissions. This ratio suggests a discerning eye, and if past lineups are any indication—featuring the likes of Alexandra Strunin’s poignant "I Gaze at the Sky" and Alicia Forde’s directorial debut "Squeaky Bum"—the quality of storytelling is likely to be exceptionally high. What particularly piques my interest is the holistic approach to the evening. The schedule, running from 6:30 pm to 10:30 pm, isn't just a conveyor belt of content. By incorporating live music, filmmaker Q&As, and even handmade awards, the festival organisers are crafting a social ecosystem. They are fostering a space for "creative exchange," a term often used in press releases but rarely realised in practice. I am curious to see how this "relaxed social atmosphere" translates to the actual nights. There is a specific kind of magic that happens when a director is forced to answer for their work in a room full of peers and enthusiasts, and I suspect the Galleria Objets will be thick with that specific tension and excitement. Furthermore, the practicalities of the festival speak volumes about its mission. Tickets are priced at a very reasonable £10, and they even throw in free popcorn. In a city where a night at the cinema can often cost more than a weekly Tesco shop, this commitment to accessibility is commendable. It underscores the belief that independent film should be a community asset, not a luxury good. The blueprint of the Day Job Film Festival is exactly what the UK film scene needs right now. It is a rebellion against the "content" era, focusing instead on the craft, the conversation, and the community. For those of us who believe that the future of cinema lies in the hands of those currently working "day jobs" while dreaming in 24 frames per second, Brick Lane is undoubtedly the place to be this April.

Star rating: 5/5 Writer: Abdallah Ebbo Director: Abdalla Ebbo Starring: Aidalyne Jua is a bright piece of filmic poetry. Created by Abdallah Ebbo, Jua is an extremely short film which in its 2-minute duration warms up your day. Even from its title, which means Sun in Swahili (the ancient African language of some communities in what is today Kenya, Tanzania and Mozambique), this audiovisual poem is an expression of strength and radiance. A compliment by a stranger can really change one’s day, but it can also make you realise if you’re dependent on external validation. Jua expresses the importance of self-worth, and the core of validation coming from oneself. This is a beautiful outlook on life, one which I would find deeply interesting to temper with the follow up question on how far can self-worth go in today’s world where broken communication and fractured relationships are increasingly the norm, where more and more people struggle to nurture relationships which are, whatever our individual state, what help us, as humans, make sense of ourselves and the world. Visually, Jua manages to express the warmth which it is about in black and white. The creative decision to film in black and white on a sunny day in an inner London high street is sumptuous, inspired. This dream-like texture is further enriched by the brilliant score, which sits somewhere between the soul and electronic genres. The performance by Aidalyne paints a brilliant picture where strength and vulnerability can be seen as two sides of the same coin. Jua is a fascinating concept to watch while in the crossroads of a society that increasingly prices the individual and talks about self-worth while battling the social and communal that inevitably plays a role in maintaining that very self-worth we speak about. Artistry like this is exactly what we need in our spiritual and even political mission to return to a balance that works for us both as free individuals and a society.

