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Film Feature by Chris Olson As the nights draw in and the first dusting of festive cheer settles across Britain, the film industry traditionally saves its heaviest hitters for December. It is a period when the multiplexes transform into a crucial battleground, hosting both the big-budget tentpoles designed to dominate the Christmas box office and the prestige dramas aiming for Oscar glory. For those of us at UK Film Review, this is arguably the most exciting month of the calendar, offering a staggering wealth of choice for every cinematic palate. December 2025 looks set to be a truly spectacular affair, combining beloved franchises, high-concept original thrillers, and serious, thoughtful fare guaranteed to spark spirited debate around the dinner table. So pour yourself a hot drink, grab a mince pie, and let us walk you through the very best films demanding your attention in UK cinemas this Yuletide, with some of the most epic film trailers on offer too. The biggest news dominating the pre-Christmas schedule, and frankly the global film discourse, is the long-awaited return to Pandora. James Cameron unleashes the latest chapter in his epic saga on the 19th of the month with Avatar: Fire and Ash . Following the colossal commercial success of The Way of Water , expectations are astronomically high. While plot specifics remain cloaked in secrecy, we anticipate Cameron once again pushing the technological boundaries of filmmaking, delivering an immersive 3D experience unlike any other. The title alone suggests a darker, more volatile turn for Jake Sully and Neytiri, potentially forcing them to confront new and devastating environmental or military conflicts. For sheer spectacle and jaw-dropping visual majesty, this is the undisputed cinema event of the year, providing a perfect, transportive escape from the damp British weather. Arriving a week earlier, on the 12th, is a film that offers a very different kind of blockbuster thrill, one defined by dialogue and deception rather than explosions. The return of writer-director Rian Johnson’s super-sleuth Benoit Blanc is here in Wake Up Dead Man: A Knives Out Mystery . The previous two instalments proved that contemporary whodunnits can be both fiendishly clever and supremely entertaining, and this third chapter promises to maintain that deliciously witty tone. With an entirely fresh, star-studded ensemble cast trapped in a new, luxurious location, we are eager to see the sartorial detective, with his idiosyncratic drawl, dissect another complex web of lies and privilege. The Knives Out  franchise has become the gold standard for modern mystery cinema, and this is a sure-fire hit that offers the perfect antidote to traditional festive schmaltz. Beyond the behemoths of franchise cinema, December also gifts us a host of genre entries that look set to keep us on the edge of our seats. Kicking off the month on the 5th is Five Nights at Freddy's 2 . The surprise success of the original demonstrated the massive appetite for video game horror adaptations, and the sequel is poised to continue that dark, animatronic nightmare. It lands perfectly for younger audiences on their school holidays, seeking a sophisticated, jump-scare-laden thrill. Later in the month, around Boxing Day, look out for The Housemaid , a psychological thriller that appears to follow a young woman taking a seemingly fresh start in a new, high-status job, only for the environment to become increasingly oppressive and terrifying. Directed by a filmmaker with a surprising pedigree in comedy, this adaptation is generating considerable buzz for its claustrophobic tension and chilling atmosphere. The heart of December, however, is always dominated by the films designed to impress the major voting bodies. This year, the awards contenders are particularly strong, mixing literary adaptation with true-life musical drama. Leading the charge is Hamnet , scheduled for release on the 12th. Based on the acclaimed novel, the film presents an imagined, poignant story of Agnes Hathaway, the wife of William Shakespeare, as she navigates the crushing loss of their young son, Hamnet. Set against the backdrop of late sixteenth-century England, this promises to be a deeply moving, beautifully shot historical drama, exploring themes of grief, creativity, and the hidden lives of women in history. Expect stellar performances, meticulous period detail, and the kind of quiet emotional power that lingers long after the credits roll. Towards Christmas Day, a pair of biopics and dramas should be on your radar. Marty Supreme , which lands on the 25th, is said to be loosely inspired by the life of the flamboyant and legendary pro ping pong player Marty Reisman. While