(trailer review) - How to rob a bank

 

There are trailers that look good, and then there are trailers that look like they were made specifically for me, and Wow. Just wow! If you know me, you know I absolutely live for films like Bullet Train and Deadpool—that perfect, chaotic blend of ultra-slick action, sharp wit, and stylized violence. So when this trailer dropped, I was already all over it. And let me tell you, it does not disappoint.

First of all, I absolutely love Nicholas Hoult. He is front and center. I genuinely think he's one of the most versatile actors working today. One minute he's playing a complete psychopath, the next he's playing someone charming, funny or completely awkward. He seems able to slide into almost any role as he switches gears so effortlessly, and make it work, and from this trailer alone, he looks like he's having an absolute blast and he looks absolutely brilliant here. The thumbnail did actually make me think it was Ed Skrein at first.

​The casting across the board is just hitting all the right notes for me:

​Seeing the black boy from Marvel's The Runaways, Rhenzy Feliz, who many people will more recently recognise from The Penguin, he's one of those actors who always seems to bring a lot of energy whenever he appears on screen and has a very cool demeanor and presence.

Pete Davidson isn't everyone's cup of tea, but he is likely to bring a bit of levity to the group among the chaos. The film looks like it knows exactly when to be serious and exactly when to let the audience laugh, and Pete feels like a big part of that balance.

Then you've got John C. Reilly, who seems to be playing it more straight than comedic with a few comedic notes here and there laced throughout the trailer. I haven't seen Christian in much of anything recently, so seeing Christian Slater genuinely made me smile. Having him back on screen doing his thing is a massive treat. 

Seeing Zoë Kravitz was another great get. She has such a natural screen presence that whenever she turns up in a project, I immediately become more interested. She is great in pretty much everything she has been in from X-Men: First Class to Mad Max Fury Road, to Blink Twice, to The Batman. Absolute bonus. She just adds that extra layer of cool to the whole aesthetic.

The trailer kicks off with a brilliant line that perfectly sets the tone for our digital age: "You know what is more powerful than money? An audience." From there, it hits us with a hilarious breakdown of success rates—comparing the abysmal odds of actually owning your own home or earning a six-figure salary against the surprisingly high success rate of... well, robbing a bank. All of this is delivered by Hoult’s character, casually wearing a mask and talking straight into a camera as they are literally turning bank heists into content for the masses!

We get a glimpse of the crew of four in a van, setting up the ground rules for their next engagement. But when they rush the bank doors, only to politely step aside and let an old lady walk out and a reference to The Golden Girls is mentioned. She doesn't even notice she’s walking past a fully armed heist crew. 

As we see a montage of them hitting banks and recording it all for socials, enter John C. Reilly. His character tells his team: these kids have robbed 15 banks and are making the FBI look like absolute fools.

To level the playing field, the feds enlist a hacker who is currently under house arrest. Their mission? To use a bespoke program she created to track down people who explicitly do not want to be found. What follows is a high-stakes game of cat and mouse, with John C. Reilly hot on their heels until he has a breakthrough. He realises the key to catching them lies in one very specific bank—one that has a major, mysterious tie to the robbers themselves.

The final stretch of the trailer is just pure, unadulterated adrenaline. We’re treated to a barrage of explosions, a flawless dropkick, and intense police chases, but the dialogue remains the star. In the middle of commandeering a getaway vehicle, the driver looks at them in shock and asks, "Is this 'How to Rob a Bank'? I love your show!" Hoult’s crew doesn't even blink: "Thanks for watching!"

The trailer leaves us on a high note with a massive police chase. A cop car smashes into another vehicle, completely flipping it over, prompting one of the robbers to yell out the window: "Dude, you just blew a stop sign!"

Honestly? The comedic timing is impeccable, the action looks incredibly slick, and the premise is brilliant as it also seems to have a lot to say. I cannot wait for this.

(trailer review) - Onslaught

This feels like one of those films that could easily get overlooked. The trailer has a slightly generic setup on paper, there isn’t exactly a huge A-list star front and centre, and I can already see some people dismissing it before giving it a chance. Besides, the name does not help. But honestly? I think this looks really good.

For a good portion of the trailer, I was trying to work out where I recognised the lead actress from. It was bugging me the entire time until her name popped up at the end and it finally clicked. Then I spotted Reginald VelJohnson and thought, "Wait... what?"

But the name that completely caught me off guard was Michael Biehn. Let me catch you up to who this is.

The moment someone in the trailer says they were trying to create the ideal combatant, my brain immediately went to Universal Soldier with Jean Claude Van Damme and Dolph Lungdren. I used to have that recorded off cable TV on VHS and watched it countless times. If memory serves, those soldiers were enhanced more through cybernetics and experimentation than outright robotics like an cyborg, but that's the first thing that came to mind watching the trailer.

The other movie this reminded me of has a guy who was sent back in time to protect a woman from a cyborg because she would eventually give birth to his son, John Connor. Yep, The Terminator.

So seeing his name attached to a film involving engineered super soldiers and or cyborgs/killing machines felt strangely fitting.

The overall vibe gave me a mixture of both those films. It feels more Universal Soldier because of the military backdrop, but there's definitely a little bit of The Terminator DNA in there too. At the same time, it has that slightly rough-around-the-edges B-movie energy that I actually quite enjoy, and considering it's coming from A24, that immediately raises my interest level.

The trailer introduces us to a former soldier who appears to be living a quiet life whilst dealing with the lingering effects of PTSD. She's isolated, keeps to herself and is raising her daughter alone, but things start to unravel when she notices a pattern of military helicopters repeatedly flying over the area where she lives. Convinced something isn't right, she begins digging deeper.

That's when we hear the line, "What you're looking at is the human equivalent of a heat-seeking missile. The perfect soldier." And from there, the trailer kicks into gear.

We get glimpses of a heavily enhanced soldier with pale, almost glowing pupils tearing through people with brutal efficiency. There's a knife attack, gunfire, bodies dropping and the sense that whatever experiment was created has gone very, very wrong.

Then we're introduced to another operative, seemingly brought in to contain the situation and clean up the mess before it becomes public knowledge.

