The film takes place both over decades of Ella’s life and during three of the most important days within it. At 34, she is the third youngest woman to hold her office – an incredible feat. We walk with her as she takes on this new role, facing hurdle after hurdle. Her resolve is admirable, her cord twisting tighter and tighter with each added layer that audiences will want to scream for her. It is a testament to the lives of many women who find themselves constantly having to sort out other people’s messes, and how love grows and cracks within them. Ella is an older sister not just to her brother, Casey, but to the world around her – trying her best and never giving up. You are rooting for her the whole way.

The inimitable James L Brooks both writes and directs. Over and over, there are lines, phrases and writing choices that take your breath away. They are simple but striking, as though Brooks has explained something you’ve spent your whole life trying to put your finger on. Even though we jump back and forth in time, the script stays smooth, funny when it needs to be and sharp throughout.

Mackey is wonderful as Ella. Right from the start, you can tell that this is a special portrayal from her. It is compounded by the stellar performances around her; Woody Harrelson is a suitably awful Eddie McCay, Jaime Lee Curtis is a fierce Aunt Helen, and Jack Lowden is a fantastically deplorable Ryan. Spike Fearn adds to his growing list of credits as Casey McCay, and he is one of the most memorable parts of the film. Mackey and Fearn together will melt your heart.

Ella McCay is yet another brilliant piece of work from Brooks. Topped off by a soundtrack from Hans Zimmer, this is one to watch. At the end, Ella says, “Little Miss Nooner has some fans,” and it’s your turn to be one of them.

Talitha Stowell

Ella McCay is released nationwide on 12^th December 2025.

Watch the trailer for Ella McCay here:

A number of factors may contribute to this. It could be that Rohan Campbell’s performance as our central lunatic is simply too grounded, too suffused with an emotional reality that can’t help but unbalance the gory good vibes. Downcast, softly spoken, lightly dishevelled from living a one-motel-to-another life over decades, Nelson grants his protagonist patience and restraint (two descriptors one would expect to have stayed far away from Silent Night, Deadly Night, and perhaps ought to have done), letting us luxuriate in something like the reality of this woebegone serial killer’s day-to-day, and it’s bleak indeed! Having never recovered from the Christmas night that claimed the lives of his parents and grandfather, our antihero Billy Chapman is a disaffected loner who has more shades of Travis Bickle than Christmas camp, with some additional Dexter Morgan (you best believe he has a Silent Passenger) and, God forbid, Peter Parker thrown in for good measure. The latter emerges the most in his tentative courtship of Christmas shop “heiress” Pamela (Ruby Modine), who may share some of his capacity for righteous fury, especially when it comes to the creepy stalker ex who’s been giving her trouble (David Tomlinson). Should the realities of his double life come to light, will Billy’s one chance at love slip away?

That’s a solid enough framework to hang what ought to be a series of escalatingly gnarly set-pieces on, but – for reasons that feel palpably like a matter of budget rather than nerve – Silent Night, Deadly Night’s kills feel more reserved than one would prefer, like a test run before the amount of corn syrup required for some real splatter art is procured. Every time the movie feels ready to fully untether itself from those pesky gravitational restraints like good taste, logic, and laboured A to B storytelling coherence, something – usually a prudishly evasive, budget-friendly edit – keeps it stubbornly, drably earthbound. Never is this felt more keenly than in the sequence that ought to have locked down cult status forever (and still may), one that sees Billy surrounded by an enclave of fellow Santas who’ve taken “dreaming of a white Christmas” to new heights. On paper, the scene is everything a contemporary B-movie could dream of: audacious, tongue-in-cheek, steeped equally in bad taste and genuine, righteous catharsis. In execution, it feels only halfway there, like a promising proof of concept.

Thank goodness, then, for Mark Acheson, whose sardonic voiceover as the devil on Billy’s shoulder feels keyed into the drolly comic tone the rest of the film struggles to reach. One itches to hear what growled deadpan asides he’d have to offer on the subject of Catholicism, something Sellier’s grimier, sillier original was not unconcerned with (the version of Billy in that film is as much the victim of the nunnery that took him in as he is his parents’ killer). Alas, satire is not on Nelson’s agenda, and neither is sexual repression. If anything, this Billy is within spitting distance of a brooding dreamboat whose damage only grants him more appeal, and he doesn’t much seem capable of a joke either.