the sport itself may seem an unlikely subject for big-screen drama, the film is described as a character study rich in period detail, exploring the drive, showmanship, and personal complexity behind an unorthodox sporting career. Simultaneously, Song Sung Blue  offers a captivating music-focused drama, based on the true story of two down-on-their-luck musicians who unexpectedly find harmony by performing the works of Neil Diamond. With high-profile stars attached, this film looks set to be the sort of feel-good, yet grounded, musical offering that the Christmas holidays often thrive on—a perfect blend of melancholy and joyous performance. Finally, Christmas simply isn't complete without a dose of pure, unadulterated escapism. The 26th of December sees the UK release of The SpongeBob Movie: Search for SquarePants . The animated adventures of the residents of Bikini Bottom are always a treat, offering ludicrously surreal humour that manages to entertain children and adults alike. It’s an ideal outing for a foggy post-Christmas afternoon. Equally, while the notion might raise an eyebrow, the reboot of Anaconda , described as a comedic adventure, offers another piece of festive, schlocky fun on Christmas Day. The original film has achieved a cult status, and if this new take can lean into the inherent absurdity of chasing the world's largest snake, it could be a highly enjoyable piece of escapism. December 2025 looks to be one of the most creatively and commercially vibrant months for British cinema in years. Whether you crave high-octane fantasy, cerebral mystery, sensitive historical drama, or an all-out family cartoon, the offerings this month are exceptional. Do make sure you support your local cinema and experience these films where they belong: up on the big screen. And remember to subscribe to the UK Film Review Podcast for the latest movie reviews , film banter, and all other good things.

The digital silence was broken today by the bone-chilling ring of a familiar rotary phone. Paramount Pictures finally dropped the official trailer for Scream 7 , and for fans of the enduring horror franchise, it felt less like a teaser and more like a necessary homecoming. After months of intense speculation and tabloid conjecture, we have absolute confirmation: Sydney Prescott, played by the incomparable Neve Campbell, is back, and the stakes in the fictional town of Woodsboro—or wherever this new nightmare is set—have never been higher. This isn't just another modern whodunit; this is a deeply personal, brutal continuation of a saga that started nearly three decades ago. Horror film fans have watched this series evolve, often brilliantly, and this new footage suggests the creative team fully understands the weight and gravity of bringing the original ‘final girl’ back into the fray. The palpable excitement surrounding this picture is entirely warranted; from the two-minute footage alone, it is clear that the 2026 release date is going to deliver a genuinely terrifying cinematic experience that respects its legacy while forging a devastating new path. The trailer opens with a deceptively quaint, almost rustic #horror atmosphere, immediately establishing a new kind of setting for the familiar terror. We hear a voice remarking on a rather macabre choice of accommodation: "This is it. I can't believe we're staying at the psycho killer B&B." It's a classic Scream meta-moment, acknowledging the genre trope even as the characters walk right into the trap. The initial tension is quickly ratcheted up by the iconic sight of a motion detector being triggered, leading us into the inevitable phone call. And what a phone call it is. The voice on the other end, distorted but instantly recognisable as Ghostface, cuts through the casual dialogue with horrifying familiarity: "Hello, Sydney. Did you miss me?" This single line confirms the film’s central conceit: the killer's focus is laser-sharp, bypassing the usual ensemble cast to strike right at the heart of the franchise’s matriarch. The new location is described as a "nice little town," an immediate throwback to the Woodboro of the original films, and the threat is immediate, including a spine-chilling reference to Sydney’s "pretty daughter," Tatum. The idyllic small-town setting is thus instantly contaminated by the terror that Sydney thought she had left behind for good. Neve Campbell’s presence throughout the preview is, frankly, electric. Her return is the emotional anchor the film desperately needed after the departures in recent entries. Sydney is no longer the traumatised teenager or the wary adult; she is a mother forced to become a warrior once more. When she finally engages with the killer, the emotional weariness is replaced by a fierce, primal