Directed by: Albert Birney Written by: Albert Birney Starring: Albert Birney, Callie Hernandez, Frank Mosley Film Review by: Holly Baker ⭐⭐⭐⭐ OBEX (2026) is an artistic, black-and-white surrealist film following Conor, a solitary man who lives with his dog, Sandy. Conor discovers a video game that will provide him with an adventure and a purpose, with this comes chaos and enlightenment.  The film establishes its style with European-esque long, still camera takes, skilful use of silence, and simplicity in its mise en scene. Most of the film is set within Conor’s home as audiences are slowly invited into his mind and the inner workings of his life, particularly in the creative way that technology is incorporated.  There is a subtle tone of sadness and desire throughout the first act, viewers get the sense that Conor is longing for a sense of freedom, conveyed through his artistic use of old-school computer technology to create images. Albert Birney, who directed and wrote OBEX , as well as starring as Conor, masterfully expresses attachment to familiarity as well as his desire for something more. Conor is unusual, seen in his strange visions, obsessions with bugs and technology, as well as his apparent inability to interact with other humans. His interactions with his impressively animated life companion- and dog- Sandy, are well established to communicate a sense of unconventional domestic routine that they are both fully conformed to and content in.  OBEX ’s ominous tone, combined with surreal confusion, works in a very similar fashion to Richard Kelly’s Donnie Darko (2001). Fans of Jake Gyllenhaal’s character Donnie will relish in Conor’s similarity to him; his disinterest in conforming to everyday normality, his finding comfort in the strange, and intrigue in the bewildering. OBEX also follows a similar structure to Donnie Darko, as when Conor enters the OBEX game, just as Donnie enters the alternate universe, he is tasked with a mission that only he is able to understand and complete, and viewers, just like Conor, are never quite sure what is real. There is a satanic horror in OBEX, which is highly effective, with several incorporations of the devil figure, which are unnerving. The film leans heavily on a Lynchian weirdness and a sense of a lingering threat, which lures viewers in, allowing many interpretations to come to light. There are many great allegories to be found here, such as the dangers of technology, as well as mental health struggles. The theme of humanity becoming a slave to the screen in order to escape the disastrous reality we live in is highly perceivable, the film certainly goes further than this, expressing a sense of derealisation for Conor, which the viewer feels thoroughly.  Obex Official Film Trailer An apt comparison could be David Cronenberg’s Videodrome (1983), for its sensual strangeness and ability to bring to life the virtual world and strong use of editing and special effects. As well as this, there are notes of similarity to I Saw The TV Glow (2024) for both films use the world of media as a means of escape and as a search for meaning and identity, as well as a realm that is full of loss, but in this crucial experience. There is a heartfelt sentiment to end this surreal piece, as what starts as an adventurous quest for the curious Conor becomes an opening to a world full of sensations he seemed to lack in his previously mundane life. The film’s incorporation of normality through simple realism, combined with an escalation into devilish fantasy, results in a softly apocalyptic feel, and an excellent cinematic experience that viewers will immerse themselves in as they attempt to seek meaning. The film’s consistent eerie feel pays off with a deepening mystery and stylistic horror, with a dark, yet adoring tone.  OBEX will have its UK Premiere at Glasgow Film Festival on Monday 2nd March and will be available on Digital from 9th March.

Directed by: Adrian Bobb, Ali Chappell Written by: Adrian Bobb, Matthew Campagna, Ali Chappell Starring: Kate Vernon, Alexander Eling, Erika Prevost Film Review by: Holly Baker ★★ God of Frogs (2026) directed by Adrian Bobb and Ali Chappell, is a science fiction horror film surrounding a mythological Frog God. Starring Kate Vernon, Alexander Eling, and Erika Prevost, the film’s bizarre concept is followed by student filmmakers who have discovered the potential existence of the creature and decide to investigate it themselves. Consequently, the students appear to have bitten off more than they can chew, and the myth of the God of Frogs, which they had previously laughed off mockingly, causes carnage to their lives in several grim ways. The God of Frogs concept is initially engaging, particularly through the initial reveal of the creature in the first act of the film, which takes place about 100 years ago. During this sequence, viewers will be stunned by the symbolism and imagery surrounding the presentation of the creature. The God Of Frogs is predatory in a viscerally uncomfortable way, including a graphic sequence comparable to the intimate scenes in the masterful Possession (1981), directed by Andrzej Żuławski, through its practical effects, attention to detail, and ability to create a discomfort which resonates with viewers deeply and memorably/ The performances in the first act are praisable, the main cult leader ‘Guru’ character in particular, played by James Gilbert, known for his role in Saw VI (2009), is convincingly menacing in that slimy, predatory way so important as his character acts as a parallel to the ruthless creature. As the story moves to the present day, however, that Antichrist, gothic feel of the film is lost and replaced by a cheesy slasher tone as viewers endure quite shallow teenage characters' attempt to hopelessly defeat the Frog creature. The lack of substance in the latter half is partly made up for with the film’s creative style. As mentioned, the commitment to practical effects certainly pays off as the creature is genuinely grim, and viewers will be transfixed by its strange, unique form. As well as this, the film effectively uses lighting to create a psychedelic feel, enhancing the disorientation of the film's fantastical moments. The film also blends found footage style with orthodox camera work, a nice callback to The Blair Witch Project (1999), directed by Daniel Myrick and Eduardo Sánches, the iconic founders of the found footage genre. As the film goes on, there is a jarring blend of comedy with horror as the film seems to lose its feel from the grossly sexual, eerie, creepy folk-horror placement to a chaotic spew of violence which loses its grip on viewers. Whilst the film has great potential in its opening, this unfortunately is not lived up to, there is certainly enjoyment to be had in the bizarre direction the film takes. God of Frogs still maintains its horror genre, with an exciting use of blood and gore throughout, keeping the screen full of action, despite faltering on some narrative aspects. God of Frogs is on UK digital 2 March from Miracle Media.

Directed by: Silvio Soldini Written by: Silvio Soldini and others Starring: Elisa Schlott, Max Riemelt, Alma Hasun Film Review by: William Hemingway ★★★★ During World War II, a group of young women are taken from their small town in the German countryside, and invited to sit at Hitler’s tasting table, where they try all of the Führer’s food before he does, in order to ensure that it has not been poisoned. Rosa Sauer (Schlott) has come to live with her parents-in-law in rural Germany. It’s 1943 and Rosa has up until now been living in Berlin, but at the request of her husband, who is fighting somewhere over on the Russian front, she has gone to live with his parents to stay away from the bombing. It’s not long though before there’s a knock at the door, and wouldn’t you know it, the Nazis are there demanding that she come with them. Nazis don’t like explaining themselves, and so when Rosa is slammed in the back of a van along with all the other young women in the community, none of them know what is going on or what their fate might be. As it happens, nearby is the Führer’s bunker; his hidden secret base, his temporary centre of command, the Wolf’s Lair; and whilst there, he needs some innocents to taste his food for him, so that the ring of protection around him remains airtight. The women are brought in, kept for three meals a day, and an hour afterwards to ensure that no one has been poisoned, and they are paid for their service. Naturally, after the first few tentative bites and the agony of waiting, this ritual becomes routine, perhaps even enjoyable, as the chef prepares exquisite dishes with tastes never before dreamed of by the young women. However, their shared lives and their shared time with those close to the Nazi high command bring them closer to danger than any poisoned food ever could. The Tasters Trailer Adapted from the novel, At The Wolf’s Table by Rosella Postorino, and inspired by the real-life tale of a survivor who only revealed in 2012 that this band of women did, in fact, exist, director Silvio Soldini, along with a team of screenwriters, gives us a reimagining of just how this intriguing scenario might have looked and felt, in The Tasters. A cross-production, mainly from Italy but with Belgian and Swiss backing, too, Soldini is trusted at the helm to deliver a strong, moving portrayal of a delicate situation, which also has such deep and brutal undercurrents that must come to the fore. In this way, The Tasters aims for such recent European triumphs as Ida (2013), Cold War (2018), and The Zone Of Interest (2023) in how it tries to capture the everyday humanity that exists alongside the utter brutality of how the Nazis conducted their war, although Soldini never quite matches the intricate, dizzying heights of Pawlikowski or Glazer in his cinematic vision. Still, as an indie production, The Tasters is as close as you can get to all-out European cinema. The story builds, and the characters are drawn in as we progress through the narrative. The ensemble of the young women and the Nazi soldiers are all given their time to shine and be known in their own way, with each personality and idiosyncrasy aired and named as we get to know them. The main centrepiece of the tasting table is imposing and dominant in-frame, with the chef coming as a cleansing accoutrement for the palate in his openness and warmth, while the insistence of the regime is always front and centre to remind us of the constant surrounding danger. The acting is superb from everyone, with emotion coming through in spades, even when your eye is drawn to the subtitles to decipher the dialogue, and everything feels totally right for the time and place that we are in. With Soldini at the helm, moving the camera through some tight situations to help us live and interact with the characters as though we were there, alongside cinematographer Renato Berta, keeping everything gritty and real in the dirt of the countryside and clean and pristine in the kitchen and dining room, and composer Mauro Pagani serving up some imposing classical music to accompany the themes and events of the scenario, The Tasters has everything behind it in the technical details to stand it out as a quality production. You have to know what you’re getting into with The Tasters , as it’s two hours of solid Nazi drama, with a feminist edge, and is therefore probably best reserved for when those tastes are likely to be recognised and savoured. However, once you sit down at the table and are ready to be served some unique, surprising, and impressive drama, The Tasters delivers it all with a side order of realism and a stein of cold, filtered humanity. The Tasters will be available in UK & Irish cinemas from 13th March.

