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:

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:

The shelter Isio finds herself in is all but a prison in name. She’s forced to hand over her valuables upon entry, she’s given new clothes to change into, and is told she won’t be able to access social media. The women congregate in a cramped yard constantly watched by guards and cameras, and any of them can be deported without warning. Isolated from the outside world, the shelter has a distinct sense of place that gives the impression that these women are in a state of limbo, just waiting for the day the guards come to take them away.

In contrast to this oppressive environment, the burgeoning romance between the newly acquainted roommates becomes a welcoming beacon of hope that things can get better. Adekoluejo and Akinjirin are marvellous together. They exude a tenderness that enables viewers to fully empathise with their situation. This is further evoked through Gharoro-Akpojotor’s dreamlike editing style, which gives their romance scenes an ethereal quality. The reason for Isio fleeing her home adds a whole other layer to their relationship. Although she’s essentially a prisoner, being with Farah is the freest she’s been.

A sudden story beat comes as a devastating blow towards the final act. Its impact has a massive effect on Isio, who’s left grappling with the aftermath. Now more aware of the reality of her situation, she takes a new arrival under her wing, mirroring an earlier scene. Meanwhile, Isio and her close-knit group of friends hatch a scheme to take back control of their lives. While an intriguing direction for the script to take, the roughly 30 minutes of remaining runtime isn’t enough to fully explore what should have been the bulk of the narrative.

Despite stumbling towards the end, Gharoro-Akpojotor has nevertheless created a moving tale of female empowerment in this heartfelt feature.

Andrew Murray

Dreamers is released nationwide on 5^th December 2025.

Watch the trailer for Dreamers here:

The three stars work wonderfully together. Thomas is excellent as the awkward but endearing Leo and shares a strong chemistry with Robson on screen. Mack likewise gives a compelling performance as Ricky, whose peculiar quirks and mysterious background make her somewhat of an enigma. The contrasting personalities effectively bounce off each other as they begin to dive into their findings. The bulk of the comedy comes from quick-witted exchanges and light-hearted interactions between the trio. However, a prolonged toilet humour gag and an uncomfortable moment of nudity don’t fit with the rest of the feature’s tone and feel jarring as a result.

The core of the script is rooted in a series of deep conversations between the characters. From a nihilistic discussion of capitalism to humanity’s self-destructive nature, Portland is unafraid to tackle heavy issues head-on. While a large part of the dialogue is centred on academic concepts, the script does a solid job of explaining the main ideas in digestible chunks. However, the rushed nature of the plot means that there’s insufficient time given to explore any of the questions that are raised fully.

A surprise dramatic twist attempts to inject some suspense into the final act, but its abrupt resolution renders it anticlimactic. Despite its handful of missteps along the way, a collection of impressive performances from its leads and a thoughtful approach to its themes ends Universal on a surprisingly poignant and bittersweet note.

Andrew Murray

Universal is released digitally on 5^th December 2025.

Watch the trailer for Universal here:

While the pair saved the city in their first outing, there are questions about Nick and Judy’s compatibility, given their differing backgrounds and life experiences. This adds an extra dynamic. While our pair try to figure out their differences and learn to work together, they must also solve a new mystery around the city’s anniversary and a hidden secret that threatens to unearth new long-buried information on its history. What links the elusive Gary De’Snake (Ke Huy Quan) to the prominent Lynxley family, who want to expand their Tundra town empire?

The first 30 minutes or so feel a tad too similar to the original as we are reintroduced to concepts and characters, but once it hits its stride, there are plenty of novel ideas to make this an enjoyable thrill ride. New areas like the vibrant waterways of Marsh Market and an alpine-inspired mountain region help to expand the universe and add fresh flavours. There are again nods aplenty to adult movies, including The Silence of the Lambs and The Shining: while these may go over the heads of youngsters, they will strike a chord with parents and grandparents.

Goodwin and Bateman continue to delight as Judy and Nick, cleverly flipping their roles and giving Nick more of a prominent role. The new voice roles from Quan and Andy Samberg particularly impress.

Zootropolis 2 is a creative sequel that avoids falling into traps other Disney follow-ups have fallen into, wonderfully expanding the world fans fell in love with in 2016. It is a laugh-out-loud, action-packed and surprisingly emotional entry that justifies the ten-year wait. It seems inevitable that a third film will be on the way before long. This is one of the best Disney sequels in recent memory.

Christopher Connor

Zootropolis 2 is released nationwide on 28^th November 2025.