We are then reintroduced to the lead where she's forced into the conflict when the violence starts spilling into her world. From that point onwards, her focus becomes survival and protecting her daughter at all costs.

The story itself doesn't look particularly groundbreaking, but the execution looks strong. The action appears solid, the atmosphere works, and there's enough mystery surrounding these soldiers to keep me interested.

Could it end up being another generic military sci-fi action film? Absolutely. But based on this trailer, I think there's a decent chance it's something better than that. And sometimes, that's all a trailer needs to do. Make you want to find out more.

(film review) - Mortal Kombat II

What’s wild to me is that back in the ‘90s, they actually tried to make a Mortal Kombat movie and at the time… we just accepted it. To be fair, it was definitely better than Street Fighter, but that still didn’t make it good. It was just the best of a bad bunch.

But back then, that was all we had. A bit like those early X-Men films in the 2000s—whether they fully worked or not, fans just had to take what they could get.

Then a few years ago, they rebooted the franchise with Mortal Kombat and while that film was definitely an improvement over the ‘90s version, I still wouldn’t call it amazing because it made some genuinely questionable choices.

This sequel though? Yeah, this is leagues better.

The film pretty much picks up where the last one left off. The tournament is finally here and Raiden needs a new champion pr the Earth Realm will fall. Alongside Sonya Blade, they approach Johnny Cage, an actor who initially brushes the whole thing off after meeting the likes of Liu Kang, Jax and Cole. But once he’s dragged properly into the chaos, Johnny has no choice but to stop acting like a hero and actually become one.

And honestly, I had a blast with this film.

The plot itself is still pretty basic—stop the bad guys from taking over Earthrealm—but the difference this time is that almost everything else has been improved. The action is better, the pacing is better, the characters are more enjoyable and the fight choreography is on another level compared to the previous film. The previous film kind of felt like an action film with fighting where this one feels more like a action martial arts film.

Seeing classic moves from the games finally translated properly onto the screen was a genuine game changer.

The dialogue is still cheesy in places, but I found myself laughing, chuckling and fully enjoying the ridiculousness of it all throughout the film. The movie knows exactly what it is and leans into it.

The addition of Karl Urban as Johnny Cage was honestly perfect casting, especially with how they handled the character. He brings the exact kind of energy the movie needed.

The visual effects are solid too. Not groundbreaking or Avatar-level spectacle, but they absolutely do the job. And there are loads of moments that reminded me of other cult classics and fantasy properties like Big Trouble in Little China, Game of Thrones and even Pennywise at one point.

There’s even a fake movie within the movie called 'Uncaged Fury' and honestly? I’d genuinely watch that. It is all the nonsensical and over the top action from a B-rated (I think it is called B-rated) movie, from the early 80s...almost like Dolemite Is My Name (see my review on that).

Overall, this is just a fun time. Good action, brutal fights, decent humour, solid performances and way more entertaining than the previous film. If you enjoyed the first rebooted movie, you’ll probably have a great time with this.

But if you’re expecting some deep, serious masterpiece… this definitely isn’t that.

(trailer review) - The Odyssey

 

Here is something interesting straight away—I don’t actually think I know this story all that well. It’s been a long time since I properly read up on Greek mythology and while I’ve always found it interesting, this particular story feels fresh to me. That said, when you’ve got Christopher Nolan behind it, you already know it’s going to be elevated into something much bigger, or at least, this is how I feel, and honestly? This trailer looks epic.

It looks grand in scale, finely acted by everyone involved, and shot with that kind of precision that just screams big-screen cinema. I genuinely can’t see this being anything less than awards-worthy. And yes, maybe I’m biased because it’s Nolan, but damn… this looks good.

The trailer opens with Tom Holland floating alone in the ocean on a piece of wood, with the line: “Tell me what you remember.” The response: “A wife, a son, and we won the war.” Straight away, it sets the tone. From there it’s flashes of everything—Anne Hathaway, the Trojan Horse with soldiers emerging from it, armies storming in, Jon Bernthal roaring, and Charlize Theron asking question after question until it lands on: “And then what?” Then Matt Damon delivers the simple but powerful line: “Help me go home.”

From the trailer, it looks like his journey back is where all the chaos unfolds, while back home things seem tense, with Robert Pattinson seemingly wanting Anne Hathaway’s character to choose him while she holds out hope for her husband’s return. There are loads of quick shots of battle, despair and survival, but the standout for me was Odysseus and his men fighting what look like giant soldiers, with one literally being launched into a tree hard enough to snap it.

Then you’ve got Anne Hathaway’s delivery of “That world is gone”—which lands perfectly—followed by the line: “No one can stand between me and home, not even the Gods.” That’s the moment the trailer really locks in and I am fully engaged into the story. We then get soldiers charging across beaches, ships battling brutal waters, a whirlpool sequence, what looks like a giant figure moving through the trees (possibly the Cyclops), burning cities, and that final line: "I think it’s asleep.” Naturally, whatever “it” is… moves.

Everything about this looks huge, intense and classic Nolan. And from what I’ve heard about the Trojan Horse sequence already, that’s apparently one of the most tension-filled moments in the whole thing.

Yeah… this looks incredible.

(trailer review) - Resident Evil

There have been a couple of attempts at making Resident Evil work properly on screen and honestly, I still don’t know why they keep struggling with it.

Because to me, the answer always seemed simple—stick as closely to the games as possible, make changes where necessary for film, but keep the core of what made the games work. That way, you satisfy the fans and you can still bring in general audiences if the story looks compelling enough.

But after watching this teaser… I’m still not fully convinced.

And that’s the strange thing because this comes from Zach Cregger, the director behind Barbarian and Weapons, and those recent horror projects have been genuinely strong. So there’s clearly talent behind this.

The teaser itself is definitely creepy though.

It opens with a man walking through heavy snow towards a house. He knocks on the door, enters, and explains he had trouble on the road and needs to use the telephone. Straight away, the atmosphere feels cold, isolated and uneasy.

From there, the trailer slowly builds tension through quick flashes and fragments.

We see him trying to use the phone, desperately attempting to make a connection while repeatedly saying “hello” into dead silence. Eventually the line connects and he leaves a message for someone he loves, apologising for being disconnected earlier before saying something has happened and there’s a chance they may never speak again.

That entire voice message plays over the chaos unfolding around him.

While he’s speaking, we get flashes of him being chased, searching the house for weapons, hearing creatures screeching somewhere nearby, and trying to grab keys from what looks like a dead body… only for the body to suddenly move.

There’s also a genuinely unsettling shot of him going down into what looks like a sewer tunnel where, sitting deep in the darkness, is this huge human-like figure. Naked, oversized and fully visible with some dark shadows on it.

That image alone feels like something straight out of a nightmare, or at least, almost lifted straight from the original Blade movie with Wesley Snipes.

The teaser keeps escalating from there. Arms burst through an open door reaching for the walls outside, creatures lunge at him as he slams doors shut behind him, an overturned police car sits wrecked as he approaches it, and there are shots of him possibly seeing dead bodies or these creatures for the first time as he discovers them.

There’s a great moment where he’s running through the street, looks upwards, and these creatures suddenly begin falling from rooftops onto cars around him.

The whole teaser is backed by the constant sound of a busy tone from the phone line, which honestly makes everything feel even more tense and hopeless.

And right before the title card appears, he quietly says: “I love you.”

Then the tone continues.

I can’t lie, visually and atmospherically this looks strong. It definitely leans more into horror than action, which is probably the right move. I’m just still not fully sold yet on whether this is finally going to be the adaptation that truly gets Resident Evil right.

But the potential is definitely there especially as I have heard, it is not based on any one computer game story, but a story within that world; that is what might save this, if they do it right!

(trailer review) - Spider-Noir

As off-the-wall as a black-and-white character being dropped into a colourful comic-book world sounds, the first trailer for Spider-Noir, being off-the-wall, somehow makes it work perfectly—and I absolutely loved it.

It’s also Nicolas Cage being… well, Nicolas Cage. And from what people have been saying, this is him in the most “Nick Cage-iest” way possible. Somehow, it completely works for the tone they’re going for. If anything, this trailer feels even stronger than the first.

The trailer opens with Ben Reilly saying: “Every mystery forms a complex web, but pull the right strand, and it’s a straight line to the answer.”

Straight away, it sets that noir detective tone.

There’s an interesting visual during this too, with a crane hook ascending in a way that mirrors Spider-Man hanging upside down. Then we get flashes of cards shuffling, a man with electricity glowing through his face like veins, and Ben Reilly lying on his back looking completely defeated.

The trailer moves quickly between these strange, stylish moments. There’s a cityscape drenched in shadow, a possible villain sitting in anguish, someone holding fire in the palm of their hand, and a nightclub performance that instantly reminded me of the opening of Indiana Jones and the Temple of Doom.

Then the detective story kicks in properly.

A woman walks into Ben Reilly’s office asking for help finding a missing friend, and from there the trailer spirals into chaos. There’s a great slow-motion shot where Spider-Noir gets punched by what looks like a Sandman-style character before falling from a rooftop. But as he falls, something changes. We get flashes of him trying to save someone trapped in a sinking car underwater before he finally fires out a web and swings back into the fight.

Someone tells him: “You’ve been in a hole ever since Ruby died.”

That line alone tells you there’s a lot more pain behind this version of the character.

From there it’s pure madness in the best way possible—Spider-Noir taking out enemies, person engulfed in flames, cars being stopped with brute force, electricity igniting oil in the streets and some genuinely creepy shots of what look like failed experiments and mutated villains.

One shot in particular of a man with multiple eyes on one side of his face biting someone’s arm felt straight out of a horror film but also reminded me of the Spider-Man animated series which had Peter Parker turn unti a "Man-Spider".

Visually, this show looks fantastic too. The black-and-white noir aesthetic mixed with comic-book action gives it a completely different feel from most superhero projects out right now and harkens back to the likes of Sin City. And the swinging shots through the city genuinely look great.

The final joke lands perfectly as well. After getting beaten up repeatedly in various fights, the woman asks Ben what happened to his face and he casually replies: “I walked into a door.”

Classic noir detective energy.

And then the trailer ends by revealing you can watch it in two different ways, including “True-Hue” full colour mode, which honestly feels like such a cool touch for a project like this.

Everything about this looks stylish, weird, dramatic and surprisingly fresh.

(episode review) [STREAMING] - Daredevil: Born Again - Season 2: Episode 6

  

I’ll be honest—sometimes I like to listen to other critics and pundits after I’ve watched an episode, just to get a different perspective. Not because I can’t form my own opinion, but because I’ve started to notice something about myself: if I really like a show, I can overlook flaws a bit too easily. Moments that might not fully land/work, or questions that should be answered, can get brushed aside because I’m enjoying the experience overall. That’s exactly what happened here.

After listening to a discussion about this episode with John and Shannon (for full disclosure), I started to reflect a bit more critically. One thing that stood out is how much I’ve been relying on the show itself to eventually explain certain plot points, character decisions, or transitions—even when it doesn’t fully do that. Characters sometimes disappear for an episode or two and then reappear and the development feels shallow and while I’ve mostly gone along with it, it’s fair to say those connections aren’t always as strong or clearly developed as they could be.

Now, to be fair, not every criticism they had lands for me. I had no real issue with the therapist and Buck, and Jessica Jones’ introduction worked for me too—it was set up with a small line from Karen, and that was enough in my view. But the broader point does stick: this series could benefit from tightening its narrative threads and being a bit more deliberate in how it connects everything together.

When you look at the bigger picture, it makes sense. This was originally planned as an 18-episode run before being reworked. A lot was clearly cut, reshaped, and refocused to better align with what fans wanted. That likely explains why Season 1 felt like a collection of ideas loosely stitched together. Season 2 is definitely stronger—it has clearer direction, better ideas, and more engaging character dynamics—but those connective gaps are still there and it needs tightening.

That said, when the show hits, it really hits. The core characters remain compelling, the dynamics between them are strong, and the action continues to deliver.

Picking up directly from the previous episode, we see Wilson Fisk grieving over Vanessa’s death—a rare moment of vulnerability for him. But this is still Kingpin, and even in grief, he’s thinking ahead. While a funeral is held, Fisk is already making moves regarding the shipment, showing that his empire doesn’t pause for anything.

Jessica Jones enters the story properly here, crossing paths with Daredevil as she looks for payback. This leads to a warehouse fight involving the AVTF, and it’s exactly the kind of gritty, chaotic action you’d expect when those two characters share the screen.

Elsewhere, Daniel is assigned to feed BB false information to test her loyalty, adding another layer of tension and manipulation behind the scenes.

There’s also growing friction between Matt and Karen, particularly after Daredevil saves Bullseye. Their opposing ideologies are starting to clash more openly, which adds some strong emotional weight to their dynamic.

The episode builds towards unrest outside City Hall, with protesters clashing against the AVTF. What starts as a disturbance escalates quickly, culminating in the death of an AVTF officer and Karen being captured by Officer Powell—raising the stakes significantly heading into the next episode.

Overall, I did enjoy this episode. Seeing Krysten Ritter return as Jessica Jones was a highlight and playing a few notes from her theme qas a nice touch, and it’s interesting to see where she is at this point in her life, so it would be nice to tie these threads together. At this point, we know Luke is coming back, so will Danny Rand?, especially when he gave the Ironfist to Corleen Wing. Also, it would be nice to get Elektra and Clare Temple back. But I do find myself wondering where the story goes from here—especially when it comes to Matt’s path going forward and his evolving dynamic with Fisk now that Vanessa is gone. There’s a lot to like here, but also just enough missing to make you pause and think.

(trailer review) - Clayface

 

So at first, I didn’t even realise the trailer had started—it just sort of crept in. But as it went on, I clocked how unsettling it was getting, with these flashes of this guy (who I’m assuming is the main character), and I’m still not even sure “body horror” fully covers it.

It starts very slow—just a bandaged face staring out. Then quick cuts: a blond-haired man, back to the bandages, then him in a crowd, maybe at a premiere. Then it escalates—someone cutting into his face, injections, masks… all very fragmented and uncomfortable.

As it builds, continuing with shots of the bandages, that’s when it gets mad. His face starts melting while he’s looking in the mirror? In ome shot, he’s running through the street in another, and there are these flashes of him screaming—but his mouth isn’t opening properly, his lips are stretching in a way that just looks wrong. At one point he takes off his sunglasses and his eye is basically sealed shut.

And then that moment—he rubs his hand across his face and just… moves or maybe rubs away all of his features. Wild.

Clayface already looks like it’s going to be something completely different for the superhero genre. It leans hard into horror, and not in a safe way either. Considering Clayface is a villain, it’ll be interesting to see how this plays out, especially when Batman eventually comes into it.

But yeah… this looks crazy.

(trailer review) - The Punisher: One Last Kill

 

So, I’m probably still a few months away from doing live trailer reactions while I finish setting up, but for now—let’s talk about this.

If you watched Daredevil Season 2 on Netflix, then you already know one of the absolute standout moments was that rooftop scene between Daredevil and the Punisher. The dialogue, the tension—everything about Frank Castle in that season just worked. Then we got The Punisher Seasons 1 and 2, which only deepened how compelling his character is.

Fast forward to Daredevil: Born Again (which, as I’ve said before, basically feels like Season 4 of the Netflix show), and Frank’s conversation with Matt is a pivotal moment in Matt’s decision-making and inner conflict. So seeing the Punisher show up in the Spider-Man: Brand New Day trailer? That’s something I don’t think any of us realised we needed—but we absolutely did. And this trailer? It completely goes off.

It opens with Frank sitting in a chair, listening to a friend speaking to him. There are flashes of people around him—maybe real, maybe not—which makes it feel like either a flashback or something playing out in his head. Frank looks through a viewfinder, there is a woman screaming, and then a brutal shot of Frank using someone as a human shield, taking a shotgun blast to the chest.

We then cut back to his friend confronting him about his past, intercut with flashes of Frank’s daughter, a gravesite, and a young girl in a diner. Then suddenly, Frank is walking topless, carrying a massive gun—pure Punisher energy.

One standout moment shows liquid seeping under a door. You hear it ignite, and Frank’s legs catch fire. And right there, I knew exactly what was coming—I literally called it—he charges straight through the flames and crashes through the door in classic Frank Castle fashion.

From there, it’s chaos. He’s walking through the streets as everything falls apart. A little girl calls out “Daddy,” while the girl from the diner is being taken away. Frank charges in with a baseball bat. We see him on top of a building fighting multiple men at once—throwing some over the edge, using others as shields, even going up against someone wielding an axe. He’s diving through windows, leaping backwards off buildings while firing, taking people out in diners—it’s relentless. And then the final shot: dressed in black, revealing the iconic skull logo across his chest.

This trailer is incredible.

Story-wise, it could go either way—it might be thin, or it could surprise us. Right now, it’s hard to tell but he is a beloved character and Jon plays him very well. I’m also not sure why it’s called "One Last Kill" so hopefully not a limited series, but like Loki, may end up with a "sequel" if the reaponse is right. We do not know exactly where it sits in the current MCU timeline—if it even does. It could be a standalone story, which seems likely, even though the Daredevil connections are now essentially canon.

It’ll be interesting to see whether this picks up from The Punisher series, Daredevil: Born Again, or somehow ties into Spider-Man: Brand New Day—or if it just exists on its own while still being awesome, hopefully.

Either way, we’ll find out soon enough.

(episode review) [STREAMING] - Daredevil: Born Again - Season 2: Episode 4

 

Episode 4 opens with Benjamin Poindexter moving through a quiet, almost methodical routine—making breakfast, getting in some light exercise, even leaving food out for his landlord’s cat. It’s calm, controlled… and deeply unsettling once you remember who he is. This all leads into the diner sequence teased in the trailer, where he arrives—and, notably, leaves without incident.

That said, the trailer definitely cherry-picked the most intense moments, because the full scene plays out with far more restraint. Once Bullseye exits, the episode shifts focus back to Karen Page and Matt Murdock as they begin interviewing the hostages. It’s here that the legal side of things starts to take shape, with Karen eventually bringing in attorney Kirsten McDuffie to help strengthen their position.

Matt, of course, takes things a step further. His investigation leads him straight to Bullseye, culminating in a brutal and incredibly well-choreographed fight inside Bullseye’s apartment. It’s one of the standout moments of the episode—raw, intense, and very much in line with what fans expect from Daredevil at his best.

What makes it more interesting is Bullseye’s mindset. He genuinely claims to be one of the “good guys,” and as the episode unfolds, it becomes clear that he’s working towards a larger plan. By the end, that plan is set into motion—or at least appears to be—leaving things on a very tense note.

One thing I’ve really come to appreciate about Daredevil: Born Again is how it carries over the grounded tone of the Netflix series while clearly benefiting from a bigger budget and more stylistic confidence. There’s a noticeable flair to it now, and New York feels more alive—almost like a character in its own right. You see everyday people reacting through video clips, sharing opinions, taking sides on vigilantes, Fisk, Daredevil—it all adds texture to the world. There’s even a layer of real-world reflection woven in, reinforcing that “art imitates life” idea.

This episode strikes a strong balance between drama and action, and honestly, it feels closer to what Season 1 of Born Again should have been from the start. That said, looking back, you can see what they were aiming for—and with how this episode ends, the title feels very fitting: All Gloves Are Off.

If I had one criticism, it’s that some of the plot points feel a bit too telegraphed. You can see certain developments coming from a mile away, which takes away a bit of the tension. It doesn’t ruin the experience, but it does hold it back slightly from being truly unpredictable.

Still, this is a strong episode—and a clear sign that the series is finding its footing.

(trailer review) - Daredevil: Born Again - Season 2

 

I’ve been locked into this show.

If you’ve been following my blog—or just following me in general—you’ll already know how much I rate the original Daredevil series on Netflix, and honestly, the wider Defenders “saga” as a whole. Not every show hit the same level, but that’s expected. Daredevil came out the gate strong, and while Season 2 is a bit divisive (despite introducing The Punisher), Season 3 brought things right back with Bullseye—who, if we’re being real, is one of Daredevil’s best antagonists. A man with perfect aim versus a man who can’t see? It just works.

Now, Daredevil: Born Again feels like it’s really finding its footing. The build-up has been strong, and this Season 2 trailer is proof of that. The release strategy has helped too—dropping Episode 1 on its own, then Episodes 2 and 3 back-to-back as a companion piece worked really well. But this trailer? It takes things up another level. It leans heavily into Bullseye’s chaos, his precision, and just how unhinged he really is—and with Jessica Jones now entering the mix, I genuinely can’t wait for what’s coming next.

The trailer opens with Benjamin Poindexter casually walking into a diner and ordering a banana milkshake. It’s quiet, controlled… until it isn’t. The AVTF suddenly storm in, and when one officer clocks who he’s dealing with, there’s a brilliant dolly zoom moment (one of my favourite shots) as the realisation hits—this is Bullseye. What follows is quick, brutal, and efficient. He takes them all out without hesitation, then calmly walks out, leaving behind his signature mark on the diner doors.

From there, the scale widens. We see Daredevil standing on the Brooklyn Bridge as unrest brews across the city. There are shots of Matt Murdock and Karen Page leaving what looks like a courthouse, while public opinion seems increasingly divided—some people even appearing to support Daredevil, masks in hand and on their heads. 

There are quieter character moments too—Matt and Karen sitting down together, Vanessa framed in a cold, blue-lit shot holding a gun, and Bullseye stepping out of a mansion with that unsettling smile. Matt is also seen entering a courtroom, reinforcing that constant duality between his legal life and his vigilante role.

Then the tone shifts again. The music builds, cuts—and we hear Jessica Jones: “They showed up at my house… with my daughter there.” Matt asks, “You hurt?” Her response: “I’m pissed.” From that point, it’s chaos. Jessica is tearing through AVTF agents in a warehouse, throwing one across the room and smashing through another. We get rapid cuts—Bullseye launching projectiles with deadly precision, Wilson Fisk in the middle of a brutal fight (possibly against Bullseye, though it’s hard to say for sure), Karen behind bars, and what looks like a large-scale conflict involving figures dressed in red—whether that’s The Hand or something else entirely remains unclear.

There are flashes of what seems to be the classic hallway-style fight, Daredevil taking on multiple AVTF agents, and a moment where two officers rip off his mask—seemingly exposing Matt Murdock.

The trailer closes in a frenzy of quick cuts: the psychiatrist, Bullseye throwing daggers, Karen fighting back, explosions, and Fisk looking very pleased with himself.

Then we get the final exchange. "It’s going to be a bloodbath,” Daredevil says. Jessica responds: “Then this should be tons of fun.” And honestly? That pretty much sums it up.

This trailer is intense, focused, and full of promise. If the series delivers on even half of what’s shown here, we’re in for something special.

(episode review) [STREAMING] - Daredevil: Born Again - Season 2: Episode 1

 

We’ve come a long way to get here.

From the fan campaigns and constant push to bring Charlie Cox and Vincent D’Onofrio back as Matt Murdock and Wilson Fisk, to finally seeing them fully re-established in this world—it’s been a journey. While Born Again Season 1 felt like a bit of a mish-mash at times—visually, structurally, and in its overall flow—this first episode of Season 2 feels like a real course correction. In fact, by the end of the episode, I was so caught off guard that I actually shouted out loud. That rarely happens.

Usually, before a new season drops, I like to go back and rewatch the previous one. Sure, you can get a 20-minute recap on YouTube, but there’s something about revisiting the world and characters properly that hits differently. I didn’t have time to do that here, but thankfully, the episode does a great job of grounding you. Visually and sonically, it feels familiar—carrying over elements from Season 1, which itself echoed the Netflix era—but everything feels more refined, more confident. It’s an upgrade.

The episode opens with Daredevil infiltrating a ship, taking out guards in a sequence that gave me real Captain America: The Winter Soldier vibes. It’s slick, controlled, and intense. But things escalate quickly—once the captain realises what’s happening, he sinks the ship.

That single act sets off a chain reaction.

We soon learn that the sinking has created a major situation, prompting Wilson Fisk to bring in Mr. Charles to handle the fallout while he personally hunts down both the captain and his first mate. At the same time, Fisk spins the narrative—placing the blame squarely on Daredevil and Karen Page.

Meanwhile, Matt and Karen are trying to track down those same individuals to secure their testimonies and clear their names. But with both of them now labelled as terrorists—and the Anti-Vigilante Task Force actively rounding up heroes and vigilantes—the pressure is mounting. Matt, in particular, is feeling it. You can see the strain as he tries to protect the people around him while everything closes in.

What really stood out in this episode is how much it leans into what worked best before. The storytelling feels tighter, and the visual language is much closer to the tone fans loved from the Netflix series—just elevated with a bigger budget. You can see where that extra investment is going.

There are some really nice creative touches here too. One of my favourites—returning from Season 1—is the use of a dolly zoom when Matt sharpens his senses to focus in on specific sounds. In this episode, it’s used again to great effect, and paired with subtle aspect ratio changes, it creates a genuinely striking moment.

The fight sequences are another highlight—visceral, cleanly shot, and easy to follow. You’re never lost in the action, which makes every hit feel that much more impactful.

Another improvement is how the show is handling its supporting cast. Characters like BB and the psychiatrist are getting more focus, helping to flesh out the world beyond just Matt and Fisk. It gives the story more depth—and if anything, it raises the stakes. Expanding the spotlight like this often means not everyone is making it out alive.

If this first episode is anything to go by, Season 2 is already on much stronger footing—and I’m very interested to see where it goes next.

(trailer review) - Spider-Man: Brand New Day

 

People can be funny. It is like they know what they want, but at the same time, do they know what they need? There has been all this talk about this new Spider-Man movie having too many characters (usually villains), and in this trailer, we see perhaps 3–5 antagonists. But this has happened before and we have not had an issue, so why now? A lot of it comes down to execution, if I am honest. In the past, Sony messed it up every single time by trying to do too much. But with the help of Marvel and the MCU, you can do a lot and still make it work if you have great writing, story, and pacing. Spider-Man has a huge rogues’ gallery, and even in the cartoons, you would often see multiple enemies in a single episode. It was not always just Green Goblin, Venom, or Doctor Octopus—there were many. This trailer, or at least the MCU’s approach, seems to embrace that. Having now seen it, are people still complaining? I have not seen anything to suggest that, and honestly, how could you? This trailer looks absolutely spectacular.

The trailer starts with Peter hanging upside down, similar to Miles Morales and Spider-Gwen in Into the Spider-Verse, watching MJ and Ned celebrate getting into MIT. Downtrodden and missing his friends, Peter pulls down his mask and drops off the side of a building. We get a great shot of his face under the mask, blinking and breathing, before he starts rehearsing what he will say—how he is Peter Parker and, because of everything that happened, they do not remember him. We then see quick moments: Peter spotting Ned in what looks like a coffee shop, sitting alone washing his suit, and Spider-Man receiving the keys to the city. From there, things escalate. Peter runs across a rooftop, pulling down his mask to fight crime, only to be thrown into a car by an explosion and then hit by a van. That is where we see the Punisher, leading to a brief clash before Spider-Man stops him. There is also a party scene where MJ is talking to another guy while Peter watches from a distance. Then Peter, clearly unwell, asks, "What is happening to me?" before collapsing and waking up trapped in webbing. Peter seeks out Bruce Banner, who warns that DNA mutation could be dangerous. Keith David’s narration follows, explaining that spiders have three life cycles, with vulnerable stages in between. As this plays out, we see Spider-Man undergoing scans, becoming ultra-sensitive to sound, losing focus during normal tasks, and visiting Aunt May’s grave. There are more explosions and a mysterious moment hinting at some form of mind control. We also see Scorpion in action, more of the Punisher, and a brief moment between Spider-Man and MJ. As the score builds, the trailer delivers an incredible montage: Spider-Man trying to stop an armoured truck and getting slammed into a bus, swinging with a civilian in his arm, dodging Boomerang’s attacks, avoiding Tarantula on a boat, and even what looks like a fight against the Hand. The trailer ends on a lighter note with a funny moment between Ned, MJ, and Peter. For a teaser, it gives us a strong sense of direction, hinting at a fresh story that could involve mutation and the Man-Spider. It is dark and brooding in places, but still full of colour and humour. This genuinely feels like the start of a great new trilogy.

(trailer review) - Dune: Part 3

 

How incredible does this look? I watched this trailer twice… well, I got near to the end, rewound a bit to catch something, and then watched it through again—because I said to myself, “Why does that face look familiar? Who is that? Wait a minute… isn’t that Robert? Wait, that is Robert Pattinson! I didn’t know (or likely forgot) he was in this!” Although this franchise has already delivered two great films (and a TV show I haven’t watched), and I’m aware there’s much more to the story, the storytelling and directing from Denis Villeneuve is doing its best to carry the weight of everything that comes after to "conclude" the story. That’s based on what I’ve learned—not read—but even so, while I was intrigued by the trailer and excited by that reveal, it didn’t quite land for me. The franchise is starting to feel a little long in the tooth. It’s like I already know what to expect at this point: great music and score, great acting, great storytelling, and bold, immersive cinematography and visuals that feel completely real. But aside from introducing new characters, what is this trailer really giving us beyond being a teaser? Maybe I just want more than a teaser trailer—which is probably a testament to how excited I am for the franchise.

The trailer opens with Chani in the arms of Paul as they discuss their pregnancy and potential names for the baby—Leto, if it’s a boy, is a nice tribute to Paul’s father. There’s some imagery that might suggest Leto’s ring in a scene, followed shortly by a group being led by Paul as he says, “War feeds on itself.” We then see images of battle: a tower firing on attackers, preceded by shots of bodies on the ground—charred, or perhaps frozen and stiffened in some kind of solidified liquid. The next shot shows a long, diamond-shaped ship flying into space toward a massive structure, giving a real sense of scale. Over this, Paul speaks to his mother, asking for advice—a moment that’s echoed later when he wonders what his father would have done, admitting that the more he fights, the more his enemies rise against him. We get a glimpse of Robert Patinson as Feyd-Rau followed by two groups of men facing off—one possibly led by Stilgar. Then comes the line from his mother: “Your father never started a war.” More stunning shots of large-scale battles follow, along with a brief look at Anya Taylor-Joy as Alia and the unexpected return of Duncan Idaho, training or fighting with Paul. Princess Irulan appears, walking with clear determination—likely driven by vengeance. Feyd-Rautha is seen again among what looks like the Fremen, and there’s a brilliant shot of Chani, ready for battle with a fierce, warrior-like expression. But the standout moment is Paul ascending the steps before addressing thousands upon thousands of followers. The scale is immense, and as he declares, “I am not afraid to die, but I must not die… yet,” it just feels epic—simply epic. I think I’m most excited to return to this world and be immersed in its lore again. While this is only a teaser trailer, I need a bit more substance to fully enjoy it. Maybe I’m asking for too much—I just need to be patient and wait. The music is already playing in my head.

(trailer review) - House of The Dragon: Season 3

Sometimes I watch a trailer and, when I’ve finished, I don’t know what to say or where to start. Sometimes this is due to excitement or boredom, but on this occasion — and specifically with House of the Dragon — I am excited and intrigued. Although the seasons feel very short (season one had 10 episodes, season two had 8, and now this season also has 8), I’m pretty sure a lot of us just want more and more and MORE. How long will this series go on for? I’m pretty sure none of us care because the show is THAT good. I suspect it’s a budget issue more than anything, but we lovers of this world need the politics and the deaths, the chance to side with those we gravitate towards and curse those we hate for being little sh*ts. And that final shot of Rhaenyra Targaryen spoke volumes… somebody is going to get hurt real bad.

The trailer starts with Aemond Targaryen sitting on the Iron Throne. His mother, Alicent Hightower, walks in and he asks about Rhaenyra’s whereabouts. Rhaenyra tells her council that Alicent was at Dragonstone and that she will allow them into King’s Landing so Alicent can surrender. However, Rhaenyra’s eldest son warns her that Alicent is not to be trusted, believing it to be a trap. The king has abdicated the throne, followed by shots of dragons and armies, a dragon burning men, and Daemon Targaryen saying, “You are the Queen of Dragons,” as he plunges his sword downward. Corlys Velaryon is shown aboard his ship in battle, and then we see various clashes until Alicent tells Aemond, “Sooner or later, Rhaenyra will send her new dragons here. It will be the end.” There is an incredible shot of a dragon swooping low over the sea during a naval battle, a dragon rider screaming “Dracarys!” I believe we see the King’s Hand — or possibly the head of the Kingsguard — killing someone on the battlefield, Corlys looking back in horror, Daemon screaming, someone diving into the sea, and a lot of flame. Lastly, Daemon says to Rhaenyra, “This is the moment you become queen,” while her face shifts from pain and grief to absolute anger and determination. If I were to award any actor for their performance, Emma D'Arcy would take the win on micro-acting alone. June is a long wait.

(film review) - Send Help

So I am going to admit this first before I get into it: I did not plan to watch this movie. I had seen the trailer, and I do not mind a Sam Raimi movie, but I can do without and wait, you know? Kind of like an M. Night movie. I am definitely not saying Sam is hit and miss like most will say (or argue) M. Night is, but I feel like I have to be in a Sam Raimi mood for his dark and quirky humour. Even though I was not aiming to watch this and I was not really geared up for this movie, I had a very good time with it because Sam brought that Drag Me to Hell energy to this, and it is some truly twisted fun. I’ll explain.

Linda (Rachel McAdams) has been working for the company for several years, CEO has passed away, and his son has stepped in to run the company. Repulsed by her but willing to give her a chance, he invites her on a trip to finalise a merger, but during the trip, their plane crashes en route and the pair are stranded on an island. Whilst on the island, they fight for survival.

When I watched Marvel’s Doctor Strange in the Multiverse of Madness, there were elements in that movie that were horror-esque and I had mentioned this in my review. Sam loves squirting blood and using grotesque imagery that makes you squirm or cover your eyes but still peek through your fingers while laughing. Sam Raimi is like Tim Burton, only with added flourishes of comedy and horror. His films may not be for everybody, but they do have a uniqueness to them.

In typical Sam Raimi fashion, there were a few jump scares, but the puppetry and imagery have that cartoonish quality—borderline comic-book style but also horrific. A tiny example (and slight spoiler): there is a jump-scare moment and immediately after, a look to the camera. Absolutely cartoony, but if you know how Sam Raimi directs, it is bound to give you a laugh. Needless to say, the cinematography, imagery, and setting are excellent. At the beginning, there were some nonsensical close-ups, but accompanied by the music, everything simply gels together well.

The acting: I recognise the man from something, but I cannot quite pinpoint where just yet. Rachel McAdams, however, is astounding in this. I have seen her in other roles, but I felt she truly brought it here with a varied performance. The quiet moments, the crazy moments, the anger, and the tears—she brought it all to the screen and, for me, stood out and carried the entire movie on her back. The guy is somewhat one-dimensional: funny in moments, but his character is not necessarily someone you are supposed to like. Dylan O'Brien of Maze Runner fame is who he is.

All in all, this movie is great to watch by yourself or with your significant other. I can only assume that during the movie you may need to re-evaluate yourself or your place in the relationship, because I definitely wondered who I would be in a “stranded on a desert island” scenario. Enjoy.

(trailer review) - Spider-Noir

 

I’d certainly be lying if I didn’t say first and foremost that THIS LOOKS INCREDIBLE! Now, I know absolutely nothing about Spider-Noir other than that it is a “Noir” take on the Spider-Man character, which started out in the comics and was introduced to us in Spider-Man: Into the Spider-Verse. Noir is a genre and style of storytelling that involves detectives and crime and is usually categorised by a specific time period between the 1940s and 1950s, also known as the “classic period.” Noir-style products are usually a little moody in tone. But this trailer gives us moodiness, the noir feel, along with absolutely crazy dynamics and scenes that will make this film stand head and shoulders above every single Spider-Man movie that has come before it — and so it should, because it is different. But this is different different and just looks incredible. Comic-booky, a little like Sin City (and I don’t mean because of the colour palette), but Nicolas Cage doing his best Nicolas Cage as Ben Reilly (maybe just being Nicolas Cage) seems like it all fits together as a harmonised smoothie.