maternal protectiveness. Her initial response to the killer is a tired yet defiant call-out: "Wow, you sure know a lot about me for another arsehole hiding behind a voice changer." But the killer’s reply is deeply unsettling: "Oh, I'm not hiding, Sydney. Not this time." This single sentence shifts the dynamic entirely. The film is setting up a conclusive showdown, not a desperate hunt. The most poignant and arguably the most devastating emotional moment of the trailer comes from her daughter, Tatum, who says, "Mom! I want to be a fighter, like you." It's a truly heartbreaking line that encapsulates Sydney’s horrific legacy—her trauma is now the blueprint for her child's survival. This cycle of violence and strength forms the narrative backbone of the entire preview. Furthermore, the inclusion of Courteney Cox as Gale Weathers, even in brief flashes, suggests the original trio—or what remains of them—will finally be united against an existential threat. This reunion is something British fans, who cherish the original programme, have been demanding for years. The villain in Scream 7 is presented as perhaps the most brazen iteration of Ghostface yet. The claim of "I'm not hiding, Sydney. Not this time," implies a significant departure from the masked killer’s usual modus operandi of blending in and maintaining perfect secrecy. This Ghostface wants Sydney to know who they are, or at least that their intentions are purely focused on her destruction and the demolition of her life. The classic, cynical Scream wit is present in the line, "All your friends die for just being near you," a morbid, accurate summary of Sydney's entire life story. This is a killer weaponising Sydney's history against her to maximum effect. The motivation seems to be more than just a media spectacle; it is personal vengeance of the highest, most horrifying order. The final minute of the official trailer for Scream 7 is a masterclass in tension building. We transition from dialogue to high-stakes action as Sydney is desperate to save her daughter. In a terrifying and ingenious sequence, Sydney must coach Tatum on how to survive a Ghostface encounter in real-time. "He's trying to find another way in. We’re going to do this together. You’re going to have to shoot him through the wall... Shoot him now! Do it now!" The breathless urgency of this moment is palpable, turning a standard horror sequence into a thrilling parental sacrifice play. The relief is instantaneous but short-lived: "Oh, you got him. He's dead." But the trailer doesn't let us rest for a second. The familiar voice returns with a chilling, instructional warning: "You need to make sure you shoot him in the head." It is the ultimate rug-pull, confirming that the initial victory was a momentary lapse of attention. This Ghostface is relentless and perhaps a more cunning foe than ever before. The final shots, including the killer proclaiming, "This is gonna be fun," leaves us with a genuinely unsettling and frightening feeling. This is precisely the trailer the franchise needed. It confirms the long-awaited return of its matriarch, raises the emotional and physical stakes to an unprecedented level, and promises a film that is both a loving tribute to the past and a terrifying vision for the future. The quality of the production looks exceptional, the performances seem utterly committed, and the central premise—Sydney Prescott, the mother, facing her ultimate demon—is gold-plated horror territory. Scream 7 has managed to feel fresh and vital while leaning heavily on the nostalgia that gives it such emotional weight. If the full picture can maintain this level of gripping, personal terror, we may just have the definitive final word on the legendary Ghostface saga when it hits cinemas in 2026. This is essential viewing, and we simply cannot wait. Watch the Official Trailer for Scream 7 Below

Directed by: Kiarash Dadgar Written by: Kiarash Dadgar - Ali Narimani 'Every frame a painting’ is a maxim that many film-makers have adhered to over the decades, and this director is no exception. Steak is a very painterly piece, rich in symbolism. The narrative is clear and simple: a child’s birthday party is interrupted in the most horrific way imaginable. The context, only ever seen from inside the house- a brilliant narrative choice- is war and political violence. From this premise of a child’s birthday at home in the middle of violent chaos, the film makes masterly use of juxtaposition, both narrative and visual, throughout. Visually and sonically, the film is a feast of dualities. The colour palette is earthy and light, contrasting with the red of the stake that is cooking. The child holds a yellow balloon, a symbol of childhood and innocence, in a way reminiscent of