The cultural legacy of both the original and its 1987 sequel feels largely boiled down to a small handful of meme-able moments. Nonetheless, Eric Freeman – the bug-eyed wackadoodle of the second round – flexing his eyebrows, declaring “GARBAGE DAY!” at the top of his lungs as if celebrating a national holiday, and promptly gunning down a man in the act of…taking out the garbage? This version of Silent Night, Deadly Night strains throughout to reach even a semblance of that zany good value, and thankfully, towards the end, it finally gets there. Still, after 96 minutes of ironing out the kinks, should sequels follow, one can only hope they fully make good on the grindhouse promise of this premise.

Ultimately, the new Silent Night, Deadly Night has moments of inspiration, but feels stranded, both by an uncertain tone and budgetary constraints. Avoiding a simple copy-paste job on a remake will always be commendable, but the brooding superhero-ification of Killer Santa threatens to spoil some of the fun.

Thomas Messner

Silent Night, Deadly Night is released nationwide on 12^th December 2025.

Watch the trailer for Silent Night, Deadly Night here:

The feature opens with Ardern telling students at Harvard University that we “have to rehumanise people again” for meaningful debate to resume. This focus on compassion and kindness becomes the feature’s main thesis and the core ideology behind the politician’s career. She talks of being inspired by the story of Ernest Shackleton’s miraculous Antarctic expedition, where he managed to get his entire crew to safety after their ship got stuck in pack ice. It’s a story that’s shaped her moral compass and philosophy, and while some may dismiss her worldview as ideologically optimistic, it nevertheless proved effective. The changes to gun laws in the aftermath of Christchurch and her commitment to saving lives during New Zealand’s COVID lockdowns demonstrated that what’s morally right can be the best and most effective course of action.

The feature is mainly comprised of footage recorded by Ardern’s now-husband Nick Gayford alongside audio interviews from the National Library of New Zealand’s Political Diary Oral History Project. This gives the documentary a more intimate feel as viewers get a glimpse behind the curtain to see how events took an emotional toll on her. Scenes of the former PM reflecting on those interviews likewise lend further perspective to her thought processes at the time.

Small jabs are made towards Donald Trump and Boris Johnson (particularly in their response to COVID) throughout, but it’s images of the 2022 riots that led to fires being set in the grounds of New Zealand’s parliament that act as a powerful symbol of the rift in current politics. With violent rhetoric still on the rise, Ardern’s message of empathy is more poignant than ever, and filmmakers Walshe and Utz show exactly why in this inspirational documentary.

Andrew Murray

Prime Minister is released nationwide on 5^th December 2025.

Watch the trailer for Prime Minister here:

When Joan wakes up on a train and realises she has died, she may have thought things couldn’t get any worse. She would be wrong. After reuniting with her week-long-gone husband Larry (Teller), it is explained to her that she must choose one dream world in which she would spend eternity. Once she chooses, there is no going back. And then, in a scene laced with mad bliss, her first husband, Luke (Turner), appears. Luke had waited for her all that time so that he could choose an eternity with her. Swoon. Joan must make what seems like an impossible decision: her first love, all encompassing and cut way too short, or her 65-year-long marriage, with all that they shared.

Eternity is gorgeous to look at. Even when inside the Junction (the warehouse where they must choose), the colour and movement are dizzying and alive. Technicolour sunsets and warm, rich bar haunts, it is an in-your-face beauty. The score lends a further enchantment, pulling from big romances like The Notebook, even It’s a Wonderful Life, in its storytelling. 

Without a doubt, though, the most memorable part of this story is its cast and their chemistry. Da’Vine Joy Randolph is an undeniable superstar. She commands every scene she is in, earnest, joyful, and captivating. Coupled with Teller, the two are genuinely hilarious. John Early is equally as entertaining, pulling laughs you didn’t know were coming. Turner possesses a gravitas so rare that it’s actually quite difficult to look at him; his entrance scene alone elicited gasps around the room. And, of course, Olsen captures your heart.

Eternity is a lovely little film that does exactly what it sets out to do: tell a story of love in all its forms. Bolstered by a close-knit cast and lush cinematography, it’s a beautiful watch.

Talitha Stowell

Eternity is released nationwide on 5^th December 2025.

Watch the trailer for Eternity here:

Shot in New Zealand, the new series is full of unbridled debauchery and violence as viewers get to see the deeper layers of Asher’s character. Given the chance to experience power, love and respect, once a slave, he’s gifted the Gladiator school, which was once owned by Batiatius and rewrites history in this new season.