So, the trailer starts off with Ben Reilly walking and a lady saying, “Tell me why,” with him replying, “You already know how it ends.” He then proceeds to tell her about his behaviour and how he manages to suppress it most of the time. This leads to quick shots of someone walking down an alleyway, a shot of his detective office, and when another guy says, “What’s going on, Ben?” there are loads of rapid cuts until the moment we see him explain that he beat up some people and got plastered — showing a fight scene, a shot of him drinking, and someone falling from a skyscraper. There are lots of quick, wild and crazy scenes, and one of the best lines of the trailer: "What are you thinking about over there?”, "I am having an existential crisis, if I’m honest.” Then there are loads more scenes with people falling (I presume to their deaths), someone with electric hands, and one of the final shots shows him swinging through the city, which looks amazing. The 27th of May cannot come quickly enough.

(trailer review) - Michael

 

It has been a busy time for me, so trying to keep up with the trailers and my reviews has been a bit challenging. However, while the first trailer was not that long ago (November), and we are now in February, not only is this film coming out soon (April), this actual trailer shows us more of what the film is about, and this film is going to make millions. With the first trailer, I had to watch it a few times because the first time I watched it, the thought that came to my mind once it was all done was, "That's creepy," and this trailer is no different, if anything, it doublesdown on it because Jafaar looks, THAT GOOD. With that said, I have bought into the makeup, and the performance is impeccable. With what Antoine has done with the cinematography, this IS Michael Jackson, from the Jackson 5 to Michael in the '80s and in his prime.

The trailer starts off with a packed stadium and Michael Jackson pumping himself up to perform in front of his fans. We see flashes of Michael in the studio and Michael walking towards the stage whilst saying, "You're confident," "You're strong." Fans are fainting and being taken away from crowds at concerts by security. Hundreds of people are cheering and holding up signs, and just before we get the Universal logo, there is a shot of the Moonwalk and then Michael's "whoa." Michael's dad starts speaking to Michael and the rest of his siblings at dinner, telling the kids there are only winners and losers in this wolrd and if they want to work in a steel mill for the rest of their lives or do something about it and fight for it. With shots of Michael with one glove on and sequined jackets, Michael says, "You know what I'm after?," and Miles Teller says, "You want to be the biggest star in the world," whilst Joe Jackson states he wants to capitalize on Michael and that the Jackson family is the brand, like Coca-Cola, and he is planning an international tour. There is a moment where Michael says he needs to think, and Joe Jackson's response is, "I told you what to think." Michael says he loves his family but wants to do his own thing because he has all these ideas he wants to get out. And with a small moment of Michael's mum, played by Nia Long, saying she always thought Michael was special, we have lots of different shots from different moments: Michael dancing on stage, Michael dancing for the "Billie Jean" video whilst "Billie Jean" is playing, the famous black and silver striped sequin trousers, Michael being carried off on a stretcher from when he had an accident on set (I'm assuming), a shot of the "Thriller" video, and more shots of the Moonwalk, the Michael Jackson spin, and... this... is... Michael. This trailer is an excellent showcase of what this film is about, what it intends to cover, and it definitely captures who Michael was as a performer and how he was loved and how he wanted to change the world through music.

The only thing artistically and creatively I would have done in the trailer is to show a collection of Moonwalks from a set view and cut it with every stride so that while everything is changing around him—the various different stages and outfits—the Moonwalk is consistent. But other than that, for visuals, this trailer is amazing and kind of shows that there was, there is, and most likely, would never be anyone like Michael ever again.

(episode review) - Wonder Man - Episode 3 & 4

 

This is a very difficult show to review without giving away spoilers because the story is simple yet very effective. Each episode continues from the last episode, and there is an obvious story arc, and every episode has something happen which reveals a bit more of what is going on and how it affects the characters, but one thing I will say, episode 4 is the most Donald Glover's Atlanta series episode I have ever seen Marvel do, and it is great!

Episode 3

The third episode starts with a flashback of Simon being checked over by a doctor due to an accident which happened at home. At present, the DODC are trying to meet quotas, and the agent we have seen before wants more/better evidence of Simon and his abilities to finally arrest him and suggests that Trevor find his way to Simon's family's house and gather information only to learn more and more about Simon as a person.

Episode 4

In the last episode, Simon mentions DeMarr "Doorman" Davies, and should anyone find out about his abilities, he will not be able to act; however, this episode centres entirely on DeMarr and leads to why Simon would not ever be able to act again should Hollywood find out that Simon Williams has special abilities. Without going into too much, a shady company operating in the background in the entirety of the MCU (it would seem) is the reason behind it all, with that said, although that is a very minor thing, the episode addresses what happens to an actor who suddenly gets famous, the trajectory and all the, fame, fortune and heights an actor can sour to as well as the repercussions.

(episode review) - Wonder Man - Episode 1 & 2

I never knew anything about Wonder Man before this show came out. I initially thought, Wonder Woman, now a Wonder Man, I wonder if he has a 'W' on his chest, and he does. I only knew he had powers and that he is or used to be an actor; other than that, nothing. So, seeing the trailer did not do much to help me understand the character, and I was intrigued as to how it would all go. But as soon as it started and the first 10 mins went by, I thought to myself, I might actually like this.

Episode 1

So, we are introduced to Simon Williams as a boy watching a movie called 'Wonder Man' with (we assume) his father. We jump to the present day, and Simon is making notes for his role in a show, only to later find out that a top Hollywood Director wants to do a movie Simon loves, and auditions are taking place that day. Simon does everything he can to make it to the audition, hoping to get the part and meets another actor who becomes his acting partner there. In a nutshell, that is the first episode. There are some funny bits, hints of Simon having abilities, as well as showing us the type of person he is when it comes to acting. The episode is layered.

Episode 2

The second episode starts with a flashback, which catches us up to a specific character, so we have an understanding of where we are in the MCU. Simon and his acting partner meet up, but Simon has been tasked with getting an audition in, but is having trouble trying to find somewhere to focus and record his audition tape, which leads to Simon going to the home of a famous actor. But when things do not work out, leading them both back to Simon's place, his acting partner discovers evidence of Simon's secret. Another layer episode with humorous parts, but the show is not a comedy. The show gives great insight into being an actor in L.A, the types of characters you meet and the things you have to do. This episode, on top of the first episode, gives us more insight into who Simon is and his pressures, his control, and his dreams.