Watch the trailer for Zootropolis 2 here:

The film opens with Salters as a loud-mouthed teen, who, on the back of the win of, in a town full of blue-collar coal miners, West Virginia’s Tough Man competition is approached by a small-time promoter who pulls her into the freshly-blooming world of Women’s Boxing. Salters, played by Sydney Sweeney (Euphoria, Anyone But You), soon, against her better judgment, pairs up with sleazy boxing trainer Jim (Ben Foster), with whom she begins her professional career and later marries. With a heavy left-hook and an even meaner collection of insults, Salters (now Martin) flies through opponents at the professional level but, as she reignites a friendship with her teenage girlfriend in the wake of Jim’s growing grip over her life in and outside of the ring, Christy descends further into a tale of domestic abuse and violence that reaches truly horrifying heights.

Helmed by director David Michôd (The King, War Machine), Christy is packed with some excellent visual storytelling – from some dynamic in-the-ring fight choreography, to its razor-sharp editing. One particular standout moment sees abrasively straight-talking boxing promoter Don King (played by a scene-stealing Chad Coleman) berate Salters about the fleeting nature of her career, and with a snap of his fingers, sends us from her prime in 1995 to her decline in 2003, as Salters prepares for her historic but ill-fated bout against Laila Ali. 

With a note-perfect outing from an unrecognisable Sweeney, who reportedly underwent boxing training for three months in preparation for the role, carves a strikingly powerful but emotionally vulnerable figure that will surely generate some buzz this coming awards season. Foster likewise gives a startling performance as the volatile yet progressively dead-eyed Jim, and an underused Katy O’Brien provides some much-needed human levity with her brief depiction of Salters’s one-time rival and future wife Lisa Holewyne.

In spite of some plodding in the first hour and being let down by some clear penny-saving in it’s production (Fosters’s wigs will go down as some of the worst in recent years), the movie gains real unstoppable momentum in it’s second act and, at it’s best, Christy throws all the necessary punches needed to make this feature a total knockout and showcases a career defining performance from it’s lead Sweeney, who brings her A-game with an impressively physical performance as the resilient boxing legend. An unwaveringly shocking but entirely gripping watch, Christy is a must-see drama that will have you believing in the sports biopic once again.

Ronan Fawsitt

Christy is released nationwide on 28^th November 2025.

Watch the trailer for Christy here:

Wake Up Dead Man is star-studded, with Daniel Craig back as the notorious detective and Josh O’Connor at the helm as Jud. O’Connor’s performance is immaculate. Not a perfect priest, Jud is vulnerable, rough around the edges, and overflowing with sincerity. His frustration with his predicament is overt and guides his arc. But there’s a gentle understanding ever-present within him that strives to find the good in everybody. O’Connor’s comedic chops are also on full display, playing off well with Craig; their overall chemistry adds an addictive quality to Wake Up Dead Man that isn’t present in the previous two features.

Josh Brolin’s sinister take on Wicks creates the perfect foil to O’Connor’s Jud. He is ruthless and malevolent, wearing the tunic with an air of authority that strongly contrasts with the timid way Jud carries himself. But there’s something dangerously alluring about his character; despite his anger and violent speeches, the audience can see through Brolin how Wicks’s commanding presence attracts the rest of the group. The other actors hold their own with veterans like Glenn Close and Thomas Haden Church taking on some of the emotional weight of the piece, and Daryl McCormack’s Cy Draven providing a breath of fresh air in a picture full of deadpan and serious characters. With an ensemble like this, it’s nearly impossible to give every character the time and detail they deserve – and that’s perhaps where Wake Up Dead Man falls short. Figures like Andrew Scott and Kerry Washington are wasted potential, with their presence used solely for comedic effect or as a brief red herring.

The religious angle to this Knives Out mystery complements Johnson’s visual style for these films. The translucent stained glass windows are key to creating some of the most aesthetically pleasing shots of Wake Up Dead Man. Then there’s the metaphorical aspect of the feature. Jud’s prevalent faith in God and his boundless optimism are represented through lighting and colour; as he begins to lose himself in his desperate attempt to clear his name, the piece takes on a colder look full of greys and dark blues. But as he navigates through the reality of his situation and finds himself being pulled back into the comfort of his religion, vibrance and warm lighting take over, signifying a sense of new hope. Even Benoit, a staunch atheist, can see the good in Jud and, in turn, finds compassion and forgiveness in himself.

Wake Up Dead Man is a brilliant continuation of the Knives Out universe. Jud is a character who will surely be missed as Benoit moves on to his next adventure. However, the best thing about these projects is how any one of them can be an entry point into this world – one of intriguing mysteries, endearing characters and plenty of locked-room murder shenanigans.

Mae Trumata

Wake Up Dead Man: A Knives Out Mystery is released in UK cinemas on 26^th November and on Netflix on 12^th December 2025.

Watch the trailer for Wake Up Dead Man: A Knives Out Mystery here: