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

I made this film an absolute priority because I knew there was no way I'd avoid spoilers for long. This is one of those event movies. Like The Odyssey, I booked my ticket on the day, but this time it was even worse. The best seats had already gone, entire screenings were greyed out, and when I arrived at the cinema, it was absolutely rammed. This film is going to make all the money.

Before going in, a friend who had already seen it gave it a solid 7/10. Having now watched it myself, I completely understand that score... although I'd probably rate it a little higher. This feels like the beginning of a brand-new Spider-Man trilogy, and more importantly, it feels like a completely different era. If the first three Tom Holland films were Peter Parker growing up, Brand New Day is where adulthood begins.

The tone, style and execution are noticeably more mature and character-driven. That's not a criticism of Jon Watts' trilogy—I loved those films—but watching Homecoming and then Brand New Day back-to-back is like watching the Harry Potter films evolve. The world has grown up, and so has Peter Parker. I really enjoyed this film, and here's why.


The film opens by reminding audiences who Peter Parker is, the sacrifices he's made and everyone he's lost while being Spider-Man. He's still New York's friendly neighbourhood hero, but when the Department of Damage Control comes under attack, Spider-Man teams up with its director to track down the mysterious culprit. The problem? This new threat can influence other people, making them incredibly difficult to stop. Alongside the investigation, Peter is still trying to balance being Spider-Man, being Peter Parker and protecting the people closest to him without putting them in danger.

I do have to admit that my viewing experience wasn't ideal. Cinema etiquette was practically non-existent. People turned up late, shining phone torches down the already clearly lit and labelled steps. Others decided taking photos with the flash on was somehow acceptable. Half a row realised they were sitting in the wrong seats and shuffled around mid-film. Sitting on the aisle probably didn't help either, as I noticed absolutely everything. At one point I genuinely wanted to shout, "Oi! you with the phone, cut it out!" It wasn't constant, but it happened often enough to keep pulling me out of the experience. I even heard a baby crying twice—which honestly bothered me far less than the endless phone screens lighting up the cinema.

As for the film itself, it's top-notch. Maybe it runs a touch long, although that feeling was probably amplified by everything happening around me. There are a handful of nit-picks, but nothing major. I got genuinely emotional a couple of times, especially during one particular fake-out halfway through. I was furious... in the best possible way. That's exactly the reaction Destin wanted.

The story is excellent, but what really stood out was the character work. Tom Holland and Zendaya share some of the strongest scenes the franchise has ever produced. Their conversations feel genuine, mature and earned; you feel the growth and weight of the past being carried by Peter. The MCU also feels wonderfully alive here, with plenty of familiar faces, background cameos and subtle hints about where everything is heading next. Even the post-credit scene teases another intriguing step in Peter's future.

Visually, this film looks fantastic. The cinematography is gorgeous, the score is outstanding and, despite some large-scale action sequences, everything remains clear and easy to follow. You really feel like you are Spider-Man swinging through a real New York City. Everything felt authentic. The fight choreography is excellent, the pacing of the action works brilliantly, and the humour lands throughout. Spider-Man is as witty as ever, but a surprising amount of the comedy comes from Frank Castle. Yes, The Punisher. Oddly enough, his foul-mouthed personality works perfectly alongside Spider-Man's lighter energy.

Performance-wise, everyone delivers. Tom Holland and Zendaya give what I'd easily call their best performances in these roles. You can genuinely see both the actors and their characters maturing. The same goes for Sadie Sink, Michael Mando and Jon Bernthal. The chemistry between everyone feels effortless and believable.

Despite featuring plenty of MCU world-building, this still feels like a relatively intimate Spider-Man story. The film even jokes about itself being "small potatoes" several times, which genuinely made me laugh, but it's also what we want from a Spider-Man movie. Not every film must save the world, you know? But beneath that smaller scale are some fascinating ideas that clearly point towards much bigger things. Without spoiling anything, there's one concept where, in the future could involve either two companies or the company evolving into another company that I can easily see becoming a major storyline or major antagonist moving forward. You'll know exactly what I mean when you see it/catch it.

Although Brand New Day is very different from Homecoming, Far From Home and No Way Home, it probably shares the most DNA with No Way Home—just with a far more mature perspective. The stakes may not be universe-ending this time, but Peter's personal struggles hit much harder because they're grounded and relatable AND we have all seen and felt it. By the end, the film has something surprisingly meaningful to say about carrying the weight of the world on your shoulders and accepting that you don't always have to face it alone.

Go and see this film before someone inevitably spoils it for you.

(trailer review) - Jumanji: Open World

 

 

Have I seen every Jumanji film? Honestly, I'm not even sure anymore. I can't remember which one I watched last. What I do remember is enjoying it. Was it Oscar-worthy? Absolutely not. Was it a lot of fun? Definitely. So, am I surprised they're making another one? Not really. The films keep making money, and this trailer reminds you exactly why. The cast has great chemistry, the humour lands, and the franchise has carved out its own identity with its video game mechanics and playful lore since the original film starring Robin Williams



The trailer wastes no time, opening with mysterious green clouds, zebras stampeding through the streets, and the gang heading to a diner after Danny DeVito's character spots something unbelievable. Sitting inside is Dr. Bravestone himself, and it isn't long before they discover the rest of the playable Jumanji characters are there too. The catch? They're all stuck in demo mode. Cue a little boy claiming he saw a hippopotamus in the alleyway... only for a rhino to smash through the diner. It's exactly the kind of ridiculous chaos you'd expect from this franchise.

Dr. Bravestone says "Let's go," and there is a gag where we see the game characters sprinting with those exaggerated video game animated runs, only for someone to ask, "Why do they run like that?" It's a simple joke, but it works. We also get Dr. Bravestone driving like an absolute lunatic, Karen Gillan's avatar still speaking with a hilariously broad Spanish accent, Kevin Hart's avatar proudly declaring Bravestone the greatest driver in all of Jumanji, and even a Jack Black's Avatar getting killed in the real world before instantly respawning. The trailer leans heavily into its gaming rules, and honestly, that's where these films can be at their best.

So we gather that this time around the story flips the formula, so instead of just people entering the game, the game's characters have crossed into the real world, along with the other inhabitants of the game, along with the animals, while the familiar body-swapping mechanics return again, once everyone ends up back in Jumanji. It's another twist that I am not sure if it keeps the concept from feeling stale, as we have seen it before, but it can have some funny moments.

The final gag sees the mother inhabiting Dr. Bravestone's body, insisting that "violence is never the answer" before immediately discovering just how much fun it is punching people, complete with an Oprah-style, "You get one! You get one!" moment. It's silly, over-the-top, and exactly the kind of humour these films thrive on.

Will this reinvent the wheel? Probably not. It looks like another entertaining adventure packed with laughs, action, and just enough video game madness to entertain me and want to jump back into Jumanji one more time.

(film review) - Supergirl

It took me a while to get around to watching this. I work full-time, my weekends are busy, I'm trying to keep up with TV shows and films for personal enjoyment and for ReelReeviews, and quite frankly, there's just too much to watch. So when you listen to some of the reviews from the critics and YouTubers who see these films before you, and the general consensus is mixed to negative, it's easy to wonder why you'd spend your hard-earned money on them. Between the Guardians of the Galaxy comparisons and complaints about the story, I nearly skipped this altogether. But that's exactly why you should make up your own mind. Because... I actually liked it.
It's far from perfect and certainly not amazing, but I had a genuinely good time with it.

Kara Zor-El, Superman's cousin, had a very different upbringing to Kal-El. She grew up on Krypton before losing her family as a teenager and is eventually sent to Earth with Krypto. While celebrating her birthday off-world, Krypto is poisoned, sending Kara on a race against time to find the antidote before she loses the last living connection to her home. Along the way, she meets a young girl hunting the very same person.

One of the biggest criticisms after the trailer dropped was that it looked too much like Guardians of the Galaxy. Honestly, I think that's a lazy comparison. Yes, James Gunn is running the new DC Universe, and yes, the soundtrack gives off Guardians vibes. Maybe the film could have leaned more on its score than its needle drops, but beyond that, I never felt like I was watching a Marvel film; I did feel like a lot of these aliens were bipedal, human-looking, but why not, I guess.

The story itself is fairly simple, and that's perfectly fine. This isn't another world-ending spectacle. It's a smaller, more personal story about grief, loss and trying to save the last piece of Krypton Kara has left.

The biggest issue is the execution.

Modern comic book films often feel the need to be overly childish to appeal to younger audiences. Constant silly humour and toilet jokes just aren't necessary, and unfortunately, this film falls into that trap a few times. It's a shame because the flying sequences and action are excellent, but some of the characters needed more development, and a few emotional moments don't land quite as well as they should.

Milly Alcock is fantastic and carries the film with ease. Her chemistry with her unlikely companion works really well, and Jason Momoa looks like he was born to play Lobo. He's chaotic, entertaining and leaves you wanting more.

The villain, however, is just... fine. Serviceable, but ultimately forgettable.

Supergirl isn't essential viewing unless you're already invested in DC, or the character itself, but if you've been put off by the reviews, I'd still recommend giving it a chance.

It isn't the disappointment many people have made it out to be, or how it came across to me and I went in with a very low bar. It's simply a good film that had the potential to be a great one.

