Peaky Blinders: The Immortal Man star talks reuniting with a "very different" Cillian Murphy
Peaky Blinders: The Immortal Man star Jay Lycurgo has reflected on reuniting with Cillian Murphy on "very different" terms, following their earlier collaboration on indie film Steve. The 28-year-old actor, also known for Netflix's The Bastard Son & The Devil Himself and Channel 4's Generation Z, spoke to Radio Times at Newport Beach Film Festival this week. Lycurgo was named one of the festival's breakout artists, following a celebrated turn in Netflix original Steve, where he played a troubled student to Murphy's embattled school headteacher. The title character couldn't be farther from Peaky Blinders antihero Tommy Shelby – which is a testament to the impressive range of Academy Award winner Murphy – as Lycurgo shared on the festival's red carpet. View Green Video on the source website "Steve as a character was very lost and fragile," he explained. "I feel like, me and him, we were on our own different processes and that is a whole different thing." Contrasting with The Immortal Man, Lycurgo continued: "But Tommy Shelby... he's so cool! When I saw Cillian in the suit for the first time, I was like, 'Oh, I get it now! I get why it's so iconic'." Peaky Blinders: The Immortal Man picks up after the events of the BBC drama, with Tommy navigating the hardships of life in Britain during World War II. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/02/jay-lycurgo-peaky-blinders-immortal-man-920fa18.jpg" width="5000" height="3333" alt="Jay Lycurgo stars in Peaky Blinders: The Immortal Man. His smartly dressed 1940s-era character is standing in the middle of the pub with his arms out. Customers cower beneath the bar in the background, implying a dangerous incident is underway." title="jay-lycurgo-peaky-blinders-immortal-man" /> The hotly anticipated release will get a two-week run in cinemas from Friday 6 March 2026, before landing on Netflix that same month. In addition to Lycurgo, it adds Rebecca Ferguson (Silo, Dune), Tim Roth (She-Hulk: Attorney at Law, Tin Star) and Barry Keoghan (Saltburn, The Beatles) to the world of Peaky Blinders. Meanwhile, original series stars Sophie Rundle (After the Flood), Stephen Graham (Adolescence), Ned Dennehy (Outlander) and Packy Lee (Blue Lights) will reprise their roles. The synopsis, courtesy of Netflix, reads: "Tommy Shelby is driven back from a self-imposed exile to face his most destructive reckoning yet. "With the future of the family and the country at stake, Tommy must face his own demons, and choose whether to confront his legacy, or burn it to the ground." Peaky Blinders: The Immortal Man is coming to cinemas and Netflix in March. Sign up for Netflix from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add Peaky Blinders to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more.
The BAFTAs are too conventional – and Urchin's snub is the perfect illustration
Time to breathe new life into the BAFTAs.
What separates the BAFTAs and the Academy Awards? Apart from the time in which they take place and the somewhat bumbling delivery of the former, they are frustratingly difficult to differentiate from one another. Indeed, each of the five 2026 nominations for the BAFTA best film award can be found in the Oscars’ best picture race – and this has been the case for the last 10 years (excluding I, Daniel Blake in 2017 and The Mauritanian in 2020). Sure, there are exclusive British categories – such as outstanding British film and British short film – but these often feel sidelined for the glamorous headline-grabbing awards that are littered with Hollywood icons (with a peppering of surprising British nods if you’re lucky). Instead, what BAFTA seemingly prefers is to squirrel away its bold artistic acknowledgements to one table signposted ‘outstanding debut by a British writer, director or producer’. But, even then, the finest artistic endeavours of the previous year shouldn’t expect a seat. Case in point — Harris Dickinson’s staggering directorial debut feature, Urchin. Snatching the tools from the playbook of BAFTA darling Ken Loach and infused with a smattering of Andrea Arnold’s poetic introspection, Urchin is an urgent and compassionate examination of a lost soul, let down by ever-deteriorating state support. Mike (Frank Dillane) is the dynamo at the centre of Dickinson’s modern fable, a young homeless man who finds himself in prison early on in the story before spending the rest of the film constantly trying to atone for his wrongdoings. A sensitive and intelligent individual, Mike’s chances of triumph seem hopeful at first, finding a job at a shabby but popular hotel, with the support of rehabilitation services who help to put him up in accommodation. Yet, underfunded state assistance is only so generous, making any chance of true prosperity for Mike a near-impossibility. Clearly traumatised by a troubled upbringing, he struggles to make something of himself without falling into familiar pitfalls. On the precipice of self-actualisation, Mike merely needs the support to facilitate flight, but rigid governmental structures and his own self-destructive capriciousness lead him to tragedy. It’s a stark and deeply authentic depiction of a man on society's fringes, pleading to be let back in, with Dillane’s mesmerising lead performance conjuring much of the film’s tender, frantic energy. A deeply contemplative soul with a child-like skittish vigour, Mike magnetises sympathy, no matter how many self-sabotaging moves he makes. Dillane’s physical performance is certainly a reason for this, with every skeletal shift and mini solo boogie in his apartment releasing an ache of repressed emotion. But, he’s also a fantastically well-realised character, brought to life by Dickinson’s meticulously layered screenplay that doesn’t reduce the character down to bored tropes. Wishing not to define Mike by his homeless situation, Dickinson wanted to humanise his protagonist who merely wants to find some morsel of inner peace and security. Having worked at the volunteer-led charity Under One Sky before making the film, the director told Radio Times last year that the project came from his "own sort of proximity to people that were dealing with cyclical behaviour – rather than just addiction and homelessness". "It was a lot about trauma for me and how we navigate things when we've been through something quite extreme." Aiming to explore "someone [who is a] similar age to me, kind of battling against themselves and testing the audience's level of tolerance for someone who's making difficult decisions and isn't always likeable", Dickinson purposefully asserted that "homelessness is the backdrop, rather than the main point for me". View Green Video on the source website His intentions are certainly well realised too, with Urchin examining the very real issue of homelessness with a human focus first and foremost. Armed with the compassion that modern politics palpably lacks, Dickinson’s debut examines the nuances of a troubled individual who cannot escape a broken system with an objective stance that doesn’t cast judgement. In conjunction with his authentic tale, Dickinson imprints originality too, with dreamlike sequences taking us down the hallways of Mike’s volatile psyche, which, more often than not, is a tranquil idyll he cannot seem to permanently inhabit. Marvellously inventive cinematography and an electronic, near experimental score from Alan Myson help to imbue this tense instability, twanging the chords of one’s nerve endings in one scene while transporting you to some sort of kinetic nirvana the next. Simply put, the film is a vivid artistic expression that carves the debutant out as more than just ‘the guy who’s soon to play John Lennon’, and instead a singular voice in British cinema. Such a result makes his omission from the BAFTA lineup all the more bizarre, with Urchin being unable to squeeze into even one category. Despite it being one of the most electrifying introductions of any British filmmaker in recent years, it couldn’t find a home in outstanding debut by a British writer, director or producer. Nor could Dillane jostle into leading actor, despite him winning un certain regard – best actor at the Cannes Film Festival. Indeed, Urchin went so far as to win the FIPRESCI at Cannes, an award to honour original and daring cinematic feats – yet BAFTA prefers to conservatively cling to conformity. Importantly, this isn’t to suggest that the other nominees, particularly in respective ‘British’ categories are in any way unworthy of their nominations. The Ceremony is a micro-budget phenomenon and A Want in Her is a brave, fierce piece of filmmaking, to name just two incredible debuts. But, in an effort to properly champion British cinema, as the BAFTAs certainly stand for, why aren’t such films front and centre? Surely, one of the best picture nominees that BAFTA borrowed from the Academy could be replaced by a British triumph in the best film category? Or, better still, how about BAFTA expand the category like their American counterpart to include 10 instead of five nominees, so that Hollywood powerhouses could rightfully sit side-by-side with modern British classics. To survive in a modern cinematic landscape where awards shows are being pushed ever further to the periphery, the BAFTAs need to be braver and bolder, upholding home grown cinema that breaks down creative barriers. Until then, it’s clearly just copying the Academy’s homework. Urchin is currently available to stream on BFI Player. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Amanda Seyfried reveals feelings about how she lost out on Wicked role to Ariana Grande: "I like to feel appreciated"
"I wasn’t sad I didn’t get it, but I guess I wish it had been communicated to me in a better way."
Amanda Seyfried has opened up about how she feels about losing out on the role of Glinda in Wicked after numerous auditions. The actress previously revealed that she tried out six times for the role in the film adaptation of the hit broadway show, which would have seen her appear alongside Cynthia Erivo as Elphaba, before it ultimately went to pop icon Ariana Grande. In a new interview with Radio Times ahead of the UK release of Seyfried’s new film The Testament of Ann Lee, the actress was asked whether she's over losing out on the role now, to which she responded: "Yeah. I’ve been making the [promo] rounds with all of them, and it’s like everything happens for a reason." She continued: "I wasn’t sad I didn’t get it, but I guess I wish it had been communicated to me in a better way. I don’t like to be in the dark about things. I like to feel appreciated." Seyfried might have missed out on the role of Glinda, but the Mamma Mia! and Les Miserables star is getting to showcase her singing again in The Testament of Ann Lee – a historical musical about the life of the founder of The Shakers. The actress appears as a the titular Ann Lee, while the film's supporting cast includes Thomasin McKenzie, Lewis Pullman, Stacy Martin, Tim Blake Nelson, and Christopher Abbott. Asked in the same interview about director Mona Fastvold's previous comments that she cast Seyfriend as Ann Lee because "she’s really strong, a wonderful mother and a little bit mad", the actress responded: "I think she meant it in a good way. 'Mad' can mean so many things, but for this, it meant being completely uninhibited." She added: "The ego is a barrier for actors, and you have to be able to put that aside. As I’m getting older in my career, people seem to be able to trust me to show up in that way." She continued: "Like the scene where Ann is speaking in tongues. How many directors are going to let me react like that? To allow me to just improv freely, in the most absurd way? It felt incredible." Read the full interview with Amanda Seyfried in the latest issue of Radio Times out on Tuesday – subscribe here. The Testament of Ann Lee is out in UK cinemas on 20 February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Who will win at the 2026 BAFTA Film Awards? Edith Bowman reveals her picks of the nominees
Bowman and Zeena Hill, the director of marketing for BAFTA's official screen partner Samsung Home Entertainment & Appliance, spoke exclusively to Radio Times about the upcoming awards.
Few people know the BAFTA Film Awards better than Edith Bowman. The Scottish broadcaster has worked extensively with the organisation for many years, frequently presenting the BAFTA Scotland Awards and even hosting the main ceremony itself alongside Dermot O'Leary back in 2021. She's therefore uniquely positioned to speak about this Sunday's upcoming awards, and so ahead of the ceremony Radio Times spoke exclusively with Bowman at BAFTA HQ in London's Picadilly, to get the lowdown on what sets the BAFTAs apart from all the many other ceremonies that populate the increasingly lengthy awards circuit. With a huge number of terrific films featuring in this year's nominations – from One Battle After Another to Sinners – Bowman also picked out a few films and performances that she'd been especially wowed by, as well as singing the praises for another tremendous year of British cinema. We were joined for the conversation by Zeena Hill, the director of marketing for BAFTA's official screen partner Samsung Home Entertainment & Appliance, who also gave her verdict on which films she'd love to see triumph at Royal Festival Hall this weekend. You can read the full chat below: Radio Times: Awards season consists of so many different ceremonies. What is that makes the BAFTA Film Awards stand out from the rest? Edith Bowman: I've been lucky enough to work with BAFTA over the years in various different guises. And the award shows are the kind of front-facing thing are amazing and recognising people's achievements. I love all the stuff that goes on behind the scenes that a lot of people don't realise – that BAFTA is a charity, and the support that it gives that next generation of talent, whether they be in front of the camera, behind the camera... But I think what's great is the way that BAFTA is constantly evolving with the its juries, and its processes. It's really listening to what's going on in the outside world and adjusting that to really feel like it's moving with the times and addressing issues that may well need to be addressed, and things like bringing in a casting award and things like that. So making sure that everybody is really getting the recognition that they deserve. And I really like as well how they do the long list, because it really does shine a light on those smaller films that maybe don't get that press that all those big films get, and that is so important. Zeena Hill: From our perspective, being an official screen partner, one of the reasons why we have this partnership with BAFTA is around craftsmanship... BAFTA's credibility around craftsmanship, and how it has the craft awards, and how it really champions craftsmanship, whether it's cinematography, whether it's sound engineering... That for us is how our relationship started, and that's what we see in terms of the Film Awards. RT: The BAFTA Film Awards also celebrate British film. What have you made of the past year of British cinema? Do you have any favourites? EB: I think it's extraordinary. I think every year we see the scale in terms of of what British cinema is capable of doing. And you see that as well, even in the production side of things in terms of how many films are coming to the UK to be made, in terms of the crews that we have. When you look at those British films that are nominated this year, everything from Pillion to Bridget Jones and everything in between. And I think that Pillion, for me, is just like... as a debut feature, you're kind of like, 'wow.' It's like, what an exciting and brilliant breath of fresh air of a creative voice to be recognised that early on in your career, it's so exciting. And then someone like Lynne [Ramsey], who is a complete craftswomen in every element of her filmmaking. I'm really thrilled that that film [Die My Love] has been recognised. Like on a surface level, it might look like an American film, in terms of Jennifer Lawrence and it's set in the States, but behind the scenes it's all British. Andrea Calderwood, the producer, all that kind of stuff, Seamus McGarvey the cinematographer... it's the best of the best of Brits. ZH: From my perspective, I think the one standout for me is I Swear. Because I remember the original TV show, the documentary about [Tourette's] as a topic. And I have to say, when I saw that come up [in the nominations] I was really so proud because this is so British. The topic itself is something that's instilled in me decades ago with this documentary and, for me, it's such a proud moment to sit where I sit, helping in our way a charity that is absolutely recognising British filmmaking and British talent. It's just phenomenal, because it's not just Downton Abbey. Sometimes people go, 'the British film industry is all about period dramas and things.' [But] it's really gritty. And there's so much in there. I mean, if you look at Hamnet, for example, it's an ensemble, right? That's what I love. It's an ensemble with some really great British talent in there as well. That's what I love this year. RT: Do you have favourites from the nominees that you'd like to see win particular awards? EB: What I like is that... there's obviously clear favourites there. But I think what's great across the nominees is that there is so many great films nominated. And I'd quite like to sort of hand out one to so many. You know what I mean? I want One Battle After Another to win one. I want Lynne to win for Die My Love for British film. But then I also want Steve [starring Cillian Murphy] to win. I want Frankenstein to win something. It's so hard because that's the great thing about cinema, you have an emotional connection to these stories and these characters, and so to try and pick them out is hard. And also different days, you feel different ways about things as well. Like I was lucky enough to chat to Chloe [Zhao] about Hamnet and that film affected me so massively that when I sat down to interview her I burst into tears because it was still with me. So they all have really special places. Sirat as well... and My Father's Shadow. View Green Video on the source website ZH: I think the difficulty for me is there's so many different genres. But I think connection has been a real one for me this year, I felt so connected to so many of these movies. So whether it's Chloe's movie about grief, and you're like, 'Oh my God,' it's a real guttural feeling. So I felt real connection to a lot of the movies. I think that's why it makes it really difficult to go, 'I want this one over that one' because they've all been so good. And I think this is the beauty of this year is every one that I've watched so far – there's a few that I haven't watched yet – but every one that I've watched so far, I have come out going, 'Oh my God, that was brilliant.' EB: Marty Supreme as well. I didn't know, whilst I was watching that film that I was so invested in the character, until one point that I just burst out crying. And I didn't know it was coming. I was crying for the rest of the film. I was like, 'What are you doing?', almost having a conversation with myself, it was crazy. It's just an extraordinary year. Then F1. I'm slightly obsessed with F1 so that was great. And I actually rewatched that the other day on TV and having that ability to crank up those moments where Hans Zimmer's score is going a bit Daft Punk... it's just that immersive experience. What are the performances this year that have really stood out to you? EB: Jessie Buckley, I mean... That's another thing about British and Irish cinema is that idea that we are just kind of punching [above our weight]. It's great. I thought Timmy [Chalamet] was phenomenal in Marty Supreme, Leo [DiCaprio] in One Battle After Another as well. For someone like Leonardo DiCaprio, who you've watched in so many films, to be given the opportunity to sort of see a different side of film as well. And then new talent, like Chase Infiniti I thought was... you know, to hold her own in scenes with Sean Penn and Leonardo DiCpario was just incredible. ZH: Robert [Aramayo], just an outstanding performance. When I look at that, it's nothing contrived, it's pure acting. So I think definitely Robert. And Jessie... Oh my god. That was just... as a mum as well... Oh my gosh, my daughter was sitting next to me watching it in the cinema, and someone at the end said, 'All I could hear was all of this sobbing.' I was like, 'That was us!' EB: On Robert, I mean, I didn't really know him as an actor when I watched it, and being a Scot, there was not one minute in that film where I thought 'he's not Scottish'. And when I heard him talk in real life, I was like, 'Sorry?' And that physicality of being able to embody such a unique thing, of reflexes to that condition and be living with that and how he just managed to... what a performance to make us all believe, really. I also did a great conversation with Jacob Elordi last week about Frankenstein. And I mean, that's a fantastic performance as well. Just the idea that he's behind so much prosthetic and still gets so much storytelling and emotion from the creature. And there was an English teacher in the audience. And she said, 'Can I just say a massive thank you on behalf of the English department, because I feel like you have reignited, particularly, a certain demographic's interest in the classics!'. View Green Video on the source website The EE BAFTA Film Awards will take place at London's Royal Festival Hall on Sunday 22nd February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Mummy and Sherlock legends star in first look trailer for tense D-Day historical drama
The first trailer for World War II drama Pressure has been unveiled – and it gives fans a first look at Brendan Fraser (The Mummy) and Andrew Scott (Sherlock) in action. The drama, which is based on David Haig’s acclaimed play, follows Dwight D Eisenhower (Fraser) and Royal Air Force meteorologist Captain James Stagg (Scott) in the three day run up to the D-Day landings as they weigh up the risks, which include the volatile weather. "The final decision on the timing of D-Day will be mine and mine alone," Fraser’s character says in the new footage. Later, Scott's character adds: "The storms that I am talking about are real, and the wrath of nature is real." You can watch the trailer for yourself below: View oEmbed on the source website Fraser and Scott are joined by Chris Messina (Sharp Objects) as Irving P Krick, Damian Lewis (Wolf Hall) as Field Marshall Bernard Montgomery and Kerry Condon (Better Call Saul) as Captain Kay Summersby. Behind the camera, Anthony Maras (Hotel Mumbai) helmed the film from a script he co-wrote with Haig. Tim Bevan, Eric Fellner, Cass Marks and Lucas Webb serve as producers. The official plot synopsis for the film reads: "In the seventy-two hours leading up to D-Day, all the pieces are in place except for one key element - the British weather. "Britain's chief meteorological officer James Stagg is called upon to deliver the most consequential forecast in history, locking him into a tense stand-off with the entire Allied leadership. The wrong conditions could devastate the largest ever seaborne invasion, while any delay risks German intelligence catching on. "With only his trusted aide Captain Kay Summersby to confide in, and haunted by a catastrophic D-Day rehearsal, the final decision rests with Supreme Allied Commander Dwight D Eisenhower." Fraser recently appeared in Darren Aronofsky’s 2022 film The Whale, for which he won the best actor Oscar. Other recent credits include Killers of the Flower Moon, Brothers and Rental Family. The actor is also set to reprise his role from the Mummy franchise in a sequel that’s due to be released in 2028. Scott, meanwhile, has recently appeared in All of Us Strangers, Blue Moon and Wake Up Dead Man. Pressure is set to be released in cinemas in the UK on 9 September and 29 May 2026 in the US. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
What films are out in UK cinemas this week? Reviews from The Secret Agent to The Moment
Your weekly round-up of all the films currently showing in UK cinemas.
With just under a month to go until the Oscars, today marks the release of the final best picture nominee to arrive in UK cinemas – and they might just have saved the best for last. The Secret Agent is the latest film from Brazilian writer/director Kleber Mendonça Filho and explores the atmosphere of life under the military dictatorship that ruled the country between 1964 and 1985. The film unfolds in 1977 in the town of Recife, following a dissident mesmerisingly played by Wagner Moura – who has himself been nominated for best actor. And he's not the only Oscar-nominated star you can find in a new release this week: Rose Byrne is up for best actress for her turn in the intense – and brilliantly titled – drama If I Had Legs I'd Kick You. And there are plenty of other extremely varied options to seek out this week as well. There's raw prison drama Wasteman, starring David Jonsson and Tom Blyth, wacky Gore Verbinski sci-fi Good Luck, Have Fun, Don't Die, and B-movie inspired horror-comedy Cold Storage, featuring the first post-Stranger Things role for Joe Keery. And then there's mockumentary The Moment, which sees pop sensation Charli xcx star as herself as she embarks on her era-defining Brat album tour. You can find our reviews for all six of those films below, while you can also discover our lowdown on the other major movies released in UK cinemas in recent weeks, including Oscar-nominated flicks Hamnet and Marty Supreme. Read on for your weekly round-up of all the films currently showing in UK cinemas. What films are released in UK cinemas this week? 20 – 26 February The Secret Agent This pleasingly unclassifiable 1970s-set Brazilian tale follows a man with a mysterious past who seeks to reconnect with his young son. Wagner Moura (TV's Narcos) is fantastic as Marcelo – just one of the names the character goes by – who arrives in sweltering Recife, having fled the north of the country. His lad is obsessed by Steven Spielberg's Jaws and his father-in-law runs a local movie theatre, but these are just a sprinkling of the elements that go into a complex story dealing with corruption, chaos and carnival. Kleber Mendonça Filho (Bacurau) won the best director award at Cannes, and deservedly so: he conjures up a consistently surprising and inventive look at a bygone era, dotted with nicely rendered period detail. This is a world where death permeates every frame, from a rotting corpse on a garage forecourt to the gruesome sight of a man’s severed leg inside a dead shark. Filled with weird asides (like the aforementioned leg, starring in its own exploitation flick) and even a present-day wraparound story, this is unusual, and sometimes extraordinary, film-making. – James Mottram Read our interview with Wagner Moura If I Had Legs I’d Kick You Motherhood is a mountain to be exhaustingly climbed in this scathing, innovative comedy drama from American writer/director Mary Bronstein (who also pops up to play a patronising paediatrician). Rose Byrne is sensational as Linda, a woman whose life, and ceiling, is tumbling down around her. She’s grappling with the demands of her daughter (a largely unseen Delaney Quinn) whom she feeds via a gastric tube, while trying to maintain her career as a psychotherapist. Her ship-captain husband Charles (voiced by Christian Slater) is away with work, and her own therapist (Conan O’Brien) seems to despise her. Things get really ugly when Linda is forced to move herself and her daughter into a motel (run by A$AP Rocky’s James) and she starts behaving recklessly, while a client’s crisis touches a nerve. Bronstein confronts the depth of Linda’s depression and the judgements she faces in imaginative, interrogatory style, punctuating her film with sometimes wildly funny farce. A never-better Byrne, deservedly Oscar-nominated, thrives under the film’s intense focus, juggling comedy and tragedy with aplomb. – Emma Simmonds Read our interview with Rose Byrne Wasteman A compelling and often uneasy watch, director Cal McMau’s feature debut is a taut, muscular thriller that’s stylish in all the right ways while exposing flaws at the heart of the British prison system. "Stay out of trouble," a parole officer tells the mild-mannered Taylor (David Jonsson), but in a centre rife with violence, avoiding conflict is easier said than done. And with a volatile new cellmate (Tom Blyth) to worry about, Taylor’s chances of ever returning to the outside – or his son – suddenly seem vanishingly slim. Jonsson excels in commanding sympathy and wringing tension from Taylor’s every agonising dilemma. Blyth matches his co-star beat for beat, with a performance of animal intensity. McMau’s tight framing ratchets up the stress, especially during the film's stand-out riot sequence, and a drone-heavy score lends the film an air of tragic inevitability. It’s a little heavier on flash than substance but works as a fine calling card for every member of its cast and crew. – Sean McGeady Read our interview with Tom Blyth Read our interview with David Jonsson Good Luck, Have Fun, Don’t Die If you only watch one movie featuring a computer-generated centaur with a cat’s head that sprays glittery confetti from its undercarriage, then make it this one. Gore Verbinski’s hog-wild time-travel tale is audacious, original and a massive amount of fun, even though it falls over in a confusing final act. Sam Rockwell has a blast as the revolutionary from the future trying to save the world from a nine-year-old child who is destined to invent a godlike AI that hates humans. To do so, he must recruit a team of random strangers from a diner (among them a stellar Juno Temple, Zazie Beetz, Michael Peña and Haley Lu Richardson). With Black Mirror-esque vignettes showing the diners’ backstories intercut with the mission, the first two-thirds of the film are clever, funny and packed with infectious energy. Likely to draw comparisons to Everything Everywhere All at Once (2022), this is intelligent but unpretentious and an unashamed good time. – Rosie Fletcher Read our full Good Luck, Have Fun, Don't Die review Cold Storage Part apocalyptic zombie shocker, part alien conspiracy thriller, Jurassic Park screenwriter David Koepp’s novel receives a fun, scary adaptation crammed with splatter action and mordant wit. Two guards (Joe Keery and Georgina Campbell) working the night shift at a desert storage facility face uncontrolled body-bursting mayhem when a parasitic fungus escapes from the underground levels. Who you gonna call? Weathered biochemist Liam Neeson, aware of the mutating virus threat decades ago, is now recruited to join the dazed duo in a race against time to destroy the organism. Nimbly directed by Jonny Campbell, the outlandish action is peppered with plenty of gory surprises. The film also maintains the fine line between smart comedy and gruesome horror for a riotous high-end raid on "living dead" lore as defined by George A Romero. – Alan Jones Read our interview with Joe Keery The Moment Pop sensation Charli XCX rips into the music industry, and the success of her 2024 brat album, in this amusing, zeitgeist-tapping mockumentary. Set in the run-up to a gig at London’s O2 Arena, Charli is pushed by Rosanna Arquette’s spiky record company exec into participating in an accompanying tour film. Overseen by Alexander Skarsgård’s pretentious film-maker, it’s the antithesis of the anarchic brat, full of compromise. Worse still, Charli’s team, led by manager Tim (Jamie Demetriou), is orchestrating a queasy deal for a "brat" bank card. Debut director Aidan Zameri delivers a typical mock-doc flavour, with an overzealous use of handheld camerawork, but does well in capturing the energy and egos that surround artistic innovators. With cameos from Kylie Jenner, Julia Fox and Rachel Sennott, all playing themselves, this is an insider peek at the way record companies can bleed artists dry of any creativity. Credit Charli for biting the hand that feeds, even if the result isn’t quite as scathing or insightful as it thinks it is. – James Mottram Read our full The Moment review Best of the rest still showing in UK cinemas Wuthering Heights Emily Brontë’s gothic romance gets a radical revamp in this sizzling and wonderfully flamboyant screen adaptation from Emerald Fennell (Saltburn). Childhood friends Heathcliff (Jacob Elordi) and Cathy (Margot Robbie) fall in love as youngsters, but become separated after Cathy marries their rich neighbour Edgar (Shazad Latif). Five years after fleeing, Heathcliff returns as a mysteriously moneyed gentleman and the couple begin an affair. Boasting an outrageous, often irresistible sense of fun, Fennell's film is a visual riot, with this sexed-up version of the story love-bombing the screen with reds, pinks and whites. The sincerity with which the love story is told and performed is impressive, too. Elordi channels Sharpe-era Sean Bean, Robbie gives a fully fleshed-out turn that blends brattiness with tragedy, and Hong Chau shines as watchful housemaid Nelly. On one hand, this is the cinematic equivalent of "go big or go home", with the fantastical sets occasionally distracting. On the other hand, it's an emotionally impactful adaptation for the ages that captures the depth, passion and destructiveness of Heathcliff and Cathy’s bond. It will almost certainly provoke pearl-clutching among the purists. – Emma Simmonds Read our full Wuthering Heights review Crime 101 For his third film, Bart Layton takes on a heist story based on a novella by private-investigator-turned-crime writer Don Winslow (Savages). Chris Hemsworth heads a class cast as professional jewel thief Mike Davis, whose ability to carry out a series of robberies without using violence or leaving any DNA evidence and clue to his identity is foxing the Los Angeles police. However, dogged detective Lou Lubesnick (Mark Ruffalo, going for the crumpled Columbo look) sees a pattern: these meticulously executed heists all take place in the vicinity of California’s elongated 101 freeway. Meanwhile, Halle Berry’s disillusioned 50-something insurance broker Sharon Colvin gets caught between Davis and Lubesnick. Berry matches her co-stars every step of the way as a woman struggling to navigate a workplace where her age, experience and talent count for little. Meanwhile, Layton sustains the slow-burning tension, punctuated occasionally by some riveting chases, as the cast circle each other on the way to a nerve-jangling, edge-of-the-seat climax where the outcome is anything but predictable. – Jeremy Aspinall Read our full Crime 101 review Read our interview with Mark Ruffalo and Chris Hemsworth Little Amélie or the Character of Rain This delightful, Oscar-nominated animated tale paints a world seen through the eyes of a toddler. Our narrator is Amélie (voiced by Loïse Charpentier), who lives with her Belgian family in 1960s Japan. At two and a half, she assumes that she is the centre of the universe – perhaps even God! Annoyingly, she can’t bend the world to her will. But she can bond with housekeeper Nishio-san (Victoria Grosbois), until lines blur and she is unsure whether she feels Belgian – most of the dialogue is in French – or Japanese. Deftly adapting from Amélie Nothomb’s memoir The Character of Rain, directors Maïlys Vallade and Liane-Cho Han use delicate brushstrokes to tell Amélie’s story up to the age of three. As she experiences more of life, they expertly contrast washed-out watercolours with more vibrant hues. Taking a leaf out of Studio Ghibli’s book, they also focus on small moments to build mood: someone gently straightening a pair of shoes, for example. The result is elegant, sweet and, with its subtle themes of post-Second World War national tensions, surprisingly poignant. – Jayne Nelson Looney Tunes: The Day the Earth Blew Up Daffy Duck and Porky Pig spring into action when the world is threatened by aliens in an affectionate animated spoof of vintage science-fiction movies that also doffs a cap to Looney Tunes' own bygone golden age. As lowly manual workers at a bubblegum factory, the duo discovers sinister beings from outer space have infected the company’s newest flavour with a serum that turns earthlings into zombies, and must thwart the evildoers before the product's big public rollout. Although Warner Bros' original landmark shorts hovered around the seven-to-eight-minute mark, director Peter Browngardt and his team of animators and writers are so enthusiastically inventive that these feature-length shenanigans never outstay their welcome. The period setting is non-specific but sprinkled with pleasingly retro touches (cars, corner diners, a cassette player), typical of the impressive attention to detail throughout that older viewers in particular will find satisfying. Eric Bauza’s voice work on both main characters is spot-on, zesty and reverential to the legendary Mel Blanc of yore. – Terry Staunton Send Help Horror legend Sam Raimi is at the helm of this madcap survival thriller, in which an office dogsbody and her nasty new boss get stranded on a deserted island following a plane crash. Rachel McAdams plays the lonely and hardworking Linda, with Dylan O’Brien her nepo-baby nemesis, who refuses to give Linda the promotion promised to her by his father. However, once the pair wash up on the island the hyper-capable Linda seizes charge, with the spoilt, incompetent Bradley incensed at the role reversal. The film plays out like a gender-swapped version of Swept Away (both the 1974 Italian version and its disastrous 2002 remake), with some resemblance to Ruben Ostlund’s 2022 Triangle of Sadness. It’s not quite as satirically successful as the latter and McAdams as a frump is frankly absurd, but things get deliciously dark and there’s a manic energy that’s recognisably Raimi. The director gets great value from his leads, with McAdams and O’Brien absolutely launching themselves into their performances as they plumb the depths of human derangement. – Emma Simmonds Read our interview with Sam Raimi My Father's Shadow Two young Nigerian brothers bond with their estranged father in this beguiling coming-of-age story, set in 1993. Living out in a village with their mother, siblings Aki (Godwin Chimerie Egbo) and Remi (Chibuike Marvelous Egbo) are shocked when their long-absent dad Fola (Ṣọpẹ́ Dìrísù) returns, only to whisk them off to Lagos, where he is aiming to collect months of unpaid wages. There, they get to see the big city, at a time when political tensions are rising due to an impending and contentious presidential election. Debut director Akinola Davies, filming this semi-autobiographical tale from his brother Wale’s script, creates a strong sense of place, his Lagos teeming with life, possibility and danger. Only subtly do we glimpse something of Fola’s life apart from his boys, not least in a telling interaction with a waitress. But this is mostly a day-in-the-life film, in which these two boys come to realise the strengths and flaws of their father. Beautifully performed all round, this pulsates with energy and vibrancy. – James Mottram Read our interview with Akinola Davies Jr Hamlet Riz Ahmed plays Shakespeare’s Danish prince in this terse 114-minute reworking of the classic tragedy, set in a modern-day British South Asian community. It begins with a Hindu ceremony mourning the loss of Hamlet’s dead father, poisoned by his brother Claudius (Art Malik) so he can marry Hamlet’s mother Gertrude (Sheeba Chaddha). As in the play, the father’s ghost (Avijit Dutt) appears and stokes a thirst for revenge in Hamlet, who sets a very theatrical trap. The second collaboration between Ahmed and director Aneil Karia – following 2020 short The Long Goodbye, which won them a joint Oscar – this is a vibrant take on oft-filed material, enlivened by its focus on Asian cultural traditions. Cutting certain characters (such as the gravedigger) does relinquish some of the play’s distinct black humour, though, and the notion of turning the court of Elsinore into a corporation isn’t anything new (see the Ethan Hawke-starring Hamlet from 2000). But robust turns by Ahmed and Morfydd Clark ,as the maudlin Ophelia, bring this version to life. – James Mottram Is This Thing On? View Green Video on the source website A newly single man rediscovers his voice through the joys of performing stand-up in this comedy drama directed by Bradley Cooper. Will Arnett is Alex, left unmoored after separating from wife Tess (Laura Dern). One night, he passes by a New York bar, where to gain free entry he commits to doing a short stand-up set. Bitten by the bug, he makes inroads on the local comedy scene while navigating emotional turbulence, just as Tess, a former volleyball player, reassesses her own life choices. Loosely inspired by the life of Scouse comedian John Bishop (Arnett rather incongruously wears Liverpool FC shirts, in a nod to Bishop), it follows Cooper’s musical-themed movies, the A Star Is Born remake (2018) and Leonard Bernstein biopic Maestro (2023), with a different take on the restorative powers of performance. It’s a little throwaway and Woody Allen-lite, typified by Cooper’s small, ill-advised role as an airhead family friend. Arnett is an amiable, earnest lead, however, while Dern is typically classy. – James Mottram Read our full Is This Thing On? review Read our interview with John Bishop and Will Arnett Nouvelle Vague Jean-Luc Godard’s seminal Breathless takes centre stage in this smartly scripted and shot comedy set around the birth of the French New Wave cinematic movement. In 1959 Paris, Cahiers du Cinèma critic Godard (Guillaume Marbeck) prepares to make his first foray into feature film-making with the story of a small-time crook and his relationship with an American student. Casting the soon-to-be-iconic Jean-Paul Belmondo (Aubry Dillon) and Jean Seberg (Zoey Deutch), Godard coolly battles his producer and others to get his vision realised. Director Richard Linklater (Boyhood) elects to shoot, appropriately, in black-and-white for this day-by-day chronicle of production. Like all good movies about movies, Linklater captures the magical chaos and inflated egos but does so with real affection. With New Wave contemporaries – Eric Rohmer, Jacques Rivette, Claude Chabrol and Breathless story-writer François Truffaut among them – all woven into the fabric, Godard’s crew even bumps into elder iconoclast Robert Bresson (Aurèlien Lorgnier) shooting Pickpocket on the Metro. Marbeck centres the action well, brilliantly embodying the chain-smoking Godard, his recognisable vocal rhythms and spirit of rebellion. Cinephile heaven. – James Mottram Shelter Jason Statham stars as an ex-Special Forces soldier forced out of self-imposed isolation in this hard-boiled action thriller. For the past decade, Michael Mason (Statham) has been sheltering in a disused lighthouse in the Outer Hebrides. His only contact with humanity is Jessie (Hamnet’s Bodhi Rae Breathnach), the young girl who delivers his provisions. When her uncle’s boat sinks in a violent storm, Mason has little choice but to take her in – an act of kindness that soon leaves him exposed to his former MI6 paymasters. The grizzled Statham’s relationship with Breathnach’s bolshie youngster gives the film its heart, while director Ric Roman Waugh (Greenland) competently lifts the car chases and fist fights above the norm. It’s a shame that the Bourne-lite plot is underwritten, but the support cast – including Harriet Walter, Bill Nighy, Naomi Ackie and Daniel Mays – are far better than you might normally find in such a bruising action vehicle. – James Mottram Read our interview with Jason Statham and Ric Roman Waugh No Other Choice View Green Video on the source website A paper-company employee loses his job after 25 years and decides to get ruthless in this rollercoaster South Korean movie. With two children, two dogs and a wife (Son Ye-jin) to support, Man-su (Lee Byung-hun) tries everything to find gainful employment but comes to realise the only way he’ll find work at a rival paper company is by quite literally eliminating the competition, bumping them off one by one. But this mild-mannered white-collar worker is no killer, making his task all the more complex. Loosely adapted from Donald E Westlake’s 1997 novel The Ax, writer/director Park Chan-wook steers his movie more toward ribald comedy than some of his more violent offerings such as Oldboy or Thirst. Not all the laughs land, but this is still a sly look at modern-day employment in a world facing increasing automation and AI. Led by the highly watchable Lee, who worked with Park on the director’s 2000 debut Joint Security Area, it’s immaculately shot and performed, if a slightly overlong and unwieldy ride. – James Mottram Read our full No Other Choice review 28 Years Later: The Bone Temple View Green Video on the source website The zombie apocalypse gathers momentum in this direct follow-up to 28 Years Later (the fourth film overall in the franchise), with a battle between good and evil. Ralph Fiennes returns as the maverick doctor and survivalist studying the virus for a cure. He's on a collision course with Jack O’Connell’s charismatic quasi-religious gang leader, who is intent on wholesale slaughter. Alfie Williams, the pre-teen of the previous film, is also back, reluctantly drafted in to Jimmy’s ragbag of killers. Taking over from Danny Boyle, director Nia DaCosta and screenwriter Alex Garland fashion a more personality-led tale that’s still a supremely satisfying horror thrill ride. All three of the lead actors bring a tangible depth to their characters, complementing DaCosta’s inventive gore and expertly executed shocks. Some elements do remain frustratingly unresolved, but there’s hope of loose ends being tied together in the next chapter, which is teased in this film's epilogue. – Terry Staunton Read our full 28 Years Later: The Bone Temple review Hamnet View Green Video on the source website The film's the thing, as family tragedy shapes this wrenching but wonderful fictionalised portrait of William Shakespeare through his domestic life. Paul Mescal plays Will, the sensitive playwright who meets and falls for Agnes (Jesse Buckley), an earthy free spirit. Together, they forge a family of three children – including a delightful boy, Hamnet (Jacobi Jupe). But as Will's career takes off in London, causing him to be increasingly absent from their rural Stratford-upon-Avon home, illness strikes – bringing with it unimaginable pain. Adapted from the novel by Maggie O'Farrell, who co-wrote the script with director Chloé Zhao (Nomadland), this is a sensuous, serious work, in tune with the heartbeat of nature and the rhythms of life, as it explores the raw emotions of loss. Mescal and Buckley are sensational, creating a relationship that feels honest and real. Zhao's transcendent work is extraordinary too, especially in the final act, as Mescal's playwright – who is only ever once acknowledged as being the Bard – finds creativity and catharsis in the bleakest of hours. – James Mottram Read our full Hamnet review Song Sung Blue The highs and lows of a husband-and-wife Neil Diamond tribute act were eventful enough to warrant an award-winning documentary, so it’s perhaps surprising to have taken a further decade-and-a-half for someone to turn their tale into a drama. For while both share a familiar, million-selling Diamond favourite as their title, and barely 10 minutes ever pass before another banger graces the soundtrack of writer-director Craig Brewer’s film, the music is largely a backdrop to a beautiful, big-hearted, blue-collar love story – with a shocking fork in the road along the way. Hugh Jackman is Mike Sardina, a Vietnam vet and recovering alcoholic celebrating 20 years sober when he meets a fellow traveller on Milwaukee’s low-rent "Legends" circuit of fairgrounds and old folks’ community centre casinos; Kate Hudson’s Claire, a lively, divorced mother of two struggling to pay the bills. "Good times never seemed so good," Neil Diamond sang on the evergreen Sweet Caroline, and this is a film where even the bad ones can be overcome on the path to something brighter. – Terry Staunton Read our full Song Sung Blue review Marty Supreme View Green Video on the source website A ferociously good Timothée Chalamet pursues sporting greatness in this electric screwball comedy drama from Josh Safdie, who goes solo after co-directing Uncut Gems with his brother Benny. Set in 1952 in New York and very loosely based on the life of a real ping-pong hustler, this shaggy story follows 23-year-old Marty Mauser, a shoe salesman with the gift of the gab and an extraordinary talent with a table tennis bat. As he represents his country with obnoxious showmanship in international tournaments, Marty's sweaty and scheming chase of the American Dream is exasperating for those in his orbit – including his long-suffering girlfriend (Odessa A’zion), a Japanese ping-pong prodigy (Koto Kawaguchi), a retired movie star (Gwyneth Paltrow) and her millionaire husband (Kevin O’Leary). No matter how deplorable Marty seems in the absurd and exhilarating chaos entirely of his own making, you will laugh as much as you condemn – and never look away. In a feat of sheer intensity, Chalamet channels Tom Cruise in The Color of Money or even Robert De Niro in Mean Streets, and the result is a breathless and brilliant all-American character study for our times. – Max Copeman Read our full Marty Supreme review The Housemaid A live-in maid finds herself in hot water with a well-to-do family’s mood-swinging matriarch in this frequently shocking psychological thriller, based on the novel by Freida McFadden. Recently paroled from prison, Millie (Sydney Sweeney) is desperate to keep the job in order to avoid being sent back behind bars. However, she endures all manner of poor treatment and violent outbursts from her unhinged employer (Amanda Seyfried) before more sinister problems come to the fore. Director Paul Feig has form walking the darker corridors of domesticity, but whereas 2018’s A Simple Favour revels in blackly comedic upheavals to happy homes, The Housemaid is a genuinely unsettling depiction of dysfunctional families and breathtaking cruelty. Seyfriend excels in a role that calls for her to flit from pantomime-like to pure evil, and Sweeney is impressive, too, blooming convincingly from put-upon maid to plucky heroine. – Terry Staunton Read our full The Housemaid review Avatar: Fire and Ash Returning us to the alien planet of Pandora, James Cameron’s third Avatar epic comes in all guns blazing, heating up the battle between the humans and the Na’vi. Though much of the focus is still on former Marine Jake Sully (Sam Worthington) and his Na'vi family, the threat from the colonising military group RDA grows worse when Colonel Quaritch (Stephen Lang) forms an uneasy alliance with Varange (Oona Chaplin), leader of the fire-friendly Mangkwan clan, also known as the Ash People. At over three hours long, the film's narrative never quite justifies its length, as Cameron lurches through multiple frenetic and overwhelming battles. But with a sincere if simple message baked in about the destructive qualities of humanity, several scenes – such as one where the planet's whale-like population is attacked – do hit home. This is not least because of the spectacular world-building characteristic of this series; the sheer effort put into creating the bio-luminescent forests, turquoise oceans and, now, fiery volcanos is worth the ticket price alone. Released once again in state-of-the-art 3D, it's a marvel of CG craftsmanship and of Cameron's pursuit of technical perfection. – James Mottram Read our full Avatar: Fire and Ash review Read our interview with Sigourney Weaver Read our interview with James Cameron Read our interview with Oona Chaplin Zootropolis 2 Brimming with rapid-fire sight gags and movie in-jokes, the sequel to Disney’s hit 2016 animation is a fast and funny combination of buddy cop comedy and conspiracy romp. It picks up where the original left off, with perky bunny Judy Hopps (voiced by Ginnifer Goodwin) on police duty with her wily fox partner Nick Wilde (Jason Bateman). Despite their clashing methods, the duo stumble on a mystery involving Zootropolis’s 100-year anniversary and Gary De’Snake (Ke Huy Quan), a rogue viper slithering amok in the supposedly reptile-free city. Predictable plot twists aside, the duo’s investigation nimbly spans genres and Disney tropes, with animal jokes, crime film influences and lightly handled messages about prejudice deftly interwoven. Old and fresh characters are breezily balanced, with series newcomers Quan, Fortune Feimster and Andy Samberg playfully nailing their voice roles. Featuring a winning lead pairing, pacey chase sequences and a richly realised world, the film builds on its predecessor’s appeal with charm, energy and the wittiest nod to The Shining in a kids’ movie yet. – Kevin Harley Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Best films to watch on TV today, tonight and this week
Whatever your taste, there's a movie on for everyone.
There may be plenty of movies available on streaming platforms and being released weekly in cinemas, but nothing quite beats the feeling of finding a hidden gem while flicking through the TV. With such a raft of options – old and new – to pick from this weekend, it can often feel like a bit of an insurmountable task to find one that really tickles your fancy. But that's where we come in to do the hard work for you, picking out some of the most stellar options available to tune into. This weeks selection includes everything from classic Hitchcock thriller The 39 Steps to Steven Spielberg's recent semi-autobiographical gem The Fabelmans. There's something for everyone and if you're wondering where to find some of the best films on the terrestrial channels this week, we've got you sorted. Read on for an expertly compiled list of the best flicks airing across the next seven days. Friday 20th February Drums Along the Mohawk - 2:50pm, Film4 Western adventure starring Claudette Colbert and Henry Fonda. In pre-Revolutionary America, a newly married couple join other settlers on the frontier of the Mohawk Valley. After repeated attacks by native American tribes, they are forced to take shelter in a nearby fort. Read our full review Speed - 9pm, Great Action Action thriller starring Keanu Reeves, Dennis Hopper and Sandra Bullock. A demented extortionist's plan to collect a huge ransom by planting a bomb in an LA skyscraper is thwarted by the reckless bravery of SWAT daredevil Jack Traven. Undeterred, the unhinged bomber sets Traven a sterner test - an even more deadly device on board a commuter-filled bus that will explode if the bus's speed drops below 50mph. Read our full review The Damned United - 11pm, BBC Two Football drama starring Michael Sheen and Timothy Spall. After guiding Leeds United to the First Division title in 1974, Don Revie leaves Elland Road to become manager of England. In a surprise move, the Leeds board turns to outspoken coach Brian Clough as his replacement. But it proves to be a short-lived and bitter experience for all involved. Read our full review The Inspection - 12:25am, BBC One Military drama based on a true story, starring Jeremy Pope. After a period spent living on the streets, Ellis French enlists in the US Marines, and is sent to a gruelling boot camp for training. But French's life takes a dangerous turn when his instructors and fellow recruits discover he is gay. Read our full review Saturday 21st February Reach for the Sky - 4:30pm, Talking Pictures TV Biographical drama about war hero Douglas Bader, starring Kenneth More. Following a flying accident in which he loses both his legs, doctors expect Bader to die, but he overcomes incredible odds to survive and take on the Luftwaffe in the Battle of Britain. Read our full review Mrs Doubtfire - 4:40pm, Film4 Comedy drama starring Robin Williams, Sally Field and Pierce Brosnan. When voiceover artist Daniel Hillard walks out of his day job, his wife Miranda decides it's time to walk out on him, and is granted custody of their children. Daniel is desperate to be with his kids, so when Miranda advertises for a nanny-cum-housekeeper he applies for the job in disguise. Read our full review Django Unchained - 9pm, Film4 Western directed by Quentin Tarantino, starring Leonardo DiCaprio, Jamie Foxx, Samuel L Jackson and Christoph Waltz. After being freed from slavery and trained in the ways of a bounty hunter by Dr King Schultz, Django sets out to free his wife from a vicious plantation owner. Read our full review The Fabelmans - 9:15pm, Channel 4 View Green Video on the source website Period coming-of-age drama starring Michelle Williams, Paul Dano and Gabriel LaBelle. In 1950s Arizona, young Sammy Fabelman finds that using his dad's Super 8 camera helps him to work through his feelings, all while creating fun little stories. As he grows older and his parents' marriage gradually crumbles, Sammy realises that making movies can't solve everything - but they are his life's calling. Read our full review Predator - 12:15pm, Channel 4 Science-fiction action thriller starring Arnold Schwarzenegger. A rescue mission deep in the Central American jungle turns into a fight for survival as a crack commando unit, led by Major "Dutch" Schaeffer, comes up against an unseen enemy - a predator able to resist the most up-to-date weaponry and kill with relentless efficiency. Read our full review Sunday 22nd February Spider-Man - 2:50pm, BBC One Superhero adventure, starring Tobey Maguire, Willem Dafoe and Kirsten Dunst. During a school trip to a New York laboratory, Peter Parker is bitten by a genetically modified spider and develops extraordinary powers. Then a series of events convinces Peter that he should use his new physical abilities to wage war on crime - a decision that takes him away from his school sweetheart, Mary Jane Watson, and pits him against the evil Green Goblin. Read our full review 2001: A Space Odyssey - 6:20pm, ITV4 Keir Dullea stars in Stanley Kubrick's ground-breaking science-fiction epic, which depicts the evolution of man - from primitive apes to the 21st century - through the medium of space travel. Read our full review The Tall Men - 8:45pm, Great Action Western starring Clark Gable, Jane Russell and Robert Ryan. Following the American Civil War, brothers Ben and Clint Allison journey north to Montana in search of gold, but end up as cattle drivers in the pay of wealthy businessman Nathan Stark. On the way to Texas to pick up the herd, they save young Nella Turner from a Sioux ambush. It's a meeting that will have consequences for them all. Read our full review Calendar Girls - 10pm, BBC Two Comedy drama based on a true story, starring Helen Mirren and Julie Walters. Chris and Annie are best friends and members of the local Women's Institute in Knapely, Yorkshire. When Annie's husband dies from leukaemia, Chris suggests they and their fellow WI colleagues raise money for the local hospital by posing nude for a calendar. The media interest that follows leads to the project becoming a worldwide sensation. Read our full review Women Talking - 11:40pm, BBC Two Drama starring Rooney Mara, Claire Foy and Jessie Buckley. The women of a small, isolated religious community discover that the menfolk have been drugging and sexually assaulting them. When the men travel into the city for a legal matter, the women have 48 hours to themselves, to debate and decide on their next steps. Will they stay quiet, fight back, or flee? Read our full review Monday 23rd February Call Jane - 10:55pm, Film4 In 1960s Chicago, a married woman must turn to an underground organisation of women to help end her life-threatening pregnancy. Director Phyllis Nagy's drama based on a true story, starring Elizabeth Banks and Sigourney Weaver. Read our full review Dark Waters - 11:05pm, BBC Two Drama based on a true story, starring Mark Ruffalo and Anne Hathaway. Corporate defence lawyer Robert Bilott is approached with evidence that seems to connect the DuPont chemical corporation to a spate of farm animal infections, disabilities and deaths. As the case builds over the next several years, Bilott's job becomes ever tougher. But with the revelation that human lives are at stake, too, his resolve only grows. Read our full review I’m Your Man - 1:15am, Film4 Sci-fi romance starring Maren Eggert and Dan Stevens. In order to get funding for her research, academic Alma takes part in an unusual study: she is paired with a robot, named Tom, who is designed to embody her "ideal man". Initially unsettled by her new partner, Alma reacts with hostility, but over time her feelings unexpectedly evolve. Read our full review Tuesday 24th February BlackBerry - 9pm, Film4 View Green Video on the source website Comedy drama based on a true story, starring Jay Baruchel, Matt Johnson and Glenn Howerton. In the mid-90s, Mike Lazaridis and Douglas Fregin pitch their BlackBerry pager device to potential investors. With the help of ambitious CEO Jim Balsillie, the result is a game-changer. But their rapid rise is followed by a fall as power, money and rivalry with Apple enter the picture. Read our full review And Then There Were None - 9:05pm, Talking Pictures TV Crime mystery based on one of Agatha Christie's most famous novels, starring Barry Fitzgerald and Walter Huston. A far-off isle seems the perfect weekend location for ten assorted guests - until they discover their host mysteriously detained, and a murderer among them… Read our full review Malcolm X - 11pm, BBC Two Biographical drama starring Denzel Washington. Street hustler Malcolm Little converts to Islam while in prison, changes his name to Malcolm X and rises to fame as spokesman for the Nation of Islam. But his controversial political statements make him powerful enemies. Read our full review Wednesday 25th February An Inspector Calls - 9:10pm, Talking Pictures TV Mystery based on the play by JB Priestley and starring Alastair Sim. A police officer uncovers dark secrets when he interviews an affluent family in connection with the death of a young girl. Read our full review Boss Level - 11:45pm, Film4 Former Special Forces operative Roy Pulver wakes every day in his apartment with a beautiful woman in his bed and assassins trying to kill him. Stuck in a time loop, Roy must dodge bullets and blade attacks to unlock the mystery behind his repetitive and untimely demise. Action comedy, starring Frank Grillo. Read our full review Point Break - 12am, BBC One Action thriller starring Patrick Swayze and Keanu Reeves. Novice FBI agent Johnny Utah is tasked with tracking down a gang of four bank robbers, who carry out their raids wearing masks of former American presidents. In the belief that the gang are surfers, Utah goes under cover to learn surfing skills and encounters the mysterious Bodhi. Read our full review Thursday 26th February The 39 Steps - 10pm, BBC Four Classic thriller starring Robert Donat and Madeleine Carroll. An innocent man accused of murder is pursued by both the police and an international spy ring. The beleaguered Richard Hannay finds himself fleeing across the desolate Scottish moors handcuffed to a beautiful woman. Read our full review Mindhorn - 12am, BBC Two Comedy starring Julian Barratt and Andrea Riseborough. When the deranged fan of a 1980s detective TV series goes on the rampage, the show's wrung-out star is enlisted to help take him down. But adopting the guise of Mindhorn, his old character, could create more problems for the actor than he's able to handle. Read our full review Can You Ever Forgive Me? - 12:35am, Channel 4 Comedy drama based on a true story, starring Melissa McCarthy and Richard E Grant. In the early 1990s, writer Lee Israel is struggling to make ends meet as she contends with low sales and rejected pitches. When she sells on a personal letter from Katharine Hepburn, she realises she can put her wit and writing skills to a lucrative new use: forging and selling letters from famous historical figures. Read our full review Friday 27th February Patton - 11am, Film4 Oscar-winning biographical drama starring George C Scott as General George Smith Patton, one of the greatest and most controversial military leaders of the Second World War. Read our full review Ride Lonesome - 2:20pm, Film4 Western starring Randolph Scott. When bounty hunter Ben Brigade seeks to bring a killer to justice, ostensibly to collect the reward, he meets up with two outlaws who have their own reason for wanting to turn in the wanted man. Read our full review Scrapper - 11pm, BBC Two Comedy drama starring Lola Campbell and Harris Dickinson. Since the recent death of her mother, 12-year-old Georgie has fended for herself on her London council estate, selling off stolen bikes while telling elaborate lies to keep social services at bay. When her estranged father, Jason, suddenly drops into her life, Georgie is initially wary; but the pair form a tentative truce and soon, an unconventional criminal partnership. Read our full review Relic - 12:20am, BBC Two View Green Video on the source website Supernatural horror mystery starring Emily Mortimer, Robyn Nevin and Bella Heathcote. When elderly Edna is reported missing, her daughter Kay and granddaughter Sam begin searching her large, rural house for clues. But then Edna emerges, confused and disoriented. Is her dementia getting worse, or is something more sinister going on? Read our full review If you have Netflix, we have rounded up the best movies on Netflix and the best series on Netflix to watch now – and Disney Plus viewers can check out our best movies on Disney Plus guide. Got Prime Video? We also have the best movies on Amazon Prime. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
People We Meet on Vacation star Tom Blyth explains why his new film changed his view on the prison system
Blyth stars alongside David Jonsson in Wasteman.
New prison drama Wasteman – which marks the feature directorial debut of filmmaker Cal McMau – boasts impressive performances from two of the UK's biggest emerging actors, David Jonsson and Tom Blyth. Last year's BAFTA Rising Star Award winner Jonsson stars as Taylor, an inmate nearing the end of a long sentence. When we meet him, he's in line for an early release, but that situation is put in serious jeopardy when his new cellmate Dee – played by Blyth – arrives and immediately starts exhibiting extremely volatile behaviour. It's an engrossing and sometimes difficult-to-watch film, which addresses the harsh realities of prison life with grit and authenticity. That was achieved in large part thanks to the collaboration of prison rehabilitation charity Switchback, who worked with the filmmakers to provide a sense of realism that prevented it from falling into prison movie cliché. Speaking exclusively to Radio Times at last year's London Film Festival, Blyth admitted that his view on the prison system had "definitely" changed by taking part in the project. "Before doing this, I liked to think that I had some elevated empathy or at least a nuanced way of seeing the prison system," he explained. "But I was very naive, I think, without even knowing it." He added that having conducted extensive research in preparation to play his character, his main takeaway was that "the prison system is broken and it's over capacity, understaffed, underfunded, and I think the aim of it is misled." "I think it's not really rehabilitating people, it's like sequestering them away, shoving them all in a small space and hoping for the best," he continued. "And then the problems from outside follow everyone inside, except they're amplified, because it's like a pressure cooker." It was clear to him now, he added, that a system had to be put in place that was about genuine rehabilitation, one that adopted a more humanist approach. View Green Video on the source website "I also think that funding and that focus needs to start way before people end up in the prison system," he said. "It needs to start when they're younger, when they're struggling in poverty, don't have access to good schools, don't have access to emotional and psychological support. "And I think that's the thing. My big takeaway is, if someone like Dee had had infrastructure around him and investment in him as a young man way before, he wouldn't be where he ends up." Agreeing with Blyth's point, Jonsson admitted that the current system was not one that would be "easy to fix". "But making this movie wasn't easy," he continued. "And I think that's the wonderful thing about art, sometimes it can really spark a conversation. So if this movie does that as well as thrill people and make them feel a little bit sick, that's great." Wasteman is released in UK cinemas on Friday 20 February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Toy Story 5 trailer goes viral on social media over notable change in Woody's appearance
The addition of an evil tablet wasn't enough to keep fans from talking about Woody's new look.
The full-length trailer for Toy Story 5 has been released, and beyond the nostalgia, thrills and villainous iPad, there's one key thing fans have been picking up on – Woody's bald patch. That's right, Tom Hanks's beloved character is back, reuniting with the rest of the toys after separating from them at the end of Toy Story 4. However, he has changed a bit since we last saw him, developing a distinct 'bald patch' on the back of his head, which the light shines off of, blinding the other toys. Trixie notes that "someone needs a brown marker", something plenty of fans have been saying online too. Meanwhile, villainous new character Lilypad, a tablet threatening to replace the toys in Bonnie's heart, asks whether Woody is "some sort of old man toy", with Forky clarifying that "she thinks you're old because you're bald, Woody". You can watch the trailer right here now. View oEmbed on the source website On X, a number of fans have been noting that Woody needs a return visit to a character known only as 'the cleaner' from Toy Story 2, who fixed Woody up for display when he was damaged. This included spray painting brown over an area where his hair had been shined away. View oEmbed on the source website Fans have also been reacting to the reveal, with one saying on X that "if you were alive when toy story 1 came out you may also be experiencing this," while another added: "I can’t think of a more meaningful and necessary story development than Woody balding." This is the second trailer to be released for the new Pixar sequel, after a teaser trailer was released in November. The film will be released this summer. Toy Story 5 arrives seven years after the fourth instalment, and is the second Pixar film set to be released this year, after upcoming original story Hoppers. The likes of Tim Allen and Joan Cusack are also reprising their roles alongside Hanks, while new additions to the voice cast include Greta Lee, Ernie Hudson, Craig Robinson and Conan O'Brien. View Green Video on the source website Toy Story 5 will be released in cinemas on 19 June 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Best kids' movies to watch on Netflix - from K-Pop Demon Hunters to Wallace & Gromit
Enjoy time at home with the children with our pick of family films available to watch on Netflix.
With the half-term break on the way, the chances are you might be looking for a new film to keep the kids occupied – or perhaps for something you can watch with them that works for the whole family. The good news is that Netflix has no shortage of options to choose from, including everything from 2025 mega-hit K-Pop Demon Hunters to virtually the entire library of films from the exceptional Studio Ghibli catalogue. If you're after some classic blockbusters that are also suitable for younger audiences, the likes of Back to the Future and Jurassic Park should fit the bill – provided your kids can withstand a few frights – while if you're looking to introduce a few more macabre themes, Guillermo del Toro's spellbinding adaptation of Pinocchio is a great place to start. We've compiled a lit consisting of 20 varied options currently available on the streamer below – scroll down for our picks alongside reviews from the Radio Times archive. Check out our list of the best family films on Netflix below. 1. K-Pop Demon Hunters You don't have to know a thing about the South Korean K-pop phenomenon to enjoy this deliriously silly English-language animated musical. It introduces us to delightful three-piece girl band Huntr/x (voiced by Arden Cho, Ji-young Yoo and May Hong). As global superstars, they wow huge crowds on stage – but also secretly fight demons to save the world. Now the baddies have a plan: they've created an equally talented boy band, Saja Boys, to steal Huntr/x's fans. Led by the evil, yet attractive, Jinu (Ahn Hyo-seop), Saja Boys aim to gain in popularity until they're ready to unleash their demon armies. This is a dazzling watch, with animation reminiscent of the kinetic, colourful Spider-Verse movies but with a bold Korean twist. The jokes are universal but K-pop fans can also enjoy cheeky nods to real-life bands (Saja Boys's six-pack-flaunting member "Abs" could well be San from Ateez, for example). As for the music: there's a reason lead track Golden hit number one across the world, including in the UK. – Jayne Nelson 2. My Neighbour Totoro - and more Studio Ghibli films Set in the 1950s, this charming tale draws on the childhood experiences of director Hayao Miyazaki (Spirited Away). Left alone while their father frets over the condition of their mother in a nearby hospital, Satsuki and her younger sister Mei begin exploring their new house in the country and are soon having fantastical adventures with soot balls known as "dustbunnies", a 12-legged cat bus and furry giant Totoro. Everything sings of the innocence and wonderment of youth and, while some may bemoan the minimalist storyline, the graphics are an utter delight. – David Parkinson NOTE: We could have populated this list entirely with Studio Ghibli films – there are a huge range of wonderful options from the beloved animation studio currently streaming, with Spirited Away, Kiki's Delivery Service and Howl's Moving Castle among the others which are well worth checking out. 3. Guillermo Del Toro’s Pinocchio Mexican auteur Guillermo del Toro (The Shape of Water) brings his distinctive style to this wondrous stop-motion adaptation of Carlo Collodi's timeless fable. Ingeniously transposing the story to Benito Mussolini's fascist Italy in the 1930s, the film sees anguished woodcarver Geppetto (voiced by David Bradley) crafting the titular puppet (Gregory Mann) following a tragic incident. Ewan McGregor turns in a delightful performance as the talking cricket who serves as narrator. The animation is stunning, especially in the sequences where the director leans into the source novel's surrealism, while Alexandre Desplat's atmospheric score is spellbinding. Del Toro has spoken at length about Pinocchio's influence on his life and career, and this intricate film is a clear passion project made with love and care. With sensitivity and heart, it explores grief, war, and the question of what it truly means to be human. – Patrick Cremona 4. Back to the Future This irresistible combination of dazzling special effects and sly comedy propelled Michael J Fox to stardom and Robert Zemeckis to the front rank of Hollywood directors. And time has not robbed it of any of its vitality. Fox plays the young student who travels back in time to the 1950s and acts as matchmaker for his future parents, who are showing no sign of falling in love. It's beautifully played by the cast (honourable mentions to Christopher Lloyd, Lea Thompson and Crispin Glover), and makes the most of an ingenious script from Bob Gale and Zemeckis that finds time to poke fun at 50s icons and lifestyles between the bouts of time-travelling. Zemeckis's direction is equally adroit and he never lets the effects swamp the film. – John Ferguson 5. Mary and the Witch's Flower View Green Video on the source website A curious girl finds a magic flower and is whisked away to a land of witches in this vivid animated adventure. It's directed by Studio Ghibli alumnus Hiromasa Yonebayashi (Arriety, When Marnie Was There), who takes us on a colourful ride filled with fantastic creatures and dastardly villains, brought to life by an excellent English voice cast including Kate Winslet and Jim Broadbent. This sweet and simple story may lack the emotional heft of classic Japanese anime, but it gets the basics right. And, in Mary, the film also has a different kind of hero, one whose journey is as much about self-acceptance as it is saving the day. – Victoria Luxford 6. IF Writer/director and actor John Krasinski follows his A Quiet Place films with a gentler, if saggy and derivative take on family trauma in this child-friendly fantasy. Cailey Fleming plays 12-year-old Bea, whose mother has died and whose father (Krasinski) awaits an operation. Living with her grandma (Fiona Shaw) in New York, Bea begins seeing cutesy "IFs" (imaginary friends) and helps neighbour Cal (Ryan Reynolds) find these affable creatures' childhood pals. Krasinski seems set on making a live-action Pixar equivalent – echoes of Monsters, Inc and more mount up - but the animation studio's precision-honed plotting and comedy elude him as IF meanders through Bea's healing arc. The huge cast of A-listers voicing the CG IFs proves indulgent, diluting the focus further, though Fleming and Reynolds's measured leads provide anchoring charm. A visit to the IFs' magical world adds flashes of invention, too, before the finale's inevitable tug on the heartstrings. Amid hazily defined homilies about remembering lost loved ones, Krasinski's warm-hearted muddle slips rather too readily from the memory. – Kevin Harley 7. Nimona This animated adaptation of ND Stevenson's graphic novel fuses medievalism with neon-bright futurism. Ballister Boldheart (voiced by Riz Ahmed) is made a knight, one of many who've vowed to protect his city from an ancient monster beyond its walls. Just moments later, however, he's framed for murder and goes on the run - pursued by fellow knight Ambrosius Goldenloin (Eugene Lee Yang), who's also his boyfriend. Boldheart's plight attracts the attention of the peculiar Nimona (Chloë Grace Moretz), a shapeshifting pink weirdo who enjoys a fight. A tentative bond forms between the rogue knight and the homicidal "monster" in a film that successfully explores the themes of friendship, diversity and acceptance. Visually, Nimona is stunning, its inventive 2D animation blending with eye-popping 3D design. The action set pieces are thrilling, too, although possibly a little intense for very young audiences. While some of the plot twists are easy to guess, it doesn't spoil what is an otherwise fresh and exhilarating adventure. – Jayne Nelson 8. Wallace & Gromit: Vengeance Most Fowl West Wallaby Street's dynamic duo return for their first major adventure since 2008's A Matter of Loaf and Death, and find themselves pitted against an old foe. All is well with Wallace's latest invention, a super-efficient automated garden gnome called Norbot, until it comes to the attention of their old nemesis from The Wrong Trousers, the dastardly Feathers McGraw. Hacking into the cheese-loving pals' computer system from his prison cell in the zoo, McGraw takes control of the bot, mass-replicates it and triggers a crime wave, framing Wallace in the process. Consequently, it's up to Gromit to clear his owner's name and bring the bad guy to book, with the help of a plucky policewoman. Laughs, jeopardy and outrageous physical comedy ensue, with the result significantly better paced than the only previous feature-length instalment in the franchise, The Curse of the Were-Rabbit. Creator and co-director Nick Park ensures the expected elements are in place: a gag-packed script, magnificent set design and a healthy helping of bonkers gadgetry. Taking over from the late Peter Sallis, Ben Whitehead ticks all the right boxes as the voice of Wallace, ensuring a smooth transition that sustains the fun millions of fans have come to expect. – Terry Staunton 9. Bridge to Terabithia Two young outsiders find sanctuary in a world of imagination in this charming fantasy. Based on Katherine Paterson's children's novel, it's an emotionally rich testament to the life-changing power of friendship. Josh Hutcherson and AnnaSophia Robb are wonderful as ten-year-old misfits Jess and Leslie, who are drawn together by their mutual alienation and delightful creativity. After an awkward introduction, they become inseparable, inventing a magical imaginary kingdom known as Terabithia (a homage to CS Lewis's Chronicles of Narnia) in their local woods. This attractive realm and its fantastical creatures provide a showcase for a wealth of enjoyable digital effects. Yet, ironically, it's the duo's mundane daily experiences and the way their secret exploits gradually empower them at school that are the story's greatest strengths. In his debut movie as director, former Rugrats animator Gabor Csupo tackles pre-teen issues with both wit and sensitivity, while the film's unexpectedly tragic turn makes the final segment particularly affecting. – Sloan Freer 10. Chicken Run This feathered pastiche of such PoW classics as The Great Escape and Stalag 17 is an awesome achievement by those clever film-makers at Aardman Animation. Rocky (voiced by Mel Gibson) is a "lone free-ranger" rooster who promises to help the hens in Mr and Mrs Tweedy's high-security egg farm find a way to freedom. The nods to classic film moments are funny and plentiful, the largely British voice cast (Julia Sawalha, Jane Horrocks, Miranda Richardson, Timothy Spall) lends moments of humour and pathos, and the set pieces are exhilarating in their ingenuity and comic élan. – David Parkinson 11. The Mitchells vs the Machines View Green Video on the source website With its eye-popping animation, gleefully anarchic humour and heartfelt father-daughter narrative, this dazzling comedy is every bit the kind of film you'd expect from the producers of The Lego Movie and Spider-Man: Into the Spider-Verse. Movie-loving teenager Katie (voiced by Broad City's Abbi Jacobson) can't wait to go to university, not least to get away from her overprotective dad (Danny McBride). A fraught situation is made worse when he packs the whole family into the car to take Katie to college, only for their road trip to be thrown off course by a robot uprising. Can the Mitchells set aside their differences and save the planet? Though it's stuffed with visual gags and outrageously funny set pieces (many involving pet pug Doug), the film never loses sight of its human characters. They imbue this kaleidoscopic feast for the eyes with real heart, ensuring that while The Mitchells vs the Machines is a nonstop gag-fest, it's also a warm and witty celebration of family. And pugs. – Josh Winning 12. The Sea Beast Imagine if Moby Dick's Captain Ahab wasn't on a mission of revenge against a white whale. Instead, his life's quest was to kill a gigantic red sea monster that looked like Toothless from How to Train Your Dragon. That's the premise of this hugely entertaining animated film that follows the crew of a hunting ship, the Inevitable, as they seek out murderous sea beasts to destroy. Captain Crow (Jared Harris) and Jacob (Karl Urban) have fought hundreds of watery battles with tentacled monsters. However, it isn't until the arrival on board of a child named Maisie (Zaris-Angel Hator) that things start to go wrong. Directed and co-written by Moana's Chris Williams, The Sea Beast has a lot of fun smashing together genres (pirates vs King Kong, anyone?). The film is given extra punch thanks to a witty script, inventive animation and a spirited performance from Hator, who previously played the lead in the West End production of Matilda. – Jayne Nelson 13. The Boy Who Harnessed the Wind Chiwetel Ejiofor won the best actor Bafta for 12 Years a Slave and has chosen a similarly stirring, against-the-odds true story for his directorial debut. The star has also adapted William Kamkwamba's memoir that's set in a small village in Malawi in 2001 when the 13-year-old William overcame school expulsion and parental mistrust to create a crop-saving wind turbine with the aid of a library book and a bicycle dynamo. Maxwell Simba (in his debut) carries the focal role of William with conviction and some aplomb, while Ejiofor gives a supporting performance of controlled power as the boy's embattled father, Trywell. The film adopts an episodic narrative structure - using the chapter titles of sowing, growing, harvest, hunger and wind - to illustrate the arduous agrarian existence experienced by Trywell and his fellow villagers. Constantly at the mercy of a climate that can parch or flood the land at any given moment, the farmers are also hamstrung by corrupt government officials (who are not shy at handing out beatings) and rapacious capitalism (tobacco industry-induced deforestation). It's sensitively directed and Ejiofor strives to keep things real with much of the dialogue in Chichewa. It's no bad thing to have Mike Leigh's regular cameraman Dick Pope (Mr Turner, Peterloo) on board to provide a vivid and visceral authenticity. Meanwhile, Antonio Pinto's subtle score gently underpins a story that avoids lazy lapses into sentimentality. The result is a genuinely life-affirming tale that displays a refreshingly unpatronising view of the challenges facing communities in 21st-century Africa and acts as a ringing endorsement of the importance of education. – Jeremy Aspinall 14. The Greatest Showman Take everything in this fictionialised biopic of circus inventor PT Barnum with a pinch of salt and you'll love the glitz, glamour and glow of an all-singing, all-dancing musical in the grand old Hollywood tradition. The self-confessed "Prince of Humbug", Barnum (Hugh Jackman) goes from marrying his childhood sweetheart (Michelle Williams) and redundancy to fame and fortune thanks to the popularity of his big top "Freak Show". Jackman is a superb ringmaster with Zac Efron (as Barnum's showbiz partner) and Rebecca Ferguson (as Jenny Lind, "The Swedish Nightingale") providing top-notch support. La La Land lyricists Benj Pasek and Justin Paul's songs provide the melodic counterpoint to some extravagantly staged routines, with Lind's power-ballad showstopper Never Enough among the musical highlights. – Alan Jones 15. The Karate Kid This heart-warming, junior version of Rocky - both films were directed by John G Avildsen - became a massive worldwide success, spawning a series of sequels plus hit Netflix show Cobra Kai. Ralph Macchio plays the bullied teen who is taught the secrets of karate by wise old Pat Morita and turns the tables on his tormentors. Macchio rises above the trite script to deliver a sympathetic and believable performance, while Morita is equally good value - and look out, too, for Elisabeth Shue in an early role. This is certainly the best in the film series. – John Ferguson 16. Orion and the Dark A writer with great form in dissecting adult neuroses, Charlie Kaufman (Being John Malkovich) turns to childhood anxieties with this endearing if derivative DreamWorks animation. Young Orion (voiced by Jacob Tremblay) is scared of everything from "murder clowns" to mosquitoes, but mostly fears the dark. Duly, the benign embodiment of darkness (Paul Walter Hauser) visits, intent on soothing Orion's fears. A brisk, bright buddy movie follows, as Orion and the Dark join other playfully realised "night entities" - Insomnia, Quiet, Unexplained Noises etc - as they carry out their work. Adapting Emma Yarlett's picture book alongside first-time feature director Sean Charmatz, Kaufman teases dry humour from Orion's hang-ups and the night crew's spiky banter. Further fresh touches include Werner Herzog's voice cameo, a spry song by The Flaming Lips and a nightmarish cucumber dentist, which help to offset distracting echoes of manifold Pixar films elsewhere. Orion and the Dark may be dramatically lightweight and heavy on homilies, but Kaufman's surreal imagination and empathy for the awkward make for a vivid, winning and wryly relatable charmer. – Kevin Harley 17. Enola Holmes Sherlock's little sister proves to be no mean sleuth herself in this fun adventure, based on the popular novels by Nancy Springer and starring a headstrong Millie Bobby Brown in the title role. Free-spirited Enola awakes on her 16th birthday to find her mother (Helena Bonham Carter) missing, leaving behind an odd assortment of gifts but no apparent clue as to where she's gone or why. Against the wishes of her elder brothers (Henry Cavill as the famous detective, Sam Claflin as the stuffy Mycroft), she absconds from her uptight finishing school and sets out to solve the mystery. It's a knockabout yarn that never takes itself too seriously, blessed with a witty script and taut action. There's so much to enjoy in Brown's captivating central performance, especially her numerous asides to camera that take the viewer along for the ride. The plot may be a little sticky in places, but the occasional hiccups don't hang around, and as the opening salvo in a potential franchise it'll do just nicely. – Terry Staunton 18. Jurassic Park View Green Video on the source website Steven Spielberg soared to new heights with this massively successful adventure that spawned a monster-sized franchise. The world's ultimate theme park, featuring genetically re-created dinosaurs, is about to open and owner Richard Attenborough decides to give a sneak preview to a select few, including scientists Sam Neill and Laura Dern. However, all is not well in this new Garden of Eden and, in the jungle, the creatures are restless. (When movie scientists tamper with nature, you just know something will go wrong!) T rex and her chums may be the stars of the show, but Spielberg orchestrates the action with such effortless verve that, even today, it's hard not to be transfixed by the thrilling spectacle and the sheer scale of the director's vision. – John Ferguson 19. Corpse Bride Made around the same time as Charlie and the Chocolate Factory, this wonderful fantasy appeared in what was a vintage year for fans of the director. This exquisitely crafted example of stop-motion animation puts a hip spin on a Russian folk tale, with shy Victor Van Dort (voiced by Johnny Depp) wandering into the woods to practise his marriage vows and ending up hitched to a corpse (Helena Bonham Carter) – a passionate, blue-hued beauty with a maggot living in her eye. She whisks him off to a curiously vibrant subterranean land, but this enchanting world and his new bride's increasingly apparent charms are little comfort to Victor when he'd rather be married to his living, breathing fiancée Victoria (Emily Watson) above ground. There's a strong resemblance here to Burton's previous foray into feature animation, The Nightmare before Christmas, but this time the gothic morbidity is tinged with more sweetness, and the consistently funny and often lyrical script is far better. – Leslie Felperin 20. Little Women Told with abundant affection, the eighth adaptation of Louisa May Alcott's novel reaches the screen courtesy of Lady Bird's Greta Gerwig. Evoking the ramshackle loveliness of Meet Me in St Louis, it's the story of the March sisters - including Saoirse Ronan's trailblazing tomboy Jo and Florence Pugh's petulant aspiring artist Amy – who are coming of age in 1860s New England. The giddy promise of girlhood and the triumphs and disappointments that follow are captured in a honey glow, accompanied by a vigorous Alexandre Desplat score that explodes with joy and sorrow. While keeping largely faithful to the text, Gerwig tweaks the structure and draws out the girls' strengths, freshening it up with some fluid camerawork and outbreaks of uninhibited laughter. Timothée Chalamet does some anguished pouting as love interest Laurie, while Meryl Streep appears as Aunt March and Laura Dern as Marmee - quite the acting ensemble. For a film-maker so in tune with contemporary concerns, it's surprising how emphatically Gerwig embraces the essence of the material; those expecting a radical reinvention may have to settle for being bowled over by charm. – Emma Simmonds Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
How Oscar-nominated film The Secret Agent was born out of resistance to the far right
Academy Award-nominated actor Wagner Moura speaks exclusively to Radio Times about the acclaimed new Brazilian film.
Some very fine films are up for best picture at this year's upcoming Academy Awards, with Paul Thomas Anderson's One Battle After Another and Ryan Coogler's Sinners the two currently looking most likely to emerge as winner of the category. But The Secret Agent – which will become the last of the nominees to arrive in UK cinemas when it is released tomorrow (Friday 20th February) – might just be the pick of the bunch. The new film from writer/director Kleber Mendonça Filho is the second Brazilian film in two years to make the best picture line-up after Walter Selles's drama I'm Still Here achieved the same feat last year. Like that film, it explores a tumultuous period in the country's history – the military dictatorship that existed between 1964 and 1985 – although unlike it, it tells a fictional story inspired by the atmosphere of the time rather than a true story. Narcos and Civil War star Wagner Moura, who has himself been nominated for best actor at the Oscars, takes on the lead role in the film. And although he was only one-year old at the time of it's 1977 setting, he didn't need too much preparation when it came to learning about the period in question. "I have very vivid memories of what the dictatorship was," he explained in conversation with Radio Times. "And I also directed a film in 2018 [political thriller Marighella] that took place during the dictatorship. So I had studied a lot, read a lot about what Brazil was – socially, economically, culturally, politically – back in those times. "But most of all I think that the logic of the dictatorship is still very present in Brazil. It's not like the dictatorship ended in 1985 and that was it. The echoes of the dictatorship are still very present. From 2018 to 2022 we had a far right president, [Jair] Bolsonaro – who by the way is in jail right now for attempting against democracy in Brazil. "This man is a physical manifestation of these echoes of the dictatorship in the country. So to be honest, it wasn't a big effort to understand the logic of those times." In fact, it was resistance to the Bolsanoro regime that had led Moura and Mendonça Filho to collaborate on this film. The pair have known each other for 20 years, having first met at the Cannes Film Festival when Mendonça Filho interviewed Moura in his old job as a film journalist. Although Moura laughs that the director "was a very mean critic" who wrote "very, very heavy reviews", the two became friends, and as soon as the actor saw Mendonça Filho's debut film Neighboring Sounds in 2012 he knew that he wanted to work with him one day. "I thought it was one of the greatest Brazilian films I had ever seen, and I expressed my desire to work with him," he said. "And it was mutual." View Green Video on the source website Mendonça Filho first invited Moura to star in his surreal 2019 western Bacurau (which is also well worth seeking out) but the actor was unable to accept the offer as he was in the process of directing his own film at that time. But for The Secret Agent, the stars aligned. "What really brought us together in this project was politics," he explained. "What it was to be in Brazil under a wannabe dictator, what it was when Brazil took this sharp turn to the right with the President that openly praised the dictatorship, praised the torturers, the killers, and people that worked for the dictatorship. "And Kleber and I, we see the role of an artist in a very similar way. We are very different from one another, but we see our role as artists in a very similar way. And we were both very vocal against that particular government, and we both suffered the consequences of that. I had my film censored in Brazil. Kleber had problems too. "So I think that what put us together, actually, to do The Secret Agent, was our shared perplexity over what was going on in the country, during that time.” Of course, the Bolsanaro era might now be at an end – since 2023 the Brazilian government has been led by the left-wing politician Lula – but one of the main themes of The Secret Agent is the importance of addressing history, of exploring the collective trauma suffered by the country's people during dark times. And according to Moura, this speaks to one of the great powers of film in general. “When I was a boy, because I grew up during the dictatorship, the history that I was taught when I was a kid was completely wrong," he explained. "It's a film about the importance of collective memory, or how an entire generation can be traumatised and how that impacts the soul of the country. So, I think that films are important in that sense. I don't believe that we have to make films for that, but it's good they end up having this function." One of the most fascinating aspects of The Secret Agent relates to how much information is revealed and when. The film adopts a framing device that sees a history student in the modern day learning about the era and the activities of Moura's character – who at various points in the story goes by both 'Armando' and 'Marcelo' – through audio recordings and newspaper archives. Because the information she has at her disposal is incomplete, so is our picture of the character, something which communicates the fact that many records of dissidents at the time are now tragically lost. But although the audience are told a fragmented story, Moura was keen to fill in the gaps of his character's backstory as much as he could for his own benefit as an actor. "I think that's usually what actors do," he said. "But I really like how Kleber doesn't spoon-feed the audience with answers. It makes the audience part of the game. "Until, like, an hour-and-a-half into the film, you don't really know what's going on, it's like putting the pieces of the puzzle together and understanding parts of what that character is. And I really like that. I really like that he doesn't provide answers." He continued: "There are things that I think happened in a [certain] way, and Kleber might think that it happened in another way, and you might think that it's different for yourself. So I like that a lot. But for sure, as an actor, I had my own answers that don't necessarily match Kleber's answers or your takes on that." One thing that the film does do is provide some interesting context for the film's setting – the northeastern city of Recife. The action regularly diverts from the main plot line to provide all sorts of tangents focusing on the local community and the people Armando comes into contact with, at one point even indulging in a fantasy sequence exploring a local legend known as the hairy leg. This ties in with Mendonça Filho's previous film – the 2023 documentary Pictures of Ghosts – which explored the various 20th century cinemas of Recife, many of which are no longer operating. "The Secret Agent wouldn't exist if he hadn't directed that film," Moura said. "Which is his interest in Recife, in the archeology of the centre of Recife. The old movie theater, São Luiz, is kind of a character in this film as well as the city and the legends like the hairy leg. "All these things make the cultural aspects of the Northeast of Brazil, of Recife... I think they are very important part of of what The Secret Agent is. And I love it." Towards the end of our conversation we come back round to the subject of Brazilian cinema more generally, and specifically the recent boost it's received when it comes to international recognition at major awards ceremonies. Of course, Brazilian cinema has a deep, rich history – Moura mentions everything from Walter Selles's 1995 action film Foreign Land to Eduardo Coutinho's 1984 documentary Twenty Years Later to Glauber Rocha's revisionist western Black God, White Devil – but this latest uptick, he explained, is not a coincidence. "It's a good moment for Brazilian cinema, for sure," he said. "Since we got rid of the fascist government that is in jail right now, we now have – again – a president and a government that likes culture. Because our production is still very dependent on government funds – so it's not by chance that we are living in a good moment." The Secret Agent is released in UK cinemas on Friday 20th February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Wuthering Heights soundtrack 2026: Every song from Charli xcx
Emerald Fennell's film adaptation of Wuthering Heights is shaping up to be one of the most divisive movies of 2026. From the casting of Margot Robbie and Jacob Elordi, and the film's anachronistic costumes, to its diversions from Emily Brontë’s Gothic novel and overtly erotic tone, almost everything about the Saltburn filmmaker's new take has been criticised. But one aspect of the film that has received overwhelmingly positive reactions has been the soundtrack penned by pop superstar and 'brat summer' architect Charli xcx. The album features plenty of autotune, strange and experimental noises, and also includes collaborations with Welsh musician John Cale and US singer Sky Ferreira. Want to know more about the songs Charli is contributing to the film and how you can listen to them? Read on for everything we know about the film’s soundtrack. How to listen to the Wuthering Heights 2026 soundtrack Charli's album is available on music streaming platforms including Amazon Music and Spotify. The album is also available to buy on CD and vinyl from Amazon. You can also get your hands on a collector's edition here. Wuthering Heights 2026 soundtrack: Full list of songs from Charli xcx <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/03/GettyImages-2197337640-d76348d.jpg" width="5655" height="3770" alt="LOS ANGELES, CALIFORNIA - FEBRUARY 02: Charli XCX (C) performs onstage during the 67th Annual GRAMMY Awards at Crypto.com Arena on February 02, 2025 in Los Angeles, California. (Photo by Kevin Mazur/Getty Images for The Recording Academy)" title="67th Annual GRAMMY Awards - Show" /> Charli's album feature 12 original songs in total, with the official track list announced in February just before the release of the film. You can find the full list below: All tracks written by Charli xcx except where stated House (feat John Cale) – written by Charli xcx, John Cale, Finn Keane & Nathan Klein Wall of Sound – written by Charli xcx & Finn Keane Dying for You – written by Charli xcx, Finn Keane & Justin Raisen Always Everywhere – written by Charli xcx, Finn Keane, Lewis Pesacov & Justin Raisen Chains of Love – written by Charli xcx, Finn Keane & Justin Raisen Out of Myself Open Up – written by Charli xcx & Finn Keane Seeing Things Altars – Written by Charli xcx, Finn Keane & Justin Raisen Eyes of the World (feat Sky Ferreira) My Reminder Funny Mouth – written by Charli xcx, Finn Keane & Joe Keery Charli shared three tracks from the album ahead of the film's release – and got everyone talking. In early November, she dropped House, an eerie new song featuring The Velvet Underground’s John Cale. The track features some autotune as well as industrial sounds, with Cale’s voice appearing as a spoken word poem before the pair repeat the central refrain of “I think I’m gonna die in this house” – a refrain which quickly became a trending sound on TikTok. Later in November, Charli then shared another preview of her album with the new song Chains of Love. The track also features in the trailer for the movie, which you can watch below: View Green Video on the source website Meanwhile, a third single – Wall of Sound – followed in January 2026. Opening up about the inspiration behind the soundtrack, the singer previously wrote in a statement on Instagram Stories: “I got a call from Emerald Fennell last Christmas asking whether I would consider working on a song for her adaptation of Wuthering Heights." She continued: “After being so in the depths of my previous album I was excited to escape into something entirely new, entirely opposite. When I think of Wuthering Heights I think of many things. I think of passion and pain. I think of England. I think of the Moors, I think of the mud and the cold. I think of determination and grit.” Charli also said in her statement that she reached out to Cale after his quote from a Velvet Underground documentary – in which he said there was a need for the band’s songs to be both “elegant and brutal” – stayed with her. Charli wrote: “I got really stuck on that phrase. I wrote it down in my notes app and would pull it up from time to time and think about what he meant.” So Charli decided to reach out to him and they ended up collaborating. “That voice, so elegant, so brutal. I sent him some songs, and we started talking specifically about House," she added. She continued: "We spoke about the idea of a poem. He recorded something and sent it to me. Something that only John could do. "And it was… well, it made me cry. I feel so lucky to have been able to work with John on this song. I’ve been so excited to share it with you all, sitting quietly in anticipation.” Wuthering Heights is out now in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Ncuti Gatwa's acclaimed theatre run of beloved classic play is set to stream for free
Alongside Gatwa, the play stars Sharon D Clarke, Ronkẹ Adékọluẹ́jọ́, Eliza Scanlen and Hugh Skinner.
The National Theatre has announced it will stream Max Webster’s production of The Importance of Being Earnest starring Ncuti Gatwa for free. The filmed performance, which was captured during its run at the National Theatre in winter 2024/25, will be available worldwide on YouTube from 12 March 2026 as part of the Take Your Seats initiative. There will also be a digital watch-along premiere at 7pm GMT, during which viewers will have the opportunity to interact through a chat function and engage in polls. The free stream will be available for free until 18 March, and will be released to National Theatre at Home subscribers on 19 March. Alongside Ncuti, who plays bachelor Algernon Moncrieff, the reimagining of the Oscar Wilde play stars Sharon D Clarke (Doctor Who), Ronkẹ Adékọluẹ́jọ́ (Blues for an Alabama Sky), Eliza Scanlen (Little Women) and Hugh Skinner (Fleabag). Following its run at the National Theatre, The Importance of Being Earnest was released in cinemas internationally through the National Theatre Live, with the production reaching over 175,000 people. The play later transferred to the Noel Coward Theatre in London’s West End, where it ran from 18 September 2025 until 10 January 2026. The cast featured the likes of Olly Alexander, Nathan Stewart-Jarrett, Hugh Dennis, Shobna Gulati, Kitty Hawthorne, Jessica Whitehurst, Hayley Carmichael and Stephen Fry. Take Your Seats first launched in 2023, with previous free streams including Othello and Nye. The Importance of Being Earnest was one of Gatwa's first major roles following his departure from Doctor Who at the end of season 15. The actor's other post-Doctor Who roles include comedy film The Roses, in which he starred alongside Olivia Colman and Benedict Cumberbatch, as well as the part of Christopher Marlowe in Liz Duffy Adam's Born With Teeth, a play about the rivalry between Marlowe and William Shakespeare, which ran at London's Wyndham theatre last year. Meanwhile, upcoming projects include the series First Day On Earth for HBO and BBC, and The Queen of Fashion, a biopic about the iconic British fashion editor Isabella Blow. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Peaky Blinders movie trailer confirms Barry Keoghan's role in surprise twist as he faces off with Cillian Murphy
The latest trailer for the movie spin-off reveals a lot of new information.
Ever since it was announced that Barry Keoghan would be joining the cast of Peaky Blinders for upcoming film spin-off The Immortal Man, there has been a lot of speculation about who the Saltburn and Banshees of Inisherin star might be playing. One theory which gained a lot of traction suggested he could be set to star as Duke Shelby, the son of Cillian Murphy's Tommy, and a new trailer for the movie has now confirmed that that is indeed the case. The trailer – which follows an earlier teaser released on Christmas Eve – opens with voiceover from Rebecca Ferguson's mysterious character saying: "Tommy, you live in a house haunted with ghosts of people who died, because of you." She then adds: "You abandoned your kingdom, you abandoned your son" before we cut do a very brief shot of Murphy and Keoghan facing each other. Later, we see Tommy's sister Ada (Sophie Rundle) speaking with him inside a car, explaining: "Your gypsy son is running the Peaky Blinders like its 1919 all over again" something which is soon illustrated by scenes of Duke overseeing violent activity. "I can't help him, because I'm not that man anymore," Tommy later laments. And it looks as if things are going to get very nasty; we see Tim Roth's character – who appears to be a Nazi – attempting to enlist Duke in a mission that will help decide the war for Germany. His response? "The world don't give a f**k about me, and I don't give a f**k about it." The trailer also includes Tommy's arrival back at the Garrison pub, the return of Stephen Graham's Hayden Stagg and a glimpse of Jay Lycurgo's new character, alongside all sorts of explosive scenes. Meanwhile it ends with a tease of a confrontation between Tommy and his son – watch it in full below: View oEmbed on the source website Tommy's illegitimate son Duke was previously portrayed by Conrad Khan and was introduced in the final season of the show as a thief whose existence Tommy had previously been unaware of. It appears he's certainly risen the ranks during his father's self-imposed exile. The official synopsis for the film reads: "Birmingham, 1940. Amidst the chaos of WWII, Tommy Shelby is driven back from a self-imposed exile to face his most destructive reckoning yet. "With the future of the family and the country at stake, Tommy must face his own demons, and choose whether to confront his legacy, or burn it to the ground. By order of the Peaky Blinders…" Meanwhile, alongside the trailer – and a selection of newly released stills – details of the film's official soundtrack have also been unveiled, including news of a newly recorded version of Nick Cave’s Red Right Hand which served as the TV show's iconic theme song. According to a release, the soundtrack features 36 tracks in total, with 5 brand new original recordings and input from artists including Cave, Fontaines DC, Lankum, and McLusky. Also included are two "transformative" Massive Attack covers – one by Fontaines frontman Grian Chatten and the other by Girl In The Year Above. Peaky Blinders is available to stream on BBC iPlayer. The movie will be released in cinemas on 6th March 2026 and on Netflix on 20th March 2026 – sign up from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media. Check out more of our Film and Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
50 best movies to watch on Netflix right now
Some of the best movies on Netflix right now include Catch Me If You Can, Priscilla and Train Dreams. Updated weekly.
Valentines Day may have been and gone, but if you're still feeling loved up and in the mood to watch something romantic, there are plenty of options on Netflix - that is, if you're not at the cinema watching Wuthering Heights. For instance, there's 2015 rom-com Man Up and 2019's Little Women, or, if you're looking for something more steamy, Netflix original Hit Man. Of course, there's plenty of other options to find on Netflix right now, whether that's Oscar-nominated fare like Frankenstein, Train Dreams and K-Pop Demon Hunters, or recent new originals like The Rip. The platform also hosts last year's cinema release The Life of Chuck, based on the novella of the same name by Stephen King, as well as older hits such as Room and Ex Machina, and classics including The Godfather and Silence of the Lambs. Netflix also has plenty of other originals on its release calendar for the rest of the year, including Peaky Blinders film The Immortal Man and Greta Gerwig's Narnia film. Read on for our latest picks of the best films on the streaming service right now – updated weekly – or head over to our guides to the best series on Netflix and best comedies on Netflix. Alternatively, check out our helpful list of Netflix secret codes, which can help you unlock hidden movies and TV shows. Updated: 19 February 2026 Best movies to watch on Netflix right now Man Up (2015) This charming little rom-com from 2015 stars Lake Bell as Nancy, a woman who, while travelling through London, finds herself being mistaken for a stranger's blind date.Failing to let him know the truth, the two go on a date throughout the city and find they have a lot in common. But will they be able to make it work when their entire meeting is based on a lie? This isn't the sort of movie that either breaks the mould or sticks with you as something exceptionally groundbreaking. Instead, what it does is uses the tropes of the rom-com genre exceptionally well, and is carried through by the excellent performances of Bell and Simon Pegg, as well as supporting actors such as Rory Kinnear, Harriet Walter and Sharon Horgan. The film also excellently utilises the streets and landmarks of London, and is a particularly British jaunt, has some real laugh-out-loud moments, and is the perfect length for a comedy of this variety, clocking at just under 90 minutes. The Life of Chuck (2025) It's rare these days that you come across a film which feels truly unique, unlike anything else you've seen before - The Life of Chuck fits that bill. Coming from director Mike Flanagan, who previously did a tremendous job on adapting Stephen King's Doctor Sleep, this adaptation of a King novella stars Tom Hiddleston, although don't expect too much screen time from him. The film plays out in three parts in reverse chronology, with act three coming first, followed by two and one. To go into plot details much more than that would be to spoil the surprises. What we can say is that this is a film that's tinged with darkness and sadness, yet still manages to be utterly life-affirming. It has a lot to say about the human condition, and does so in ways which are wholly unexpected. With a phenomenal cast which also includes the likes of Chiwetel Ejiofor and Mark Hamill, it's a stunningly put-together film, and one which has to be experienced to be fully understood. It might not be to everyone's taste, but no one will be able to say that it's conventional or safe. Fargo (1996) Leaving Netflix on 17 March While Joel and Ethan Coen have continued to make films as solo directors, it's now been eight years since the legendary brothers collaborated on a feature – 2018's Ballad of Buster Scruggs. There's still hope that the pair will eventually reunite for another movie, but while we wait, why not check out one of their very finest films, the 1996 classic Fargo. This tremendous Minnesota-set crime flick found them at the peak of their powers – mixing black comedy, a gripping plot and some extremely memorable characters, including police chief Marge Gunderson – played by an Oscar-winning Frances McDormand – and Steve Buscemi as "funny looking" kidnapper Carl Showalter. The film has since spawned a successful anthology TV show spin-off – which has run for five seasons – and although Noah Hawley's series is well worth watching it's not quite in the same league as the original snowy masterpiece. Train Dreams (2025) This Oscar-nominated drama is based on the novella of the same name by Denis Johnson, and stars Joel Edgerton as Robert Grainier, a man living in early 20th century America, who helps expand the nation's railroad empire among the forests of the Pacific Northwest. When his life takes an unexpected turn, Robert finds beauty, brutality and newfound meaning for the forests and trees he has felled. Also starring Felicity Jones, this is a beautiful film both visually and thematically. It features some top notch performances and a sweeping, meditative quality. It's not exactly fast-paced or a film for viewers looking for thrills, but if you're a fan of cinema and you're looking to be moved and challenged, then you can't go far wrong. The Rip (2025) This Netflix original action thriller comes from writer/director Joe Carnahan, and re-teams best friend and long time collaborators Ben Affleck and Matt Damon in front of the camera. It follows a team of Miami cops that begins to fray when it discovers millions in cash in a derelict stash house. As outside forces learn about the seizure, they each struggle to determine just who they can trust. It may not be the best collaboration we've seen from Affleck and Damon, but it still features some tense, thrilling sequences, and with terrific supporting actors including Teyana Taylor and Steven Yeun along for the ride, the film is made up of two hours that are far from the worst way to spend your time. Ex Machina (2014) View Green Video on the source website By the time this intimate sci-fi thriller was released in 2014, Alex Garland had already long marked himself out as a serious talent in screenwriting. This film made clear that he was just as adept in the director's chair. Starring Domhnall Gleeson, Alicia Vikander and Oscar Isaac, Ex Machina follows a programmer who is invited to spend a week at the home of an enigmatic tech CEO, and put his latest creation, a humanoid artificial intelligence, through the Turing test, to determine its level of success. At times funny, at others creepy and at all times fascinating, this is a seriously compelling sci-fi tale which has only got more relevant as its aged. It also doesn't hurt that it features some phenomenal performances at its centre, with the game of wits between the central trio a beguiling thing to behold. Room (2015) This 2015 adaptation of Emma Donoghue's acclaimed novel was nominated for four Oscars upon its release, winning Best Actress for star Brie Larson - and it's not hard to see why. This is a small yet masterful film, which manages to not diminish the darkness of its subject matter, while also never becoming impossibly difficult to watch. A large part of the reason for this is that, like the book before it, the film filters its story, about a woman held captive and raising her son, born of her attacker, in one room, through the lens of the boy's innocence. Not only is Larson heartbreaking and utterly revelatory in her role, but Jacob Tremblay, then just seven years old, is unbelievably naturalistic and strong. It's a movie with real hope in amongst the darkness, and one any film fan shouldn't miss. Left-Handed Girl (2025) This tender family drama was perhaps one of the most under-rated films released in 2025, exploring the lives of a single mother and her two daughters as they face various upheavals after relocating to Taipei and opening a night market noodle stand. Directed by Taiwanese-American filmmaker Shih-Ching Tsou – from a script she co-wrote with Anora's Sean Baker – the film gently explores the highs and lows for each character as they adjust to their new lives. The title stems from a superstition which left-handed 5-year-old I-Jing (Nina-Ye) hears from her grandfather, who tells her that using her left hand rather than her right is the work of the devil – a detail with causes her no shortage of stress later down the line. Each of the characters are remarkably well drawn, feeling at all times like three-dimensional people with complex inner lives, meaning a dramatic revelation in the final act lands with genuine emotional heft. Meanwhile the vivid, lively atmosphere of Taipei is brought to life with real skill by Tsou's first-rate direction, making this a low-key triumph. Silence of the Lambs (1991) Leaving Netflix on 10 March One of the most acclaimed and influential horror – or at least horror adjacent – films of all time, Jonathan Demme's spectacular adaptation of Thomas Harris's novel remains truly iconic more than 30 years on from its release. The story will likely need no introduction to most film fans: Jodie Foster's Clarice Starling is a young FBI agent who is tasked with assisting in the hunt for serial killer Buffalo Bill and looks to incarcerated, sociopathic cannibal Dr Hannibal Lecter (Anthony Hopkins) for advice, leading to some pretty chilling scenes as the two probe each other with some fascinating mind games. One of only three films in history to have won all of 'The Big Five' awards at the Oscars – Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay – the performances of Foster and Hopkins are truly first-rate, while Demme's direction adds both a gloomy atmosphere and a generous helping of suspense. A classic for a reason. Catch Me If You Can (2002) Leonardo DiCaprio and Tom Hanks shine in this classic cat-and-mouse chase thriller from Steven Spielberg – a delightfully entertaining 60s-set period piece that reimagines the true story of prolific conman Frank Abagnale Jr (DiCaprio) and the tenacious FBI agent Carl Hanratty (Hanks) on his tail. Beginning when the 16-year-old Frank runs away to New York after his parents's divorce, it follows him over multiple years as he gets away with all manner of shady schemes while posing as various professions – including as an airline pilot – and cashes some pretty massive cheques, consistently managing to elude the attentions of Hanratty. Five years on from Titanic, DiCaprio had already well and truly established himself as a bonafide movie star, and this was a tremendous showcase for his magnetic charisma, with the character giving him all sorts of opportunities to impress. It's hard to think of many films from this century that give it a run for its money when it comes to good old fashioned entertainment value. Wake Up Dead Man: A Knives Out Mystery (2025) View Green Video on the source website After he previously staged star-studded murder mysteries at a cosy mansion and a lavish private island, this third Knives Out film from Rian Johnson unfolds against the backdrop of a small Catholic parish in upstate New York. This time, Daniel Craig's Southern sleuth Benoit Blanc is tasked with solving the murder of an intimidating priest (Josh Brolin), whose increasingly warped fire and brimstone sermons have seen him brush up against Josh O'Connor's younger clergyman. What makes the mystery so enticing on this occasion is that it initially appears to be an impossible crime, with Johnson's script making several references to John Dickson Carr's classic "locked room" mystery novel The Hollow Man, while the church setting allows the director to make cinematic use of religious iconography and deliver a pointed satire about the way contemporary right-wing figures have weaponised faith to their own ends. Meanwhile, the film gets a little darker, more unsettling, and weirder than the previous instalments – embracing elements of gothic horror – and although there are times where the case threatens to get a little too convoluted, it eventually leads to a hugely satisfying denouement. Love Lies Bleeding (2024) This gritty feature whisks us away to the late '80s in New Mexico, where gym manager Lou (Kristen Stewart) meets bodybuilder Jackie (Katy O'Brian) – and the two of them quickly fall in love. So far so good. Alas, their fleeting peace comes under attack by dangerous elements, including Lou's abusive brother-in-law JJ (Dave Franco), an FBI investigation into her criminal father, and Jackie's growing dependency on steroids. What follows is a tale that is unashamedly grim and nasty; not in a gore sense (although there are some bloody scenes), but more so in tone and atmosphere, with every character seemingly capable of anything to survive another day. Love Lies Bleeding is directed by Rose Glass, who previously helmed acclaimed horror flick Saint Maud (starring The Rings of Power actor Morfydd Clark); she co-wrote the script too, alongside Baby Reindeer's Weronika Tofilska. The Holdovers (2023) In recent years, it's become common to ask when the last truly great new Christmas film was released – and now we have a definitive answer to that question. Although Alexander Payne's The Holdovers actually arrived in UK cinemas after Christmas, in January 2024, it's about as close to a festive classic as you could possibly get. Not only is it set over the festive period with a sprinkling of beloved carols on the soundtrack, but it also embraces all the themes we've come to associate with Christmas movies, including redemption, renewal and the power of generosity. Set in the 1970s, the film stars Paul Giamatti as a grumpy teacher at a New England boarding school who is charged with looking after the students who have nowhere to go over the holidays. Gradually, he forms an unexpected bond with troublemaking student Angus (Dominic Sessa) and the school's head cook (Da'Vine Joy Randolph) as the trio learn there is more to each other than they had initially thought. Randolph deservedly took home the Best Supporting Actress prize at that year's Oscars, while Giamatti was only stopped from winning the Best Actor gong by Cillian Murphy's generational turn in Oppenheimer. Little Women (2019) Approaching beloved, classic literary material for any new adaptation can be tricky, with some fans of the source always ready to be hyper-critical. It's therefore somewhat astonishing that Greta Gerwig managed to pull off what she did, which is an almost universally beloved take on Louisa May Alcott's Little Women. The film, which received a whole host of awards and nominations upon its release in 2019, was considered both faithful to the original text, yet still adding its own flourishes that made it an enjoyable watch for existing devotees and newcomers alike. The film is certainly helped by having an absolutely stellar cast, including Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Meryl Streep, Bob Odenkirk and James Norton – I could go on, but we'd be here all day. With gorgeous visuals, a ton of heart and an evocative sense of time and place, it's a truly impressive piece of work that's always worth revisiting. Eileen (2023) The script for this bleak but alluring noir thriller was adapted by author Ottessa Moshfegh (and her husband Luke Goebel) from her 2015 novel, and the feel of the book translates impeccably to the screen. Thomasin McKenzie stars as Eileen, a repressed young woman in 1960s Massachusetts who works as a secretary at a boy's prison. Her dull life is given an unexpected jolt by the arrival of new psychologist Rebecca (a superb Anne Hathaway), and Eileen finds herself immediately entranced. Director William Oldroyd (Lady Macbeth) uses period stylings and Richard Reed Parry's terrific score to craft a richly atmospheric mood, resulting in a film that becomes something of a twisted delight – especially when an ingenious third-act rug-pull nudges the film into far darker territory. That late twist may divide audiences, but those who stay with it will be deeply rewarded. Frankenstein (2025) Guillermo del Toro has long been considered among the finest genre filmmakers currently working, and for almost his entire life there's been one particular story he's been desperate to tell: his own version of Mary Shelley's iconic gothic novel, Frankenstein. After years in development, that dream has now come true – with the film having premiered to some rave reviews at the Venice Film Festival earlier in the year. This adaptation includes all the grandiose set design and sweeping narrative scope we've come to expect from the Mexican director, while the score from composer Alexandre Desplat – his third collaboration with del Toro – is also sublime. Oscar Isaac takes on the lead role of Victor Frankenstein, the eccentric scientist who tries to play God by fashioning a creature from the body parts of corpses and bringing it to life. Meanwhile, the Creature itself is played in an first-rate performance by Jacob Elordi, who provides plenty of heart and sensitivity to the apparently monstrous creation. As ever with this story, the film asks who the real monster is – before answering that question with tremendous visual panache. Inside Llewyn Davis (2013) View Green Video on the source website If you were entranced by Oscar Isaac's performance in Frankenstein, you might want to check out – or revisit – arguably his finest big screen role in this 2013 Coen brothers gem. Isaac stars as the titular Llewyn Davis, a folk-singer trying to make a living in the Greenwich Village scene of the 1960 while also struggling with the recent loss of his former musical partner. Partly inspired by the autobiography of folk singer Dave Van Ronk, it's a melancholic tale that follows one week in the central character's life as he moves from apartment to apartment and encounters various acquaintances, including his former lover Jean (played by Carey Mulligan) and eccentric jazz musician Roland Turner (John Goodman). The Coen's expertly capture the look and feel of '60s New York, while the soundtrack – consisting mostly of existing folk songs and standards – is tremendous. And if all that wasn't reason enough to watch it, the film also includes one of cinema's finest cats. It's a wonderful film. Vera Drake (2004) In his decades-long career, Mike Leigh has well and truly earned his place in the pantheon of great British directors, and this 2004 effort is up there with his best. Imelda Staunton won a BAFTA for her performance as the title character – a working-class housewife and cleaning lady in the 1950s who has been performing illegal abortions for women with unwanted pregnancies. When this sideline is discovered, she is reproached by both the law and her own family, and her world begins to fall apart around her. Although Vera Drake is not a real historical figure, Leigh drew on the accounts of backdoor abortionists to create a film that explored a very true – and perhaps overlooked – aspect of British history. Although the tone of the piece is rather dour, Leigh's storytelling instinct is as empathetic and sensitive as always, and Staunton's central performance is strong enough on its own to warrant giving it a watch. A House of Dynamite (2025) Following a limited release in cinemas, this high-stakes political thriller is now streaming on Netflix, marking the welcome return of filmmaker Kathryn Bigelow (Zero Dark Thirty) after an eight-year absence. Film buffs will know she became the first female winner of Best Director at the Academy Awards for her 2008 drama The Hurt Locker. The question now is: can Bigelow become the first woman to win it twice? That's certainly looking plausible right now, with A House of Dynamite earning rave reviews from critics and even ruffling some feathers in the Pentagon. The fictional thriller takes you deep inside the national security infrastructure of the United States, as a nuclear missile is fired at the country from an unknown source. It triggers a pulse-pounding race against time to identify the culprit of the launch and determine how exactly to respond, with Idris Elba's unnamed US President and Rebecca Ferguson's Captain Olivia Walker being key players in the unfolding crisis. Claustrophobic, intense and terrifying in an unnervingly grounded sense, A House of Dynamite is tipped to be a major contender at this year's awards season – check it out now to find out what all the fuss is about. Priscilla (2023) <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/01/httpscdn.sanity.ioimagesxq1bjtf4productiona1e7757dec904304ff641bf4819fa4b01dedcce6-8256x5504-5ec5216.jpg" width="8192" height="5461" alt="Cailee Spaney as Priscilla Presley and Jacob Elordi as Elvis Presley pose for wedding photos in Priscilla." title="https___cdn.sanity.io_images_xq1bjtf4_production_a1e7757dec904304ff641bf4819fa4b01dedcce6-8256x5504" /> Just a year after Baz Luhrmann's show-stopping Elvis biopic was released to much fanfare in the summer of 2022, Sofia Coppola explored the King of Rock'n'Roll from a very different angle in this excellent, understated drama. As the title suggests, the film unfolds entirely from the perspective of Elvis's wife Priscilla, beginning from their first meeting when she was just 14 years old. Although reckoning with some uncomfortable truths about the Elvis mythology, including his possessive nature and propensity for violent outbursts, Coppola handles the material with a typically delicate touch – exploring both the highs and lows of the pair's often-toxic relationship with great sensitivity. The film's production design is also a marvel, while the piece is anchored by a truly terrific performance from Cailee Spaeny, who won a well-deserved acting award at the Venice Film Festival for her portrayal. It's a fascinating counterpoint to the more theatrical thrills of the aforementioned Elvis, and the films make for an ideal double bill. Steve (2025) View Green Video on the source website Even before his Oscar-winning turn in Oppenheimer, Cillian Murphy's presence alone helped to make a film must-see viewing, and that is certainly true here, with Steve proving to be a wonderful showcase for the actor's immense talents. However, it is also more than that. The film, which follows a day in the life of Murphy's Steve, the headteacher at a Reform School for troubled teenagers, is a powerful, propulsive, often chaotic watch, with a sense of realism that few other school-based dramas achieve – even if this is right at the edge of challenging establishments. Beyond this, it also has a real heart to it, not only put across by Murphy's central character, but also by Jay Lycurgo as Shy, a bright young student whose day goes from bad to worse. Lycurgo is just as captivating as Murphy here, a seriously impressive feat. In its stylistic choices and its intense disorder, Steve won't be for everyone, but for those who get on its wavelength, there's something seriously unique and impressive here. The Godfather (1972) In the history of cinema, few films have been lavished with as much praise as Francis Ford Coppola's first two Godfather films – and the entire trilogy of epic gangster movies has recently been added to the Netflix library. The first entry, based on Mario Puzo's novel of the same name, introduced audiences to Marlon Brando's Vito Corleone and his son Michael (Al Pacino) – who's best intentions to not get involved with the family business were always doomed to fail. A landmark of 1970s cinemas and a major box office sensation, the film includes more iconic lines and moments than it's possible to count – from making offers that can't be refused to gruesome incidents involving a horse's head – and looks incredible throughout. Meanwhile the performances, from Brando, Pacino, Robert Duval, John Cazale, James Caan, Tallia Shire, Diane Keaton and more, are all superb. Hugely entertaining, emotionally involving, rivetingly told, visually stunning and thematically rich – there's a reason why this is regarded as one of the finest movies ever made. Knives Out (2019) Wake Up Dead Man: A Knives Out Mystery, the latest film in Rian Johnson's Benoit Blanc series, is now on Netflix, and the first movie in the franchise, Knives Out, is also available on the streamer. Glass Onion may have been a worthy follow-up, but this original film is still the strongest, with a phenomenal cast including Ana de Armas, Chris Evans and Toni Collette bringing their all to some meaty roles. It also features a fittingly twisty narrative with an unconventional beat in the middle, one that automatically made viewers realise they were in for something special. However, it's really Daniel Craig who was the key piece in the puzzle here, as Johnson clearly picked up given the future direction of the franchise. His Benoit Blanc, Southern accent and all, is so broad as to almost be preposterous – yet somehow, not only does it work, but it absolutely pulls the whole thing together. The Thursday Murder Club (2025) View Green Video on the source website This cosy whodunnit has arrived on Netflix with a huge amount of hype and anticipation. After all, not only does it feature a legendary cast, led by Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie, but it is also based on Richard Osman's mega-hit best-selling novel of the same name. The film follows the titular quartet, a group of retirees who spend their time solving cold case murders for fun. They soon find themselves wrapped up in a case which is very current indeed, however, as an unexplained death occurs on their own doorstep. The film doesn't quite reach the heights of the book's charm, and it might not be doing anything hugely innovative, but director Chris Columbus provides a steady hand, the cast are delightful together on-screen, and the whole thing makes for the perfect easy watch if you're looking for some light escapism. Talk to Me (2023) View Green Video on the source website You know you're always in for an interesting ride with an A24 horror film, but 2023's Talk To Me proved to be a real unexpected thrill ride. The supernatural horror comes from YouTubers turned directors Danny and Michael Philippou, and follows Mia, a young woman who gets involved with a group of friends who have found a mystical ceramic hand, which can grant spirits access to your body. It's an already chilling premise which is only heightened by extremely successful execution. Some of the sequences are so terror inducing and stressful that you'll need a long lie down afterwards, but for those looking for some properly thrilling horror then look no further. Sophie Wilde is hugely impressive in the central role, while the supporting cast all do stellar work. The film's thematic storytelling also hits home come the end, as it explores topics around grief and addiction more successfully than many a drama. Wallace & Gromit: Vengeance Most Fowl (2024) After first airing on BBC One on Christmas Day, the latest Wallace & Gromit adventure, a full-length film, is now available to watch on Netflix. The film, which for the first time stars Ben Whitehead as the voice of Wallace following the death of Peter Sallis, also features the return of fan-favourite villain Feathers McGraw, as he takes control of Wallace's latest invention, Norbot, an automated robot gnome. The jokes come just as thick and fast as usual, with the franchise keeping up its astounding hit rate. While this outing may not have quite the same impact or staying power as the absolute best (particularly The Wrong Trousers), it is still a phenomenally fun watch for the whole family, with a surprising dose of emotional moments baked in. Prisoners (2013) With fans highly anticipating Denis Villeneuve's third Dune film – and now also his take on the Bond franchise – now could be the perfect time to revisit the director's first English-language film, Prisoners. A dark, gritty and taut thriller, Prisoners stars Hugh Jackman as the father of an abducted girl who becomes convinced that Alex Jones, a man with diminished IQ played by Paul Dano, is behind it. Meanwhile, Jack Gyllenhaal plays Detective Loki, the officer heading up the police investigation. All three lead performers are on top form here, in a film which is at times hard to watch, but always rewarding. At a time where you might believe you have seen every formulation of a crime thriller, Prisoners takes a different approach, while also demonstrating the technical skill that Villeneuve and his frequent collaborator, cinematographer Roger Deakins, have now repeatedly shown. Blade Runner 2049 (2017) The idea of a sequel to Blade Runner always seemed like a risky one. The 1982 film hadn't been a smash hit upon its release, but it had gained a great deal of critical appreciation is subsequent years and amassed a cult following. Thankfully, Blade Runner 2049, released in 2017, didn't disappoint - in fact, it could actually be argued that it exceeded the original. Arguably one of director Denis Villeneuve's finest films, 2049 is a visually gorgeous sci-fi, with compelling themes, a slow yet purposeful and thoughtful pace and excellent world-building. It's all helped along by stellar performances from Ryan Gosling, Ana de Armas and a returning Harrison Ford, as well as a clear dedication behind the scenes to tell a new story in this world, rather than simply rehashing the original - a trap far too many legacy sequels have fallen into. Barbarian (2022) Director Zach Cregger's new film Weapons will shortly be in cinemas, meaning now could be the perfect time to catch up with or rewatch his solo directorial debut, Barbarian. A truly original piece of work, Barbarian shakes off an expectations the audience may have time and time again, providing an experience which is wholly unpredictable. It stars Georgina Campbell, Bill Skarsgård and Justin Long, and follows a woman who books an Air BnB, only to find there is another man already staying there. To reveal anymore would be to spoil the film's many surprises, but it's fair to say that it's an eerie, tense, often gnarly watch, with some phenomenal central performances and a real sense of style. Glass Onion: A Knives Out Mystery (2022) View Green Video on the source website The comedy murder-mystery has been enjoying something of a moment in recent years – thanks to everything from British flick See How They Run to hit TV series Only Murders in the Building. But arguably no one has done it better than Rian Johnson, whose two star-studded Knives Out mysteries have both been huge hits, with a third confirmed to follow. The second film is streaming on Netflix and sees Daniel Craig’s heavily accented sleuth Benoit Blanc attempt to unravel another mysterious case – this time a puzzling death on a private island owned by tech billionaire Miles Bron (Edward Norton). Craig is on terrific form throughout, and the film is as humorous as it is exciting, packed with intriguing twists that keep the audience guessing until the end. Guillermo Del Toro's Pinocchio (2022) Guillermo Del Toro’s first foray into stop-motion animation – alongside co-director Mark Gustafson – is one of many new takes on the tale of the wooden boy to have been released in recent years. It also happens to be, by some margin, the best of the bunch, ingeniously transposing Carlo Collodi’s classic tale to Benito Mussolini’s Italy. Many of the story beats are, of course, familiar: Geppetto makes a puppet that comes to life, with the pair then getting tangled up in adventures alongside a talking cricket. But, this new version also laces its narrative with profound meditations on grief, death, religion, and authoritarianism, adding up to a truly beautiful and visually sumptuous piece of work. The Karate Kid (1984) Leaving Netflix on 14 March If you're a Cobra Kai fan itching to get your hands on the three-part final season, consider going back to where the martial arts saga began with this bona fide classic of the 1980s – now streaming on Netflix. A young Ralph Macchio and William Zabka, currently starring in the streaming revival, are the stars of the show, playing teen rivals Daniel LaRusso and Johnny Lawrence respectively. Meanwhile, Pat Morita earned an Academy Award nomination as the former's mentor, Mr Miyagi, a war veteran who teaches him karate to ward off bullies and compete in a high-profile tournament. The film remains popular decades on from its release, telling a classic underdog story in an earnest and heartwarming way. It's hardly unpredictable viewing – particularly if you've seen Cobra Kai – but there's still lots of fun to be had from this family flick. Y tu mamá también (2001) Long before he became known to the world as Cassian Andor, Diego Luna starred alongside his fellow Mexcian actor Gael García Bernal in this terrific coming-of-age road trip movie from director Alfonso Cuaron – who would go on to direct Harry Potter and the Prisoner of Azkaban, Children of Men and Gravity. Luna and Bernal star as best friends Julio and Tenoch, who have recently graduated high school and boast to the glamorous wife of the latter's older cousin that they intend to embark on a long trek to a fictional beach known as Heaven's Mouth. When she unexpectedly takes them up on their invite to accompany them, they are forced to hurriedly plan a route. What follows is a colourful, occasionally outrageous journey – by turns hedonistic and tender – which slowly morphs into something more profound as the best pals gain new perspectives on friendship, sex and life. It's beautifully performed and expertly directed, with numerous memorable scenes along the route. Manchester by the Sea (2016) Casey Affleck won a deserved Best Actor Oscar for his superb central turn in this intimate, occasionally funny and frequently emotionally devastating drama written and directed by playwright and acclaimed indie filmmaker Kenneth Lonergan. He plays Lee, a janitor living alone in a Boston suburb whose life is unexpectedly transformed after his brother suffers a heart attack and he finds himself caring for his teenage nephew, excellently played by Lucas Hedges. What starts as a somewhat spiky, frosty dynamic slowly but surely becomes tender as the pair spend more time together. Meanwhile we also peel back the layers on Lee's past life before he became the withdrawn shell of a man we first meet in the film, leading up to an extraordinary encounter with his ex-wife, heartbreakingly played by Michelle Williams. Okja (2017) View Green Video on the source website This South Korean/Hollywood co-production comes from acclaimed director Bong Joon-ho, and follows the story of a young South Korean girl who has raised and become best friends with a genetically modified super pig called Okja. When Okja is kidnapped and taken to be used by a meat industry corporation in the US, she tries to track her down and save her. Featuring a winning central performance from young actor Ahn Seo-hyun, along with some heightened turns from the likes of Tilda Swinton and Jake Gyllenhaal, it's a consistently engaging film, even if it can be tonally bumpy at times. However, the best sequences come at the start of the movie, in the smaller-scale set-up, and the end, when the emotional heft of the film really hits home. It would be hard for anyone to watch the final sequences of Okja and not feel moved, as the series turns its attention to the mistreatment and slaughter of animals, as well as the meat industry, not in a particularly subtle way, but in a manner which is effective just the same. Pig (2021) Although the idea of Nicolas Cage going after the mystery assailants who stole his beloved truffle pig might sound like the basis of a crazed action flick or an absurdist comic romp, this film from 2021 is actually something a little different. Written and directed by Michael Sarnoski – who would go on to make A Quiet Place: Day One –Pig is a rather sombre piece of work that deals fairly profoundly with loss, grief and meaning. Cage's performance is far more still, considered and restrained than some of his iconic madcap turns, rarely indulging in the kind of showboating with which he’s often associated, and yet still delivering a very memorable performance. Meanwhile, the confrontation scenes that regularly punctuate the action rarely play out as you’d expect them, serving as chances for the characters to have discussions about topics deeper than just the location of the missing animal. It all adds up to a very touching, but undoubtedly rather gloomy film, that certainly makes for a very rewarding watch. His Three Daughters (2024) One of the best new films released as a Netflix original in 2024, this low-key drama originally premiered at the 2023 Toronto Film Festival before being acquired by the streamer. It stars a terrific trio of Carrie Coon, Elizabeth Olsen and Natasha Lyonne, all of whom are in fine form as they play bickering sisters reunited in their family home in New York to care for their terminally ill father. It's a beautiful, painstakingly performed portrait of a family in crisis, as the three sisters struggle to process their grief and hold their tempers while questioning what their connection will be once their father is gone. Writer/director Azazel Jacobs has created something plausible and insightful, taking an approach to confrontation and confessions reminiscent of the work of John Cassavetes – before a late flight of fancy takes the film in a slightly different but no less rewarding direction. The Boy and the Heron (2023) For the last few years, Netflix has been home to the vast majority of the Studio Ghibli catalogue, and now the latest film from the hugely acclaimed and widely beloved Japanese animation studio has been added to the library. The Boy and the Heron saw the legendary Hayao Miyazaki come out of retirement, and went on to win the Academy Award for Best Animated Feature after having praise heaped upon it by critics. The film opens in Tokyo during the Second World War, and follows a boy named Mahito (voiced by Soma Santoki) who loses his mother in a fire and subsequently moves with his father to the countryside. There, a creepy talking heron (Masaki Suda) lures the grieving boy into a surreal underworld where he embarks on a bizarre adventure and meets a variety of unusual creatures. Miyazaki's gorgeous hand-painted animation is present and correct, alongside the requisite fearless little girls and cute sprites, while there is also plenty of Princess Mononoke-style blood and guts, plus parakeet soldiers, murderous pelicans and musings on the nature of reality. It's not one to be missed! Rebel Ridge (2024) This crime thriller from Blue Ruin and Green Room writer/director Jeremy Saulnier is one of the best Netflix originals of the year – attracting both impressive viewership numbers and near universally positive reviews from critics. Starring Aaron Pierre as a former Marine who discovers a major cop corruption operation while attempting to post bail for his cousin, it delivers some excellent action choreography and a pointed commentary on policing. Slow-burning but rife with tension, it's a riveting watch that works in large part due to Pierre's excellent presence in the lead role, as his character Terry works firmly but calmly to retrieve his money – using both the skills and philosophy he learned as a close combat expert. There are plenty of impressive supporting turns, too, with Don Johnson excelling as a slimy police chief. It all adds up to an intriguing thriller that carefully builds up to a well-crafted, high-octane finale. Hit Man (2024) View Green Video on the source website The latest film from acclaimed director Richard Linklater, Hit Man is loosely based on the incredible true story of a man named Gary Johnson– a Houston-native who, over a 10 year spell, was hired to kill more than 60 people while posing as a hitman. Little did his prospective clients know, he was working undercover for the police, and their arrests were secured soon after they had handed over cash. A version of Johnson is played by Glen Powell – who also co-wrote the script with Linklater – with the film using the real tale as a jumping off point to tell a fictional love story that ponders what might have happened if he had become romantically involved with one of the clients. The result is a romcom that sees Gary continue to adopt the fake hitman guise he had used on his first encounter with love interest Maddy (Adria Arjona) – which, unsurprisingly, leads to a couple of issues later down the line. Equal parts farcical screwball comedy and philosophical musing on the nature of identity, the film asks fascinating questions about the capacity of a person to change while never being anything less than brilliantly entertaining. The chemistry between Powell and Arjona is palpable and there are some superbly executed set pieces, leading up to an enjoyably twisted conclusion. Godzilla Minus One (2023) If the increasingly silly tone of Hollywood's monster franchise isn't your cup of tea, then consider trying out this distinct and unrelated Japanese version, which earned acclaim upon release last year. Far from the Saturday morning cartoon-style fisticuffs of Godzilla x Kong: The New Empire, this feature is an altogether more sombre affair. Taking place after the end of the Second World War, when Japan was still in a state of shock and grief from the nuclear bombs dropped on Hiroshima and Nagasaki, the country is dealt another devastating blow when Godzilla emerges just off the coast. The story unfolds primarily from the perspective of deserter pilot Kōichi (Ryunosuke Kamiki), who is grappling with PTSD and a desperate desire for redemption. Not an easy, popcorn-munching watch by any means, but if you like your sci-fi with a philosophical and emotional edge, Godzilla Minus One is for you. The film also looks utterly dazzling, which is why it took home the Academy Award for Best Visual Effects at the 2024 ceremony. Maestro (2023) Bradley Cooper announced himself as a major new directorial voice with his Oscar-nominated remake of A Star Is Born five years ago, and his second feature Maestro proves that was no fluke. Focusing on one of the most iconic American musicians of the 20th century in Leonard Bernstein (played by Cooper himself), the film shines a light on his sometimes volatile relationship with wife Felicia Montealegre (Carey Mulligan). Filmed in both black and white and colour, it is a consistently gorgeous film to look at and also includes a brilliant soundtrack full of some of Bernstein's finest work. Meanwhile, the performances are superb – with both Cooper and Mulligan correctly emerging as possible frontrunners for major awards attention. The film runs the full gamut of emotions and there are several standout scenes: from a joyous dance sequence during a rehearsal for On the Town and a breathtaking six-minute scene of Bernstein conducting Gustav Mahler’s Resurrection Symphony, to a blistering argument between Bernstein and Montealegre at their New York apartment and several heartbreaking moments when the latter falls ill. It's well worth a watch. Chicken Run: Dawn of the Nugget (2023) View Green Video on the source website More than twenty years after the first film became an instant claymation classic, Ginger, Rocky and the rest of the flock return in this joyous sequel, where we find them on a utopian island paradise following their audacious escape from the evil Mrs Tweedy. But when Ginger (voiced by Thandiwe Newton) and Rocky (Zachary Levi) discover that their intrepid daughter Molly (Bella Ramsey) has set off on her own adventure, old enemies rear their heads and only an expertly orchestrated heist can avert a calamity. The increased scale compared to the original offers director Sam Fell plenty of opportunities to showcase a number of highly innovative and intricately designed set pieces. And, as ever with Aardman, there's also a terrific assortment of verbal and visual gags to delight audiences, while the film crucially retains the handcrafted, eccentric charm that has become synonymous with the studio. Nimona (2023) This animated adventure started its life at Blue Sky Studios only to be shelved following Disney's acquisition of 21st Century Fox in 2021, eventually being picked up by Netflix for release in 2023. And it's a good job it was rescued: it's a rollicking, inventive, and amusing fairytale that deftly touches on LGBTQ+ themes, with some impressive voice performances from the likes of Chloë Grace Moretz and Riz Ahmed. The film tells the story of Knight Ballister Boldheart (Ahmed) who has to turn to the titular shape-shifting teen (Moretz) for help when he is falsely accused of murdering the Queen. Nimona is the only person willing to help him prove his innocence, but things are somewhat confused by the fact she is also the monster he has sworn to kill. Cue an enjoyable adventure that features all sorts of havoc and makes for top-tier entertainment for the whole family. RRR (2022) The latest work from legendary Telegu filmmaker S. S. Rajamouli, RRR became a major international hit upon its release – enrapturing viewers all around the globe. It’s not difficult to see why it resonated so much – across its epic three-hour running time the film packs in all manner of superbly executed action scenes (sometimes involving CGI animals) and splendidly choreographed dance scenes, including one to Oscar-winning song Naatu Naatu. Set against the backdrop of the brutal British Raj, RRR is a thrilling tale of revenge. The film chronicles a charming fictional friendship between real-life revolutionaries Komaram Bheem (NT Rama Rao Jr) and Alluri Sitarama Raju (Ram Charan) as they seek to rid the nation of British rule. Marriage Story (2019) Writer/director Noah Baumbach has teamed up with Adam Driver on a number of occasions, but this divorce drama is arguably the peak of their collaboration. The film earned six nominations at the 92nd Academy Awards – winning one – and proved every bit as popular with audiences as it did with critics. Based in part on Baumbach’s own divorce, Driver and Scarlett Johansson star as a director and actor couple whose marriage has reached its end, but things only get more bitter when lawyers are called in to begin divorce proceedings. By turns funny and tear-jerking, this film is a real winner – worth it for a scene that sees Driver singing Stephen Sondheim’s Being Alive alone. The Irishman (2019) View Green Video on the source website There was a time a few years ago when Netflix was gladly giving a number of acclaimed big-name auteurs big budgets and free rein to make their passion projects, and the greatest result of that era was Martin Scorsese’s superb gangster epic. Of course, the great director has famously dabbled in the gangster genre many times before, but what marks The Irishman out from the likes of Goodfellas and Casino is the more sombre, elegiac tone. The film follows Frank "The Irishman" Sheeran (Robert De Niro), as he recalls his involvement in the disappearance of his longtime friend Jimmy Hoffa (Al Pacino), whilst also reflecting on a number of relationships, including that with his daughter, Peggy (Anna Paquin). 13th (2016) The title of Ava DuVernay’s searing documentary refers to the 13th Amendment in the US Constitution, which declares: “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States.” The film goes on to draw parallels between slavery and the major flaws in America’s modern-day criminal judgment system, examining the prison-industrial complex and the ways in which the system disproportionately affects Black Americans and other minority communities. The film won huge acclaim on release and secured Netflix its first BAFTA – while it found an audience again following the murder of George Floyd in 2020. Uncut Gems (2020) Most of the Adam Sandler films you’ll find on Netflix are of rather dubious quality, but every so often the actor picks a project that shows just how good he can be – and there’s never been a better example of that than Uncut Gems. This unbearably tense, blackly comic offering from the Safdie Brothers was a huge critical hit when it debuted in 2020, with many feeling that Sandler was unfortunate not to nab an Oscar nomination. He stars as a New York City jeweller with a gambling problem, who must risk everything to banish his debts and escape the collectors after him – whilst also balancing his role as a father, a crumbling marriage with his soon-to-be-ex-wife (Idina Menzel) and an affair with an employee (Julia Fox). My Neighbour Totoro (1988) Pretty much the whole Studio Ghibli oeuvre is available to stream on Netflix, giving subscribers a huge range of wonderful animated flicks to enjoy including Spirited Away, Kiki’s Delivery Service and Whisper of the Heart. And there can be no doubt that this delightfully charming little film – just their third feature – is one of the greatest. It follows two girls who move with their father to the countryside while their mother is ill, where they find themselves having a number of magical encounters with the titular friendly monster and other surreal beings. The story itself is fairly minimalist, but the gorgeous animation and the way the film captures a youthful sense of wonderment make it a must-watch. Streaming services we think you might like... From the best TV like Westworld and Game of Thrones to the latest movies including Spider-Man: Far from Home and Yesterday Start your 7-day free NOW TV trial now Want the very best of Disney, Pixar, Star Wars, Marvel and National Geographic - plus 30 seasons of The Simpsons all in one place? Try Disney Plus for £5.99 a month The Office USA, The Grand Tour, Outlander, The Man in the High Castle, Buffy the Vampire Slayer and much more... Try Amazon Prime Video Free for 30 days Sign up for Netflix from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Looking for something else to watch? Check out our best series on Netflix, best Netflix comedies and best Netflix horror movies. Want to see what's on the other streaming sites? Take a look at our best Disney Plus shows guide or best Disney Plus movies. Slow broadband letting you down? Up your streaming game with the best broadband deals. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Bad Bunny to lead all-star "epic" historical drama Porto Rico opposite Oscar winner
This will be the hugely popular Grammy-winning musician's first leading film role – and he's joined by an all-star supporting cast.
Just a few weeks on from his groundbreaking performance at the Super Bowl, it's been announced that Puerto Rican megastar Bad Bunny is set to lead the cast of a brand new film titled Porto Rico. The historical epic is billed as a love letter to Puerto Rico and is helmed by René "Residente" Pérez Joglar, himself a multiple Grammy Award-winning musician, in his feature directorial debut. As first reported by Deadline, Joglar wrote the script alongside Oscar-winning screenwriter Alexander Dinelaris (Birdman). Bad Bunny – who will be credited under his full name Benito Martínez Ocasio – is expected to star as José Maldonado Román, a Puerto Rican revolutionary commonly known as Águila Blanca (White Eagle). Roman lived between 1874 and 1932, and it was previously announced that the film would document his life, including how he led a gang of ex-convicts in an anti-colonial struggle while fighting to build the island's national identity. The film has been described as "inspired by true events" so it's not clear if it will stick entirely to real history or reimagine the events in a slightly fictionalised form, but Residente has described the project as "a reaffirmation of who we are — told with the intensity and honesty that our history deserves." "I have dreamed of making a film about my country since I was a child," he said, adding that "Puerto Rico’s true history has always been surrounded by controversy." View Green Video on the source website While this will be Ocasio's first leading role, he's already built up a solid resume of big screen credits, appearing in the supporting cast of major films such as Bullet Train, Cassandro and Caught Stealing, in addition to a recurring role on Netflix TV series Narcos: Mexico. He's joined in Porto Rico by a cast that includes plenty of A-list talent, with roles for Edward Norton, Viggo Mortensen and Javier Bardem, though details on their roles has not been disclosed at this stage. Meanwhile, Mexican auteur Alejandro G Iñárritu, who has won Oscars for his work on Birdman and The Revenant, serves as an executive producer. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Good Luck, Have Fun, Don't Die review: Clever, infectious and wildly original – AI be damned
Despite some final act issues, the first film from Gore Verbinski in almost a decade is audacious, fresh and a massive amount of fun.
If you only watch one movie this year featuring a CGI centaur with a cat’s head, that sprays glittery confetti from its undercarriage, then make it this one. Gore Verbinski’s hog-wild time travel tale is audacious, fresh and a massive amount of fun, even though it falls over in a confusing final act. Sam Rockwell has a blast as the unnamed revolutionary from the future trying to save the world from a nine-year-old child who is destined to invent a God-like AI that hates humans. To do so he must recruit a team of random strangers who happen to be eating at Norm’s diner on a particular night – the time traveller has tried multiple combinations before only to be thwarted by some outrageous obstacle each time. Could this bunch be the right one? What’s certain is they won’t all make it to the end. Good Luck is at its strongest in its first two thirds, where vignettes showing the backstories of some of the diners are intercut with the overarching mission. These play like micro episodes of Black Mirror, mixing dark humour with tech-terror. View Green Video on the source website Zazie Beetz and Michael Peña are school teachers, menaced by teen zombies mobilised by their phones. The White Lotus star Haley Lu Richardson is a professional princess for children’s birthday parties who is allergic to cell phones and wi-fi. And in the very best one, Juno Temple’s bereaved mother is given the chance to reunite with her son who has been killed in a school shooting, via a cloning programme. This segment is genuinely sad and very troubling in terms of what America looks like now but also laugh-out-loud funny as she is asked to choose her resurrected son’s traits via the film’s equivalent of an Apple Store. Temple carries this segment with absolute commitment – she feels like a real person dealing with real trauma amidst a Stepford Wives-esque nightmare of hollow-eyed parents, many of whom have resurrected their massacred children multiple times. And to reiterate: it’s genuinely funny. Though Good Luck is horror/sci-fi/action/comedy, there’s certainly an underlying scream of frustration in the script, written by Matthew Robinson, who’s best known as the writer/director of Ricky Gervais comedy The Invention of Lying. The apocalypse is coming. It’s already started. No one cares and no one is doing anything about it. Kids are all morons in thrall to their phones. Adults are numbed to stupefaction by the horrors of the world. Attention spans are microscopic, and any creativity is being replaced by AI slop. Good Luck, Have Fun, Don’t Die enjoys playing with very meta elements of this, although that’s also where it ties itself in knots. For a film concerned with short attention spans it’s really long at 134 minutes. It also covers up some of its less coherent plot points by essentially jangling its keys at the audience via tech jargon and flashy CGI. Parts of the final act even feel like it’s playing with what a film would look like were it written by Chat GPT – a bold idea if not entirely successful. The final act trips over its own shoelaces, with several too many endings and some questionable logic. Like Verbinski’s latter two Pirates of the Caribbean movies and 2016’s A Cure for Wellness, it looks fantastic but doesn't entirely make sense by the end. Good Luck will draw comparisons to 2022’s Everything, Everywhere All at Once, though this film is unlikely to be bothering any mainstream awards ceremonies. In a way it’s all the better for it – it’s clever, unpretentious and packed with infectious energy. Crucially too, it’s wildly original – AI be damned! Good Luck, Have Fun, Don’t Die is released in UK cinemas on Friday 20 February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
New Star Wars film The Mandalorian and Grogu confirms icon of cinema as surprise cast member following new trailer
Hollywood royalty graces Star Wars's return to the big screen.
Star Wars fans have their most in-depth look at the franchise's return to cinemas with The Mandalorian & Grogu, which picks up with the mismatched adventurers after the events of the Disney Plus series. Across three seasons, we saw Din Djarin (Pedro Pascal) go from being a cold, solitary bounty hunter to a surprisingly attentive father figure as he took the force-sensitive infant Grogu under his wing. The latest trailer finds more humour in this unconventional parenting set-up, as the fierce Mandalorian warrior must stop his protégé from... fiddling with the spaceship's buttons and eating too many biscuits. Frightening stuff. Of course, more dramatic events ensue as the duo are enlisted by a New Republic leader, played by sci-fi legend Sigourney Weaver, to investigate a plot involving a member of the Hutt crime family (voiced by The Bear's Jeremy Allen White). As if it wasn't starry enough, The Mandalorian & Grogu revealed another A-lister for its voice cast in this brand new trailer. See if you can figure out who it is from the footage alone – or find the answer underneath. View oEmbed on the source website As confirmed by USA Today, the member of Hollywood royalty joining The Mandalorian & Grogu's cast is none other than director Martin Scorsese, whose works include Taxi Driver, Goodfellas, Gangs of New York and Killers of the Flower Moon. Scorsese has been known to take acting roles in the past, including cameos as himself in showbiz comedies Curb Your Enthusiasm, 30 Rock, Entourage and The Studio. For this latest on-screen gig, he lends his distinctive voice to the alien owner of a food van, who initially seems welcoming to Din's enquiries – until he mentions the dreaded Hutt clan. The Mandalorian & Grogu director Jon Favreau previously worked with Scorsese on his 2013 hit The Wolf of Wall Street, where he played lawyer Manny Riskin. Lucasfilm president and chief creative officer Dave Filoni co-wrote the script for the new Star Wars instalment with Favreau, but the trailers haven't given much away about what the story will entail. One possibility is that it could progress the Grand Admiral Thrawn (Lars Mikkelsen) saga, which began in animated series Star Wars: Rebels, before continuing in live-action via The Mandalorian season 2 and Ahsoka. Generally, the franchise under Filoni has become increasingly focused on the animated shows that he previously oversaw, with Rebels protagonist Zeb (Steve Blum) and The Clone Wars deep cut Embo popping up in this latest trailer. Another intriguing option would be to further the character of Grogu, who belongs to the same mysterious species that spawned franchise icon Yoda (and the less popular Yaddle – seriously, she's real). Whatever the case may be, The Mandalorian & Grogu's box office will be watched closely by Disney bosses, as it marks the first theatrically released Star Wars film since the divisive sequel trilogy concluded in 2019. The Mandalorian & Grogu is coming to cinemas on Friday 22 May 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add The Mandalorian to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more.
