Considering the mixed quality of the sequels to 2001's standout romantic comedy Bridget Jones's Diary, the prospect of a fourth instalment - arriving twenty-four years after the original picture - was understandably grim. But against all odds, 2025's Bridget Jones: Mad About the Boy surpasses all reasonable expectations, delivering sharp comedy and bittersweet drama, rendering it more interesting and engaging than most chick flicks. The nine-year gap since the previous film (2016's enjoyable but forgettable Bridget Jones's Baby) feels surprisingly organic to the story, checking in with the titular character as she confronts another period in her life. Author Helen Fielding once again returns to adapt her own 2013 novel of the same name for the screen, collaborating with screenwriters Abi Morgan (Shame, The Iron Lady) and Dan Mazer (Borat, Brüno) to shape this astonishingly satisfying belated fourthquel. No sign of franchise fatigue plagues Mad About the Boy, nor does it feel like more of the same, as the movie is a refreshing breath of fresh air with its witty writing and heartfelt storytelling.


Four years ago, Bridget Jones (Renée Zellweger) lost her husband, Mark Darcy (Colin Firth), who died during a humanitarian mission in Sudan. Unable to work, Bridget struggles to raise her two children, Billy (Casper Knopf) and Mabel (Mila Jankovic), as she wrestles with grief while her family and friends offer conflicting advice on how to move forward. Daniel Cleaver (Hugh Grant) remains in Bridget's life as a friend and babysitter, but the pair no longer engage in anything romantic. Choosing to embrace life again, Bridget takes a job as a talk show producer and opens herself up to the dating pool, with a chance encounter leading to a connection with the handsome young Roxter (Leo Woodall). Despite the age gap, Bridget and Roxter pursue a relationship, though she also finds herself drawn to Billy's new science teacher, Scott Walliker (Chiwetel Ejiofor).

Like all great romantic comedies, Bridget Jones: Mad About the Boy succeeds because the story provides a robust dramatic foundation. This fourth film is not just about Bridget looking for love during her latter years; it's about a widower trying to move on from an unspeakable tragedy while being a mother to two vulnerable, distraught children. Billy particularly struggles to move on from Mark's death, fearing that he will forget his father as the years progress. One outstanding scene between Scott and a grieving Billy is astonishingly poignant, showing a sense of maturity that rom-coms rarely exhibit. The story's other dramatic components are similarly effective, including Daniel reflecting on his lonely life as he confronts his morality, with the drama feeling like an organic part of the story instead of something perfunctory or contrived. Furthermore, the script is in touch with the trials and tribulations of modern dating, incorporating dating apps and ghosting, and its depiction of contemporary parenting is surprisingly authentic. Nothing in Mad About the Boy feels manufactured or Hollywood-ised, with the film retaining the franchise's uniquely British charm.


Luckily, Bridget Jones: Mad About the Boy does not skimp on the laughs, with director Michael Morris (To Leslie) ensuring the picture is still an incredibly amusing and enjoyable sit despite the dramatic material. The fourthquel runs a hefty 125 minutes, but while the notion of a rom-com exceeding two hours seems unappealing (90 minutes is the usual sweet spot), Mad About the Boy justifies its length with a substantive narrative. With Morris's direction and the sharp editing, the movie sustains a wonderful sense of energy and style, easily scoring belly laughs. Although Morris is a long-time television director (he oversaw episodes of Better Call Saul and Preacher, among others), and this is only his second feature film, the helmer mounts an impressively slick and thoroughly cinematic romantic comedy, making it all the more baffling that Peacock sent the movie straight to streaming in the United States. Moreover, Morris confidently navigates the tonal shifts when the characters pause for soulful reflections or discussions about life and death.

Returning to screens six years after her Oscar-winning turn in 2019's Judy, Renée Zellweger reprises the iconic role without missing a beat, handling the comedy and drama with equal confidence. Zellweger provides an engaging inner monologue throughout the picture, and she occasionally conveys so much without words, such as the excitement of texting a new person on a dating app or the anxiousness of being ghosted. The progression of Zellweger's performance over the years is genuinely impressive, credibly transitioning from young and exuberant to a more world-weary parent. Thanks to Zellweger, investing in Bridget's situation and caring about what happens to her is easy. Fortunately, a capable supporting cast surrounds the actress. Although Firth's Mark Darcy is now deceased, the actor is not absent from the sequel. Firth shows up during a few heartwrenching moments to reinforce the hole his death left in Bridget's life, and these scenes are sweet instead of corny. One particular sequence towards the end of the film, at a Christmas pageant, is almost unbearably poignant and left this reviewer with tears in his eyes. Who expected that from a rom-com?


Meanwhile, after electing not to return in Bridget Jones's Baby, Hugh Grant makes an excellent impression playing Daniel Cleaver again, twenty-one years after last playing the role in Bridget Jones: Edge of Reason. Grant remains an utter joy, and even though he is no longer a heartthrob leading man, he's genuinely hilarious and believably handles the dramatic moments. Grant stated in an interview that he wrote additional scenes to give Daniel a more meaningful and emotional role in the story since he adored the script and wanted to participate, and the effort pays off wonderfully. Additionally, Mad About the Boy pulls out all the stops by bringing back as many returning actors as possible, including the wonderful Jim Broadbent as Bridget's father, Gemma Jones as Bridget's mother, Sally Phillips as Bridget's close friend Shazza, Emma Thompson as Bridget's doctor, and several more. The new cast members are equally terrific, with the handsome and charismatic Leo Woodall as Bridget's new love interest, and the always-reliable Chiwetel Ejiofor as the science-minded Mr. Walliker.