(trailer review) - Resident Evil

 

When I watched the teaser some months ago, I said that, for this film to work, it needed to stick as closely to the games as possible, making changes only where necessary while keeping the core of what made them so memorable. Do that, and you'll satisfy the fans while still bringing in general audiences if the story is compelling enough. I also admitted that, while I liked the teaser, I wasn't fully convinced. Well... this trailer changed that.
By the time it finished, the first words out of my mouth were, "Yes, this is definitely for me." It might sound like I've done a complete 180, but I haven't. I already liked what I saw—I just wasn't sold. Oddly enough, the moment that finally won me over wasn't a monster reveal or a big action sequence. It was the protagonist frantically searching drawers for shotgun shells. Anyone who's spent time with the Resident Evil games knows that feeling. Running low on ammo while desperately hoping the next cupboard saves your life is practically a gameplay mechanic in itself. It's such a small detail, but it's exactly the kind of authenticity I wanted to see. On top of that, this trailer also gives us a much better idea of the story.

The trailer follows a courier making what should be a routine drop-off. After accepting another job, he accidentally hits someone on a snowy road, only for the body to mysteriously disappear. Looking for help, he takes refuge inside a nearby house, but something immediately feels off. The place is a mess, strange noises echo through the rooms, and after finding a shotgun, he desperately searches for ammunition as someone sprints through the snow towards the house. It's incredibly tense, and the frantic editing really sells the panic.

From there, the trailer ramps things up. We see him wandering through a deserted city, while Paul Walter Hauser explains that whatever happened in the town unfolded in just a matter of hours. Bodies fall from the sky, grotesque creatures begin emerging from impossible places, and the protagonist is left bloodied and fighting to survive. Just as he's about to pull the trigger on whatever's behind/past a door. At the end tag, we're finally told where he's heading. Raccoon City General.

That reveal alone was enough to put a smile on my face. Not that it was of any importance, but Raccoon City and Monsters/Zombies, this is simply another story told from the point of view of a random courier venturing into the city while all hell has broken loose. Plus, doing it this way does not put pressure on the studio and the makers of trying to stick as closely to the storylines within the game; they can play it a little fast and loose.

The teaser nailed the atmosphere, but this trailer finally gave me the confidence that the filmmakers understand what makes Resident Evil work. It feels tense, creepy, unpredictable and, most importantly, like it actually respects the games. If the finished film can maintain this level of tension while delivering on the horror, then this could be something special.

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

 

If I'm honest, I didn't even want to watch this trailer. At this point, I'm seeing this film regardless, and recently I've found myself wanting to avoid as many trailers as possible once I'm already sold. I understand the marketing cycle—a teaser, the main trailer, Trailer 2, then the inevitable final or international trailer—but it's starting to feel like overkill. I felt exactly the same with Dune: Part Three. If you've already got me buying a ticket, why keep showing me more?

That said, this is the final trailer, Peter's Journey, the film is only a week or two away, and... I'm glad I gave in. This is really good.

Rather than trying to sell us on spectacle, the trailer focuses on Peter himself. It opens with him reading a letter as we're taken through his entire journey, from high school and Ned discovering his secret, to Europe with MJ, Mysterio's illusions, Doctor Octopus, the Green Goblin, Sandman, Electro, the Lizard and, of course, Aunt May. It's less of a recap and more of an emotional reminder of everything Peter has sacrificed.

The line that really hits is when Peter explains that the only way to stop the bad things from happening was to make everyone forget him. Watching him walk into MJ's café, choose not to tell her who he is, and simply order a coffee still stings. It's a great reminder that, beneath the suit, Peter Parker has lost almost everything.

From there, the trailer shifts gears. Peter accepts that he's the only one who can carry the truth before launching back into action. We get our first proper look at the new threats, with Tremell Tillman warning that the enemy "can be anyone." Spider-Man squares off against Scorpion, goes toe-to-toe with the Hulk, battles what certainly looks like The Hand, dodges a shuriken in slow motion, and even lands an electrified punch on the Hulk. The action looks fast, creative and exactly what I'd hoped to see.

The trailer ends on a classic Spider-Man note. Ned reveals that his Spider-Man tracker says the hero is nearby, only for Spider-Man to appear behind him and casually reply, "Oh yeah? No way. That's crazy." It's a simple gag, but it's the kind of humour that has always made these films work.

I went into this trailer thinking I didn't need to see another second of this film. I came out even more excited than I already was. Thankfully, the emotional core seems just as important as the action, and if that's true of the finished film, then Peter's next chapter could be something really special.

(film review) - The Oddysey

As some of you may know, Christopher Nolan is one of my favourite directors. Bar two films, I've seen everything he's directed, and I'll get around to those eventually. What I never thought I'd say, though, is that I'd be halfway through a Christopher Nolan film thinking, "Yeah... this one isn't for me."

Don't get me wrong, I really liked 'Oppenheimer', and I enjoyed 'Dunkirk', but neither reached the heights of 'Tenet' for me. I know Tenet divides opinion, but I absolutely loved it. Yes, Nolan maybe pushed audiences a little too hard with that one, but I was completely on board.

This? Halfway through, I genuinely wasn't. Something just wasn't clicking. I couldn't put my finger on what it was, but I remember thinking, "This isn't connecting with me at all."

Then something happened. It's like someone flipped a switch.

By the time the credits rolled, I'd gone from questioning whether this was for me to walking out saying, "That was amazing." Let me explain.


The story opens on a beach, where Elliott Page's character encounters advancing soldiers near the Trojan Horse. Fatally wounded, they manage to utter one final warning—that the horse is a gift. Naturally, the Trojans accept it. From there, Nolan does what Nolan does best, jumping across timelines as we're introduced to Odysseus' home, his family, the aftermath of the war, his legendary bow, and the trials he and his men must endure on their long journey home, all while exploring his defiance of the gods and the consequences of his choices.


I'll be honest—I don't know The Odyssey particularly well. I know bits and pieces, but it's been years since I've revisited the story, and I genuinely wondered whether my lack of familiarity was hurting my enjoyment. Maybe it was that. Maybe it was simply the way the narrative unfolded. Whatever it was, I wasn't invested... until I suddenly was.

By the final act, I was completely hooked. In fact, if one particular moment had gone the way I feared it might, I'd have wanted to flip a table in the cinema. There weren't any tables, thankfully, but the rage would've been real.

I genuinely have no major negatives.

The Cyclops sequence was the first moment that completely floored me. Without venturing into spoiler territory, the design alone was enough to make me feel genuinely uncomfortable. It was unlike any Cyclops I've seen on screen before, and it was honestly terrifying.

Then there are the giants in the forest.

You've seen them in the trailers. You've seen them on the posters. Trust me... you haven't seen them. That entire sequence is astonishing.

But the standout moment of the entire film comes later. It's graphic, brutal, incredibly tense and, in my opinion, the best scene in the entire movie. I was completely captivated. Matt Damon's Odysseus has spent the whole film trying to get home (like other Matt Damon films - trying to get home), and for the first time, I genuinely believed he might not make it.

The remaining trials are all handled brilliantly. Some are visually stronger than others, but every challenge feels distinct, memorable and cinematic.

Performance-wise, everyone turns up.

Regardless of where people stand on Elliott Page personally, their performance here is exceptional. There's one particular scene that absolutely had me invested emotionally and reminded me just how talented they are. The only thing that didn't quite work for me was one brief running sequence at the end of it, which I did not buy, but that's about as nit-picky as I can get.


Matt Damon is excellent throughout, while Anne Hathaway, Himesh Patel, Charlize Theron, Tom Holland, Jon Bernthal and Robert Pattinson all bring their A-game whenever they're on screen. The cast is stacked, and it absolutely delivers.

Ludwig Göransson's score is phenomenal. At this point, the man simply doesn't miss. Every emotional beat lands exactly where it should.

If you've seen Christopher Nolan's work before, you'll know linear storytelling isn't exactly his thing. Even Tenet, arguably one of his more straightforward films structurally, literally plays in reverse. The Odyssey is no different. It jumps around, trusts the audience and never spoon-feeds you.


Visually, though, this might be one of his most breathtaking films yet. The crashing waves at the beginning instantly reminded me of 'Inception', while the forests, landscapes and sequence involving Elliott Page are absolutely stunning. You can also tell just how much of this was achieved practically. Yes, CGI is used where necessary, but Nolan's commitment to doing as much as possible in-camera gives the film a scale and authenticity that's becoming increasingly rare.

The giants alone left me wondering, "How on earth did they pull that off?"

What surprised me most is just how much this film grew on me. I genuinely thought I was watching my least favourite Christopher Nolan film... only for it to completely win me over.

I'm already considering seeing it again.

And if this really is only the beginning of Nolan's take on this world, then I want him to direct every single sequel, spin-off or connected story. Because if history has taught us anything, it's that when Christopher Nolan commits to a world, you're almost guaranteed something ambitious, unforgettable and worth watching.

(trailer review) - The Batman Part 2

 

Let's be honest for a moment. When Robert Pattinson was announced as Batman, the internet lost its mind. Why? Because he was "the guy from Twilight." It had very little to do with his ability as an actor and everything to do with people judging him for starring in a young adult franchise. By that point, Pattinson had already spent years proving himself outside of Twilight. I'd heard about many of those performances, but for me, it was 'The Devil All the Time' and, more importantly, 'Tenet' that really sold me. The former was decent, but I absolutely loved Tenet, and it reminded me that Pattinson has far more range than people often give him credit for.

As always, a vocal section of fans had already decided he wasn't right for the role before seeing a single frame. Then the film released... and suddenly those same people went quiet. Matt Reeves delivered one of the best Batman films in years, Pattinson's performance won over a huge number of sceptics, and almost overnight the conversation shifted from "Why him?" to "When are we getting the sequel?"

Well... here it is.

Calling this a trailer is probably generous. It's more of a production announcement than anything else. There's no story, no supporting characters and no real footage beyond Batman slowly turning towards the camera.

And honestly... that's enough.

We've been waiting for this sequel for what feels like forever, so simply seeing Batman back on screen is enough to get me excited. Sometimes you don't need explosions, villains or a big reveal. Sometimes a slow turn of the cape and cowl is all it takes to remind you why you're looking forward to the next chapter.

(trailer review) - Digger

The first trailer for this film was... unusual. Rather than showing us much of the movie itself, it played like a celebration of Tom Cruise's career, showcasing decades of films and reminding us why he's remained one of Hollywood's biggest stars. Whether you like him personally or not—and I know opinions on him are divided—it's hard to argue with his work ethic. From dramas to action films, the occasional comedy, and those now legendary stunts, Tom Cruise has spent over 40 years throwing absolutely everything into his performances which also includes either riding a motocycle or spinting any chance he gets. If you ever hear him talk about filmmaking, it's obvious he genuinely loves the craft. I honestly can't think of a film where he's simply phoned it in.

Which brings me to Digger.

For years, people have wanted a spin-off centred around Les Grossman, one of Tropic Thunder's most unforgettable characters. If that film is never going to happen, then Digger might just be the next best thing, because this looks completely unhinged—in the best possible way.



After the opening montage, the trailer immediately changes gears. A spade hits the ground, a cowboy boot steps into frame, and we're reminded this comes from Academy Award-winning director Alejandro G. Iñárritu. Visually, it already feels different. We get a slow-motion walk through a corridor into a packed amphitheatre before Tom Cruise delivers the line that sold the trailer for me: "When all else fails, you hit them with the truth. The hard truth." He then punctuates it with exaggerated finger guns, and from that moment on, the trailer descends into glorious chaos.

Warplanes fill the skies, crowds erupt into violence, Cruise stands triumphantly with flames behind him, and, in perhaps the most ridiculous image of all, drops into the splits while holding a spade. It's bizarre, unpredictable, and somehow incredibly funny. Even the tagline—"A comedy of catastrophic proportions"—feels like an understatement.

I still don't entirely know what Digger is about... and honestly, I don't care. Sometimes a trailer just sells you on its energy, and this one absolutely does. If this is the closest we're ever going to get to a Les Grossman-style Tom Cruise comedy again, then sign me up.

(trailer review) - Dune: Part 3

(TEASER TRAILER) 

The previous trailer for this film did absolutely nothing for me. Maybe it was the mood I was in, or maybe it's because I loved the first two films so much that I was already sold. At this point, I don't need convincing—I just want to watch the movie. So, you'd think another trailer wouldn't change my mind. Well... I've done a complete 180. This is the trailer that got me excited. Maybe it's because release day is finally creeping closer, but this looks absolutely phenomenal.

The trailer opens with Paul confronting Chani as she angrily reminds him that she trusted him, and that he swore he'd never seize power in his own name. Their confrontation is intercut with flashes of happier times, brutal battles, and Paul walking away from absolute devastation. It's an emotional opening that immediately sets the tone.

Things only escalate from there. Paul asks, "What do you know about me?" before someone replies, "You have conquered the galaxy. You have destroyed thousands of worlds, and I think you are way beyond redemption." That's a hell of a line. We then get what initially looks like a sparring session before it's revealed to be a fight with someone who looks like Duncan, who claims to have brought Paul a peace proposal that would ultimately destroy him.

Then the trailer just starts showing off. Massive battles, our best look yet at Robert Pattinson's mysterious character Feyd-Rau, the Fremen standing on a beach with crashing waves—a visual I never expected to see in Dune—and the princess, played by Florence Pugh, warning that anyone trying to stop Paul has just signed their own death warrant. Feyd-Rau says, "I've found someone," before Chani slams her fist into the sand and summons a sandworm, all cut together with more breathtaking action. The trailer ends with Paul simply saying, "I'm sorry."

Visually, this looks every bit as spectacular as the previous films, but this trailer also feels far more emotionally charged. It hints at the consequences of Paul's choices, raises plenty of questions, and somehow leaves me wanting even more. Mission accomplished.

(series review) [STREAMING] - X-Men '97: Season 2 - Episode 1, 2 & 3

 

If you read my review of the first season of X-Men '97, you'll know I loved it. It captured everything that made the '90s series special, but with a richer colour palette, stronger voice acting and even more ambitious storytelling. Best of all, it fully respected what came before, continuing storylines from the original five seasons instead of pretending they never happened.

It never spoon-fed the audience or leaned too far into being overly mature or childish. The themes were darker, but it was still every bit as accessible as the original series. Rather than a reboot or retelling, it felt like a genuine continuation—just upgraded.

Now we're two years on, with Beau DeMayo no longer involved. It'll be interesting to see where the storytelling goes, but based on these opening episodes, the series hasn't missed a beat.

Episode 1

Following the events of Season 1, the X-Men have vanished, leaving Bishop and Forge to search for them across time. Forge eventually finds Storm, Wolverine, Morph, Cyclops, Jean and Nathan Summers in the distant future, where Mother Askani leads the fight against Apocalypse. Realising they'll need more allies, Cable joins forces with Psylocke and Archangel to recruit two new members for the battle ahead.

Episode 2

Back in 1997, mutant children flee to the X-Mansion seeking safety, only to be intercepted by X-Factor, the government's mutant task force. Meanwhile, Cable assembles his new X-Force team to hunt one of Apocalypse's Horsemen, War. A meeting with Emma Frost quickly goes sideways, landing them in X-Factor's custody, but Jubilee finds a way to rescue the captured mutants and get them to safety.

Episode 3

In ancient Egypt, Magneto believes En Sabah Nur can still be saved, while Charles insists his future as Apocalypse is inevitable. Magneto attempts to steer him onto a different path, but Rama-Tut's manipulations continue pushing En Sabah Nur towards his destiny. Elsewhere, Beast, Nightcrawler, Rogue and Professor X study future technology in the hope of returning home, only to be accused of working alongside Rama-Tut. As tensions boil over, En Sabah Nur clashes with the X-Men, Bishop joins the fight, and Rama-Tut moves to eliminate them all.

(trailer review) - Shrek 5

 

You know what? I don't actually think I've seen Shrek 4. I definitely watched the first and second movies, and I'm pretty sure I saw Shrek the Third at some point, but Shrek Forever After? I genuinely can not remember watching it. Maybe I saw a trailer and was not interested at the time, or maybe I just thought the franchise had run its course. Whatever the reason, I kind of drifted away from Shrek. But after watching this trailer, I might need to jump back in.

I thought this was genuinely funny. And more importantly, it reminded me of something I had forgotten about these films: how much of the comedy relies on Donkey, or does it? In fact, by the end of this trailer, I found myself wondering if Eddie Murphy has secretly been the star of this franchise the entire time. I do not remember the previous films well enough to say that definitively, but he absolutely steals every moment he's in here.

The trailer opens with a narrator introducing us to an ogre and a donkey, "who once embarked on a magical journey to Further, Further Away. Before the narration can really get going, Donkey interrupts, excitedly talking about going on another adventure with Shrek and the family.

Straight away, the energy feels familiar, and I am immediately reminded of Donkey's song about being "On the road again".

Donkey starts talking about getting himself into shape for the holiday, listing all the areas he needs to work on, before trying to launch into a song. Every time he starts building momentum, Shrek tries to reassure him that what he's thinking isn't actually happening, which only makes the whole exchange funnier.

Then we get one of the trailer's biggest laughs when we see The Gingerbread Man standing between two gingerbread women, proudly shaking his jelly and declaring that he's "caked up like a freaking bakery." I will not lie, I laughed. From there, the trailer kicks into full chaos mode.

Donkey finally gets his wish, and the adventure begins. While travelling through a town, a snowman casually turns towards them and asks, "Wanna date a snowman?" which feels exactly like the kind of random joke these films thrive on, but it's the snowman's voice that is the problem here.

Then the montage starts, and there are flashes of what looks like Princess Fiona flying on a broomstick like Elphaba from Wicked, moments that suggest the gang is being chased by the authorities, Donkey somehow being transformed into a ram, prison scenes, action sequences and, because it's Donkey, a completely random rendition of Roxanne, which is hilarious. 

The whole thing feels silly, energetic and completely aware of how ridiculous it is, but does not seem over the top.

What surprised me most was that the jokes actually landed. Not every animated sequel manages that, especially this many films into a franchise, but this trailer had me laughing more than I expected.

If the film can maintain this energy for its full runtime, then Shrek 5 could end up being a lot more fun than I initially thought.

And if nothing else, Eddie Murphy looks like he's having an absolute blast.

(film review) - Backrooms

I remember watching Cloverfield for the first time and by the end of it asking myself, "What the hell was that?" Not because it was bad. Quite the opposite. I was fascinated by it, but I also had that lingering feeling of, "What exactly did I just watch?" By the time the credits rolled on Backrooms, I found myself having a very similar reaction.
Now, one of the things that intrigued me going into this film was learning that the director is only twenty years old and originally made a name for himself as a visual effects artist. Pair that with A24, a studio that seems incapable of avoiding interesting projects, and I was curious to see what all the fuss was about.
I can safely say I discovered what the fuss was about. Whether I completely understood it is another matter entirely.
I'll be honest: a lot of this film went straight over my head. After watching a few reviews and ending explainers, I realised I'd picked up on some of the themes and ideas being presented, but the deeper CreepyPasta lore and mythology surrounding the Backrooms? Yeah, I was completely lost there.

