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Directed by: Asif Kapadia Written by: N/A Starring: Kenny Dalglish, Marina Dalglish, Graeme Souness, Alan Hansen Documentary Film Review by: Chris Olson ⭐️⭐️⭐️⭐️⭐️ Kop a load of this, Kapadia has pulled off something special here. A football doc that transcends the beautiful game and captures a true legend. Powerful, moving, and truly respectful to the best bits of football in the UK, which often get tarnished unfairly. From his upbringing as a wee lad in Scotland, through his time playing for Celtic, then Liverpool, onto his Player/Manager role at the latter, this Kenny Dalglish documentary paints a heartfelt picture of an honourable and very talented footballing icon. Directed by Asif Kapadia (whose other documentaries include Amy, Senna, Diego Maradona and more), the piece eschews talking heads being awkwardly filmed in a studio for a more authentic approach. Narrated by Kenny himself, we also hear from Manrina (his wife), other footballing heroes like Graeme Souness and Alan Hansen, and the film is presented with copious amounts of archive footage from amazing matches over the span of Kenny Dalglish’s career, mostly in the 1980s. We are also privy to exclusive home footage of Kenny’s family, giving us a true insight into his life as a family man, which we learn is a massive part of his character. A documentary about one of the best footballers ever is going to get a massive UK audience. Whether (like this film critic) you knew the name from your childhood, or you are a youngster playing FIFA in 2025, this is a fascinating journey that so many young boys and girls across the nation have dreamt of taking. There is a quality to this man’s sporting skill that is jaw-dropping when you see him create goals out of nowhere, whether directly curling the ball like magic around defenders or setting up his partner-in-crime, Ian Rush. The film also provides an emotional depth that many will not expect from a sporting documentary. Kapadia bravely explores Kenny’s experiences with fan hooliganism, rioting, and the heartbreaking events at Hillsborough. The tragedy of the latter becomes the documentary’s most powerful section, engulfing the viewer in the immense sorrow felt by the communities affected. It’s Dalglish’s profound response, however, that will cement his place as a true great not just in Liverpool (where he is still revered as an idol) but across our country. Whether you get to see the Kenny Dalglish documentary on its very limited cinema run or on Amazon Prime Video, it’s vital viewing for any football fan, whether you are a Liverpool fan or not.

Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Michael Tait, Alexander Clark Short Film Review by: Jason Knight ⭐️⭐️⭐️⭐️ A short World War II drama written and directed by Jacob Stockton and starring Michael Tait and Alexander Clark. The story takes place on the 12th of June, 1944, six days into the Normandy Invasion and British soldier, Jim (Tait), is briefly captured by German fighter, Oscar (Clark), before Jim turns the tables and holds him at gunpoint, forcing him on a journey across the battle-torn, French area. This is a journey involving two men from opposite sides of the global conflict, and the screenplay focuses primarily on the relationship that develops between them, beginning as untrustworthy and hostile, before turning into a strong bond of understanding. Their journey takes them to a variety of places in the countryside, including a church and an abandoned outpost. As they travel, they also encounter the atrocities of the Nazis. Filming took place around Northumberland and the countryside of Teesside, and North-East re-enactment groups volunteered to help, providing props, vehicles and costumes. Although the budget was £800, the production value creates an environment and an atmosphere that feels like Second World War battle grounds. The mise-en-scène is pretty impressive, with convincing clothing, vehicles and weaponry, and the sight of dead bodies is haunting. The addition of James Tearne's music further supports the dreadful and despairing situations. Jim and Oscar are the centre of the film, and the script does a decent job in exploring them and acknowledging that they have similarities between them. They both yearn for the conflict to end, so that they can return to their partner and they both understand that even though a war is taking place, they are not each other's enemy, and they are both capable of understanding and forgiveness. Utilising a WW2 setting, this story goes on a journey about self-reflection, friendship, redemption and having a loving partner. The effects of war are present, its brutality being depicted quite dramatically. A war film about two fighters who start off as enemies and end up becoming friends. A main message appears to be that even in the darkest times, good can be born, such as a powerful friendship bond.

Film Festival Feature by Chris Olson It’s official: Trieste Science+Fiction Festival  is celebrating its 25th birthday, and what a spectacular party it sounds like! For over two decades, this festival in Italy has been a beacon for all things fantastic and imaginative, proving year after year that science fiction is far more than just spaceships and laser guns. The best sci-fi holds a mirror up to our own world, and the line-up for October 28 to November 2 promises to be one hell of a compelling reflection. Festival Director Alan Jones  is absolutely right on the money when he says this milestone edition will "innovate, challenge, thrill, amaze and, of course, ultimately entertain." With over 50 film premieres  packed into the programme, this isn’t just a festival; it’s a full-blown cinematic odyssey exploring "the wonders of the possible." The UK's Ben Wheatley Heads the Bill What’s caught my eye immediately is the strong British flavour in the main programming. The festival’s coup in landing the new film from the mighty Ben Wheatley  is massive. His previous work— Kill List , High Rise , Sightseers —is always wickedly inventive, so hearing about his sci-fi horror Bulk  is incredibly exciting. A high-octane flick "filled with car chases, gunfights, and romance"? Yes, please. Wheatley’s style of chaotic energy and black humour is perfect for a genre that can often take itself too seriously. Mark your calendars for Halloween night, October 31st , for that UK premiere. A Galaxy of Cinematic Wonders The opening night on October 28th  is looking phenomenal. Kicking things off is the Italian premiere of L’Homme qui rétrécit  ( The Shrinking Man ) by Jan Kounen, starring the brilliant Jean Dujardin. Richard Matheson’s classic novel is a genre touchstone, and seeing a modern, French-Belgian adaptation with a star like Dujardin fighting for survival after a "mysterious contamination" is a huge draw. I’m expecting a mix of tense psychological horror and top-drawer visual effects. Later that same night, things get wonderfully weird with the body-horror re-imagining of Cinderella , The Ugly Stepsister . It’s this kind of bold, genre-bending choice that shows Trieste’s commitment to truly fantastic  film—pushing the boundaries of what sci-fi and horror can do. Other highlights that have piqued my interest include: Egghead Republic  (Oct 30th): A dystopian tale imagining a world where the Cold War never ended? Sounds like the perfect kind of bleak, yet timely, alternate history drama. Orion  (Nov 1st): From Jaco Bouwer, the director of Gaia  (a great little eco-horror, that was), this intense thriller about an amnesiac astronaut promises a deep-dive into paranoia and hidden truths. Chien 51  (Nov 2nd): A closing-night dystopian drama set in a divided Paris investigating the murder of an AI pioneer. Modern authoritarianism and the dangers of AI—talk about hitting that nerve of contemporary relevance that good sci-fi demands! Beyond the Screen: A World of Ideas The festival isn’t just about the darkness and thrills, either. It’s an intellectual feast. The guests alone are enough to justify the trip. Having Ted Chiang , the genius author behind the short story that inspired Arrival , as a key guest is an absolute masterstroke. His insights on artificial intelligence and the future of humanity are essential listening right now. Plus, the president of the Asteroide Award jury is none other than Italian director Gabriele Mainetti  ( Freaks Out ), a hugely acclaimed genre filmmaker in his own right. All the talk of video games, comics, and literature taking place under the spectacular Sci-Fi Dome  in Piazza della Borsa shows the breadth of the genre’s reach. It’s all about a shared conversation, a celebration of the creative minds who make us think about tomorrow. Ultimately, the Trieste Science+Fiction Festival proves that genre cinema is vital. It’s a place for established masters and emerging voices to show us, through incredible futures, how to see the stark present more clearly. It sounds like an unmissable few days in Italy, offering a true galaxy of experiences. Bravo, Trieste.

Filmmaker Interview by Chris Olson Cut Short is noted as telling a "true story." What was the process of researching and adapting Jayden's real-life experiences, and how did you balance the need for factual accuracy with the demands of dramatic storytelling? As all good stories start, it began with me getting hit in the face! It was during training with my own boxing coach a few years ago that he was telling me about the work he used to do with charities to help kids get off the streets, away from crime and gangs and into gyms instead. Once I’d recovered from my own training, I started looking more into the charities and people supported by them. I’d just finished making a documentary in Kenya and was looking for my next project, but I knew I wanted to direct a fictional piece rather than another documentary. Upon further research into the charities and stories around them, I realised I could take some of these true life narratives and turn them into a dramatised short film. Blending both fiction and non-fiction into a film that still had an emotive message and purpose, but also allowed me to add some creative flare to moments. I didn’t feel constrained or worried about being ‘too accurate’ or being ‘too dramatic’ because I wasn’t trying to tell the story of one specific person. I wasn’t making a biopic. Although the events depicted did happen to one specific person I know of, there are countless other people with similar stories to tell. My aim was for this piece to be relatable to a wide audience, and pull on the emotive strings with some dramatic moments so that there is an emotional response to the film which hopefully inspires some conversations, and maybe some action to tackle the problems. The film’s core conflict revolves around Jayden, a professional boxer, trying to escape a life of crime. What themes were you hoping to explore regarding the difficulty of leaving one environment for another, especially when family—like his younger brother Sammy—is involved? At its heart, Cut Short is about the struggle to break free from cycles that feel inescapable. With Jayden, I wanted to explore how difficult it is to step away from an environment that has defined your sense of identity, loyalty, and survival. Boxing gives him structure and hope; a chance to build something for himself. Boxing offers Jayden a legitimate path forward, but it also isolates him from the people and the place that made him who he is. The relationship between Jayden and his younger brother Sammy deepens this conflict. Jayden sees in Sammy a reflection of his younger self, someone still vulnerable to the same dangers he’s trying to outrun. But walking away means leaving Sammy behind in a world he knows will consume him. Ultimately, Cut Short explores how hard it is to redefine yourself when the people you love most are still trapped in the version of you you’re trying to leave behind. As a writer, what were the most complex layers of Jayden's character to develop? How did you work with actor Jude Carmichael to bring the internal struggle of a protective older brother and disciplined athlete to life? Jude was an incredible actor to work with and he brought so much to bring Jayden to life. Him and I had a number of discussions around who Jayden is, and how best to play him. Do we go in X direction or Y direction. We realised at the end of the day Jayden is just someone who accidentally got caught in the middle of a storm. He’s a regular kid who happens to have been born into the wrong circumstances, and he’s having to figure those circumstances out himself and how best to navigate them. Because of this he doesn’t have life figured out, but when you put him in that boxing ring that’s where he shines and that’s where he feels the most confident. He can control what happens in the ring, yet outside of it he’s struggling to control everything else. As director, what visual language or cinematic style did you adopt to convey the intense, high-stakes atmosphere of Jayden’s life, both inside the boxing ring and on the streets of London? I really wanted this short film to have an intense cinematic style, but grounded in reality. And those two things are almost complete opposites of each other so it was a hard challenge !! I knew this story needed to feel grounded and real because stabbings are something that does happen on a daily basis in the UK. It is real. But I knew for a short film to stand out, to be memorable, there needed to be a uniqueness and vividness to the visuals. I think we landed on a nice balance of cinematic meeting reality. For any sport or gym-related moments, we leaned into using a steadicam most of the time to create dynamic and fluid moves. This movement helped carry the momentum of the film and create the energy needed for a short. There isn’t a moment to breathe til the very end and that’s the way it’s intended. Always on the edge, always wondering what’s next. And the lighting throughout was always as natural but beautiful as possible. How did you use the sport of boxing—its discipline, its violence, and its potential for a future—as a metaphor or narrative device against the backdrop of the criminal world? I’d learnt a lot in my research about how incredible and vital sports can be in helping people. It’s a place to focus energy and passion. I know from my own experience of going to the gym that it is like a daily therapy and ritual for me. So it was important to make that feel like a safe space for Jayden within the film. This is where he’s confident, comfortable and has control. Which is a contrast to his exterior environment. The discipline and structure of boxing represents an alternative path. A world where aggression can be channelled, rules are respected, and success is earned through control and perseverance. Yet, for Jayden, that discipline is constantly threatened by the lure of the streets, where violence exists without boundaries or purpose. By juxtaposing these two worlds, Cut Short explores how easily the line between discipline and destruction can blur. There’s something very interesting to explore further (maybe a sequel or feature is needed) about having physical power and dominance in a sport, but then leaving the gym and all of a sudden you’re the weak one. You had a fantastic cast, including Lauryn Ajufo and Amari James. What were the key qualities you looked for during the casting process, and what was your approach to directing your actors through such emotionally intense and grounded subject matter? I have to give a shoutout to Lorcan Archibald at Kharmel Cochrane Casting for working with us to secure our incredible cast. Everyone brought an amazing energy and love for the film. We had a rehearsal day before the shoot which let everyone get to know each other, feel comfortable with each other and bounce off ideas. For the intense emotional scenes, I really didn’t do much in all honesty, I just let Lauryn and Jude do their thing. It sounds like a cop-out but I think it’s a testament to how incredible the cast were, and that sometimes if you just give them space to become the characters and feel the story and emotion themselves, then they’re able to do exactly what’s needed. I remember after one of the final takes of the final emotional scene I just said to Lauryn ‘wow, how do you do that’… so if you want to know the answer, you’re better off asking her!! You fulfilled the roles of both writer and director. How did you switch between those two creative hats, and did you find yourself rewriting or adjusting the script significantly during the production phase? The script actually changed quite a lot even during production. I’d initially written a different ending which we realised was going to be difficult to film both logistically and creatively. So I had to re-write the scene to fit within our limited resources and finances. And I think the version seen in the film is actually a better ending as it accentuates the impact of knife crime in the wider community, not just the immediate victim, and it’s dealt with in a more sensitive and empathetic way. It’s a good example of limitation breeding creativity. Can you discuss your collaboration with Director of Photography Oliver Barwell and how you both worked together to achieve the film's intended look and feel? I’ve worked with Oliver in the past and having a prior relationship with a DP is really helpful. He was so invested in the film and amazing to collaborate with. He understood the look and feel we were after with ‘cinematic realism’ (I wince every time I write that it’s so contradictory). He was able to recommend the right type of lenses we should use and lighting styles to achieve the look we needed, and devoted so much time and energy to the project. I came to him with the idea of using the steadicam as a key tool throughout the film, but he was able to execute and expand on that idea better than I’d ever thought. Cut Short is currently "ON THE FESTIVAL CIRCUIT." What has been the most surprising or rewarding audience reaction to the film so far, and what are your hopes for its wider distribution? It hasn’t had a premiere yet, so I can’t answer this - but the premiere is at the North East International Film Festival on Saturday 25th October, Newcastle. If there is one specific message or feeling you hope audiences take away from Jayden and Sammy’s story, what is it? We need to stop knife crime. I know it’s a very simple message, and it’s a very complex subject, but there are no winners from using knives. Are you already planning a feature-length project or another short, and will you continue to explore similar socio-cultural themes in your next work? I will definitely continue making social impact-type films. I have a lot of previous work directing documentaries, and this is now my second fictional piece. So I hope that I can continue to blend both docs and shorts into impactful work that leaves people entertained but educated.

Interview by Chris Olson Having just announced the 2025 lineup for the North East International Film Festival, we spoke with the Festival Director, Lisa-Marie Tonelli, to talk about the films that stood out, emerging voices taking risks, and the logistics (and challenges) and running a film festival in 2025. Interview with Film Festival Director Lisa-Marie Tonelli What was the overarching curatorial vision for this year's festival, and what particular themes or trends do you feel emerged from the selected films? This year’s vision was about connection through disruption - spotlighting stories and voices that challenge conventional narratives. Across our programming, we saw a striking emergence of films interrogating identity, displacement, and resilience. There’s a palpable sense that filmmakers are responding to a fractured world not with cynicism, but with bold, imaginative storytelling that refuses to look away. From urgent documentaries to fiercely original debuts, the 2025 line-up reflects a global creative community pushing boundaries, both artistically and socially. It’s a programme designed to provoke thought, inspire empathy, and remind audiences of cinema’s power to unite across our perceived differences. In an increasingly saturated media landscape, how does your festival differentiate itself and establish a unique voice or brand among the world's many film festivals? We lean into our North East identity - not as our limitation, but as our power. NEIFF is proudly rooted in the cultural vibrancy of this region, and we combine that local authenticity with an uncompromisingly international outlook. We’re not trying to replicate the red carpets of Cannes or Toronto. We’re creating a space where discovery matters more than status, and where established creatives sit alongside emerging talent. Could you highlight one or two films that you feel are particularly groundbreaking or likely to spark significant critical debate, and explain why you chose them? Two films in this year’s programme really capture NEIFF’s spirit of bold storytelling and meaningful conversation. The Corinthians: We Were the Champions is a powerful documentary reclaiming a forgotten chapter of women’s football history. It’s told entirely through the voices of the pioneering players who defied the FA ban to play across Europe. It’s both regionally resonant and globally relevant - raising questions about equality and legacy. Breakwater takes a quieter, more intimate approach. It explores grief and queer identity through subtle, naturalistic storytelling, resisting cliché and leaving space for audience interpretation. It’s a film that is both emotionally complex and beautifully crafted. Both films reflect what NEIFF stands for: amplifying underrepresented voices and sparking conversations that extend beyond the screening room. What challenges did you face this year in terms of securing films, funding, or managing the logistics of a major event, and how did you overcome them? Every year brings its unique challenges, but this year has been particularly complex. On the funding side, like many cultural organisations, we’re navigating tightening public funding and increased competition for sponsorship. We overcame this through a combination of strategic partnerships with local businesses, a clear sustainability narrative that resonates with funders, and the sheer commitment of a brilliant team who know how to do a lot with limited resources. Logistically, delivering a week-long festival across multiple venues always requires precision and flexibility, but our experience and strong local networks have made this year (and also our 5th anniversary!) possible. How do you balance the pressure to program films with 'star power' or commercial appeal with your commitment to showcasing emerging, independent, or more challenging artistic works? It’s always a balancing act, but we approach it with a sense of purpose. Star-driven titles can obviously help draw audiences in, but they’re never the core of our identity as an international film festival. Instead, we use those higher-profile screenings as a gateway to discovery, ensuring that audiences who come for a gala screening also encounter daring new work they might never otherwise have found. We curate with integrity and trust that audiences are hungry for substance as well as spectacle. Our commitment is to emerging voices and those that take artistic risk, and everything else is built around showcasing that. Film festivals are often seen as vital launchpads for new talent. Who are some of the new filmmakers you've championed this year that you believe we should all be watching closely? Two filmmakers really stood out for me this year. Mercedes Bryce Morgan, who directed Bone Lake, is such an exciting talent. She already has a strong background in shorts and music videos, but this film really shows what she’s capable of on a larger scale. It’s stylish, it’s emotionally layered, and it plays with genre in a way that feels fresh. Closer to home, Toby Robson is a name I think people will be hearing a lot more of. His documentary Poised is rooted in the North East and tells a story about resilience, community, and youth aspiration with such honesty. It’s a really confident debut; grounded, socially aware, and full of heart. Considering the ongoing evolution of film distribution (e.g., streaming platforms), how is the festival adapting its role to ensure the cinema experience remains central and relevant? We see festivals as more crucial than ever. Content has become endlessly scrollable, and cinema needs to be experienced, not just consumed. We want to lean into the place-based nature of cinema, and the shared reactions in a room, the post-screening debates, the energy of a live Q&A. The relationship between a film festival and its local community is crucial. In what ways has this year's program engaged with or reflected the cultural landscape of this city/region? The North East is in our DNA. This year, we’ve spotlighted regional filmmakers, incorporated local themes into our programming strands, and partnered with community organisations to ensure the festival is accessible and relevant. Whether it’s celebrating stories exploring our industrial past, nurturing talent from our local communities, or using regional venues in new and imaginative ways, our programming reflects the vibrancy, resilience, and creativity of this region. Beyond the main competition, which sidebar or retrospective program are you most proud of this year, and what story did it aim to tell about cinema history or a specific genre? One program I'm particularly proud of this year is the Northern Soul Shorts block. It’s quite literally a celebration of the North East, and showcases a diverse range of voices and perspectives from the region. What makes this program special is how it reflects the cultural evolution of the North East - once known primarily as an industrial powerhouse, today it’s brimming with creativity and fresh artistic energy. By curating this selection, we aim to spotlight local talent that resonates beyond our region, telling stories of identity, community, and resilience. We wanted to give local filmmakers a platform to explore the region’s past, present, and future whilst highlighting the North East as a dynamic hub. For me, this program is a reminder that cinema can both preserve and transform cultural identity, and that the North East has a vital voice on the global stage. What do you believe is the single most important metric for the success of this festival - is it box office, critical acclaim, industry deal-making, or audience engagement, and why? For me and my team, it’s audience engagement. If audiences are moved, challenged, inspired, and leave the festival talking - that’s success. Of course, box office matters for sustainability, and industry recognition helps build momentum - ultimately, festivals live or die by the conversations they ignite and the communities they build. If we can create spaces where cinema genuinely connects people, then we’ve done our job.

Film Feature by Chris Olson Adam Sandler is a cultural phenomenon whose filmography is perhaps one of the most polarising in modern Hollywood. From the juvenile, high-concept comedies  that made him a box office titan to the critically acclaimed dramatic roles  that reveal a profound depth, his cinematic output is an undulating graph of critical highs and lows. The "Sandman" has built an empire on a simple, enduring formula: hang out with your friends, play a lovable yet irascible man-child, and throw in a surprisingly sweet moment or two. Then, he'll pivot and deliver a performance that reminds everyone he's a serious actor capable of Oscar-worthy work. This exhaustive ranking explores the entire spectrum of the Sandlerverse, evaluating each film based on its cultural impact, critical reception (using a blend of aggregated scores and general consensus), and lasting comedic or dramatic power. These first films represent the apex of Sandler's dramatic work, showcasing a range and intensity that silences his harshest critics. They are cinematic achievements that stand tall regardless of genre. 1. Uncut Gems (2019) This is, unequivocally, Adam Sandler's finest hour . Directed by the Safdie brothers, this anxiety-inducing thriller casts Sandler as Howard Ratner, a diamond district jeweler whose crippling gambling addiction propels him through a series of increasingly frantic and self-destructive decisions. It's a high-wire act of constant tension. Sandler channels the manic energy of his early comedic personas, but strips away the slapstick, leaving a raw, exposed nerve of a performance that is mesmerizing and terrifying. It earned him the best reviews of his career and cemented his status as a serious dramatic actor. 2. Punch-Drunk Love (2002) Paul Thomas Anderson saw the bottled-up rage and underlying sweetness in the Sandler comedy persona and turned it into art . As Barry Egan, a socially anxious bathroom supply salesman prone to bursts of violence, Sandler delivers a beautifully wounded, deeply human performance. It’s a surreal, quirky romantic-comedy-drama that uses Sandler’s established tics to convey profound loneliness and tentative hope. It marked a pivotal shift, demonstrating his willingness to collaborate with visionary directors outside the Happy Madison orbit. 3. Hustle (2022) A true underdog story, Hustle  is a passion project for the basketball fanatic Sandler, who plays Stanley Sugerman, a down-on-his-luck NBA scout. The film is genuine, emotional, and expertly shot, benefiting from a cast filled with real NBA players and personalities. Sandler’s performance is subtle, focused, and deeply resonant—a mature, world-weary character who earns his success through hard work, not hijinks. It’s arguably his most accessible and universally praised dramatic role  of the Netflix era. 4. The Meyerowitz Stories (New and Selected) (2017) Noah Baumbach’s dramedy is a wonderfully observed family portrait where Sandler, as the stay-at-home dad Danny, delivers a sensitive, nuanced performance. Alongside Ben Stiller, he explores sibling rivalry and the burden of a difficult father (Dustin Hoffman) with a subtle, affecting melancholy. It's a prime example of Sandler elevating a character-driven script. 5. Happy Gilmore (1996) A quintessential '90s comedy and a true cult classic . Sandler's performance as the hot-headed, hockey-player-turned-golfer Happy Gilmore is pure id. It solidified his man-child persona and delivered iconic, endlessly quotable moments, most notably the legendary Bob Barker fight. It’s the film where the "yelling Sandler" perfected his rage. 6. The Wedding Singer (1998) The film that successfully transitioned Sandler from high-concept SNL  buffoonery to a lovable, romantic lead . His chemistry with Drew Barrymore is undeniable, setting the template for one of cinema's most reliable pairings. It's '80s nostalgia wrapped around a genuinely sweet, well-structured romantic comedy. It proved Sandler could anchor a film with heart without sacrificing his humour. 7. Reign Over Me (2007) A significant dramatic turn where Sandler plays Charlie Fineman, a man who lost his family on 9/11 and has retreated into a world of music and video games. His performance is quietly devastating, capturing profound grief and isolation. It’s a film that demands empathy and offers a poignant exploration of trauma and male friendship (with Don Cheadle). 8. The Waterboy (1998) A bizarre, yet effective, high-concept comedy where Sandler's Bobby Boucher, a socially inept water boy with a violent temper, becomes a college football star. It’s peak "silly voice Sandler," a celebration of the underdog, and a financial juggernaut that further cemented his box office dominance. 9. Funny People (2009) Judd Apatow’s semi-autobiographical dramedy has Sandler playing a successful but lonely comedian confronting a life-threatening illness. It's a grounded, often bleak, and surprisingly introspective look at the comedy world. It sits uniquely between Sandler's dramatic and comedic worlds, offering a self-aware portrait of fame and friendship. 10. You Are So Not Invited to My Bat Mitzvah (2023) A surprisingly fresh and critically adored  Netflix comedy starring Sandler and his real-life family (daughters Sadie and Sunny, and wife Jackie). It’s a charming, grounded coming-of-age story that uses his presence to lend credibility without relying on his usual schtick. A pleasant surprise. 11. 50 First Dates (2004) The second and strongest collaboration with Drew Barrymore. A sweet, inventive romantic comedy where Sandler plays a marine veterinarian who falls for a woman (Barrymore) with Goldfield Syndrome, meaning she can't form new long-term memories. It effectively balances the classic Sandler comedy with genuine emotional stakes. 12. Big Daddy (1999) A foundational Sandler comedy about a slacker who adopts a young boy to impress his ex-girlfriend. It combines his childish humour with a potent, albeit saccharine, theme of fatherhood. It was one of the biggest box office hits of his career. 13. Billy Madison (1995) The film that launched the "Sandlerverse" cinematic universe. It’s an SNL -inspired movie that set the template: an immature man-child must complete a ridiculous task to inherit his fortune. Its juvenile and absurd humour is a '90s comedy touchstone. 14. Murder Mystery (2019) The first Netflix sequel that actually justified its existence. Reuniting with Jennifer Aniston, Sandler plays a cop who takes his wife on a European vacation that turns into a murder investigation. It’s a breezy, fun, and successful homage to classic detective novels, benefiting greatly from the Sandler-Aniston chemistry. 15. The Longest Yard (2005) A remake of the 1974 film, this prison football comedy is elevated by a strong supporting cast. It’s a perfectly serviceable, sports-centric vehicle for the classic Happy Madison ensemble. 16. Anger Management (2003) The premise of Sandler being forced into anger management with Jack Nicholson as his therapist is gold, but the execution is uneven. Nicholson's scenery-chewing is a highlight, but the film ultimately feels like a wasted opportunity for a truly great dark comedy. 17. Click (2006) This high-concept fantasy comedy, about a workaholic architect who gains a universal remote that controls his life, takes a surprisingly dark, emotional turn. It’s a messy film, but its third act provides one of Sandler's most heartfelt dramatic moments, exploring the cost of taking life for granted. Little Nicky (2000) A bizarre fantasy comedy about the son of the Devil (Sandler's titular character) sent to Earth. It’s got a weird charm (although not for everyone), it has developed a small cult following for its unique strangeness. 19. Hubie Halloween (2020) A return to the "silly voice" characters of his youth, this Netflix comedy is a love letter to Halloween and his old SNL  collaborators. It's harmless, nostalgic comfort food, if aggressively juvenile. 20. Grown Ups (2010) The first and better of the two Grown Ups  films. It's less a movie and more an expensive summer vacation for Sandler and his comedy friends (Chris Rock, Kevin James, David Spade, Rob Schneider). It’s low on actual plot but high on chemistry and easygoing laughs for its built-in audience. 21. Mr. Deeds (2002) A remake of Mr. Deeds Goes to Town . Sandler's Longfellow Deeds is a small-town man who inherits a massive fortune. It contains a few classic Sandler moments but is otherwise forgettable, relying heavily on its "fish-out-of-water" setup. 22. Just Go with It (2011) Another enjoyable pairing with Jennifer Aniston. It's a standard-issue romantic comedy with an overly convoluted plot, saved only by the chemistry of its two leads and its beautiful Hawaiian backdrop. 23. That's My Boy (2012) An R-rated comedy with Andy Samberg that pushed the envelope into crude and uncomfortable territory. It features a surprisingly committed performance from Sandler, even if the humour is often mean-spirited and the plot ridiculous. 24. I Now Pronounce You Chuck & Larry (2007) A comedy attempting to tackle themes of homophobia and gay rights, it’s hampered by a reliance on dated jokes and stereotypes. It has moments of sincerity, but its message is buried under broad, often clumsy humour. 25. Happy Gilmore 2 (2025) A bit of a bogey, this one, with Sandler reprising one of his most famous roles. The tired alcoholic routine fails to adhere to the outlandish (and mostly unfunny) new-age golf plot. The Worst Adam Sandler Films This tier is where the bulk of Sandler’s most negatively reviewed work resides. These films are generally regarded as lazy, uninspired, and creatively stagnant, yet many remain hugely popular with audiences. 26. Blended (2014) The final Drew Barrymore team-up, this film is a weak entry in their generally strong collaboration. It's a standard family comedy set in Africa that is mostly forgettable. 27. Spanglish (2004) James L. Brooks' film is a tonal mess, yet Sandler is surprisingly good as the kind-hearted, beleaguered chef caught between his neurotic wife (Téa Leoni) and his family's new, beautiful housekeeper (Paz Vega). A critical "what if" in his dramatic career. 28. The Cobbler (2014) A dramatic fantasy film about a shoemaker who can magically transform into his customers. Despite a decent central concept, it’s executed in a drab, meandering fashion, wasting its dramatic potential. 29. Bedtime Stories (2008) A forgettable Disney family comedy. It's the cleanest, most family-friendly film in his catalogue, which unfortunately translates to its being the most sanitised and least engaging. 30. Grown Ups 2 (2013) A rare sequel for Sandler, and a truly unnecessary one. It is a collection of skits and cameos masquerading as a movie, entirely lacking a coherent plot or purpose. 31. The Ridiculous 6 (2015) Sandler's first original film for Netflix and a low point for his brand. A Western parody that drew controversy for its offensive humour and is often cited as one of the laziest films ever made. 32. The Do-Over (2016) A generic buddy comedy with David Spade. Its plot is convoluted, relying on cheap jokes and a massive case of mistaken identity. The epitome of low-effort streaming content. 33. Jack and Jill (2011) Famously one of the worst-reviewed films of all time, with Sandler playing both a man and his obnoxious twin sister, Jill. It’s an exhausting, grating comedy that won every Razzie Award it was nominated for. Adam Sandler’s filmography is a fascinating dichotomy. For every universally praised dramatic triumph like Uncut Gems , there are a dozen low-brow, critically reviled comedies. Yet, it’s the comedies that made him a megastar and gave him the freedom to pursue the passion projects and auteur collaborations that deliver the Masterpieces . The success of a "Sandler film" is less about critical acclaim and more about the cultural contract he has with his audience: a promise of familiar faces, comfort-food humour, and a good time for the whole gang. While critics may scoff at his lowest-ranked films, they remain hugely watched and profitable , a testament to the enduring loyalty of the millions who grew up with the Sandman. He doesn't need to make the "best" movies; he just needs to make movies that his fans—and his friends—enjoy. And in that, he has succeeded wildly, forever securing his reign as the king of cinematic comfort food, occasionally punctuated by a breathtaking performance of genuine dramatic genius.

Film Feature by Chris Olson With the release of the new Bennie Safdie film, The Smashing Machine , it seems timely to take a look at the films Dwayne Johnson has been in . To chart the filmography of Dwayne Johnson is to trace the trajectory of modern Hollywood stardom itself. From the moment the wrestler known as ‘The Rock’ stepped out of the ring and onto the silver screen, he has engineered a blockbuster career with the precision and brute force of a champion prizefighter. Unlike many who attempt the wrestling-to-acting transition, Johnson didn't merely secure roles; he manufactured franchises, becoming one of the world’s most bankable cinematic assets. His first proper cinematic outing was a mere prologue: his appearance as the Scorpion King in 2001’s The Mummy Returns served as a springboard for the prequel, 2002’s The Scorpion King, which gave him his first leading role. While these sword-and-sandal actioners were enjoyable popcorn fodder, it was 2003’s The Rundown that truly demonstrated his screen charisma, blending impressive fight choreography with a wry, self-aware humour. He then moved through a period of standard action and drama remakes like Walking Tall (2004) and the video-game adaptation Doom (2005), before making a strategic, and surprisingly successful, detour. In a move reminiscent of Arnold Schwarzenegger’s own career pivot, Johnson embraced the family film genre. He traded in his signature intensity for a gentle giant persona in films like The Game Plan (2007) and, perhaps most famously, Tooth Fairy (2010), in which he plays a hockey player sentenced to a week as a genuine, winged fairy. These films were clearly engineered to broaden his appeal, proving he could sell tickets without relying solely on explosions, a versatility he would later deploy to great effect. The true inflection point in his career arrived in 2011 with Fast Five. The introduction of Johnson as DSS Agent Luke Hobbs injected vital, testosterone-fuelled energy into the Fast & Furious series, helping to elevate the franchise from street-racing crime capers to global, physics-defying behemoths. His formidable on-screen chemistry with Jason Statham was so potent it spawned its own successful spin-off, Fast & Furious Presents: Hobbs & Shaw (2019), solidifying him as the ultimate franchise anchor. From this point, his star power became its own genre. He anchored disaster spectacles like San Andreas (2015) and Skyscraper (2018), confirming his ability to carry massive-budget tentpole pictures entirely on his own colossal shoulders. Yet, Johnson’s shrewdest move was re-launching the Jumanji brand, first with Welcome to the Jungle (2017) and its 2019 sequel, The Next Level. Playing an avatar who is secretly a mild-mannered teenager, Johnson delivered a pitch-perfect comedic performance that showcased genuine acting chops beyond the brawn. His work with Disney has also cemented his mainstream appeal; he voiced the demigod Maui in the animated sensation Moana (2016), demonstrating an unexpected talent for singing, and later took on the adventurer role alongside Emily Blunt in the theme-park adaptation Jungle Cruise (2021). While his long-gestating passion project, the DC superhero film Black Adam (2022), didn’t quite deliver the seismic shift in the comic book movie landscape he had promised, it remains a testament to his ambition to conquer every corner of the box office. Johnson is constantly shifting gears, with his upcoming dramatic turn as MMA fighter Mark Kerr in the biopic The Smashing Machine suggesting the global superstar is determined to prove his heft extends far beyond the realm of the simple blockbuster. It’s a career built not on subtlety, but on sheer, indefatigable star power.

Film Feature by Chris Olson Well, here we are again. Just when the Scream franchise appeared to be finding its feet with the new 'Core Four' generation, the inevitable off-screen drama struck, forcing the seventh instalment to undertake a drastic, and frankly fascinating, creative retooling. It’s fair to say that the road to Scream 7 has been paved with more controversy than a typical Woodsboro body count, but the biggest news is that the series is finally coming home—not just to Neve Campbell’s Sidney Prescott, but to the very architect of the whole bloody enterprise, Kevin Williamson. After the high-profile departures of both lead actor Melissa Barrera and co-star Jenna Ortega—which scuppered the established 'requel' storyline—the studio, Spyglass, made the audacious and, frankly, necessary decision to bring back the original creative genius. Williamson, who wrote the first, second, and fourth films, is now in the director’s chair for the first time in the franchise’s history. This move signals a significant thematic pivot, shifting the focus entirely away from the Carpenter sisters and placing the spotlight squarely back on our original final girl, Sidney Prescott, for a new, deeply personal confrontation. If the production woes were a setback, the confirmed cast list is a clear sign that Scream 7 is now operating in damage control mode, deploying a nostalgic arsenal to win back fans. Neve Campbell returns as Sidney, a decision celebrated by fans who felt her absence in Scream VI acutely. Joining her is the ever-present Courteney Cox as Gale Weathers. It’s a joy to know that their perennial cat-and-mouse relationship with Ghostface will continue. However, the real head-turners are the confirmed returns of actors whose characters were emphatically—or at least seemingly—killed off in prior films. David Arquette is confirmed to reprise his role as the beloved Dewey Riley, whose emotional death in Scream (2022) sent shockwaves through the fandom. Perhaps even more stunning is the comeback of Matthew Lillard as Stu Macher, one-half of the original Ghostface duo from 1996. Stu’s fate has been the subject of fan debate for decades, and Lillard’s return, alongside Scott Foley (Roman Bridger, Scream 3), suggests the film is prepared to play directly with the franchise’s most enduring mysteries and meta-commentary. How these characters—particularly the deceased ones—will feature remains the franchise’s most compelling secret. Rumours abound regarding the use of AI or deepfake technology within the story, with a Ghostface perhaps using technology to torment Sidney by resurrecting dead loved ones or killers. If true, this provides a brilliant, meta hook for Williamson to satirise the modern technological landscape, much like the original films critiqued slasher conventions and sequels. We also have confirmation that the surviving 'new generation' members, Mason Gooding (Chad Meeks-Martin) and Jasmin Savoy Brown (Mindy Meeks-Martin) are returning, providing a bridge between the new and old eras, alongside the reliable Roger L. Jackson as the unmistakable voice of Ghostface. With the "Core Four" dynamic dissolved, the plot is now fiercely centred on Sidney. Franchise writers Guy Busick and James Vanderbilt, who co-wrote the story, have indicated that the film aims to be intensely personal. Kevin Williamson himself has stated that the film is about Sidney now, "where she is now, what she's become," and how she has managed to forge a life and raise a family despite her trauma. The narrative will reportedly take us "home" with Sidney, suggesting a more contained, domestic environment, contrasting sharply with the expansive, city-bound settings of the last two entries. We know that Joel McHale has been cast as Mark Evans, Sidney’s husband (who many speculate is the Mark Kincaid from Scream 3), and Isabel May has been cast as their daughter. The focus appears to be on Ghostface targeting Sidney’s family, forcing her to protect those dearest to her—a dark, yet logical, evolution of her journey. Neve Campbell has also voiced a desire for Scream 7 to dial back the sheer gore and instead "find the suspense and really concentrate on scary and not bloody," a clear nod to the suspenseful, Wes Craven-esque atmosphere of the earlier films. With filming wrapped earlier this year, the film is officially slated for release on February 27, 2026. After a turbulent production, all signs point towards a definitive, legacy-heavy chapter intended to pay tribute to the franchise’s enduring strength and, most importantly, provide a fitting narrative closure for the Queen of Scream, Sidney Prescott. Remember to subscribe to the UK Film Review Podcast for the latest movie reviews and all things film.

Film Feature by Chris Olson It’s the question that has kept parents and children alike in a state of suspended animation since the credits rolled on 2019’s Frozen II: will we ever return to Arendelle? For years, speculation has run colder than a north mountain gale, but we can now deliver the news that should thaw even the iciest heart: Yes, Disney is indeed making Frozen III . And not only that, but the House of Mouse is laying the groundwork for a fourth instalment simultaneously, promising a truly epic, and potentially final, adventure for Elsa, Anna, and the gang. The confirmation has come directly from the source. The franchise's director, Jennifer Lee , has been open about the ambitious plans, suggesting that Frozen 3  and 4  could potentially form one large, coherent narrative. This is a significant creative gambit, moving beyond the traditional sequel model to attempt a genuine cinematic saga. Frozen III Confirmed Details Let's get down to the brass tacks. The date that should be circled on every Disney fan’s calendar is November 24, 2027 . That is the current, confirmed release date for Frozen III . While 2027 seems a glacial age away, it allows Walt Disney Animation Studios  the time required to maintain the exceptional quality that has defined the first two films—a crucial factor for a franchise that has set such a high standard for animation and songwriting. The studio has already offered a tantalising glimpse into the development. At the D23 event in 2024, the first snippets of concept art  were unveiled, confirming the return of the central trio: Anna, Elsa, and Olaf . While abstract, it served as a powerful reminder of the characters we're emotionally invested in. The narrative focus, however, is arguably the most intriguing detail to emerge. The writers and directors are actively working on a story that aims to provide definitive answers to lingering questions from the previous movies. Chief among these is, of course, the full origins of Elsa's powers . Frozen II  explored her connection to the elemental spirits and the history of her people, but many fans felt the mystery surrounding her unique abilities still had room for deeper explanation. Answering this fundamental question will be key to the third film's success. Equally fascinating is the hinted return of the most memorable human villain: Prince Hans . The ultimate fate of the treacherous royal from the Southern Isles was left somewhat ambiguous after his swift defeat. The notion of Frozen III  or IV  addressing what truly became of him offers a fascinating potential subplot, perhaps giving us a more complex antagonist than we saw in the first film. A Dual Production Gamble Perhaps the most jaw-dropping news is the parallel production  of Frozen 3  and Frozen 4 . This is an unprecedented move for an animated franchise of this magnitude. It underscores Jennifer Lee's vision for a singular, overarching story. This approach is reminiscent of major live-action fantasy sagas, where the narrative demands more than one feature-length instalment to reach a satisfactory conclusion. From a critical perspective, this dual development is a double-edged sword. On one hand, it suggests meticulous planning and a genuine commitment to narrative coherence across both films, mitigating the risk of a rushed or tacked-on sequel. On the other hand, it places an enormous burden on the creative team to sustain momentum and invention over two back-to-back mega-projects. Will they be able to maintain the emotional resonance and musical brilliance that made the first two films worldwide phenomena? The fact that Disney is investing this heavily, strategically planning two films that will require years of animation and storyboarding, shows the enduring financial and cultural confidence they have in the world of Arendelle. This isn't just a sequel; this is the establishment of a Frozen  saga . For now, we have our answers, and the future looks bright—or perhaps, beautifully ice-blue. The wait for November 24, 2027, will be long, but the prospect of finally seeing the origin of the Snow Queen’s magic and the resolution of the Hans mystery suggests it will be well worth the patience. The Frozen  phenomenon is far from over; it’s just getting started with an ambitious new chapter.

Film Feature by Chris Olson As the days shorten and the chill of winter sets in, there’s no better place to find warmth and wonder than at the cinema. This November, the UK’s cinematic calendar is bursting with an eclectic mix of highly anticipated releases, from blockbuster sequels to chilling genre films and everything in between. It's a month that promises to satisfy every taste, with a slate of films that have already garnered significant buzz from early screenings and film festivals around the globe. Leading the charge is undoubtedly one of the most talked-about films of the year: Wicked: For Good . The second part of Jon M. Chu's monumental musical adaptation, this film continues the story of Elphaba and Glinda, picking up right where the first instalment left off. With the first film already hailed as a triumph for its stunning visuals and standout performances from Cynthia Erivo as Elphaba and Ariana Grande as Glinda, anticipation is at an all-time high. For Good  promises to delve deeper into Elphaba's transformation into the legendary Wicked Witch of the West, exploring the complexities of her power and her fractured relationship with Glinda. The word from those who have seen it is that Chu has delivered a conclusion that is both emotionally powerful and visually breathtaking, cementing this two-part saga as a definitive cinematic event. For those who favour spectacle of a different, more terrifying kind, November delivers a thrilling sci-fi horror entry in the form of Predator: Badlands . Following the critical success of 2022's Prey , director Dan Trachtenberg returns to the franchise, this time with a film that reportedly offers a fresh and terrifying perspective on the iconic alien hunter. Unlike previous films that have focused on the human struggle for survival, Badlands  is said to place the creature front and centre, exploring its mythology and methods in a way never before seen. This unique approach, combined with Trachtenberg’s proven ability to craft suspense, has film critics buzzing. It’s being touted as a film that will restore the visceral terror of the original while pushing the franchise in a bold new direction. Another must-see for thriller enthusiasts is the new adaptation of Stephen King’s classic dystopian novel, The Running Man . While the 1987 version starring Arnold Schwarzenegger is a beloved cult classic, this new film is a much grimmer, more faithful take on the source material. It follows a brutal annual game show where contestants must literally walk to their deaths, with only one survivor. Early reviews have praised the film for its unflinching portrayal of the brutal contest and its potent social commentary. A review from The Guardian  described it as "the grimmest mainstream movie for some time," and a masterful psychological thriller that will keep audiences on the edge of their seats. This is a film that will undoubtedly spark conversation long after the credits roll. For a trip the whole family can enjoy, the highly anticipated Zootropolis 2  (or Zootopia 2 in the U.S) makes its debut. The first film was a runaway hit for Disney, captivating audiences with its clever world-building and memorable characters. This sequel reunites Officer Judy Hopps and Nick Wilde for another case in the vibrant and diverse city of Zootropolis. While plot details are being kept under wraps, the return of the original cast and creative team promises the same blend of witty comedy, action, and heartwarming moments that made the first film a global phenomenon. It’s the perfect antidote to the cold weather and a fantastic choice for a family outing. Lastly, the month is rounded off by the magical mayhem of Now You See Me: Now You Don't . The third film in the popular heist franchise, it brings back the core group of magician-thieves—The Four Horsemen—for what is promised to be their most ambitious and mind-bending trick yet. With a cast that includes Jesse Eisenberg, Woody Harrelson, and Morgan Freeman, the film is expected to be a high-octane thrill ride filled with elaborate set pieces and surprising twists. While some have been critical of the franchise's reliance on spectacle, there’s no denying the sheer fun and escapism it provides. In conclusion, November 2025 is shaping up to be an extraordinary month for UK cinema. With a line-up as diverse as it is compelling, there’s a film for every mood and every audience. So grab your popcorn, find your favourite seat, and get ready for a month filled with cinematic brilliance.

Film Feature by Chris Olson It is always a pleasure to sit down with a filmmaker who not only understands the mechanics of the genre they inhabit but possesses a deeply ingrained passion for its history. In a recent conversation for UK Film Review, my fellow film critic, James Learoyd had the distinct pleasure of speaking with director Phil Claydon, a veteran of horror and comedy, as he discussed his latest feature, Helloween . The resulting interview was a fascinating deep dive into the creative compromises, stylistic choices, and nostalgic influences that coalesced into what Claydon proudly describes as his "most fun horror movie" yet. Helloween  is a film rooted in the all-too-recent cultural anxieties of the 2016 "creepy clown craze" that swept across the UK and beyond. Claydon outlined the core concept: a journalist named John Parker becomes convinced that the synchronised, identical clown makeup being worn by perpetrators is linked to an incarcerated serial killer, Cole Kaine, known in his bloody heyday as Kane the Killer Clown. Parker and psychiatrist Dr. Ellen Marx embark on a dangerous mission to uncover Kaine's insidious plans, a desperate attempt to thwart an impending, bloody threat. Claydon's ambition was to construct a "suspenseful, Purge -like horror" experience—contained within its immediate locations, yet surrounded by a palpable sense of a larger world descending into chaos. The discussion quickly moved to the film’s powerful cinematic influences, many of which are evident from the opening frames. For any horror aficionado, the nods to John Carpenter's seminal Halloween are impossible to miss. From the unsettling opening sequence depicting Kaine’s murderous childhood to the presence of a Dr. Loomis-esque figure who pronounces the killer as "pure evil," the film wears its homage with pride. Claydon, a self-confessed VHS junkie whose early diet consisted of genre classics like Poltergeist  and An American Werewolf in London , stressed that these references were born purely of instinct rather than calculated intellectualism. He saw an opportunity to honour the iconic opening of Carpenter's film by depicting young Cole Kaine’s first victims—a horrific trick-or-treat scenario where the child killer takes out his foster parents and a callous social worker. For Claydon, a successful homage is a vital handshake with the audience, establishing instantly: "somebody understands the genre... and they know what the audience is." Beyond the obvious influences, Claydon’s filmic DNA reveals a broader, more eclectic palate. He expressed profound admiration for Steven Spielberg’s ability to forge an emotional connection and generate phenomenal suspense and humour. Yet, in the horror camp, he revealed a particular fondness for John Carpenter’s 1980 supernatural chiller The Fog , citing its atmosphere and tension as a "massive influence" he watched even more frequently than the film that gave Helloween  its namesake. Other inspirations stem from the high-concept, fast-paced world of Larry Cohen ( Q the Winged Serpent ) and, notably, the anarchic camera work and inherent "playfulness" of Sam Raimi’s Evil Dead  series. For Claydon, making a movie is a "magic trick," and the goal is always to have fun with the audience, making them suspend their disbelief and enjoy the ride. This drive to connect with a contemporary audience led to one of the film's most crucial narrative elements: the pervasive influence of modern media. Claydon made incorporating the "internet bombardment of media" and social media discourse a central pillar of his script. This was a deliberate choice to ground the horror in a contemporary setting, reflecting how social platforms and news cycles can fuel division and sway opinions. By creating an outer world of "impending doom," driven by viral videos and digital unrest, Helloween  becomes a powerful, if uncomfortable, commentary on culture. Claydon observed that the current era is defined by the "loud mouse with extreme views" finding a platform, allowing a figure like Cole Kaine to gain power by speaking to those who feel neglected by the system—a chillingly relevant subtext. The interview also offered great insight into the technical constraints and creative leaps required when working at a microbudget level. Claydon wanted Helloween  to be a "very colourful horror movie," a true "circus of fear," consciously rejecting the desaturated palette so common in modern genre cinema. The DP, James Wesley, proved to be an indispensable ally, sharing Claydon's vibrant vision, even before they spoke. The challenge was executing this vision during a punishing nine-day shoot where the crew had to cover approximately nine pages of script a day, packed with set pieces and emotional moments. The DP's small, efficient team, capable of 10-15 minute turnarounds on setups, was vital. Claydon was keen to leverage bright aesthetics—neon pinks in a car park scene, for instance—that instantly recalled the colourful, stylised atmosphere of early Joel Schumacher films, such as The Lost Boys . The visual idea was to create a carnival-esque Halloween vibe that starts colourful but gets increasingly "murky and as nasty and grimy" as the story progresses. On the set, everything was "very well drilled," a necessity born of the tiny crew and lack of time for manoeuvre. However, even the most meticulous planning can be derailed. Claydon recounted a particularly challenging car scene where a planned suspenseful reveal—using the car bonnet to obscure the killer—was ruined by the discovery of a large gap under the hood of the crew member's vehicle they were using. Claydon had to "think on his feet," but ultimately discovered the tension worked purely because the audience knew a presence was near, a moment that proved the power of suggestion over spectacle. In a similar vein, the film's modest use of gore was not just a budgetary decision but a conscious stylistic one. Claydon acknowledged that practical gore effects are time-consuming, and instead drew inspiration from the "extremely bloodless" work of Carpenter and Tobe Hooper ( The Texas Chain Saw Massacre ). The director realised that by obscuring the violence or making it happen quickly, the audience's mind fills in the blanks, often making the result more terrifying because what we think  we see is far worse than what is actually shown. Reflecting on his career, which includes Lesbian Vampire Killers  (a straight comedy) and Within  (a more traditional studio horror), Claydon noted that Helloween  is closest to his personal sensibilities. Despite starting as a brief from the financiers, the ability to write the screenplay himself allowed it to become his "baby." After a nine-day shoot described as "blood, sweat, and tears," Claydon spent two gruelling years in post-production, personally handling everything from editing to VFX, a testament to the dedication required in independent filmmaking. With Helloween —releasing digitally on 29th September from Miracle Media and on Blu-ray from 101 Films on 13th October—now complete, the energetic #filmmaker is already looking ahead. He teased two future projects: Lust , a self-described R-rated Amblin-style teen sci-fi comedy reminiscent of Weird Science  meets John Hughes, and Dead X , a twist on the slasher genre, which he pitched perfectly as a fusion of Fleabag  meets Scream . It is clear that whatever creative constraints he faces, Phil Claydon remains a resourceful and enthusiastic voice, one who continually finds new ways to delight and disturb British audiences. Watch the interview in full below, or click here to listen on Apple Podcasts .

The Schwartz Is Strong: Original Cast Reunites in Shock Announcement After decades of speculation, rumour, and the faint, unsettling whiff of stale pizza, the impossible has finally occurred: Spaceballs 2 has officially commenced production. The sci-fi parody sequel, first mooted over a year ago, has confirmed its status as a concrete cinematic reality, marked by a historic table read that saw the return of some of the original film’s most beloved stars. Image via Instagram @amazonmgmstudios - https://www.instagram.com/p/DPBx0Pzjysu/ The biggest revelation—and arguably the most exciting news for British film fans—is the official return of Rick Moranis as the gloriously diminutive villain, Dark Helmet. Moranis, who has been largely absent from the silver screen for many years, took his place alongside Bill Pullman (Lone Starr) and Daphne Zuniga (Princess Vespa) for the reading. George Wyner is also reprising his role as Colonel Sanders. The sight of the principal cast gathered for the script read-through, which cheekily spoofed the famous photo from J.J. Abrams’ The Force Awakens production start, confirms that the meta-comedic spirit of the 1987 classic remains intact. Original visionary Mel Brooks is also back on board as a producer and star (President Skroob and Yogurt), though he participated in the table read remotely via video conference—proving that even the greatest spoof artists embrace modern technology. Filling the huge boots of the new generation is a stellar line-up of contemporary talent. The ensemble is bolstered by the likes of Josh Gad, who co-wrote the script with Benji Samit and Dan Hernandez and is also taking a starring role. They are joined by Keke Palmer (Nope), the highly-regarded Anthony Carrigan (Barry), and, in a fascinating piece of casting symmetry, Lewis Pullman, son of Bill Pullman and star of Thunderbolts*. Directing the non-prequel, non-reboot sequel is Josh Greenbaum, known for the wonderfully eccentric comedy Barb And Star Go To Vista Del Mar. His appointment suggests a suitably off-the-wall sensibility guiding the project. With a potential release date pencilled in for 2027, the long-awaited return of Lone Starr, Dark Helmet, and the denizens of the Spaceballs-verse appears set to capitalise on the current desire for high-calibre spoof cinema, following the recent success of other revival projects. It seems the Schwartz is indeed with them. We, for one, are utterly chuffed.