the most well-known graffiti art in deep contrast to the noise of violence outside, a contrast almost jarring. This in turn opposes with the only noise made by a character in this film: whistling. The space of the kitchen and the action of cooking inside the house are juxtaposed to the chaos and destruction outside. Thematically, this film speaks painfully to our times and the experiences that a growing number of children in the world are facing. Ordinary people going about their lives while violence, not of their making, rages outside is defining of this generation, in every continent. And here the lack of dialogue is revealed as a sharp creative choice, not just the simple overlap of silence inside and chaos outside, but perhaps a reference to the crushing silence to which people and society more generally is increasingly forced in the face of difficulties, injustices and, as in this piece, extreme violence- in this case perpetrated against women, by men. In particular, the exquisite 360-pan shot at the end is an inspired expression of life’s vertiginous and many times violent nature. Again in the language of contrasts, a sharp change in rhythm from the static frame beginning. An expression of the distortion piercing through this story. There is a spiritual quality to this film. A portrayal of fragility, a sequence where security is in the heart and mind. Even if life ravages and the balloon floats away, feelings, thoughts and memories, even the simplest one like a childhood birthday, cannot be killed.

Directed by: Jeffrey Obrow Written by: Jeffrey Obrow, Julie Pifher Starring: Maddison Lawlor, Sam Trammell, Molly Ringwald Film Review by: James Learoyd ⭐️⭐️⭐️ Pursued is one fascinatingly mixed bag of a film. Following the sudden death of her father, teenager Lark (Madison Lawlor) begins to suspect her mum’s new boyfriend, whom she’s never met, of being a murderer... until she doesn’t. When it comes to narrative intentionality, this is a truly confusing movie, and therefore slightly difficult to reckon with. What is set up here is not entirely understood until the payoff of the movie, and this is the result of screenplay and pacing inconsistencies. Then again, you can’t help but thinking, do these issues even matter so much when a movie looks this good? The answer is... kind of. There is a real budget to this film, which thankfully shows. The cinematography is undeniably gorgeous, with the only conceivable complaint being its very digital sheen. However, when digital works, it works. Its focus remains stunning and the lighting is frequently spectacular. There’s a softness to these compositions which many in the film world will appreciate, not to mention quite beautifully framed subjects. An unexpected achievement in terms of aesthetics, and the standout aspect of the filmmaking. There’s a real contrast, sadly, between the structural integrity of the visuals and that of the story. Whether this folly took place during pre-production, production or post, something has resulted in scene transitions feeling incredibly jarring, as well as characters’ intentions making seemingly little sense. Readers, be warned, I’m about to encroach on spoiler territory. One feels okay doing this since it wasn’t so obvious, to this critic anyhow, that this was entirely meant as a twist. So, in the first act Lark suspects her mum’s boyfriend is a murderer; but she quickly comes to the bizarre conclusion – based on an Instagram photo – that she’s mistaken and that it’s a different man. Nevertheless, she continues to investigate said murder and in the third act she discovers – much to her surprise for some reason – that she was right originally. This is an unfortunate example of a good idea meeting weak execution; perhaps the most obvious example of the film’s shortcomings regarding story construction. The characters, as stated, often appear unrealistic. But you could argue that this is in no way the fault of the performances themselves. Additionally, the film is also filled with many stars, from Molly Ringwald as the mum to the sadly departed Paul Sorvino (Goodfellas, and father of Mira Sorvino) as our protagonist’s friend’s grandfather. This certainly provides the picture some dramatic power and production value – especially in the case of Sorvino. The man could hold the attention of the camera, and personally, I could spend 100 minutes watching his reaction shots alone. Viewers are sure to enjoy this movie, even if it’s purely from a visual standpoint – which, after all, is the cornerstone of cinema. And even with so many narrative inconsistencies, one is never really bored due to the unique mixture of tones at play. To surmise, this is an imperfect yet admirable effort from all involved. An intriguing fusion of thriller and investigative sub-genres, leading to some incredibly suspenseful set pieces. Watch the official trailer for Pursued below:

Directed by: James Marquand Written by: James Marquand Starring: Morgane Polanski, Frederick Schmidt, Agata Kulesza Film Review by: Holly Baker ⭐️⭐️⭐️ Directed by James Marquand, this biographical spy-thriller is based on the true story of Krystyna Skarbek. Skarbek was a Polish-British intelligence agent during the Second World War. The Partisan (2024) tells the story of her conquest to fight back against Nazi Germany, as she intercepted Nazi soldiers and fought back against their occupation of Europe. Retrospectively described by her peers as ‘the bravest of the brave’, Skarbek was sadly murdered by a stalker several years after the war ended. Despite her tragic death, James Marquand sought to keep her legacy alive with his feature film, detailing her personality and conquests in the most honourable light. Skarbek is not only characterised as fearless, but also incredibly glamorous, which many of her colleagues also remember her as. Morgane Polanski’s performance as a strong minded woman who will achieve anything she puts her mind to is astounding. Polanski does not miss a beat, we see a range from her being her most vulnerable to her most bold as she takes on several personal and political challenges to achieve her goals. The film’s pacing starts excellently, echoes of Schindler’s List are in the air as we see war-torn Poland shredded to pieces. The use of location shooting adds to the film's gruelling realism, as viewers are shot back in time to the horrifying world Skarbek, as well as millions, were constantly threatened by. Upsetting depictions of the senseless destruction of an innocent country are enhanced through the psychopathic characterisation of several of the soldiers, their crudeness and cruelty are especially disturbing as the film does not shy away from the extremities at play in how they would harm innocent civilians, both physically and psychologically. Skarbek was forced to navigate the nuances involved with her vulnerability. Throughout her time as a spy, she knew exactly what side she was on, yet, she could not trust anyone. In a way, she herself is corrupted and often torn between her own values and that which she is working for. Polanski acts out Skarbek’s moral inconsistencies beautifully, allowing the complexities of Skarbek’s position to take the spotlight to present not only a hero, but a real-life human. As the film goes on, its pacing starts to lose its grip. By honing in on several important moments in Skarbek’s life, the film’s continuity lacks a clear shape or build up and viewers may find themselves drifting away from what is occurring on screen. The film’s constant time shifting means that, unlike other notable films set during the holocaust such as Steven Spielberg’s Schindler's List and Jonathon Glazer’s The Zone Of Interest, there is little time for the viewer to ponder on the gravity of the events at play. The Partisan therefore lacks the depth these two other examples possess, as the tragedies of the war are never highlighted as the story moves quickly from moment to moment. The film’s genre of a spy thriller perhaps excuses this flaw, however, there are instances of heavy-handedness when the film seems to try and touch on a certain feeling of dismay that only World War Two elicits. For instance, a shot of numerous coffins being piled into a lorry, which are all clean and neatly piled is a depiction that feels tidy and censored - far away from the abysmal reality of what occurred, which perhaps no film can capture, though Schindler’s List and The Zone Of Interest certainly made much better attempts. Overall, the film is an interesting delve into an important aspect of history which many may not be aware of until discovering this review and, perhaps, watching the film. Krystyna Skarbek comes across as iconic and refreshingly bold, impressively defying prejudices of the time and honourably acting against one of the most terrifying political forces in history. During her time as an agent, she also inspired the hiring of more women as intelligence agents, a notable accomplishment which most definitely contributed to the Nazis’ eventual defeat. Though being let down on the minor aspect of its weak structure and pacing issues, as well as its poor attempt at capturing the horrors of the Second World War, The Partisan is without a doubt an important film for women’s history, an enjoyable spy thriller, as well as a detailed and compelling biography. The Partisan arrives on digital 27 October 2025, followed by DVD release 15 December, courtesy of High Fliers Films.

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.