Film Festival Feature by Chris Olson As the cinematic calendar turns its gaze towards Austin, Texas, the hum of anticipation for SXSW 2026 has reached a fever pitch. For those of us rooted in the British film circuit, this festival remains a vital barometer for the year ahead, particularly within the short film categories. It is here where the vanguard of new talent often makes its loudest noise, and where the boundaries of narrative and form are most gleefully dismantled. Looking ahead to the South by Southwest programme, there is a distinct sense of electricity surrounding the short film selection. By synthesising our own existing critiques with the growing speculative chatter from across the pond, I have compiled a list of the short films that should be at the very top of your "must-watch" list this year. Souvenir Leading the charge is a film that has already made significant waves within our own community. When we first encountered Souvenir , the consensus was immediate: this is a work of profound emotional intelligence. On UK Film Review, we have previously noted how the film manages to capture the ephemeral nature of memory with a startling, tactile precision. It is a narrative that lingers long after the credits roll, dealing in the currency of nostalgia and the often-painful weight of the objects we leave behind. The buzz surrounding its inclusion at SXSW suggests that its intimate, British sensibilities are translating beautifully to a global stage. There is a specific kind of melancholy here that feels uniquely suited to the eclectic atmosphere of Austin. Read our Souvenir short film review . Them That’s Not Equally compelling is Them That’s Not . Our previous coverage of this film highlighted its gritty, uncompromising look at social dynamics and the fringes of society. It is a film that doesn't just ask for your attention; it demands it with a visual language that is as raw as its subject matter. The speculation among critics suggests that SXSW audiences will be particularly drawn to its authenticity. In a world of polished, studio-mandated "indies," Them That’s Not  stands as a testament to the power of low-budget, high-concept storytelling. It is the kind of cinema that feels dangerous and vital, and its placement in the 2026 lineup feels like a validation of its uncompromising spirit. Read our Them That's Not short film review . Gender Studies Moving into the realms of the world premieres, Gender Studies  is a title that has been whispered about in festival circles for months. While details remain somewhat guarded, the title alone suggests a provocative exploration of identity that is perfectly timed for the current cultural climate. Given the festival's history of embracing films that challenge the status quo, Gender Studies  is expected to be a lightning rod for conversation. If the rumours regarding its experimental structure are true, we are looking at a piece that pushes the medium of short film into new, perhaps uncomfortable, territories. It is exactly the kind of daring work that UK Film Review thrives on. Eructation Then there is Eructation . The title itself—a clinical term for a belch—suggests a work that might lean into the grotesque or the absurdist. Early word from those close to the production hints at a visceral, perhaps even transgressive, experience. In the landscape of short filmmaking, the "midnight" style of content often finds its home at SXSW, and Eructation  appears to be carrying that torch this year. There is a certain thrill in anticipating a film that aims to provoke a physical reaction from its audience, and if the speculation holds, this will be one of the most talked-about "love it or hate it" entries in the programme. Forcefield of Love Forcefield of Love film trailer On a completely different tonal spectrum, Forcefield of Love  has been generating a significant amount of "warmth" in the trade papers. Speculation suggests a film that blends elements of the fantastical with a deeply human core. The concept of a metaphorical—or perhaps literal—forcefield surrounding a relationship is a rich vein for any filmmaker to tap. We are hearing that the visual effects are used not as a spectacle, but as an extension of the characters' internal states. For a short film to balance high-concept genre elements with genuine pathos is a difficult tightrope walk, but the hype suggests that Forcefield of Love  manages it with grace. Buah Buah film trailer The international selection this year feels particularly robust, with Buah  standing out as a significant contender. Hailing from a cinematic tradition that we are always keen to explore further at UK Film Review, the buzz suggests that Buah  is a visually stunning exploration of heritage and perhaps the darker side of nature. The "folk horror" or "heightened realism" labels have been tossed around by those who have seen early stills, and the anticipation for its premiere is palpable. It represents the global reach of SXSW, bringing stories that feel rooted in specific cultures yet speak to universal anxieties. Dua Ji Similarly, Dua Ji  is a title that has piqued the interest of the international press. The speculation here points towards a narrative of duality—perhaps