Backrooms stars Chiwetel Ejiofor as Clark, an architect who now finds himself working in a furniture store. While investigating a lighting issue, he discovers a hidden doorway that leads to a seemingly endless maze of interconnected rooms. After discussing his discovery with his therapist, Mary, she decides to investigate the mysterious space herself, and from there things become increasingly strange, unsettling and difficult to explain.

One thing that immediately stood out to me was how little this film must have cost to make. This genuinely feels like it was made for the price of a bag of fish and chips, a portion of mushy peas and maybe a cup of gravy if the budget stretched that far.
The film mostly revolves around two central characters, with only a handful of supporting roles, and the majority of the story takes place within a single environment. Normally, when films work with those kinds of limitations, they need one of three things: a brilliant script, brilliant performances or brilliant ideas. Backrooms definitely have at least two of those.

The story itself is where things become a little complicated for me. On paper, there is absolutely a narrative. We meet Clark, we learn about his problems, we follow his journey, and eventually we reach a resolution. But this isn't a film interested in traditional storytelling.

It isn't concerned with explaining itself. It isn't interested in answering every question. And that reminded me of Cloverfield, I did not mind that.
Mary's storyline in particular felt underdeveloped to me, or at least they could have added a little more to really flesh out her character. I found myself wanting more from her character and more exploration of what she was going through. However, I also recognise that the film is deliberately designed to leave gaps and allow the audience to fill them in themselves.

The film seems far more interested in exploring ideas surrounding accountability, guilt, trauma and possibly forgiveness than it is in explaining what the Backrooms actually are. And honestly, the film never even attempts to provide those answers.

As a horror film, though, it absolutely succeeds. The cinematography is fantastic. There are moments that genuinely made me uncomfortable despite very little actually happening. Slow camera movements, endless corridors, dark corners, strange sounds and objects that appear slightly distorted or out of place all combine to create an atmosphere that feels consistently unsettling. The Backrooms themselves are often filled with furniture, objects and environments that look familiar at first glance but feel wrong the longer you look at them. That uncanny feeling becomes one of the film's greatest strengths.

The sound design deserves a lot of praise as well. There isn't a huge amount of music throughout the film, but what it lacks in score it more than makes up for with atmosphere. Every creak, hum, distant noise and echo is used to make you feel uneasy. Then there are the performances.

These kinds of films live or die based on the actors carrying the audience through long stretches of uncertainty, and thankfully, the cast is more than up to the task. Chiwetel Ejiofor is superb, as he usually is. He plays Clark with an intensity that constantly keeps you guessing. There were several moments where I wasn't entirely sure whether I trusted him, understood him or even fully believed what he was experiencing.

Alongside him, Renate Reinsve delivers a strong performance as Mary. She spends much of the film attempting to maintain control while clearly carrying unresolved trauma beneath the surface. Watching her navigate the increasingly bizarre situation reminded me at times of the characters in The Descent.

Ultimately, Backrooms is a film that has a lot to say, but it absolutely refuses to spoon-feed its audience. It doesn't explain the rules. It doesn't explain the mythology. It doesn't tell you how or why things exist. They simply do. I did not mind that, but perhaps I needed just that little bit more, but another part of me found it fascinating.

Maybe a sequel will explore more of the lore. Maybe the director intends to build an anthology around the Backrooms mythology. Or maybe the mystery is entirely the point. What I do know is that this is one of those films that sticks with you after the credits roll, especially with what you see. I would definitely watch it again. And who knows? Maybe the second time around, I'll finally understand what on earth I just watched.

(film review) - Masters of the Universe

I grew up on 'He-Man and the Masters of the Universe' cartoon, and when I think of ‘80s cartoons, not many hold the kind of place in my heart that He-Man does. There have been a few attempts over the years to recapture that magic—a good example being the 2011 ThunderCats reboot, which I thought was actually really strong in its anime style, but it never caught on. And then there was the Netflix Masters of the Universe series, directed by Kevin Smith. That was a continuation of the ‘80s show, and for a while, I was completely hooked. It dug deeper into the lore, gave us new angles, but at a certain point, it lost me. I’m not sure if it was all canon or if they were just experimenting, but some of the choices didn’t sit right with me. Still, even when it veered off, it had brilliant ideas, and the animation was top-tier.

So when I saw Travis Knight was directing the new Masters of the Universe movie—this is the guy who gave us 'Bumblebee', which was a breath of fresh air in a Transformers franchise that was losing steam—my interest piqued. Then I saw the pedigree of the film. Knight gave us 'Paranorman' and 'Kubo and the Two Strings', so he’s proven he can handle imaginative worlds with heart. And for me, overall, Masters of the Universe was entertaining—but it left me disappointed as it could have been so much more.

The film follows Prince Adam of Eternia, a young boy sent to Earth after a cosmic event. As he searches for the Sword of Power, he’s eventually found by Teela and brought back home, where Skeletor has left Eternia in ruins. Adam must discover his inner strength, do the right thing, and defeat Skeletor.