Even though the Bridget Jones movies are primarily aimed at women, the appeal of Mad About the Boy extends to men since the picture explores relatable, universal themes while delivering uproarious gags that should please any viewer, regardless of gender. Indeed, despite Bridget's dating woes, the movie smartly avoids demonising men. The feature is perhaps a touch too long, and it can't match the brilliance and novelty of the original film, but these are minor quibbles. Bridget Jones: Mad About the Boy is thoroughly entertaining, hilarious, and touching, and it is hard to imagine a more fitting cinematic conclusion for the titular character. Indeed, with no more novels to adapt and seemingly no more dramatic arcs for Bridget to undertake, this is the perfect ending for the series.

7.8/10

The most interesting and perhaps the best Final Destination sequel to date, 2025's Final Destination: Bloodlines is an unexpectedly strong continuation of the horror series that brings back the franchise's best elements: elaborate set pieces, dark humour, tongue-in-cheek gore, and a few knowing winks. Instead of resurrecting the brand name for a lazy cash-in after a slew of successful legacy horror sequels, this sixth instalment benefits from recruiting fresh blood in the form of directors Zach Lipovsky and Adam Stein (2018's Freaks), writers Guy Busick (Ready or Not, 2022's Scream) and Lori Evans Taylor, and even Jon Watts (Spider-Man: No Way Home), who devised the story and produced the picture. Another Final Destination picture is not unwelcome after fourteen years, and the new creative team thankfully do not try to subvert expectations or introduce eye-rolling postmodernist humour. The result is a slick, devilishly enjoyable horror flick with a few fresh ideas that should please fans and newcomers alike.


In the 1960s, young Iris Campbell (Brec Bassinger) prevented a deadly disaster at the brand-new Skyview Restaurant Tower after she experiences a premonition of the tall building collapsing and everybody dying, including her boyfriend Paul (Max Lloyd-Jones). Decades later, Iris's granddaughter, Stefani (Kaitlyn Santa Juana), experiences a recurring nightmare of Iris's premonition, which affects her academic performance at college. Seeking answers, she returns home to see her father Marty (Tinpo Lee), her younger brother Charlie (Teo Briones), and more of her extended family, including her uncle Howard (Alex Zahara). Learning that her grandmother (now played by Gabrielle Rose) became a recluse who sent alarming letters to the family, Stefani tracks down Iris in a fortified cabin, who warns her granddaughter that Death is coming for their family. Since Iris messed with Death's plan by having children, the Grim Reaper now seeks to eliminate all of Iris's descendants, sparking a series of deadly accidents.

Ditching the long-circulated storyline about first responders that was initially the basis for a sixth Final Destination, Bloodlines is the first movie in the series to do something fresh by travelling back several decades and focusing on a family that should not exist. Naturally, Busick and Taylor's screenplay incorporates a few familiar beats from the series, including characters dismissing warnings about Death coming for them and the way that the ending predictably plays out, but there is only so much that can be done with a Final Destination picture while delivering the content that fans crave. The execution is essential to overcome a formulaic narrative, and Bloodlines gets it right for the most part: the characters are credible, the story flows smoothly, and the film is not tedious or dull between the scenes of guts and gore.


Directors Lipovsky and Stein, who secured the job by staging a freak accident during a Zoom meeting with New Line execs and producers, thankfully show an exceptional flair for set pieces, ensuring that Bloodlines takes care of the franchise's core component. The movie commences on a high note (heh) with the ominous sequence in the incredibly tall Skyview Tower that leaves you unsure about precisely when the inevitable accident will occur. Setting the scene in the 1960s gives it a fresh aesthetic, and the directors carefully build suspense instead of relying on lazy jump scares. (As always, avoid all trailers and previews for the most enjoyable experience - these movies are best consumed when you go in blind.) Miraculously, Bloodlines brings back an element of surprise to the series, cleverly toying with expectations, and Death's design even forces the reveal of a family secret in an uproarious moment. On that note, the movie has a healthy sense of humour, with the elaborate deaths coming across as darkly comedic instead of mean-spirited. Unfortunately, the overtly digital aesthetic does detract a visceral punch from the set pieces, and it is a shame the directors did not opt for more practical effects.

A robust selection of mostly unknown actors gives the film some dramatic heft, with Gabrielle Rose making a particularly good impression as the aging, paranoid Iris. Most recent legacy sequels brought back notable actors from the respective franchises, including Scream and Halloween. However, the Final Destination series lacks that luxury since the actors all die by the end of each instalment. However, this sequel does bring back one notable name in franchise mainstay and genre icon Tony Todd (the iconic Candyman), who reprises his role of William Bludworth for the last time here. Bloodlines is dedicated to the memory of Todd, who featured in almost all of the Final Destination films except 2009's The Final Destination, but nobody really remembers that painfully paint-by-numbers entry. With Todd's recent passing and the context of his appearance here, his scene carries a distinct poignancy, and the script smartly ties his character to Iris, revealing his backstory after twenty-five years of mystery. Todd looks tragically gaunt here, as the actor passed away from stomach cancer mere months after filming, but the creative team ties his condition into the story, giving the character a fitting, bittersweet exit. Reportedly, Todd improvised the character's final lines to speak directly to the fans.