focusing on the tension between tradition and modernity, or the internal conflict of a protagonist caught between two worlds. Short films often excel when they focus on a singular, sharp conflict, and Dua Ji  is rumoured to be a masterclass in narrative economy. It is a film that I am personally keen to track, as it represents the kind of subtle, nuanced storytelling that often wins the top prizes when the flashier films have faded from memory. Gamberra Finally, we have Gamberra . The word on the street is that this film brings a kinetic, perhaps even frantic, energy to the shorts programme. The title suggests a sense of mischief or rebellion, and the murmurs from the festival circuit indicate a film that moves at breakneck speed. In the condensed runtime of a short, energy is everything, and Gamberra  seems poised to be the shot of adrenaline that the audience needs midway through a long screening block. Compiling a list like this is always an exercise in educated guesswork, but the signs for these eight films are incredibly positive. Even from the snippets of information, the reviews of previous iterations, and the industry chatter, it is clear that the short film selection at SXSW 2026 is brimming with soul. For the filmmakers behind Souvenir  and Them That’s Not , this festival represents a massive leap forward, taking films we have already championed and placing them on one of the world's most influential stages. For the newer titles like Gender Studies  and Forcefield of Love , it is the beginning of a journey that we will be following very closely. The short film is often treated as a calling card for feature work, but that does a disservice to the medium. A great short film is a complete thought, a sharp intake of breath, a punch to the gut. The films I have highlighted here seem to understand that power. Whether it is the emotional resonance of memory, the harsh realities of the street, or the absurdist heights of the human condition, these directors are using their limited minutes to say something definitive. SXSW has a habit of surprising us, of elevating the obscure and rewarding the brave. If you find yourself in Austin this March, do not make the mistake of overlooking the shorts. The future of cinema isn't just in the headlining features; it is flickering in the twenty-minute gems like Buah , Dua Ji , and Gamberra . These are the films that define the spirit of independent cinema, and they are the ones that we, at UK Film Review , will be talking about for the rest of the year.

Film Feature by Chris Olson Vertigo Releasing  has officially slated Normal  for a theatrical release in the UK and Ireland. Directed by the ever-unpredictable Ben Wheatley  and starring the incomparable Bob Odenkirk , this high-octane thriller is set to hit the big screen on Friday 15th May 2026 . For those of us who prefer our action with a side of grit and a dash of dark wit, this date cannot come soon enough. Odenkirk, fresh from the critical triumphs of Better Call Saul  and the bone-crunching success of Nobody , steps into the boots of Ulysses . He is an interim sheriff in the deceptively quiet town of Normal, Minnesota (though the locals might argue the geography), looking for a simple life to escape a past that clearly isn't finished with him. However, "normal" is a relative term. When a bank robbery goes south, Ulysses pulls back the curtain on a conspiracy that would make Hitchcock blush. It turns out the town is a secret storage hub for the Yakuza , thanks to a deal brokered by the Mayor—played by the legendary Henry Winkler . The cast list alone is a cinephile's dream, featuring Lena Headey , Ryan Allen , and Billy MacLellan . Free Fire official film trailer dir. Ben Wheatley As someone who has followed Wheatley’s career from the unsettling halls of Kill List  to the stylistic carnage of Free Fire , I find the prospect of him directing a script penned by John Wick  creator Derek Kolstad  to be tantalising. Wheatley has a unique ability to capture the visceral nature of violence while keeping a firm grip on character-driven storytelling. Pairing that with Odenkirk’s "everyman-turned-warrior" persona feels like lightning in a bottle. There is something uniquely British about Wheatley's sensibilities that I expect will translate brilliantly to this American Midwestern setting. He often finds the horror and the humour in the mundane, and a town named "Normal" seems like the perfect playground for his brand of beautiful mayhem. Despite the release date being set in stone, we are still currently in the dark regarding the visual style of the piece, as the first trailer hasn't been released yet . I am eagerly anticipating that first teaser; I want to see how Wheatley captures the "eerily quiet" atmosphere of the town before the bullets inevitably start flying. While the theatrical run begins in May, the film is also expected to land on Sky Cinema  as a Sky Original later in the year, ensuring that even those who miss the initial carnage will have a chance to catch up. For now, Friday 15th May is the date to circle in your diaries. If Odenkirk’s previous forays into action are anything to go by, we are in for a ride that is anything but normal.

Star rating: 4/5 Writer: Mark McCauland and Colin Broderick Director: Michael Head Starring: Owen Colgan, Brenock O'Connor and Maura Higgins. The Spin is a tender, heartfelt comedy; a love letter to friendship, music and to Ireland. Ideated by Mark McCausland and written by Colin Broderick, this is a story of two 30 something Irish lads who work in a record shop that they are struggling to keep open. Elvis (Owen Colgan) and Dermot (Brenock O’Connor) rent the shop from a rouge landlady who they own rent to, and who as it happens wants them out. After a frustrating evening playing at a pub with little result, Dermot goes online and comes across a vintage record set on sale for little money but worth thousands. He tells Elvis, and they go on a road trip across Ireland to buy the set that could save their shop. The director Michael Head’s clear vision of a very rooted story is fully expressed. The opening scene of Elvis and Dermot walking down a narrow country lane, and extreme wide shots of the Irish,  countryside. In a similar way, the love of and talent for music Ireland is known for shines through, not least in the record shop location which showcases brilliant set design. 'The Beatles were famously Irish', Dermot tells his friend as the walk down the lane, setting the comedic tone of this story. The record shop is a jewel of the High Street in the story, so much so that neighbours hilariously treat it as a one stop shop for everything. It is also a jewel for Dermot and Elvis, who though seemingly helpless, are willing to do anything to save the shop. ‘Kindness gives what kindness takes’, a nun, hugely memorable character, tells Dermot and Elvis when they give her a lift home in the middle of their road trip. This is in great part a story about kindness- that of friends as well as strangers. And when Dermot and Elvis get hold of the record collection they crossed Ireland to get hold of, kindness and the will to do the right thing takes centre stage. The Spin is also a story about pursuing your dreams and being unapologetically yourself, while welcoming others to do the same around us. A lovely message, sent through wonderful performances by a well assembled cast, from a lovely film. The Spin will be in UK Cinemas from 27th February.

Film Feature by Chris Olson There is a particular kind of magic that Pixar manages to conjure, one that transcends the digital pixels and rendered textures to tap directly into our collective childhood. As I sat down to watch the newly released trailer for Toy Story 5, I was struck by that familiar rush of nostalgia—the swell of Randy Newman’s iconic score and the sight of a pull-string cowboy who has been a part of my cinematic life for thirty years. For those of us who grew up with Andy, and later Bonnie, the toys aren't just characters; they are old friends. And based on this first look, it seems those friends are facing their most daunting challenge yet: the digital age. Toy Story 5 Official Trailer The trailer opens in a way that feels like a warm embrace, echoing the imaginative play that defined the earliest moments of the franchise. We see Bonnie, now eight years old, lost in a world of make-believe with her toys in the garden. There’s a delightful moment involving Forky’s "wedding" to a plastic knife, officiated by Jessie, which serves as a poignant reminder of why we fell in love with this series—it captures the purity of a child's imagination. Toy Story 5 Official Trailer However, the tone shifts rapidly with the arrival of a package. Enter Lilypad, a frog-themed smart tablet voiced by Greta Lee. The trailer doesn't shy away from the modern reality of "toy meets tech." As Bonnie becomes increasingly enthralled by the glowing screen, the toys look on with a mixture of confusion and genuine dread. Rex’s cry of "Extinction! Not again!" is a classic comedic beat, but it underscores a very real anxiety that has always sat at the heart of Toy Story: the fear of being replaced. The biggest revelation, and the one that had me leaning toward my screen, is the return of Woody. Since he headed off to be a "lost toy" with Bo Peep at the end of the fourth film, many wondered how he could possibly fit back into the narrative. The trailer reveals he has stayed in touch via walkie-talkie, and when Jessie calls out for help, the sheriff rides back into town. He looks a little different—there is a cheeky reference to a "bald spot" on his crown that suggests even toys feel the passage of time—but his spirit is unchanged. The scale of the conflict looks impressively large. We see a sequence featuring an army of fifty rogue Buzz Lightyear action figures, a brilliant nod to the "toy aisle" sequences of Toy Story 2. Director Andrew Stanton, a Pixar veteran who has been involved with the series since its inception, seems to be leaning into the "Toys vs. Tech" theme with both wit and a sense of peril. The visual of Buzz and Woody bickering over Woody’s new poncho is a testament to the enduring chemistry between Tom Hanks and Tim Allen, proving that even after three decades, their dynamic remains the heartbeat of the franchise. Toy Story 5 UK Release Date While the trailer provides plenty of narrative meat to chew on, the question on every British film fan's lips has been when we will actually get to see the finished product. Disney has set a firm UK release date of 19th June 2026. This aligns us with the global rollout, ensuring that UK audiences can experience the next chapter of this legendary saga at the height of the summer blockbuster season. As an editor who often champions the smaller, independent gems of cinema, there is something undeniably special about a Pixar release. It’s an event that brings everyone back to the theatre. While some may argue that Toy Story 4 was a perfect conclusion, the themes of technology and the shifting nature of playtime explored in this trailer feel incredibly relevant. If the trailer is any indication, Toy Story 5 is shaping up to be a thoughtful, funny, and perhaps characteristically tear-jerking examination of how we hold onto our humanity—and our toys—in an increasingly digital world.

Film Feature by Chris Olson Trailer released for new Channel 4 documentary, Molly vs The MACHINES The intersection of human tragedy and the cold, calculated logic of Silicon Valley is a space that documentary filmmakers have been probing with increasing urgency. However, the newly released trailer for Molly vs The Machines  suggests a film that aims to go deeper than most. Set to air on Channel 4 this March, the documentary promises a dual-layered narrative that is as heartbreaking as it is intellectually demanding. The piece follows the tireless fight of Ian Russell for online safety, but it refuses to look at his daughter Molly’s story in a vacuum. Instead, it juxtaposes the intimate, devastating details of her final days with the global, economic machinery of Big Tech. It is a bold "David vs Goliath" framing, but one where the "Goliath" isn't a person—it is a series of invisible, profit-driven algorithms. What immediately piques my interest from a cinematic and journalistic standpoint is the creative team behind the lens. The documentary is directed by the Emmy-nominated Marc Silver, whose previous work like 3 ½ Minutes, Ten Bullets  demonstrated a profound ability to dismantle systemic injustices through the lens of individual loss. Here, Silver is joined by co-writer Shoshana Zuboff. For those unfamiliar with Zuboff’s seminal work, The Age of Surveillance Capitalism , she is perhaps the pre-eminent voice on how our personal data is mined for "behavioural futures." Seeing her academic rigour applied to a visual medium suggests that Molly vs The Machines  will not just be an emotional appeal, but a structural critique of how digital systems are engineered to influence our very psyches. New Channel 4 Documentary Molly vs The Machines Drops New Trailer The trailer hints at an interrogation of what Zuboff calls the "new frontier of power." We often talk about social media in terms of "usage" or "content," but this film looks set to explore "infiltration." By examining how Molly’s life and death were intertwined with algorithms born in the depths of Silicon Valley, the film asks a terrifyingly relevant question: have we allowed systems designed for profit to colonise our emotional lives? The collaboration with Molly’s family and friends is a crucial element here. It lends a necessary weight and authenticity to the narrative, ensuring that the "human" isn't lost amidst the "machine." It’s one thing to discuss the ethics of AI in a boardroom or a lecture hall; it’s quite another to see those lines of code reflected in the lived experience of a young girl and the family she left behind. The timing of this release could not be more poignant. We are currently witnessing a seismic shift in the public and political discourse surrounding digital ethics. From the UK Government’s urgent national conversation on children’s wellbeing to the formal Ofcom investigations into platforms like Elon Musk’s Grok, the "Wild West" era of the internet is facing an unprecedented reckoning. Molly vs The Machines  arrives just as major lawsuits in California are beginning to challenge whether tech giants knowingly ignored risks to their youngest users. The documentary serves as a window into the battle being waged by the Russell family—a battle that asks if a grieving father can actually influence the trajectory of a multi-billion-dollar industry. For those of us eager to see how these complex themes are woven together, there are several ways to catch the premiere. The film is set to launch as part of the Glasgow Film Festival’s premiere slate on Sunday 1st March. In an interesting move for a television documentary, it will also be screened simultaneously in over 30 cinemas across the UK as a one-night-only theatrical event. For the wider public, the documentary will air on Channel 4 at 9PM on Thursday 5th March . Produced by Snowstorm Productions and Storyboard Studios, and supported by a wide array of prestigious bodies including Screen Scotland and the Doc Society, this looks to be a significant piece of factual filmmaking. While I haven't seen the final cut, the talent involved and the gravity of the subject matter suggest that Molly vs The Machines  will be essential, if uncomfortable, viewing for anyone who owns a smartphone.