The Upcoming had the pleasure of speaking to DeKnight about writing the script for this new story and the way in which females are given agency.

We spoke to Tarabay about playing the role of Ashur and how he felt coming back into this fifth instalment. He also chatted about preparing for the physicality of the role and how he got into the mindset of his character this time round.

Tenika Davis chatted to us about her role as the first female gladiator, how she used Taekwondo to get her ready for the physical challenges of the role as Achillia and what it was like working so closely with Tarabay on set.

Jamaica Vaughan spoke about playing Hilara and what attracted her to the role. She also revealed what it was like playing out the intimate scenes on screen and the way female characters take centre stage in this new spin-off.

We spoke to Jaime Slater about working on this new project, how enjoyable she found the whole process to be on the incredible set, and working with such a brilliant ensemble cast.

Leigh Gill revealed to us the incredibly tough physical scenes he filmed in the series and working with DeKnight.

As India Shaw-Smith enters the series clouded in grief, she spoke about the onscreen challenges of regaining her strength, the relationship with her on-screen parents, and the wonderful storylines that played out for her character.

Claudia Black spoke about the way her character faced the reality of ageing in the Roman Empire, and how she tried to salvage her daughter from her grief and give her a brighter future. 

Ezelle Alblas

Spartacus: House of Ashur is released on 6^th December 2025.

Watch the trailer for Spartacus: House of Ashur here:

When Uncle Travelling Matt gives Gobo the chance to travel to the human world, which the Fraggles refer to as Outer Space, he starts to reignite his musical passion when he meets new human friends, has a magical time and even writes some songs with acclaimed singer LeLe Pons (who makes a cameo appearance), also facing her own writer’s block. The two of them join forces and reimagine a classic duet called Our Melody from the original Fraggle Rock series, and this newfound creativity puts Gobo in a better headspace upon his return, where the season soon kicks off with heartfelt celebrations and reawakened joy.

The Upcoming had the pleasure of speaking to Gobo about all the fun he had in the human world, the fun traditions the Fraggles have and the way he learnt to take inspiration from the simple things in life.

Ezelle Alblas

The First Snow of Fraggle Rock is released on Apple TV+ on 5^th December 2025.

Watch the trailer for The First Snow of Fraggle Rock here:

The Upcoming had the chance to chat to Luke Smallbone about the crafting of World on Fire, the emotional process of making their documentary and his approach to storytelling through both music and film to connect with people in all corners of the globe on a message of hope.

Sarah Bradbury

KING + COUNTRY: A Drummer Boy Christmas LIVE is released on Prime Video on 1^st December 2025.

Watch the trailer for KING + COUNTRY: A Drummer Boy Christmas LIVE here:

Empowered significant female character or not – something alien to the Spartacus universe to date – this show retains its precedent for utter coarseness. Sure, vulgarity need not be shied away from, yet every angle of crudeness – language, nudity, violence, gore and more – is categorically over-explored, striving to invoke awe through the grotesque and superficially intriguing, rather than attempt to do so through such novel approaches as well-developed characters or an arresting narrative. The characters may actually say something if they’re not throwing in quite so many f-bombs.

The script is a particularly interesting case. These characters may favour deeds to words, but the profanity-strewn faux-Shakespeare dialect in which they talk is actually not that ineffective, and matches the surreality of the very evidently computer-assisted creation of the visual world. Additionally, the fight scenes, of which there are a fair few, are cinematically engaging and amusingly choreographed.

All matters considered, Spartacus: House of Ashur is as ridiculous as it is searingly earnest in its intent to portray the epic over all else. Whether the show’s creators intended for it to emerge as a greatly protracted 300 with all the bodies and brooding and battling, and of course the eternal dusk, that’s how this one has panned out, and it doesn’t lend itself to a miniseries.

Will Snell

Spartacus: House of Ashur is released on 6^th December 2025.

Watch the trailer for Spartacus: House of Ashur here:

Directed by Julian Farino and Alice Seabright, the flamboyant reimagining of this story also allows viewers to delve into the complex relationship Mozart had with his wife Constanze (Gabrielle Creevy) after he moved to Vienna during the 18^th Century to compose for the Imperial Court. The layers of this relationship are also tinged with grief when their newborn son passes away from an untreatable fever, and tragedy starts to take its toll on the gifted musician. Throwing himself into his work, his popularity starts to rise amongst the court and, in turn, evokes an obsessive envy in Salieri that leads to murder.

The Upcoming had the pleasure of speaking to the writer Barton about what made him want to tell this tale in a modern reimagining, how he chose his cast and what he hoped viewers would like about the storylines.

Sharpe spoke about his role as Mozart and the way in which he approached the role from Barton’s script.

We spoke to Creevy about preparing for her layered role as Mozart’s wife, Constanze, and the moments on set working with Sharpe that helped forge their emotional connection.

Olivia Mai Barrett talked about her role in the series and the dynamics between all the sisters in the story.

We chatted to Nancy Farino about coming on board with this project, the humour injected into the story, and the set and costumes that helped build an immersive narrative.

Jessica Alexander spoke about the intimate moment she shared with Sharpe on set, the brilliance of the female characters and how amazing it was to work with Creevy as Constanze.

Starring as Queen Elizabeth, Viola Prettejohn unveiled what it was like to step into that character and work closely with Sharpe and Bettany as they alternated their roles on screen as her piano tutor.

Hugh Sacks spoke about his role in the series and the complicated relationship between the two brilliant composers, Mozart and Salieri.

We spoke to Jyuddah Jaymes about his role as Franz, the excitement he felt when he was auditioned for the role and got it, and the way in which it felt like an immersive experience on set.

Ezelle Alblas

Amadeus is released on Sky on 21^st December 2025.

Watch the trailer for Amadeus here:

Mothers, the film gently scolds us, are the powerhouse of Christmas, orchestrating every last detail while swallowing their own frustrations, and yet they go largely uncelebrated. Our heroine, Claire (Michelle Pfeiffer), is one such mother. She has three children, each dysfunctional in a unique and entirely recognisable way. The eldest, Channing (Felicity Jones), is a slightly bitter and tightly wound author whose books seem destined for obscurity. She is married to the nice, supportive and somewhat awkward Doug (Jason Schwartzman). Taylor (Chloë Grace Moretz) is the middle child, a love addict who arrives home every year with a different girlfriend (this year, it’s Devery Jacobs). The youngest is Sammy (Dominic Sessa). He plays the quintessential baby of the family, endlessly forgiven and therefore perpetually unable to stick with a job or finish a degree. He is also conveniently dumped by his girlfriend (Maude Apatow) right before Christmas.

The first half of the movie watches Claire do everything while her children do nothing to assist. She cooks. She shops. She arranges outings and tickets for a show. She attempts to remain positive while quietly nursing a growing resentment toward the impossibly perfect housewife next door. She has one modest wish: entering a competition for her favourite talk show, hosted by Zazzy Tims (Eva Longoria). To qualify, she must be nominated by her children. As one might expect, none of them remembers. When the family accidentally abandons Claire entirely, she breaks down and decides to take matters into her own hands. She drives herself across the country to reach the studio before the programme airs.

Several scenes are genuinely funny. The flawless family next door performs carols with Pitch Perfect-like musical precision. Claire and her neighbour, beneath their serene smiles, engage in a covert battle to give each other the superior gift. Longoria excels as the Martha Stewart-style lifestyle host who looks airbrushed on television but secretly smokes weed and is herself a frustrated mother. A few jokes feel overly familiar. Claire’s car is towed in the middle of nowhere, leaving her stranded. Her husband falls apart as soon as she’s gone, since he can’t cook or manage even the simplest household task on his own. 

Despite its silliness and occasional reliance on clear clichés, the feature has such an irresistible charm that you can’t help but let those flaws slide. Pfeiffer is wonderful in a role that could have easily felt flat. She transforms Claire into a kind, well-meaning and occasionally fierce mother whom one cannot help but root for. The children are each believable in their specific and often maddening uselessness. Doug, with his uncool mannerisms and slightly loser energy, becomes one of the unexpectedly delightful sources of humour.

This is a film almost guaranteed to please audiences. It may even prompt viewers to ask themselves whether they have thanked their own mothers properly. As Oh. What. Fun. reminds us: mothers long to hear three simple words. Not “I love you”. Instead: “Can I help?”

Constance Ayrton

Oh. What. Fun. is released on Prime Video on 3^rd December 2025.

Watch the trailer for Oh. What. Fun. here: