Killer Whale (2026) Review

 

Maddie and Trish seek solace in a remote Thai atoll-like lagoon. Their escape becomes a nightmare when Ceto—a vengeful, mistreated orca freshly freed from captivity at a water park—invades the trapped waters. Stranded on a rock with no food or rescue, the women battle a brilliant, merciless predator.

Directed by Jo-Anne Brechin and starring Virginia Gardner as Maddie, Killer Whale leans into a tried-and-tested survival template familiar from 47 Metres Down, The Shallows, Open Water and many other shark survival films. Opening with a great kill setup, there’s nothing inherently wrong with the staging or even the premise. An apex predator remains a solid foundation for tension. Gardner, in particular, gives the film credibility. Her performance is committed, physical and emotionally grounded. She carries the narrative through sheer screen presence, making Maddie – alongside Mel Jarnson’s Trish – resourceful, vulnerable and watchable throughout.

Where the film falters is in its execution: the special effects, sadly, let it down. In a subgenre that depends heavily on believability, the visual renderings – including the backgrounds – often pull the audience out of the moment rather than immersing them in it. What could have rivalled the tight suspense of its aquatic predecessors instead becomes overshadowed by effects that lack weight and realism.

It’s especially frustrating because Jo-Anne Brechin and Katharine McPhee’s writing rightly gives the orca its emotional intelligence and rich thematic potential. There are hints of something more layered beneath the surface, a suggestion that the creature is more than a simple monster. And if it weren’t for the special effects, the film had clout which may have elevated it beyond standard predator fare.
The final act, too, feels like a missed opportunity. A more satisfying resolution – something closer in spirit to a Free Willy-style but grounded ending – may have provided emotional payoff rather than what we were given.

Killer Whale is not without merit. Virginia Gardner’s performance deserves praise, and the core concept remains strong. But in a genre where atmosphere and credibility are everything, the weak effects ultimately hold it back from the gripping survival thriller it might have been.

We Bury the Dead (2024, wide release 2026) Review

After a devastating viral outbreak leaves parts of the population infected yet not entirely gone, a fractured group of survivors navigate grief, suspicion and the lingering question of what it truly means to be alive — or buried.

Directed and written by Zak Hilditch, We Bury the Dead takes a creepy slow-burning, introspective approach to the zombie-virus subgenre. Rather than leaning solely on carnage, it focuses on broken relationships and unresolved trauma. At times, however, the film becomes bogged down in flashbacks and emotional backstory that dilute the forward momentum of an otherwise compelling premise.

Daisy Ridley leads the film with quiet intensity, delivering a great performance that anchors the film. She knocks it out of the park, carrying the emotional weight with conviction. Alongside her, Brenton Thwaites and Mark Coles Smith provide strong support. Their tensions often prove more engaging than the infected threat itself.

Technically, the film impresses. The make-up effects are excellent, restrained but unnerving, and several eerie set-ups linger in the mind long after. There are genuine jolts and a creeping dread that recalls the more contemplative end of the genre. The film also toys with interesting ideas about infection, memory and identity, though some of these themes are never fully explored.

If anything, a tighter edit, trimming some of the subtext-heavy relationship exposition and focusing more directly on Ridley’s journey, might have elevated it further. As it stands, We Bury the Dead is thoughtful, atmospheric and worth a watch. With a few sharper tweaks, it could have been something truly special.

The Muppet Show (2026 TV special) Review

Kermit the Frog gathers the gang to celebrate fifty years of The Muppet Show, revisiting classic sketches, musical numbers and behind-the-scenes memories while reflecting on what made the Muppets such a cultural fixture in the first place.

It’s genuinely fantastic to see Kermit, Miss Piggy, Fozzie, Gonzo and the wider Muppet family (and newer characters) back together under one banner, celebrating half a century of felt, chaos and heart. Streaming on Disney+, the special leans heavily into nostalgia — and rightly so — reminding us just how sharp, anarchic and oddly sincere Jim Henson’s creations always were at their best.

There is, however, a slight caveat. Some of the voice work feels a little off, which is a shame given how many talented performers can replicate the originals almost spot-on. It never derails the experience, but longtime fans will notice the tonal shifts more than casual viewers.

That said, the warmth, humour and legacy carry it through. This is a loving tribute rather than a reinvention — a celebration of characters who still matter, still charm, and still know how to put on a show. For fans old and new, it’s a welcome reminder of why the Muppets endure.