Remarkably, Final Destination: Bloodlines demonstrates that the Final Destination series still has life in it after two decades of Death catching up with those who evaded him. This sequel is the longest instalment in the series to date, clocking in at a hefty 110 minutes (whereas the other entries run 80-95 minutes), but the directors confidently sustain interest throughout the narrative. Despite some silly character behaviour (see one scene involving an MRI machine) and a few predictable story beats, Bloodlines is a highly satisfying watch that does not forget what made the franchise so appealing. The notion of more sequels is surprisingly enticing, as we still do not know why the premonitions happen, and the 1960s setting of the prologue shows that moving the action to another time period has potential. (Rumours of a medieval-era Final Destination movie have persisted for several years.) As long as New Line continues to produce these flicks, I will probably continue to watch them.

7.3/10

Although it seems relatively pointless to produce a sequel to a mid-budget action-thriller from nine years ago, 2025's The Accountant 2 is far more worthwhile than erroneous first impressions might imply. With most of the original cast returning, along with screenwriter Bill Dubuque (The Judge) and director Gavin O'Connor (Warrior), this follow-up justifies its existence with a robust story, sharp character interaction, and thrilling action sequences, surpassing all reasonable expectations with confidence. Additionally, even though it is a sequel, The Accountant 2 doesn't demand intimate knowledge of its predecessor, as this follow-up places the returning characters in a new story, making it easy for newcomers to find their footing. Heck, even if you have seen the original movie but don't remember it (and you are not alone - it was nine years ago), The Accountant 2 is a satisfying viewing experience, and the prospect of further sequels is more enticing than ever.


Former Financial Crimes Enforcement Network director Raymond King (J.K. Simmons) seeks to locate a missing Salvadoran family, meeting with an assassin, Anaïs (Daniella Pineda), for help. Following King's assassination, his protege, Marybeth Medina (Cynthia Addai-Robinson), begins an investigation, which leads her to track down Christian Wolff (Ben Affleck), an autistic accountant who services criminal organisations. With evidence of child trafficking and the case turning out to be bigger than anticipated, Christian turns to Braxton (Jon Bernthal), his estranged brother who still works as an assassin, to help by bringing his skills with firearms. The siblings work through old feelings as they search for answers about the missing family, while crime lord Burke (Robert Morgan) sends Anaïs to assassinate Medina.

The Accountant 2 swiftly reintroduces Christian and his unique thought process in the first act of the picture, checking in with him as he applies his mathematical thinking to the realm of speed dating. The resulting scene is incredibly amusing, reestablishing Christian as an interesting character worth investing in. Also fascinating is the way Christian enlists the assistance of neurodivergent children from the Harbor Neuroscience Academy, who are computer experts, to aid the investigation during one particularly tense scene while Medina strongly disapproves of their illegal yet clever methods.


Above all else, this sequel primarily succeeds because it leans into the buddy chemistry between Affleck and Bernthal, who interact like genuine siblings and whose banter genuinely sparkles throughout the film. Bernthal is great in anything, and his presence here is a considerable asset, scoring laughs with ease and looking right at home while operating firearms amid an intense gunfight. Affleck's performance is similarly superb, convincingly playing a neurodivergent individual with immense intelligence. Wisely, Dubuque's script also introduces depth to the siblings' relationship, and the film emphasises that even though Christian can drive Braxton up the wall, the pair still have a deep bond and are very fond of each other. A strong supporting cast surrounds the pair, with Daniella Pineda making the biggest impression as a competent assassin who cannot remember her past.

Director O'Connor confidently navigates the tricky narrative, exploring the central conspiracy that involves several players and twists and turns. The pacing is not always on point, and the film requires your full attention to prevent you from getting lost in the occasionally labyrinthine proceedings. However, the bigger picture ensures perpetual interest in the story: Christian, Braxton, and Medina want to free imprisoned children. Additionally, O'Connor nails the action sequences with ease, staging vicious, violent confrontations that mainly occur in the movie's final third. The climactic assault on a compound in Juarez is a highlight, and it is incredibly satisfying to watch Christian and Braxton kill a group of child traffickers. Thankfully, O'Connor's set pieces are enjoyable and comprehensible, with returning cinematographer Seamus McGarvey never giving in to distracting shaky cam. The R-rating allows for badass bloodletting and plenty of colourful language, ensuring the movie doesn't feel like another safe Hollywood blockbuster for the broadest possible audience.


Another appreciated reprieve from superhero movies and big-budget blockbusters, The Accountant 2 is a memorable and engrossing action-thriller aimed at adults, reminiscent of films like Sicario or Wrath of Man. There are plenty of highlights, including a small appearance by the always-reliable J.K. Simmons (reprising his role from the first film), Christian using a tax return to confront a pizza shop owner over money laundering, and Braxton finding and rescuing a cat after the climactic action sequence. Sequels are often disappointing due to the sheer weight of expectations, which makes The Accountant 2 all the more refreshing. After all, it's doubtful that many viewers expected much from this seemingly random, belated sequel; yet, the picture is more satisfying than many disappointing, high-profile sequels.

7.8/10

2025's Sinners sees writer-director Ryan Coogler tackling a wholly original story after his forays into the Marvel Cinematic Universe (Black Panther and its sequel), the Rocky series (2015's Creed), and true stories (2013's Fruitvale Station). A wildly ambitious, genre-bending masterpiece that deserves to be viewed on the biggest screen possible, Sinners is Coogler's best work, boasting superb aesthetics, top-notch technical execution, and a superlative, evocative soundtrack. The picture also represents an extremely rare specimen in contemporary cinema, as it's a big-budget, R-rated, original movie without a star-laden cast or large-scale action sequences. Don't sleep on this movie - it deserves box office success and a wide audience, especially since online commentators frequently point out Hollywood's tendency to almost exclusively produce sequels, reboots, and comic book adaptations.


In 1932, identical twin brothers Smoke (Michael B. Jordan) and Stack (also Jordan) return to Mississippi after spending several years working for Al Capone in Chicago. Arriving with ample money, the brothers purchase a sawmill with plans to transform it into a juke joint for the local African American community. Turning to their friends and connections to assemble the staff, they recruit pianist Delta Slim (Delroy Lindo), singer Pearline (Jayme Lawson), and their cousin, a talented aspiring guitarist named Sammie (Miles Caton), to perform live music for the patrons. Chinese shopkeepers Grace (Li Jun Li) and Bo (Yao) join the staff to take care of the establishment's supplies, while Smoke's estranged wife, Annie (Wunmi Mosaku), comes onboard as a cook. In the lead-up to opening night, Stack also reconnects with his former lover, Mary (Hailee Steinfeld), who wants to support the endeavour. However, the upbeat opening night of music and drinking is interrupted by the arrival of an Irish-immigrant vampire, Remmick (Jack O'Connell), who hopes for an opportunity to feed on unsuspecting patrons.

Story and character are not always the primary concern of a horror movie, but the horror elements are secondary in Sinners. Coogler spends the film's first two acts developing the characters and establishing the world, making a compelling period drama instead of something more disposable. Coogler immerses the narrative in the culture of the people and the period, and the resulting illusion feels wholly authentic, rather than forced or manufactured. The dialogue carries an engaging lyricism, and the movie does not take the characters for fools once they discover that vampires are hunting them. Indeed, the characters are aware of vampire lore and begin preparing themselves for an assault, including collecting garlic juice, wooden stakes, and silver, and being careful not to invite any vampires inside. Sinners runs a beefy 137 minutes, but it doesn't feel like homework as Coogler packs the picture with endless pleasures, including the exceptional music and a smattering of humour to ensure the tone is not dour.


The superlative technical presentation of Sinners significantly elevates the picture, as it doesn't look like a run-of-the-mill studio blockbuster. Cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever) captured the film on 65mm using IMAX 15-perf and Ultra Panavision cameras, and the result is a visual marvel. The aesthetics are flawless, from the location shooting and authentic-looking sets to the period costumes and seamless special effects. One of the most impressive achievements is putting Smoke and Stack in the same shot, alongside each other, and having them physically interact, including when they engage in a fight. Coogler acquits himself admirably with the various action sequences, staging set pieces that are more grounded and exciting compared to his work on the Black Panther movies. Since the director allows us to become acquainted with the central characters, the climactic showdown with the undead is all the more intense and gripping. The ferocity of the vampires also gives the picture genuine thrills. Since Sinners carries an R-rating, Coogler does not hold back on the gore or bloodshed - the violence is hard-hitting, giving the set pieces a thrilling edge, but the director still thankfully shows appropriate restraint and tact.

The real star of Sinners is the music, with Coogler recruiting frequent collaborator Ludwig Göransson (who worked with his wife, Serena Göransson) to compose the bluesy, atmospheric original score. The soundtrack evocatively captures the time and place, while an array of blues musicians also contribute a terrific selection of original songs to further enhance the film's flavour. Furthermore, Sinners features an excellent ensemble cast, with Coogler bringing in the always reliable and charismatic Michael B. Jordan to play brothers Smoke and Stack. It's a perfect role for Jordan, who brings gravitas and charm to the tricky double act, while adding subtle nuances to distinguish Smoke and Stack from each other. A robust supporting cast surrounds Jordan, with the extraordinary Wunmi Mosaku making the biggest impression as Annie, who has a strong connection to hoodoo and gives the film a strong sense of culture. Meanwhile, Hailee Steinfeld makes a terrific impression as the spunky Mary and even contributes the original song "Dangerous" to the soundtrack. On that note, several actors perform songs throughout the movie, including Jack O'Connell and Jayme Lawson, and much of the singing was reportedly recorded on set instead of being dubbed in later. O'Connell has great fun playing the central vampire, hamming it up without compromising the film's tone.


One of 2025's best movies, Sinners merges engrossing period storytelling with badass vampire action and toe-tapping music, demonstrating that Coogler has not lost his mojo despite the disappointment of Black Panther: Wakanda Forever in 2022. The way the film switches genres in the third act is genuinely effective, with the introduction of vampires feeling reminiscent of From Dusk Till Dawn, and the climactic action scenes do not cheapen the story. Admittedly, an additional shootout involving the (deserved) massacre of KKK members feels like fantasy wish fulfilment, but it is satisfying and well-executed. Be sure to stick around once the film ends, as there are additional scenes both during and after the credits that provide further closure to the story and an extra musical performance.

8.7/10

Another limp entry in the ever-weakening Marvel Cinematic Universe, 2025's Captain America: Brave New World is a jumbled hodgepodge of story ideas and concepts, lacking a unifying or coherent narrative that ties everything together. In other words, it bears all the hallmarks of a troubled production, as the movie underwent extensive reshoots, hasty rewriting, and last-minute re-editing in a desperate attempt to salvage the ridiculously expensive blockbuster after an endless succession of poor test screenings. Rewrites and reshoots are not necessarily a bad thing, but the foundation of Captain America: Brave New World is incredibly shaky, making it borderline impossible to salvage. Despite the potential for this to be another intriguing political thriller reminiscent of 2014's superlative Captain America: The Winter Soldier, it's another swing and miss, with director Julius Onah (The Cloverfield Paradox) struggling to pull together the jumbled narrative strands to create an engaging or fascinating viewing experience.


Five months after winning the U.S. Election, President Thaddeus Ross (Harrison Ford) sends Sam Wilson/Captain America (Anthony Mackie) and Joaquin Torres/Falcon (Danny Ramirez) into Mexico to stop Sidewinder (Giancarlo Esposito) from selling stolen items. The mission is a success despite Sidewinder escaping, with Sam bringing back a canister of adamantium collected from Celestial Island. Ross hopes to unite world leaders by proposing a treaty to control the worldwide mining and distribution of adamantium, and he invites Sam and Joaquin to a White House summit. Also joining the pair is Isaiah Bradley (Carl Lumbly), who attempts to assassinate President Ross but denies any knowledge of the incident. Sam seeks to clear Isaiah's name, working alongside Joaquin while also receiving assistance from Ruth Bat-Seraph (Shira Haas), a former Israeli Black Widow who now works as Ross's security advisor. With a war looming between the U.S. and Japan over Celestial Island, Sam uncovers a conspiracy masterminded by Dr. Samuel Sterns (Tim Blake Nelson), whose grand plan involves ruining Ross's reputation.

Instead of building upon the previous Captain America movies, this fourth instalment is a follow-up to two of the most forgettable and disliked entries to the MCU: The Incredible Hulk and Eternals. It also vaguely follows on from The Falcon and the Winter Soldier, but the Disney+ series feels startlingly inessential in the grand scheme of the franchise, aside from introducing Isaiah Bradley, whose presence here feels incidental. If you do not remember The Incredible Hulk, Eternals or The Falcon and the Winter Soldier, do not fret - the movie perfunctorily reveals all relevant information, with the script going heavy on exposition. The first half-hour recaps everything we already know, from Isaiah's hatred of the U.S. government (remember, they imprisoned and experimented on him!) and Ross's cruel reputation to the massive Celestial hand that emerged during Eternals.


Perhaps the movie's greatest sin is how it completely ruins the movie's emotional core. Throughout the picture, Ross speaks about wanting to reconcile with his daughter, Betty (Liv Tyler), and go for a walk with her. But during the perfect moment to bring her into the story, when Ross turns into Red Hulk and wreaks havoc around Washington D.C. (Red Hulk was all over the marketing, it's not a fucking spoiler), she remains absent. As a result, the movie ruins the opportunity for a poignant denouement; instead, Sam delivers a pretentious speech to talk Ross down, reminiscent of The Falcon and the Winter Soldier's heavily ridiculed, god-awful ending. Speaking of Red Hulk, despite his prominence in the marketing materials, Ross only transforms in the final ten minutes of the picture, and the "twist" that reveals how gamma radiation entered Ross's body is utterly risible.

Captain America: Brave New World recycles ideas from Captain America: The Winter Soldier and Captain America: Civil War, and it is clear that director Julius Onah wanted to make a grounded espionage thriller influenced by the Russo Brothers. However, it is all for naught without an intelligent screenplay foundation, and the inclusion of the Red Hulk contradicts the gritty tone. The notion that Sam could fight Red Hulk in close combat is not even remotely believable - not even Steve Rogers, with the Super Soldier Serum, could fight the Hulk, and Tony Stark needed an elaborate Hulkbuster suit in Avengers: Age of Ultron to give him any chance. There's no getting around the fact that Captain America: Brave New World feels like three movies awkwardly combined into one dissonant whole, with throwaway plot elements like Giancarlo Esposito's Sidewinder, who appears in only three scenes and has no bearing on the jumbled central narrative. Characters were added (Sidewinder), removed (Seth Rollins as a member of the Serpent Society), or changed (Ruth Bat-Seraph, who no longer wears a Sabra costume in the final film) during post-production, which reflects the narrative's lack of cohesion.


The pacing and editing of Captain America: Brave New World are choppy as hell, which reflects the extensive post-production tinkering to make the film as short and palatable as possible. Even though the movie runs just under 110 minutes before the credits, it feels two and a half hours long. Captain America: Brave New World also tones down the incendiary political dialogue compared to The Falcon and the Winter Soldier, even though it feels like Disney and Marvel opted to trim such content during the editing process. Alas, the poor quality of the special effects is further evidence of the constant re-jigging. Like countless other recent MCU projects, the digital effects are phoney and obvious, from fake-looking CGI backdrops to a Red Hulk that looks considerably less convincing than the Hulk in 2012's The Avengers. To the movie's credit, the basic production qualities are otherwise fine, from the slick photography to the tense score. Additionally, several of the action sequences are perfectly serviceable as Sam engages targets in close combat, including a tense showdown with Sidewinder. The camp value of the Red Hulk sequence also enhances the film's entertainment value in an ironic scene.

Anthony Mackie is perfectly likable and charming as Sam Wilson, and he was the perfect sidekick for Chris Evans's Steve Rogers. But reducing Captain America to a mere mantle is an ill-considered mistake, and the script can never get to the heart of who Sam Wilson is. Plus, Captain America: Brave New World spends too much time trying to drive home the message that Sam is Captain America, which feels like an unnecessary thematic retread of The Falcon and the Winter Soldier. Frankly, Mackie deserves better than this slipshod material. Meanwhile, although Harrison Ford is a fantastic actor, his interpretation of Ross feels like an entirely different character, with Ford seemingly phoning this one in for a big bag of Marvel cash (to paraphrase Deadpool). Also in the cast is Danny Ramirez, who returns as Sam's quippy sidekick, Joaquin Torres. Unfortunately, Ramirez fails to make much of an impression, as he feels redundant to the story. Whereas Steve Rogers recruited Sam out of necessity in The Winter Soldier, Joaquin is simply there for the sake of having a sidekick.


The supporting cast of Captain America: Brave New World is underwhelming, especially compared to The Falcon and the Winter Soldier, which had Baron Zemo and John Walker. This sequel even forgets about Sharon Carter despite the show's post-credits scene positioning her as a villain. Onah instead stuffs the movie with uninteresting new characters that do not receive a sufficient introduction. The most glaring example is Shira Haas as Ruth Bat-Seraph, who the movie positions as a Black Widow surrogate, but without the necessary development or backstory to make us care. Furthermore, although it's fun to see Tim Blake Nelson return to the MCU, and the actor gives it his all, there's no getting around his goofy look: he resembles a stick of broccoli. The movie wants the return of Nelson's Samuel Sterns to be a memorable mic-drop moment, but the reveal lacks weight and significance. After all, Sterns only appeared once previously in The Incredible Hulk, which came out in 2008. The marketing also spoiled the twist.

Marvel scored a rare win in 2024 with their sole theatrical release, the incredibly profitable Deadpool and Wolverine, which knowingly poked fun at the poor quality of recent MCU titles. Alas, with Captain America: Brave New World, the MCU is back in the doldrums, though it is, at least, marginally better than The Marvels and Ant-Man and the Wasp: Quantumania. Despite a few entertaining action set pieces and some intriguing ideas, it's difficult to care about this story, which feels too disconnected from the previous Captain America movies despite being an ostensible sequel. One can only imagine an alternate version of this picture with Steve Rogers instead of Isaiah Bradley. Captain America: Brave New World is, quite simply, a wasted opportunity - a passionless blockbuster that exemplifies the qualities many of the MCU's critics always associate with the long-running franchise.

4.7/10

Those familiar with Jason Statham's regular cinematic output should know what to expect from 2025's A Working Man, which reunites the action star with director David Ayer (The Beekeeper) and screenwriter Sylvester Stallone (Homefront). With Ayer and Stallone serving as producers (alongside Statham) and collaborating on the screenplay, A Working Man is an adaptation of Chuck Dixon's 2014 novel Levon's Trade, and it's easy to see why the creative team perceived the source material as perfect fodder for a Jason Statham vehicle since it hits all the expected story and character beats. After all, Statham here plays yet another former soldier with deadly combat skills who tries to pursue a more peaceful life, but circumstances force him to go on a killing spree. It's nothing original, but movies of this ilk are all about the execution, and Ayer delivers the goods in spades - vicious action scenes, colourful characters, detestable villains, and plenty of Statham badassery.


A former Royal Marine Commando, Levon Cade (Jason Statham) now works as a construction foreman in Chicago for Joe Garcia (Michael Peña) and his wife, Carla (Noemi Gonzalez). When Joe and Carla's daughter, Jenny (Arianna Rivas), goes out for a night of celebration and drinking with her friends, she fails to return, and her parents immediately spring into action. With Joe and Carla believing the police will not conduct a sufficient investigation in time, they beg Levon to step in and bring her home. After consulting with blind fellow ex-soldier and good friend Gunny (David Harbour), Levon starts searching for Jenny and comes to discover that Russian gangsters kidnapped her as part of a human trafficking operation. Thus begins a brutal mission as Levon starts killing his way through Bratva members while hunting for Jenny, who remains at the mercy of her captors, Viper (Emmett J. Scanlan) and Artemis (Eve Mauro). Also in the mix is Dimi (Maximilian Osinski), who oversees the human trafficking.

As with many of Statham's other action movies, he plays a force of nature instead of a well-rounded character, reminiscent of the iconic, invulnerable one-man army heroes of the 1980s. It never feels like Levon is in genuine danger as he maintains control over every situation, and the fun lies in the creative ways he dispatches his victims, including drowning and even a Bluetooth device to assist with aiming at henchmen without leaving cover. The badassery is inherently humorous, and there are further goofy moments to break up the violence, such as a scene of Levon punching Wolo (Jason Flemyng) in the face before toasting a bagel to eat during his interrogation. "Hope you don't mind," he says. "I was hungry."


Statham can play this type of role in his sleep, and the British superstar remains a grizzled, engaging, and physically capable action hero despite now being in his mid-50s. The script never stretches his acting abilities, but neither does Statham feel false or forced. Unlike some of the old-school action stars (Van Damme, Steven Seagal), Statham can actually act - he's convincing in both dramatic and action scenes, and it's easy to understand why audiences continue to show up for him. Meanwhile, David Harbour is an excellent fit for the role of Levon's former gunnery sergeant, who now assists by providing weaponry, firepower, and advice. Also noteworthy is Jason Flemyng, who, like Statham, featured in several early Guy Ritchie movies and even appeared in Transporter 2 alongside The Stath. The supporting cast mostly comprises unknown actors, but Arianna Rivas makes a great impression as the spunky, fiery Jenny, ensuring the role does not amount to a useless kidnap victim.

A Working Man carries the hallmarks of a Stallone screenplay in all the right ways, from efficient character development that does not feel perfunctory to sharp dialogue that is more intriguing than the usual tone-deaf chatter that action flicks typically include. There are badass exchanges, and the picture even has a bit of heart, with Levon trying to protect his daughter (Isla Gie) while fighting for custody. Ayer's directorial contributions also significantly benefit the movie, as the filmmaker makes the most of the modest $40 million budget to stage some spectacular action set pieces. Thankfully, like The Beekeeper, A Working Man is an R-rated action fiesta, and Ayer enjoys staging creative, destructive, and hard-hitting bloodletting as Statham racks up an impressive body count. With the mobster villains lacking in nuance and redeeming characteristics, they are easy to detest, and it is even easier to cheer on Statham as he dispatches them without mercy. Statham convincingly handles the fisticuffs and the shootouts, with Ayer varying the action to prevent the set pieces from becoming too repetitive. Ayer also imbues the flick with more gravitas than a straight-to-video cheapie - it does not feel like low-budget slop.


With a running time of nearly two hours, A Working Man is a bit long for what it is, and the scripting is not entirely airtight. Most confusing is the ostensible decision to contact the police about Jenny's disappearance after an entire weekend of her being missing, and her friends apparently did not care about getting her home safely. Although A Working Man does not reach the heights of Statham's best movies (2021's Wrath of Man is a career high point), it remains a highly entertaining and satisfying B-movie that should satiate genre fans as long as they don't expect anything groundbreaking. Like The Beekeeper, there is potential for a franchise, especially since there are a dozen Levon Cade novels, though it is unclear how much time Ayer and Statham will have to pursue any sequels.

6.9/10

Despite my misgivings about 2025's Snow White, I avoided joining the online dogpiling because I wanted to give Disney's latest live-action remake a chance. After all, the House of Mouse blew $300 million making this fucking thing, surely it can't be that bad? But let's not mince words here: Snow White is godawful. This live-action update of 1937's Snow White and the Seven Dwarfs (Disney's beloved first animated feature film) is a meandering, soulless disaster without any joy, whimsy or sense of fun. It epitomises passionless, commercial studio filmmaking, dutifully fulfilling diversity quotas while altering the original story to make it more friendly for the eternally offended. With a script credited to Erin Cressida Wilson (The Girl on the Train), the movie feels afraid to commit to the story with genuine sincerity, and it is a genuine slog when it should be a lighthearted musical fantasy.


Born into royalty, Snow White (Rachel Zegler) loses her mother at a young age, and her father hastily remarries but soon goes missing. With nobody to stop her, the Evil Queen (Gal Gadot) assumes the throne, leaving her subjects starving and destitute while turning Snow White into a scullery maid. The Evil Queen keeps Snow White imprisoned in the castle, but the kindly princess has a chance encounter with a thief, Jonathan (Andrew Burnap), who breaks into the castle to take food, and she helps him escape. Even though the Magic Mirror assuages the Evil Queen by naming her the "fairest one of all," Snow White's beauty eventually usurps her, angering the tyrannical ruler. The Evil Queen orders the Huntsman (Ansu Kabia) to kill Snow White, but he finds her beauty irresistible and instead urges her to flee into the forest. Snow White soon finds herself in a secluded cottage with seven diamond-mining dwarfs, and she reunites with Jonathan, who leads a group of bandits. While the Evil Queen tries to enact her plan to kill Snow White, the princess seeks to reclaim her kingdom and rule with fairness.

The world of Snow White looks plasticine and artificial, with a distracting digital gloss that constantly reminds us that nothing is real. Instead of being tactile and believable, the visuals look even more cartoonish than the original 1937 movie, and there is no interesting aesthetic stylisation to compensate for the cheap CGI slop that appears all over the screen. It is baffling that Disney started their live-action remake trend with Kenneth Branagh's excellent Cinderella - which was shot on 35mm film, looked real and featured cute, whimsical creatures - before moving backwards in terms of visual aesthetics.


There is no getting past the dreadful digital dwarfs here, which look like pure nightmare fuel. The decision to create digital dwarfs instead of casting actual actors is indefensible, and little people have every right to protest the production. The dwarfs here completely lack personality, making them utterly indistinguishable from one another. Plus, with the script shoving in a group of bandits to accompany the seven dwarfs, none of the ensemble make an impression. Popular cinematic myth has it that the movie's 12-month release date delay was to add the dwarfs, as the seven diverse bandits originally filled their roles in the story. This rumour seems plausible as there is no reason for the dwarfs and the bandits to coexist in this overcrowded ensemble. Heck, in 2012's Mirror Mirror, the characters referred to the dwarfs as bandits.

The 1937 film has a threadbare narrative that feels stretched thin despite its relatively short 80-minute runtime. This Snow White retains the same structure but beefs up the story to an interminable 109 minutes without adding anything meaningful or substantive. The first 15-20 minutes of this remake drag out the backstory that the animated movie covered in its first few minutes, and the exposition here feels like pure homework. The narrative does not organically flow from one event to the next, with the structure feeling messy and disorganised, a clear reflection of the extensive reshoots that occurred nearly two years after principal photography wrapped. Indeed, Snow White feels like a patchwork of ideas, halfheartedly incorporating recognisable beats from the original animated film without nailing the heart and soul of the original story. The songs were a big part of the 1937 picture, but the musical numbers in this Snow White amount to lifeless padding. The songs feel like the work of AI and autotune, and they never meaningfully advance the story or function as character development.


One must feel sorry for director Marc Webb ((500) Days of Summer), who clearly relinquished all creative control to the Disney executives and merely serves as a puppet for their constantly changing, politically motivated desires. None of the dramatic scenes are engaging, there is no humanity to the story, and it is impossible to care about anything that happens. Gal Gadot is woefully miscast as the Evil Queen, sometimes rendering her dialogue unintentionally comical (she sometimes sounds like Scooby-Doo). Meanwhile, Rachel Zegler dials back the poisonous arrogance and obnoxiousness of her press appearances to play a noticeably bland take on Snow White. Zegler's performance lacks emotional depth and humanity, and she cannot portray believable fear when the Huntsman tries to kill her. The rest of the cast are outright forgettable, from the generic dwarf voices to an incredibly nondescript Andrew Burnap as Snow White's love interest who's named, um, Jonathan.