Why exactly are we entering a gloriously gory golden age of horror?
Horror isn’t just back – it’s dominating the box office, awards season and cultural conversation like never before.
This article first appeared in Radio Times magazine. As a reporter on the horror fantasy genre for over four decades now, I’ve lost count of how many times I’ve heard film industry movers and shakers exclaim that the scary movie has roared back when yet another no-budget shocker appears from nowhere to become an unexpected box office success. Only to be told, usually a few weeks later when a highly anticipated chiller has crashed and burned, "Oh well, the genre bubble has burst. Again." Once more proving screenwriter William Goldman’s adage about the film industry, "Nobody knows anything". Except, now things are looking markedly different. At a time when experts in this global multi-billion-dollar, high-stakes business are concerned about the future of the big screen experience – after the pandemic made staying in watching increasingly bloody streamer content the preferred method of accessing adult entertainment – the horror fantasy movie has repeatedly become the most trustworthy cash cow. It consistently out-performs expectations, garners unusually high levels of critical approbation and recently cut a historic swathe through the usually staid BAFTA and Oscar nominations. In any other year, the nods for Weapons, 28 Years Later and Frankenstein would be truly remarkable, but add in the surprise supernatural blockbuster Sinners, setting a new record for the most Oscar nominations ever (16), plus 13 BAFTA nominations, including best film, and the horror’s latest ascendance is extra significant. Clearly the tense racial satire Get Out (2017) and body horror hit The Substance (2024) paved the way with their multiple Oscar nominations. Although they won for original screenplay, and make-up and hairstyling respectively, both inclusions represented a major triumph for the maligned genre that few took seriously despite the occasional breakthrough, including Rosemary’s Baby (1968), The Exorcist (1973), Misery (1990) and The Silence of the Lambs (1991), pointedly all major studio offerings. If you want to know where the cutting edge of horror truly lies, look to the independent arena where budgets and stars don’t matter, only ideas, imagination and creativity. Where the best special effect is cleverly wrenching fear out of mere shadow play, and the greatest advertising is word of mouth, both at no cost whatsoever. Because the horror fan is a die-hard aficionado, forever chasing the demented dragon of that original spine-tingling frisson that made them a genre celebrant in the first place. From Night of the Living Dead (1968), The Texas Chain Saw Massacre (1974), Halloween (1978) and Re-Animator (1985) to latter-day cult items The Blair Witch Project (1999), Saw (2004), Paranormal Activity (2007) and Terrifier (2016), sniff-of-a-shoestring-budget – often self-funded – enterprises used to be cinema’s bread-and-butter. The initial change towards respectability happened during the stalk-and-slash era when Hollywood heavy Paramount decided to distribute the indie pick-up Friday the 13th (1980) because they wanted their share of the extraordinary amounts of cash such upstart exploiters were making. Contemporary critics and pundits were horrified by such a cynically venal approach to the celluloid art. Things shifted noticeably again when fledgling film-makers like Eli Roth (Cabin Fever, 2002), James Wan (The Conjuring, 2013), Jordan Peele (Get Out) and Ari Aster (Hereditary, 2018) made it their mission to replicate the extreme brand of splatter and eye-grazing imagery they grew up with during the self-defining "video nasty" era, giving it a fresh narrative perspective. This time critics did pay attention, and while grudgingly cloaking their disconcerted admiration with the phrases "elevated" or "post-horror" to preserve their elitist reputations, they accidentally fuelled the mainstream genre crossover. Social media and influencers giving voice to underrated and misunderstood titles also helped enormously, as did the sudden flurry of genre film festivals globally catering to an ever-increasing and gender-diverse demographic. And the most important fact: anyone can now make a movie using just an iPhone. Read more: Best horror films and TV series of all time - from Sinners to Twin Peaks In my role as artistic director of London’s FrightFest and Italy’s Trieste Science+Fiction events, I watch a staggering number of film submissions on a weekly basis in order to cherry-pick the best titles to showcase. I cannot tell you how many amateur zombie productions I have viewed starring the director’s embarrassed friends and family, but when you see that one incredible entry by a clearly talented individual who just needs a little help to reach a willing audience, it makes the hours of inept boredom completely worthwhile. Believe me when I say director Zach Cregger was on most festival programmers’ radars way before his Barbarian (2022) break-out. Now his 2025 film Weapons was long-listed for three BAFTAs for original screenplay, supporting actress (Amy Madigan), and editing. The point being, it’s not just savvy horror audiences setting the current taste-making agenda. The "everything, everywhere all at once" zeitgeist operating on every conceivable cultural, personal, professional and obsessional level is giving horror its currently envied maximum accessibility. View Green Video on the source website But why exactly are we entering a gloriously gory golden age of horror? Why do we relish sitting in a darkened auditorium with like-minded punters eager to scream, jump and nervously laugh collectively? Easy. Cinema is a safe environment in which to feel the adrenaline-pumping power of fear while experiencing the vicarious thrill of the communal sharing of extreme emotions with those probably suffering from exactly the same feel-bad anxieties. At this particular time, in a world dominated by the gloom of ongoing wars, out-of-control climate change, rampant artificial intelligence and clueless politicians overwhelmed by the sheer enormity of these global crises, the more recent crop of horrors also seem duty-bound to explore such once taboo complex themes as dementia (Relic, 2020), racial issues (The Blackening, 2022), trauma (The Woman in the Yard, 2025) and religious division (28 Years Later: The Bone Temple, 2026). Thanks to last year’s high-quality horrors, the floodgates – or blood gates? – are now open with an alarming number of new releases coming down the shiver-inducing pike. Scream 7, Hokum, Obsession, Evil Dead Burn, Clayface, Insidious 6, Werwulf, Spider Island and Other Mommy are just the tip of a future tense iceberg hoping to satiate our need for more exciting cathartic impulses. BAFTA and Oscar wins would cement that pinnacle position. My money is on multiple victories for Sinners, because it cleverly mixes arthouse with grindhouse, traditional horror with masterful allegory, and it’s precisely that commercially driven experimentalism that will make it appealing to both BAFTA and Academy Award members. Of Sinners’ monumental Oscars achievement, John Squires, editor-in-chief of horror magazine Bloody Disgusting, posted online, "The thing about horror movies getting Oscar nominations is that it’s the exact moment they turn into supernatural thrillers." So, let’s call it what it is: a horror, and hopefully soon, an award-winning one. The latest issue of Radio Times is out now – subscribe here. The BAFTA Film Awards take place on Sunday 22 February 2026, followed by the Oscars on Sunday 15 March 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Joe Keery reveals Stranger Things had nothing to do with choice to star in his new sci-fi movie
Keery stars alongside Liam Neeson, Lesley Manville and Barbarian's Georgina Campbell in the new sci-fi film.
Hardly any time has passed since Stranger Things wrapped up its final season, but one of the Netflix hit's biggest stars is already back in another project that straddles the sci-fi and horror genres. Joe Keery has a lead role alongside Barbarian's Georgina Campbell in new film Cold Storage, which is adapted by prolific screenwriter David Koepp from his own novel of the same name, and arrives in UK cinemas this weekend. Given the two projects occupy the same genre, you might wonder if that connection was what convinced Keery to sign up. But according to the star – who actually filmed Cold Storage before the final run of Stranger Things – it didn't really factor into his thinking at all. "To be honest with you, the main appeal was David [Koepp], initially," he explained during an exclusive interview with RadioTimes, referencing the screenwriter behind everything from Jurassic Park, Spider-Man and Mission: Impossible to Carlito's Way, Panic Room and Black Bag. "I'm a fan of his" he continued. "I feel like, in a way, his work has inspired – whether people know it or not, so many people. Just because I feel like his writing and influence has like permeated the last 30 years of cinema history. "[He's] so good at character, so I was just really interested in the character. And thought it was, like, a really fun project. I guess that was the appeal, not necessarily based off of anything Stranger Things." View Green Video on the source website In the film, Keery plays Travis, an employee at a self-storage company whose first shift with new co-worker Naomi (Campbell) takes an unexpected turn when they find themselves fighting off a parasitic fungus that had been secretly stored underneath their facility by the government. The cast also includes roles for Liam Neeson and Lesley Manville as the scientists who had first brought the fungus back from space – and who are called upon to step in and save the day. And Neeson explained that – just like Keery – Koepp's screenplay had been the main attraction for him. "I've been a fan of David's for many years as a screenwriter," he said. "I didn't know he was a novelist, but I thoroughly enjoyed Cold Storage, the book. He beautifully transferred that to a screenplay. It was a real page turner [with a] lovely comedic strain going through it, an edge of your seat thriller. "And then I could imagine the CGI that would have to go into it," he added. "I thought they did a wonderful job. I just saw it two nights ago, the finished film and thought was really, really good in every department. And the kids were – I call them kids – Joe and Georgina, were fantastic." Cold Storage is released in UK cinemas on Friday 20 February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Robert Duvall's greatest misfortune was that he was actually too good an actor
In this piece from the RT Archives, film critic Barry Norman laments the fact that Robert Duvall hadn't made the jump from acclaimed character actor to leading movie star.
Yesterday, it was announced that Robert Duvall – an icon of American cinema – had sadly passed away at the age of 95. The legendary character actor had memorable roles in a number of classics including To Kill a Mockingbird, The Godfather and Apocalypse Now, but it was for his part as washed-up country singer Mac Sledge in Bruce Beresford's 1983 film Tender Mercies that he won his only Oscar. In this piece from the Radio Times archive, film critic Barry Norman uses a 1990 television broadcast of that film to reflect on Duvall's career up to that point, lamenting the fact that his Oscar win didn't do more to turn him from an acclaimed character actor into a leading movie star. The most curious aspect of Tender Mercies is not that it did so much for Robert Duvall, but that it didn’t do more. In every way but one it was extremely successful, not least for Duvall himself. As co-producer he not only helped instigate the film, but shared in its nomination for best picture; as the star he won the Academy Award for best actor; Horton Foote gained the Oscar for best screenplay; Bruce Beresford was nominated as best director and the movie’s chief musical number, Over You, got the award for best song. All in all that’s a pretty impressive record which, added to the fact that previously Duvall had been nominated twice as best supporting actor (for The Godfather and Apocalypse Now) and once for best actor (The Great Santini), should finally have established him as a star. That it failed to do so is at least partly due to Tender Mercies’ one area of failure – at the box office. View Green Video on the source website It didn’t make a lot of money, thus proving yet again that it’s not talent, awards or the acclaim of the critics and one’s peers that create a star – it’s bums on seats. Mind you, at the time it was made it was always going to be a difficult film to sell to a mass audience. It tells, in a gentle, low-key manner, the story of an alcoholic country and western singer (and, incidentally, Duvall recorded all the songs himself) who finds his road to redemption when he marries a young widow, Tess Harper, and acquires a stepson. It’s a picture that depends on mood, observation and character, the theme being that no matter how much we may have messed up our lives we all deserve a second chance. Though the setting is rural Texas, the film’s texture is more European than American and a long way removed from mainstream Hollywood. Had it been released today, when the average age of the cinema audience is increasing, it would surely have proved more popular than it was in 1983, when the audience consisted predominantly of teenagers eager for fast-moving action and thrills. So in the end, despite the praise and the Oscars, all that Tender Mercies really did for Robert Duvall was to confirm what we already knew, what he had proved a score of times – that he was an extremely fine character actor. It did not, however, raise him from the ranks of character actors and into stardom. Now perhaps it could be argued that he simply doesn’t look like a star, but I don’t think that argument bears scrutiny. Dustin Hoffman doesn’t look like a star either, but he is one. Yes, you could say, but unlike Hoffman, Duvall is unashamedly bald. True, but then so is Sean Connery and Connery is a star. I suspect that Duvall’s greatest misfortune is that he is actually too good an actor. He submerges himself in each role he plays and, in effect, becomes that character. His own personality steps diffidently to one side and another takes over. But personality is the trademark of the star, even one like De Niro, who is also a fine actor. However accurate the portrayal you are always aware that De Niro lurks behind it. You cannot, though, say the same of Duvall. In all his films Duvall vanishes and in his place emerges a Mafia consigliere or a mad colonel or a country and western singer. This is a rare and remarkable attribute for an actor but in the movie business, not renowned for its subtlety, alas, it doesn’t earn the top billing or the very big bucks. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
10 essential Robert Duvall films to watch in tribute to The Godfather icon
The legendary actor has passed away at the age of 95.
In the last year or so, we've lost so many of the greats of the New Hollywood era – that defining movement in American film that brought us an incredible variety of complex, layered and captivating pieces of cinema in the late '60s and '70s. After Gene Hackman, Robert Redford and Diane Keaton all passed away in 2025, yesterday brought the sad news that legendary character actor Robert Duvall had died at the age of 95. The news was announced in a statement by his wife Luciana, who wrote that he had passed "peacefully" at their home in Middleburg, Virginia. "To the world, he was an Academy Award-winning actor, a director, a storyteller," she added. "To me, he was simply everything. His passion for his craft was matched only by his deep love for characters, a great meal, and holding court." Duvall's career was one marked by excellence across more than six decades, excelling in a number of seminal films in both supporting and leading roles. Indeed, with his very first film credit, he was already playing an indelible character in an American classic – starring as Boo Radley in Robert Mulligan's adaptation of Harper Lee's To Kill a Mockingbird. It's for his work in the 70s for which Duvall will likely be most remembered. He was the only actor to star in all four of Francis Ford Coppola's unrivalled streak of hits in that decade (though his small part in the magnificent The Conversation was uncredited) with his Oscar-nominated roles as consigliere Tom Hagen in The Godfather films and as Lieutenant Colonel Bill Kilgore in Apocalypse Now particularly iconic. Few lines in cinema history have been more immortalised than the latter's declaration that he loves the smell of napalm in the morning. View Green Video on the source website In total, Duvall was nominated for seven Oscars, winning just the once for his leading turn in 1983 drama Tender Mercies, with his final nomination coming for his supporting role in The Judge in 2014. Meanwhile, alongside the classics, there were also plenty of interesting oddities – including an unlikely collaboration with Ally McCoist for Scottish football film A Shot at Glory in 2002 – meaning he leaves behind a singular filmography filled with a huge variety of fascinating roles. We've picked out ten of the best from that filmography below – scroll down for our picks on what films to watch to pay tribute to a true Hollywood icon. To Kill a Mockingbird (1962) Based on the Pulitzer Prize-winning modern classic by Harper Lee, this Depression-era tale of small-town insularity and racial inequality was the break-out film of director Robert Mulligan and the debut of Robert Duvall. Seen through the child’s eyes of a brother and sister in Maycomb, Alabama, it distils the numerous stories told in the novel down to two key strands: the mystery surrounding reclusive Boo Radley (Duvall), a childlike man whom the kids imagine as a monstrous bogeyman; and the defence by their widowed father, lawyer Atticus Finch (Gregory Peck, in a role that defined his career and earned him a best actor Oscar), of a black man accused of the rape of a white woman. The town’s lynch-mob reaction to the trial proves an education for the two children, as do the ultimate revelations about Boo. A fine, moving, informative period piece for all ages, To Kill a Mockingbird is as much an abiding favourite as the book. – Andrew Collins THX 1138 (1971) The debut feature from Star Wars maestro George Lucas is a bleak, claustrophobic affair which is light years away from the straightforward heroics of Luke Skywalker and co. The always excellent Robert Duvall takes the title role as a man quietly rebelling against a repressive world where everyone has to have Yul Brynner haircuts, and the police are as frighteningly bland as a McDonald’s assistant. The obtuse script doesn't help, but it looks wonderful and Lucas conjures up a genuinely chilling air. Executive producer is none other than Francis Ford Coppola, made under the banner of his Zoetrope production company. – John Ferguson The Godfather (1972) This elegiac organised-crime saga from the young Francis Ford Coppola is one of the all-time high-water marks of American cinema, rich with subtle acting and blessed with stunning cinematography from Gordon Willis. It proves that an intelligent, sometimes slow-moving drama with impeccable artistic credentials can create queues around the block. Taken with its 1974 sequel, it manages to define the age in which it was made, while remaining a period piece. Beginning after the Second World War, it traces the handover of power within the Corleone family, from the old world values of Don Vito (a heavily disguised but stately Marlon Brando) to his son, the white sheep Michael (Al Pacino, proving that his risky casting was inspired). The Mafia is never mentioned by name, but underneath all the slayings and sinister "offers you can’t refuse", this is an immigrant family drama about assimilation, blood loyalty and honour. – Andrew Collins The Godfather Part II (1974) In The Godfather, Don Corleone's war hero son Michael (Al Pacino) turns into a man who orders death like room service. In this sequel, Michael is a symbol of an America born of immigrant idealism and dying of corruption. The only moral support is the Family. Breathtaking in scope, Part II also shows the early life of the Don, brilliantly portrayed by Robert De Niro, as he flees Sicily and sails for New York. These sequences have the grandeur of a silent movie by DW Griffith or Erich von Stroheim; the later sequences, with Michael in Cuba, are clumsy and confusing, though the climax is as chilling as the look on Michael's face when he realises that even Family members can be rubbed out. Pacino gives a monumental performance, and it was an equally monumental crime that he never won an Oscar for it. – Adrian Turner Network (1976) This was a thunderous, strangely eerie swansong for Peter Finch, who plays a bilious and increasingly demented TV anchorman, ranting on air against his powerlessness. It’s a bravura performance from Finch – who was awarded a posthumous Oscar – given full flight by Paddy Chayefsky's daring, sumptuously satirical script, which throws a continuous hail of barbs at the electronic eye. Sidney Lumet directs with wild aplomb, allowing Finch free rein and keeping up a furious pace. Criticised by some at the time for a certain naivety and lack of subtlety, this remains one of the most devastating condemnations of the media's urge to exploit. – Sue Heal The Great Santini (1979) Shot in the historic town of Beaufort, South Carolina, and produced by Bing Crosby's company, this adaptation of Pat Conroy's novel has a title that suggests it's a story about an escapologist or a racing driver. In fact, it's about a retired fighter pilot called Bull Meechum (nicknamed Santini), whose drunkenness makes life a misery for his wife (Blythe Danner) and children. Like that other Conroy tale, The Prince of Tides, it's a thick slice of Deep South angst and sour-mash philosophy in which drink turns dialogue into poetry. But Robert Duvall is magnificent in the lead role and earned an Oscar nomination, as did Michael O'Keefe as his eldest son. – Adrian Turner Apocalypse Now (1979) Director Francis Coppola inherited a modest movie about the Vietnam War from writer John Milius and turned it into this phantasmagorical ride, in which Martin Sheen travels up the Mekong river to terminate Marlon Brando’s rebel command "with extreme prejudice". Working under difficult conditions in the Philippines and running way over budget, Coppola delivered a harrowing masterwork that bursts with malarial, mystical images, such as Playboy playmates in the jungle and the Wagnerian helicopter attack that ends with marines surfing and Robert Duvall famously saying, "I love the smell of napalm in the morning." Notable faces in support include Harrison Ford and Dennis Hopper, the latter playing a photographer among the fanatical Brando followers. Coppola restored a whopping 50 minutes of extra footage for Apocalypse Now Redux, which was released in 2001. – Adrian Turner Tender Mercies (1983) A spare, lean performance from spare, lean Robert Duvall won him his first and only Oscar. Duvall wakes up, after a drunken binge, in a Texan motel owned by religious widow Tess Harper and her young son Allan Hubbard. Having failed once in both his life and career as a country singer (Duvall sings his own songs) he hesitatingly tries again with Harper. Australian director Bruce Beresford shows a sympathetic connection to the hot dusty Texan locations for his first Hollywood film and screenwriter Horton Foote (who also won an Oscar) provides a realistic pace. As with Foote's The Trip to Bountiful, the episodic and atmospheric story is a poignant portrayal of redemption. – Frances Lass Falling Down (1993) Made from a script that was rejected by every major Hollywood studio, this is a storming portrait of urban alienation in America. Some stateside critics were quick to brand the film racist, as Michael Douglas’s white-collar worker snaps one day, abandons his car in gridlock and engages in a violent spree that sees him destroy a Korean store and take on a Latino gang. But Douglas is no racist vigilante. In director Joel Schumacher’s bold, believable and darkly funny film, he is a man consumed by rage at his own powerlessness, who reacts with violence to anyone who tries to prevent him from reaching "home" – now more of a concept than a place. The film loses momentum towards the end, but Douglas gives a superb performance and he’s matched by the excellent Robert Duvall as an ageing, world-weary cop tackling his last case before retirement. – Alan Jones The Apostle (1997) Robert Duvall writes, produces, directs and stars in this beautifully detailed character study of a Pentecostal preacher on a quest for atonement. The journey begins when his wife (Farrah Fawcett) has an affair with a younger minister, forcing him to take a long, hard look at his own life, the rural Texan community he serves and the Word of God itself. Expertly using little-seen Bible Belt locations and a great supporting cast (that includes Miranda Richardson and Billy Bob Thornton), Duvall then proceeds to act everybody else off the screen. The result is an engrossing labour of love and a literal tour de force. – Alan Jones Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Emerald Fennell's Wuthering Heights cast: Saltburn star Jacob Elordi and more
Elordi stars as Heathcliff, while Margot Robbie plays Cathy.