Rabid (1977) Review

 

After a near-fatal motorcycle accident, Rose undergoes an experimental skin graft procedure that saves her life — but leaves her with a hunger that spreads a rabies-like plague through the city. As the infection grows, panic follows, and civilisation begins to quietly unravel.

Written and directed by David Cronenberg, Rabid is an early, confident statement of intent from a filmmaker already obsessed with the fragile boundary between flesh, science and control. Shot largely on real locations in and around Montreal, the film has a gritty, almost documentary realism that grounds its increasingly nightmarish ideas. Cronenberg lets the story unfold slowly, allowing the rabies outbreak subplot to creep into the narrative in a measured, unsettling way rather than relying on shocks alone. It’s thoughtful, patient genre filmmaking, and remarkably ambitious for its modest budget.

Marilyn Chambers is the undeniable centre of the film and its greatest asset. Her performance as Rose is detached, tragic and strangely sympathetic, anchoring the film even as it descends into societal collapse. Chambers carries the film almost entirely, giving it an eerie emotional consistency that never wavers. Around her, Frank Moore, Joe Silver and Howard Ryshpan provide solid support, but this is very much Chambers’ film from beginning to end.

The kills and make-up effects are impressively effective for the period, restrained but disturbing, reinforcing Cronenberg’s clinical approach to horror rather than undermining it. Gun-happy cops appear throughout, from the police station to the shopping mall, heightening the sense of chaos. Notable sequences include a tense shoot-out where a Santa Claus is accidentally caught in the crossfire, officers drilling through cars, and multiple car crashes as panic spreads. These setups are smartly staged, adding suspense and variety — the film’s impact is not just in the rabid, bloody faces and neck wounds, but in how the infection intersects with human recklessness and urban mayhem.

The music — credited to Ivan Reitman — is simple, spare and memorable, with a recurring piano motif that subtly enhances the film’s creeping dread. Structurally, Rabid almost plays like a road movie at times, drifting from place to place as the outbreak spreads, reinforcing the sense of unstoppable movement and loss of control.

Rabid may be rough around the edges, but what Cronenberg achieves on a limited budget is remarkable. It’s smart, unsettling, and quietly devastating — an early body-horror classic that announces a major filmmaker and gives Marilyn Chambers a performance that defines the film long after the final frame.

Lethal Weapon (1987) Review

In Los Angeles, volatile narcotics cop Martin Riggs is partnered with cautious family man Roger Murtaugh. When a suspicious death exposes a major heroin operation, the mismatched detectives are dragged into a violent conspiracy that forges an unlikely bond under fire.

Lethal Weapon (1987) remains a defining moment in modern action cinema - not because it invented the buddy-cop movie, but because it refined and humanised it. Directed by Richard Donner and written by Shane Black, the film pairs two broken cops at opposite ends of life: Mel Gibson's volatile, grief-stricken Martin Riggs and Danny Glover's world-weary family man Roger Murtaugh. What follows is a tough, funny, emotionally grounded action thriller that still holds its shape nearly four decades on.

The heart of the film is the chemistry between Gibson and Glover, which Donner wisely allows to breathe. Their relationship feels earned - antagonistic, wary, and gradually forged through shared danger rather than forced banter. Gibson brings a raw, self-destructive edge to Riggs that was genuinely unsettling at the time, while Glover grounds the film with warmth, humour and restraint. Around them, the supporting cast is strong: Gary Busey is memorable as the unhinged Mr. Joshua, Mitchell Ryan brings icy authority as the villainous General McAllister, Darlene Love gives the film emotional texture, and Tom Atkins adds grit and credibility. Traci Wolfe leaves an impact. Sven-Ole Thorsen appears. Damon Hines and Ebonie Smith are notable along with familiar faces Steve Kahan, and Mary Ellen Trainer.

Visually, the film is elevated by Stephen Goldblatt's cinematography, particularly the striking aerial shots of Los Angeles, which give the film scale and a sense of lived-in geography. Donner's use of real locations - highways, rooftops, suburban streets - grounds the action and gives weight to the danger. Michael Kamen's score, with its bluesy guitar and mournful sax, is iconic, perfectly matching the film's mix of melancholy and hard-edged action.

If there's a weakness, it lies in the extended final fight, which, while entertaining, drags a little longer than it needs to. In hindsight, Gary Busey's demise, though well performed, might have landed with greater impact had it been sharper and more abrupt. Still, these are minor quibbles in a film that fires on almost every other cylinder.

Whether you watch the tighter theatrical cut or the director's cut, Lethal Weapon remains just as effective - funny, tense, emotional and endlessly watchable. It didn't invent the genre, but it perfected the formula through character, craft and chemistry. A timeless action film, and still one of the very best examples of how blockbuster filmmaking can have soul.

28 Years Later: The Bone Temple (2026) Review

Survivors confront violent factions and evolving infected, forcing hard choices about faith, morality, and what it truly means to stay human in a broken world.

28 Years Later: The Bone Temple (2026) picks up directly after 28 Years Later, continuing the saga in a stark, visceral post-apocalyptic Britain. Written by Alex Garland and directed with precision by Nia DaCosta, the film expands the world of the Rage virus while shifting the focus from pure survival horror into the brutal terrain of human cruelty, cult dynamics and moral fracture. Rather than rehash, it moves forward like Romero’s Dead films.

The lead performances are a high point. Ralph Fiennes as Dr. Ian Kelson again brings depth and quiet intensity to every frame to a story packed with brutality.

Alfie Williams's Spike, whose journey through devastation and exploitation anchors the film's human stakes. Jack O'Connell is chilling as Sir Lord Jimmy Crystal, sadistic leader of a vicious gang - his screen presence heightening the film's tension at every turn. Erin Kellyman as Ink (Kellie) and Chi Lewis-Parry as Samson deliver strong supporting work, rounding out a cast that turns this bleak world into something vivid and lived-in.

The direction from DaCosta is assured and unflinching, guiding a story that is linear in its continuation of Danny Boyle's previous film. With great special effects, and gory setups, the cinematography by Sean Bobbitt gives the film a gritty, documentary-like feel, tangible, on-location realism that makes its violence and terror feel immediate and raw.

While the gang's cruelty can be hard to watch, it serves the story's examination of humanity's darker instincts far more potently than the infected themselves.

The score by Hildur Guðnadóttir anchors the film's mood perfectly and the subtle callbacks to the original 28 Days Later theme, especially in the closing moments, give this sequel a sense of thematic continuity. The soundtrack's integration including Duran Duran and Iron Maiden strengthens the narrative's pulse.

Although the story doesn't return the to the island setting of the previous film, thanks to Fiennes it never loses emotional clout. The Bone Temple grapples with questions of morality, survival, faith and loss, giving weight to every blow and every choice. It sets itself up for the next chapter, pleasing 28 Days Later fans while expanding the franchise's emotional and thematic range. Taken together with 28 Years Later, these two films function as one evolving saga - and this instalment stands as a powerful, terrifying, and unexpectedly thoughtful entry in the series.

Recommended.

One Battle After Another (2025) Review

 

An ex-revolutionary forced back into conflict when a long-buried enemy resurfaces.

Written by Paul Thomas Anderson and Thomas Pynchon. Anderson also directs, One Battle After Another blending crime, politics and personal stakes into an intriguing, constantly unfolding narrative. Delivering a gripping, character-driven action thriller.

Leonardo DiCaprio is memorable as Bob Ferguson with a mix of humour, exhaustion and resolve, supported by an excellent ensemble: Teyana Taylor, Sean Penn, Benicio del Toro, Regina Hall, and Chase Infiniti. The cast gives the story weight, allowing Anderson's layered storytelling to unfold naturally rather than through exposition. Although Del Toro is excellent, he feels underutilised, while Penn gives one of his best performances todate. That said, Taylor steals every scene.

Anderson's direction is grounded, with a strong on-location feel that gives the film a realistic, lived-in texture. The music by Jonny Greenwood can be a little insistent at times, but it ultimately adds to the gritty crime-thriller atmosphere, reminiscent of 1970s hard boiled films reinforcing tension and momentum.

Overall, intriguing, well-paced and sharply performed, One Battle After Another succeeds through strong storytelling, assured direction and a great cast. It's immersive genre filmmaking - recommended.

Tron: Ares (2025) Review

 

A highly advanced program called Ares crosses from the digital world into the real one on a dangerous mission that tests the boundary between AI and humanity. 

Directed by Joachim Rønning and written by Jesse Wigutow (story by Wigutow and David DiGilio), the film leans into sleek sci-fi action while honouring the legacy of the original. Tron: Ares takes the Tron franchise in a bold new direction mostly out of the Grid.

Jared Leto brings an intense, cool presence to Ares, and though the film doesn’t dig as deep as it could into the “fish-out-of-water” or higher-intelligence themes it hints at, his performance consistently heightens the mood and gives the story a centre of gravity. Greta Lee as Eve Kim and Evan Peters as Julian Dillinger also deliver strong turns, while Gillian Anderson adds gravitas in a key role. Jodie Turner-Smith add some pizzazz and intensity. There’s a nod to David Warner’s Edward/Sark, Jeff Bridges’ appearance, a nod to his original Tron role as Kevin Flynn, is brief but welcome, grounding Ares within the broader franchise and giving longtime fans a moment to savour.  

Tonally, Tron: Ares is a little more linear and grounded in real-world stakes than Tron: Legacy, and that can make the narrative feel less daring at times. Evan Peters, in particular, feels slightly underused, with much of his character’s arc confined to one location rather than fully expanding. That said, the stunts and effects are excellent — crisp, kinetic sequences that deliver visual thrill and energy — and the film’s real-world segments build logically on the ending of Legacy even if you find yourself wishing for more time exploring the luminous digital world of the Grid.  

The score and soundtrack by Nine Inch Nails (Trent Reznor and Atticus Ross) is fitting, it propels the action and mood even though it doesn’t reach the heights of Daft Punk’s work on Legacy. 

Tron: Ares may not fully realise every thematic ambition it gestures toward, but it is surprisingly the most rounded of the series so far, confident in its design, strong in its performances, and thoroughly worthwhile. 

Both the ending and the end-credits scene tease of a fourth instalment, which I’d welcome. Recommended.

Night Life (AKA Grave Misdemeanours) (1989) Review

In this '80s  zombie horror-comedy, a bullied teen mortuary assistant thinks his problems are over when his tormentors die in a crash-until lightning reanimates them as unstoppable undead jerks.

Night Life also known as Grave Misdemeanours (and not to be confused with the vampire movie Nightlife of the same year) is a 1989 high school bully/undead oddity. Directed by David Acomba and written by Keith Critchlow, the film is clunky at times and tonally mismatched, often unsure whether it wants to be a horror comedy, or straight undead thriller.

The film stars Scott Grimes in the lead as Archie, with John Astin turning up in a memorable supporting role. Cheryl Pollak lights up the screen as Archie's friend Charly. Memorable faces include Darcy DeMoss from 1986's Friday the 13th Part VI: Jason Lives and Lisa Fuller from The Monster Squad (1987). The supporting cast also includes the likes of Anthony Geary and Mark Pellegrino.

The score is fitting enough, but it lacks that punchy, unforgettable soundtrack that defined many of its genre peers.

Where Night Life really comes alive is in its third act. After a fatal accident, the dead begin to rise-not as mindless ghouls, but as thinking, car-driving corpses with unfinished business and a taste for the living. Once reanimated, the film finds its feet. The zombies draw clear inspiration from The Return of the Living Dead-intelligent, articulate, and unsettling in ways slow shamblers aren't. At times they're genuinely creepy, helped enormously by strong practical makeup effects, stunts, and an effective on-location atmosphere that gives the film a grimy, after-hours feel.

Flawed but oddly endearing, this is one of those VHS-era undead films that rewards patience. If you enjoy The Video Dead, Night of the Creeps, Night of the Comet, or The Return of the Living Dead, there's no reason not to get a kick out of this-whatever title you happen to find it under. A truly forgotten, imperfect undead gem that deserves rediscovery.

Silent Night, Deadly Night (2025) Review

Traumatised by childhood violence linked to a Santa-clad killer, Billy Chapman spirals into a bloody holiday rampage that unfolds amid snow, lights, and seasonal cheer twisted into menace, but is there more to the killings?

Silent Night, Deadly Night (2025) reworks the notorious Christmas slasher into something sharper than its B-movie roots. It's best experienced cold, with no spoilers. But there’s more to it than a simple slasher.

Rohan Campbell is excellent in the lead, giving Billy a fragile, unsettling humanity beneath the violence. Oozing screen presence, Ruby Modine provides a strong performance, while the supporting cast, including Mark Acheson, adds grit and personality. The performances take the material seriously, which is key to why the film works as well as it does.

Writer-director Mike P. Nelson shows real control, balancing slasher excess with atmosphere and character. The on-location winter setting (shot in Manitoba) gives the film an authentic chill, and the cinematography leans into cold blues and stark whites to strong effect. Blitz//Berlin's score enhances the unease, blending menace with warped seasonal undertones. There's plenty of gore and inventive kills, and while some ideas are familiar and you may see the ending coming, the journey is so well executed and satisfying that it hardly matters.

Overall, this is a film that elevates its B-movie source material, exceeding expectations through confident direction, strong performances, and craft. It may not reinvent the slasher, but it refines it - and in doing so becomes one of the most effective Silent Night, Deadly Night films to date. Highly recommended.