Is the movie bad? No. It’s fun, it’s got energy, and I’d absolutely watch it again because I did have a good time. But it’s a film that could have been so much more with a few key improvements—mainly in the dialogue, tone, and execution. The story is fine—it hits all the beats—but the supporting characters, though not the focus, could have been fleshed out a bit more. The acting was a mixed bag—some performances skirting between decent and flat-out weak—and I think a lot of that fell on the direction. The dialogue didn’t always land, and the tone was all over the place. At times, it felt like a throwback to the ‘80s cartoon—made to sell toys—while I know there are films out there that balance being kid-friendly but still sophisticated—like Pixar or Marvel, for example. Here, it felt like they didn’t quite know how to strike that balance.

I’d heard before going in that the humour didn’t always land and that serious moments were undercut by offbeat jokes—there’s a lot of rapid-fire innuendo, and yeah, a few went too far and broke the tone. That said, there was a thin layer of camp that, surprisingly, I didn’t mind. And even though Nicholas Galitzine was solid (despite some of the character choices they went for), and Idris Elba was good, Skeletor stole this movie. I know Jared Leto gets a lot of hate—some of it totally fair after his Joker antics—but as Skeletor, he brought a perfect balance of menace and camp. I think people either do not know or forget he is an Academy Award-winning actor, because he captured that iconic laugh, the sinister charm, and gave the role his own twist. If you love Skeletor from the cartoon, you’re going to love him here—he was, for me, the highlight.

The score is fantastic, the special effects are mostly great, and the action sequences are solid, but where the film really falters is in its tonal execution. It didn’t quite know how to balance a film for adults aimed at kids—or vice versa—like Pixar or even Marvel often manage. And I can’t help but think, maybe Knight had a better cut, and due to studio interference, this is what we got, because with someone who brought us earlier films which are deemed as really good to great by many, what happened here? Everything about the world, the world-building and even how they explained the character names was very well done and it worked, but as a whole, for me, I was simply disappointed because they played it simple and safe. I really hope they do a sequel and, due to the post-credits, open up the world a bit more, but maybe the movie will do well internationally, leading to a sequel where they can learn from what went wrong in this one and improve on it.

(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 an 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.

(film review) [STREAMING] - The Punisher: One Last Kill

So, Disney said it was going to produce one-off shows called Special Presentations—standalone stories separate from the wider MCU. So far, we've had Werewolf by Night and The Guardians of the Galaxy Holiday Special. Strangely enough, Werewolf by Night was really good, and The Guardians of the Galaxy Holiday Special was even better, although that one still connected to the wider MCU. The Punisher: One Last Kill seemingly does and doesn't at the same time, and it's never entirely clear. What is clear, however, is that this should have been a bottle episode within Daredevil: Born Again Season 2, and here's why.

Frank Castle is hiding out in Little Sicily, a neighbourhood tearing itself apart amid a power vacuum. Haunted by his past and battling PTSD, Frank is approached by a grieving woman whose loss forces him to make a choice: continue his war on the criminals responsible or turn his attention to those who genuinely need saving. Revenge and retribution, or vigilante justice?

At around 50 minutes, this is a short, punchy presentation, but it could easily have been another five or ten minutes longer. A little more dialogue and a few references to the Daredevil corner of the MCU—the state of Hell's Kitchen, the Mayor, or even the remaining Defenders—would have gone a long way. I appreciate this is meant to stand alone, but a little cohesion would have elevated it enormously. As a bottle episode within Daredevil: Born Again, and as an appetiser for Spider-Man: Brand New Day, it would have made far more sense.

My biggest issue is how disconnected it feels from the current MCU narrative. That may be intentional, but it mostly functions as an introduction for viewers who never watched The Punisher, Daredevil Season 2, or Frank's appearances in Daredevil: Born Again. Does it take place before Season 1? During Season 2? Somewhere else entirely? It's impossible to tell. While entertaining, it ultimately feels like an excuse to give Frank a solo outing and perhaps explain where he is before Spider-Man: Brand New Day. That's really my only complaint because, for the most part, this is Frank Castle unleashed. Think his prison escape from Daredevil Season 2 stretched to nearly 50 minutes—brutal, relentless, and immensely satisfying.

The story is flimsy, the score does its job, and most of the supporting performances are merely serviceable. Jonathan Bernthal, however, is superb. He brings every ounce of Frank's torment to the screen—the PTSD, the inner conflict, the grief and the hallucinations—all with complete conviction. When the action starts, it's exactly what you'd expect: gritty, savage and uncompromisingly violent.

The problem is that, beyond Bernthal's performance and the action, there isn't much else here. I wanted stronger connections to the wider story and a little more substance. This didn't need to be restricted to a single 50-minute presentation; a three-episode arc would have given the story room to breathe. Instead, it simply ends, offering very little in the way of resolution.

(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.