For a movie that spent nearly three years in post-production and expended enough money to feed and house the homeless for decades, there is no excuse for Snow White's vast shortcomings. The songs are forgettable and flat, the visuals are hideously off-putting, the acting is atrocious, the digital dwarfs and animals look phoney and nightmarish, and there is no sense of pace. Snow White is one of the most hated movies in internet history, obtaining an unimaginably poor IMDb rating (1.6/10 as of April 2025) and prompting scores of negative reviews and social media posts. Frankly, the film deserves everything it gets.

1.9/10

Bosch & Rockit is an enjoyable, visually striking Australian coming-of-age picture that deserves a wider audience. It is the feature film debut of Australian filmmaker Tyler Atkins, who served as director, writer, and producer after years of minor film and television credits (and winning The Amazing Race Australia in 2011). An autobiographical tale, Atkins based the screenplay on his experiences growing up on the Gold Coast with a drug-addicted father, an absent mother, and a passion for surfing, as the director believes the ocean saved his life. The resulting story is powerful and moving, a compelling and technically proficient motion picture about a teenager wanting to find a family while using the ocean to escape the harsh realities of his life. With no studios willing to back the project, Bosch & Rockit (or Ocean Boy, as it is also called) was a privately-funded independent feature, and it is a rare win for the Australian film industry.


Bosch (Luke Hemsworth) runs an illegal marijuana farm on a beach community along the NSW North Coast and often neglects his responsibilities as a parent, leaving teenage son Rockit (Rasmus King) to his own devices. Rockit loves to surf, finding solace in the waves as he grapples with his dysfunctional home life and academic problems at school. When a bushfire reveals Bosch's weed farm and makes him a person of interest to police, he promptly takes Rockit and hits the road, heading for Byron Bay to hide out while telling his son they're on holiday. Bosch and Rockit begin carving out a life for themselves in Byron Bay, with Bosch meeting the kindly Deb (Isabel Lucas) while Rockit bonds with the endearing young Ash-Ash (Savannah La Rain). Unfortunately, corrupt police officers are also looking for Bosch and hope to reach him first, threatening the pair's newfound stability.

It is easy to care about Rockit from the movie's early stages thanks to the enormously effective performance from newcomer Rasmus King (15 years old during shooting), a professional surfer who shows miraculous acting instincts that make him a perfect fit for the production. With Atkins shooting the film chronologically, King appears to grow and mature as the story progresses, and his innocence continues to fade. Bosch & Rockit touches on weighty issues, with Rockit experiencing bullying as he grapples with his intellectual shortcomings while wanting to become a better student. Childhood neglect is another of the script's heavy thematic undercurrents, as Bosch is often unprepared to make time for his son, while Rockit's mother does not want to take care of him, leaving Rockit to raise himself (which reflects Atkins's own experiences).


Despite the youthful Rockit at the centre of the story, Bosch & Rockit is not a children's movie. Although the story could be ideal fodder for school studies with its relatable themes, the excessive profanity means this movie earns its MA15+ rating in Australia. However, the swearing does not feel gratuitous; instead, the dialogue feels true to the characters. After all, Australians talk like this in everyday life. Bosch & Rockit is full of humorous banter that features profanity (neither Bosch nor Rockit is shy about using the dreaded c-word) and amusing Aussie slang (including "rockspider" and "grommet"), and the terrific cast gives convincing life to the colourful characters. Luke Hemsworth (brother of Chris and Liam) is enormously convincing as the inadequate and insecure father, while Isabel Lucas makes a fantastic impression as an appealing woman who enters Bosch's life. Another standout is young Savannah La Rain as Ash-Ash. It is easy to understand why Rockit is immediately drawn to her.

Although Atkins and his crew shot Bosch & Rockit during the COVID-19 pandemic, the picture bears no signs of a lockdown-affected production. Australian cinema is not exactly well-known for pleasing aesthetics, but Bosch & Rockit is notable for its slick visual delights that belie the meagre budget. The extraordinary digital cinematography by the experienced Ben Nott (Danger Close: The Battle of Long Tan, Predestination) beautifully captures the NSW North Coast, ensuring nobody will mistake the movie for a cheap television production or soap opera. The attention to period detail is also impressive, with the story taking place at an indeterminate time in the late 1990s before smartphones and tablets. Bosch & Rockit looks incredibly cinematic, and Atkins understands the fundamental filmmaking rule of "show, don't tell" to effectively establish character traits and relationships. Atkins favours mood and atmosphere over intricate plotting, staging vignettes as Rockit navigates his troubled life with its tremendous ups and heartbreaking downs. Luckily, the editing by industry veteran Scott Gray (The Boys Are Back) is smooth and confident, setting and maintaining an agreeable pace that ensures the picture does not devolve into tedium. Shrewd soundtrack choices further elevate the movie, including Dragon's "Are You Old Enough?" and The Living End's "Prisoner of Society," while Brian Cachia's original score perfectly sets the mood.


Admittedly, Bosch & Rockit begins to wear out its welcome in the final act, with Atkins seemingly unsure how to end the story with all of its dramatic baggage, presumably reflecting the reality of his own troubled upbringing. There are other tiny imperfections - such as unconvincing digital flames and banknotes that look too stiff - but the flaws are minor. Wisely, Atkins avoids a conventionally happy ending, even refusing to follow through with a romantic subplot that could have ended in the titular characters living a more regular and stable life. Instead, Bosch & Rockit closes on a satisfying note of optimism, even if the dialogue in the final scene is a tad cheesy. Atkins gets far more right than wrong in Bosch & Rockit, creating a hidden gem of a debut feature that is among the best Australian movies of the decade.

7.9/10