Emerald Fennell's new take on Wuthering Heights is shaping up to be one of the most divisive films of 2026, with the movie having sparked backlash from the very beginning. From the movie's overtly erotic tone and its Charlie xcx-penned soundtrack, to its costumes, there hasn't really been an element of the film that hasn't raised some eyebrows. Another aspect of the Saltburn filmmaker's retelling of Emily Brontë's novel that has prompted criticism has been the casting, with many fans unhappy with the film for aging up the characters, who are teenagers for much of the book's plot (Jacob Elordi is 28 and Margot Robbie is 35), as well as for removing Heathcliff’s non-white background. Responding to backlash around Margot's casting, Fennell previously told British Vogue: "It’s difficult to find that supersized star power. Margot comes with big dick energy. That’s what Cathy needs." Meanwhile, talking about Elordi's casting, Robbie told the publication: "I saw him play Heathcliff. And he is Heathcliff. I’d say, just wait. Trust me, you’ll be happy." She added: "It’s a character that has this lineage of other great actors who’ve played him, from Laurence Olivier to Richard Burton and Ralph Fiennes to Tom Hardy. To be a part of that is special. He’s incredible and I believe in him so much. "I honestly think he’s our generation’s Daniel Day-Lewis." Want to know more about the cast and where you've seen them before? Read on for everything you need to know about the stars of Emerald Fennell's Wuthering Heights. Wuthering Heights cast 2026 View Green Video on the source website Below is the main cast list for Emerald Fennell's adaptation of Wuthering Heights. Read on to find out more about the cast and characters. Margot Robbie as Catherine "Cathy" Earnshaw Charlotte Mellington as young Catherine Earnshaw Jacob Elordi as Heathcliff Owen Cooper as young Heathcliff Hong Chau as Nelly Dean Vy Nguyen as young Nelly Dean Shazad Latif as Edgar Linton Alison Oliver as Isabella Linton Martin Clunes as Mr Earnshaw Ewan Mitchell as Joseph Margot Robbie plays Catherine Earnshaw Who is Catherine Earnshaw? Catherine is the daughter of the Earnshaws, who forms a close bond with Heathcliff, but who marries another man. Where have I seen Margot Robbie before? Robbie is an Oscar-nominated actress known for her roles in major films including Barbie, Babylon, Amsterdam, Bombshell, Once Upon a Time... in Hollywood, Mary Queen of Scots, I, Tonya, The Wolf of Wall Street and About Time, as well as for playing Harley Quinn in the DCEU. She first came to prominence for playing Donna in Neighbours. Jacob Elordi plays Heathcliff Who is Heathcliff? Heathcliff is a young man who was discovered as an orphaned, homeless child by Mr Earnshaw, who took him into his family home, Wuthering Heights. He falls in love with his foster sister Catherine. Where have I seen Jacob Elordi before? Elordi is known for playing Nate in Euphoria, as well as for starring in films such as Saltburn, Priscilla, Deep Water and the trilogy of The Kissing Booth movies. He was recently Oscar-nominated for his role as Frankenstein's monster in Giullermo del Toro's adaptation of Frankenstein. Alison Oliver plays Isabella Linton Who is Isabella Linton? Edgar's adoring sister, who emerges as a possible match for Heathcliff. Where have I seen Alison Oliver before? Oliver has had roles in series including Conversations with Friends and Best Interests, as well as films such as Saltburn and The Order. She recently starred alongside Mark Ruffalo in HBO drama Task. Hong Chau plays Nelly Dean Who is Nelly Dean? A housemaid to – at various points – both the Earnshaw and Linton families and a key observer to the events. In the original novel, Nelly serves as the narrator and she has been given a new backstory in this version. Where have I seen Hong Chau before? Chau has had small screen roles in shows such as Watchmen,Homecoming and The Night Agent, while film credits include Downsizing, The Menu and The Whale – the latter of which earned her as Oscar nomination. Shazad Latif plays Edgar Linton Who is Edgar Linton? The man who Catherine marries – kickstarting a bitter rivalry between he and Heathcliff, whom he despises. Where have I seen Shazad Latif before? His credits include Star Trek: Discovery, Nautilus, The Pursuit of Love, Penny Dreadful, Toast of London and Spooks – while he had a memorable role as Clem Fandango in sitcom Toast of London. Ewan Mitchell plays Joseph Who is Joseph? The long-serving, cantankerous servant at Wuthering Heights. Where have I seen Ewan Mitchell before? Mitchell is known for his roles as Prince Aemond Targaryen in House of the Dragon, Osferth in The Last Kingdom and Tom Bennett in World on Fire. Film credits include High Life and Saltburn. Martin Clunes plays Mr Earnshaw Who is Mr Earnshaw? Cathy's father, who initially takes Heathcliff in after saving him on the streets. In this film – unlike the book – he soon starts treating the boy roughly. Where have I seen Martin Clunes before? Clunes is best known for his roles in series including Men Behaving Badly, Doc Martin, Kipper, Fungus the Bogeyman, William and Mary, Reggie Perrin, The Town, Vanity Fair and Warren, while he has also appeared in films such as Nativity 3: Dude, Where's My Donkey?!. Later in 2026 he'll be starring as disgraced BBC News presenter Huw Edwards in a two-part factual drama. Owen Cooper plays young Heathcliff Where have I seen Owen Cooper before? Cooper shot to fame for his hugely acclaimed role in Adolescence, which has seen him showered with all sorts of accolades, including a Golden Globe. Charlotte Mellington plays young Catherine Earnshaw Where have I seen Charlotte Mellington before? This is the young actress's screen debut. Vy Nguyen plays young Nelly Dean Where have I seen Vy Nguyen before? Wuthering Heights is Nguyen's first major credit. Wuthering Heights is available to watch in cinemas now. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Phil Wang transforms into a vampire for this week's Radio Times horror special
As horror gets its moment in the spotlight at the Bafta Film Awards, RT explores how fright nights are helping to save the film industry.
Here at RT Towers, we're very much in step with the zeitgeist this week. Horror, once seen as niche, now feels like a barometer of where cinema is heading. With awards recognition, box-office success and young film-makers reshaping the genre, it's bucking the wider trend. The film Baftas on Sunday feature a strong showing from the horror stable, and we look at who might win and why there are so many nominations. I'll admit it's not the sort of film I gravitate towards. I'm still waiting for a remake of Ill Met by Moonlight (one for the teenagers there), but RT's film team make a persuasive case. At its best, horror isn't just jump scares, but allegory: social anxiety, political tension and family trauma refracted through a dark sense. Yes, I sometimes have to watch through my fingers, but there's often more (usually very unsettling) beneath the surface. We've had fun with the horror theme elsewhere, too. Our cover star Phil Wang gamely donned the guise of his favourite horror character while discussing joining Great British Menu. We also have lively interviews with Australian actress Rose Byrne, Rafe Spall, wildlife film-maker Gordon Buchanan and bestselling author Marian Keyes. So apologies to those of a nervous disposition. This is, quite literally, a horror show of an issue. The latest issue of Radio Times is out now – subscribe here. Also in this week's Radio Times: Gordon Buchanan is one of our most respected wildlife film-makers, but nature once gave him an escape from a challenging childhood. As an adaptation of two of her novels comes to BBC One, Irish writer Marian Keyes reveals why she has kicked against the patriarchy for years - and hates "chick lit". Who clobbered George Grundy on the head with a wine bottle - and why? The main players of The Archers reveal their thoughts on the soap's sensational storyline. Did you know you can now order a previous edition of Radio Times magazine with our new back issues service? Add Great British Menu to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
How to watch Wuthering Heights – when is it coming to streaming?
Emerald Fennell's starry Brontë adaptation already looks set to be one of the most talked about movies of 2026.
Ever since Emerald Fennell’s adaptation of Wuthering Heights was announced, almost everything about the Saltburn filmmaker’s retelling of Emily Brontë’s Gothic novel has sparked backlash. From the casting of Jacob Elordi and Margot Robbie and the costumes, to the Charli xcx-penned soundtrack and the film’s overtly erotic tone, the film has certainly been dividing opinions. With so much buzz around the film – both positive and negative – it’s hardly surprising that the film has proved to be a huge box-office success, raking in $83 million worldwide on its opening weekend, which marks the biggest global debut of the year to date. But if you don’t fancy watching the film in cinemas, you might be wondering when it’s set to become available to stream from the comfort of your own home. Read on for everything you need to know about the release of Wuthering Heights. When is Wuthering Heights coming to streaming? As with all Warner Bros cinematic releases, the film will eventually be released on HBO Max in the US – and with that platform finally launching on this side of the Atlantic next month (available as a bundle with Sky and NOW) it seems likely that will be the case in the UK too. The exact date for it's HBO Max premiere is less certain, but Warner Bros tend to wait around two or three months between theatrical release and streaming debut, so we'd probably be looking at late April or early May before you can watch the film on streaming. Should we get more concrete details, we'll keep you updated. Before the movie arrives on HBO Max, it will become available to buy or rent on platforms such as Prime Video and AppleTV. There’s typically about a month to a six-week window between Warner Bros. films’ theatrical release and the moment they debut on digital platforms, meaning the earliest the film could become available on digital platforms is late March. You can currently pre-order the film on Prime Video and <a href="https://apple.sjv.io/c/1236178/435298/7615?subId1=radiotimes-2392428&u=https%3A%2F%2Ftv.apple.com%2Fgb%2Fmovie%2Fwuthering-heights%2Fumc.cmc.1oyq4d498nwaixjpt8g5hnoeg" target="_blank" rel="sponsored" data-vars-ga-outbound-link="https://tv.apple.com/gb/movie/wuthering-heights/umc.cmc.1oyq4d498nwaixjpt8g5hnoeg" data-vars-ga-ux-element="Hyperlink" data-vars-ga-call-to-action="AppleTV" data-vars-ga-product-id="b4789e9b-d084-459a-a116-8eda6cd91a7e" data-node-id="32.7">AppleTV. Where to watch Wuthering Heights right now The film premiered exclusively in cinemas on Friday 13 February, and as such the only way to watch the film for the foreseeable future will be to take a trip to the pictures. Luckily, there are no shortage of options: the movie is a major release and is playing in just about every cinema in the country following its release, so just check your local to find a time that suits you. Wuthering Heights trailer If you've somehow missed seeing any of the promotional material for the film and want to check out a trailer before committing to a cinema trip, you can find the trailer for the movie below. As you can see, it certainly seems to be going for shock value! View Green Video on the source website Wuthering Heights is available to watch now in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
BAFTA nominee Rose Byrne talks unwinding after emotional and demanding new role: "I drink a lot of alcohol"
As a mother, her latest role really hit home, but a post-filming cocktail — and Bafta and Oscar nominations — make it all worth it
On the small screen, Rose Byrne has tackled comedy in Platonic and hard-hitting biographical drama in Mrs America. On the big screen, the versatile Australian actress has petrified audiences in the Insidious horror franchise and cracked up crowds with the slapstick humour of Bridesmaids. Later this month, the 46-year-old tackles her most acclaimed role to date in the psychological drama If I Had Legs I’d Kick You. Byrne plays a mother facing an existential crisis in a visceral performance that has earned the star a stack of awards and Bafta and Oscar nominations… It’s the Bafta Film Awards on Sunday, and you’re also nominated for an Oscar. What do you make of all the awards buzz for If I Had Legs I’d Kick You? It’s extraordinary and very surreal. I mean, this is a tiny film and I’m honoured that it’s being acknowledged in this way. In the past, I’ve had more chances to do complex roles on television – but this is by far the most complex role I’ve had on film. This really stretched me and changed me. It’s been a highlight for sure. What does working in television give you that the big screen usually doesn’t? I like the opportunity to develop a relationship with an audience on television. I think that’s wonderful. I love shows that you invest in season after season, shows that you often want to revisit. Whether it’s classics like Seinfeld or The Sopranos, you want to revisit that group of people and see them again. In the film, you play an anxious mother whose world starts to fall apart. How did you find this headspace? I’m a mother, so this role hits home for me. I mean, there’s nothing more confronting than being a parent, because kids see the best of you and the worst of you – and it’s so much about your own limitations. There’s that cliché of your child ending up teaching you more about yourself than anything, but they are the greatest teachers. It’s exactly the same in this film. Your co-star A$AP Rocky’s partner is Rihanna. Did you meet her? When I met Rocky, I immediately asked, “Where’s your wife? Is she coming to set?” We were all waiting quietly, but she was a bit busy with a newborn. She didn’t come, but Rocky is lovely and his performance in this movie is very nuanced and funny. How do you unwind after working on such an emotional character? I drink a lot of alcohol. To be honest, it’s sometimes as simple as having a cocktail after a long day on set or switching on the TV. Everyone has different coping mechanisms. A lot of people have a spiritual practice or a religion but I don’t have any of that. Bobby [Cannavale, Rose’s actor husband] and I have a very simple life. We’re not surrounded by a lot of people. We have a community that we rely on at home in Brooklyn. It’s those things that I gravitate towards. I’m from a very close family who I lean on more and more. How difficult is it to switch off when you head home? Obviously, this is demanding subject matter, but I think I’m very good at keeping work at work and keeping home at home. It’s great to have that separation. My children couldn’t care less if I’ve had a long day – but in the best, most refreshing and grounding way. When I come home, I am now in the role of mum. Have your children — Rocco, 10, and Rafael, 8 — seen many of your films and television shows? Oh, no. I am married to an actor and they are not that interested in watching us on screen. They have a healthy disinterest in it, which I greatly respect. They have seen the Peter Rabbit films that I did, which were really fun, but that’s it. They have a very healthy distance from it all. You’ve tackled horror, comedy, cartoons, drama, sci-fi and more. How do you choose your projects? I want to constantly challenge myself and be scared. Without that, there’s no point. You have to feel like you’re on the brink every time. You have to want to continue. At times, I feel like you have to fail to then rediscover yourself and to have a continued career. I think failure is just as important as success, if not more important. I’ll return to the theatre and do a play or go home to Australia to find a smaller project if I want to change it up. Or I’ll try to shepherd projects through with my production company. What career would you choose if you weren’t an actor? Without acting, I’m not sure how I would be as a person. For me, it’s my saviour in many ways. I’m always grateful to get another job. That never leaves. And if it did leave, what then? I just don’t understand that feeling of security. What’s next for you? I’m doing a Noël Coward play in New York. My friend Scott Ellis is directing and I’m acting opposite Kelli O’Hara, who is a Tony Award-winning Broadway actress. She is brilliant. The play is called Fallen Angels and I’ve never done a broad comedy on stage, so I’m terrified – but I’m also excited. If I Had Legs I’d Kick You is in cinemas from 20 February. The Bafta Film Awards are on Sunday 22 February at 7pm on BBC One and iPlayer. The latest issue of Radio Times is out now – subscribe here. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Phil Wang transforms into the legendary horror icon Nosferatu - and reveals his top horror picks
RT’s vampiric cover star, comedian Phil Wang, explains his new-found love of horror movies, as he gets his fangs into judging Great British Menu.
This article first appeared in Radio Times magazine. Don’t let anyone tell you that Phil Wang isn’t a trouper. In a studio in south London, the amiable comedian has submitted, uncomplainingly, to two hours in the make-up chair to be transformed into Count Orlok – bloodsucking antagonist of one of his favourite films, Nosferatu: a Symphony of Horror – to help draw together the threads of RT’s horror special and his latest gig as a judge on the new, film-themed series of Great British Menu. Having been fitted with a bald cap (“like a big condom,” according to the make-up artist), slathered in grease paint and accessorised with razor-sharp nails and false teeth – Phil Fang, anyone? – the only thing our easy-going vampire draws the line at is shaving off his moustache. “I’ve got five minutes of material about it in my stand-up show,” he explains, apologetically. That’s OK, we assure him – hipster Orlok is actually quite a strong look. “I feel like I’ve unleashed an inner part of me,” says the 36-year-old, as he vamps it up for the camera. “Also, it’s nice to have a preview of what I look like bald. I think I’ve got quite a good-shaped head.” According to his self-effacing tour blurb, Wang is best known “for one series of Taskmaster, one episode of Would I Lie to You? and one minute of Wonka”. In reality, of course, he’s one of Britain’s most in-demand stand-ups, a regular TV fixture on everything from Graham Norton’s sofa to Have I Got News for You, and the star of two hit Netflix specials, Philly Philly Wang Wang and Wang in There, Baby! He also hosted the 2021 podcast series Phil Wang Hates Horror, in which comedy pals including Ed Gamble, Rose Matafeo and Nish Kumar forced him to overcome his lifelong fear of scary movies. Did it work? Judging by his current get-up, yes – even if, as we talk, he’s slightly ruining the effect by sipping peach water instead of drinking blood… What was your main takeaway from the Phil Wang Hates Horror podcast? That horror can be really fun. As heightened emotions, laughter and being scared are actually very close together. To anyone who doesn’t like horror, I’d say the best cure is definitely immersion therapy – you just have to watch lots of it. What’s your favourite horror film? Nosferatu, a Symphony of Horror is obviously up there – especially the 2024 remake. I didn’t sleep for three days after watching The Babadook [2014], but it was worth it. Are films like Weapons, Sinners and Frankenstein – which are up for multiple Bafta Film Awards – proof we’re living in an age of “prestige horror”? It seems that way, and that can only be a good thing. There’s a kind of snobbery around film awards – comedy never, ever gets a look in, for example. But I think they’re finally recognising that horror is a very significant genre. Plus, horror seems to be single-handedly keeping cinemas alive, because it’s more fun as a shared experience. The new series of Great British Menu, which you’ve joined as a judge, is a celebration of great British films. I guess you’d include Wonka [2023] in that category? Of course. Paul King [director and writer] and Simon Farnaby have made some of the most beloved films of this century. Paddington 2 is a cultural behemoth. I’m in Wonka for a glorious one minute and 48 seconds [as wedding groom Colin]. It was my first day on a big movie set, and I broke my elbow falling through a table. But there was so much adrenaline surging through me, I didn’t really feel the pain. Are we calling it the greatest 1 min 48 sec in British film history? I think so. I think British film will now be separated into pre-Colin and post-Colin. In other film news, you wrote a gag for Amy Schumer at the 2022 Oscars… That was really exciting. It was the year Will Smith was nominated for King Richard, and the joke was, after years of Hollywood ignoring women’s stories, this year we finally have a movie about the incredible Williams sisters’… dad. Then it cut to Will Smith and he was laughing. At my joke! I thought that would be the most surreal moment of the night. But it wasn’t. Afterwards I was like, “Can we just skip over the slap thing? I feel like that was a really good joke earlier!” This isn’t your first Great British Menu rodeo. You were a guest judge in 2021 – when you went, in your own words, “full Asian parent”. Yeah, I was a bit mean with some of the scores. I was giving threes and fours, and the producers had to have a word, saying, “People don’t normally go below a six.” So I’ve gone in with a different attitude this time around. I get it. You’re a big foodie, aren’t you? I’m a glutton. I love foods of all different types – I love a 17-course tasting menu; I love a KFC. I’m just a pig. When I moved to the UK [Wang was born in Stoke-on-Trent to an English mother and Chinese-Malaysian father, but grew up in Borneo, before returning aged 16], the biggest culture shock was curry sauce, from a chip shop – I’d never had sweet curry glue. British food is now spectacular, though. It’s unrecognisable compared to when I moved here. And we all know how you feel about our fear of reheating rice… That was a shock. People were like, “You will die if you eat a single grain of this reheated rice.” Which is weird, because old rice is literally what you make fried rice out of. So that became a routine in my last Netflix special. I like to think I’ve started a very important dialogue. Your forthcoming stand-up tour is called Uh Oh. Should we be worried? It’s about the vibe shift in the Western world – the end of the progressive era and the lurch towards the right, politically and culturally, that’s coincided with the ageing of my millennial generation. That doesn’t sound like a laugh a minute, does it? But it is. Photography - Simon Webb @simonwebbphoto Make-up and prosthetics - Bryony Blake @bryony_blake Make-up and prosthetics - Holly Davies @hollylouisehmua Styling - Maureen Vivian @maureenstylist The latest issue of Radio Times is out on Tuesday – subscribe here. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Silence of the Lambs at 35 - Revisiting our interview with Sir Anthony Hopkins: 'I wanted to be like Richard Burton – famous as well as different'
As The Silence of the Lambs celebrates its 35th anniversary, we're resurfacing our 1994 interview with Anthony Hopkins – in which he talks about the transformative effect of his Oscar win.
This article was originally published in Radio Times magazine on 20th October 1994 It was only when he won an Oscar in 1992 for his part as Hannibal Lecter, the serial killer who cooked and ate his victims in The Silence of the Lambs, that Anthony Hopkins was convinced finally he’d become a decent actor. "After the old award came along I said to myself, 'What’s to prove now? I’ve done it'." Until then, he says, he’d wallowed in the troughs of insecurity, self-pity and alcoholism so common among our artistic brethren. Tedious stuff really. "Now I’m happy and at peace, with no axes to grind," he says. Let’s hope that isn t really true. His brilliance is drawn from the furies lurking within him and, although today in Cardiff he is the very image of self-deprecating thespian bonhomie, as well as a mixture of hauteur and vulnerability, he adds: "In a way my parts have been therapy, providing me with a great purging of my emotions. They seem to have paralleled my own development. Maybe Lecter was part of me - aloof, cold, a bit closed off. Being an actor has put some frost on my shoulder, a touch of ice in my veins. I don’t like displays of emotion and don’t trust my own because they’ve got me into trouble in the past. "I’ve become detached from life in the past ten years, which is probably why I look so calm. I don’t like being in crowds. In a strange way I’m free because I have no interests. I don’t care for sports, going to the theatre or cultural events. I don’t have many friends, hate going to dinner in other peoples’ houses, or to parties or restaurants. Food doesn’t interest me, nor does being with people for too long. I have no curiosity about anything, never have had." This makes him sound like a curmudgeonly misanthrope, a morose Celtic bore, but nothing could be further from the truth. He provides wonderful conversational entertainment – some of it true – the beguiling Welsh lilt transforming to mimic whatever actor he happens to be discussing. He says his second wife Jenni, whom he married 21 years ago, after they met when she was a production assistant on one of his films, thinks he’s strange. "But that’s the way I am," he shrugs. "At least I’m interesting to live with and keep her on her toes. My only quirk is travelling to LA and driving thousands of miles in a rented car, anywhere, sleeping in motels, talking to people, passing through their lives. It gives me a sense of freedom and adventure. It’s an aspect of myself that intrigues me. Maybe I am self-obsessed." An only child, born in Port Talbot, he was a day-dreamer, hopeless at school because he was an undiagnosed dyslexic, he thinks. "I was very frustrated I could never grasp things quickly like other kids. I was good at drawing and the piano – if I had my chances again I’d like to be a composer. I was a bit of a puzzle to my parents and teachers. They all gave up, except one who said maybe I was a bit different. I was isolated, but I look back on my childhood with great fond memories. It was all grist to the mill. Out of my so-called 'handicap' I became angry, and frustration built up in me like rocket fuel, so when I left school I was determined to show the world. Richard Burton came from the same town. I thought he was amazing and wanted to be like him – famous as well as different." His father would have preferred him to work in the family bakery. "I’d be at the piano and he’d come in with flower dust in his hair and ask what I was playing. I’d say, ‘Beethoven,' and he’d mutter 'No wonder you’re going bloody deaf.' When I told him I didn’t want to be a baker he said, 'Thank God for that. You’d be bloody hopeless.' He was a wonderful man, with that tremendous energy of the Welsh - 'sparks and smoke', he used to say. He was always on the move, and his eyes used to change colour, turn bright, bright blue, when he was excited. We had the odd argument - boom-boom! - because we were so alike. He never believed I’d grown up. "He used to ask my wife to make sure I put Brylcreem on my hair. I called him Dick – I was embarrassed to call him 'father' – and my mother Muriel. It’s much more friendly. It’s taken me a few years to come to terms with how much like him I’ve become. He died 13 years ago and it’s as if he’s come home to roost in me. I was a little sombre before his death, took things too seriously. Now I’ve developed his sense of humour. Whenever I’d do Shakespeare he’d ask, 'Any shooting in it?' or he'd say, 'Shakespeare’s nice, but you ought to be making films like Burton.' He loved films." It was his father telling him to get out of the house and do something which, fortuitously, began his acting career. "I joined the YMCA to learn snooker, was offered a small part in one of their plays and have ended up like this 40 years later. Life's a funny old process. Our paths are chosen for us in a way." He says he’s always been a bit mystical and had flashes of psychic vision. "I’ve never sat around tables with spooky people, but I used to get quite alarming insights which became a bit of a party trick. I’d describe peoples' houses to them and say they'd just had a tea stain on the table. "Then I began to see my own life running backwards. Just before I received the old Oscar I thought, 'This is odd. It's happened before,' and a thought ran through my head like an express train - 'Your father died 11 years ago tonight. You’ve got it.' I’m not a Holy Joe, but it would be supremely arrogant to believe all this is something I’ve done myself. Life is too extraordinary for me to doubt there is some peculiar power that goes through all our lives." Although he is irreverent about acting, the Oscar made him proud. "It was wonderful. This nonsense about being cynical and putting them in the lavatory is an insult. If someone is generous enough to give you an award for what they think is good work, you should be gracious "I don’t hang around with actors much and don’t know who the luvvies are or what they’re talking about. If a director tells me a film is 'going to be a journey of discovery' I’m out through the door. My approach is quite simple: I just want to be told where to stand. I don’t overburden my brain with too much material. I’m a very intuitive and physical actor. I learn my lines, show up and try not to bump into the furniture." This is said without affectation, but of course it is a lie. He reads scripts dozens of times, and then hooks on to one aspect of a character. Last year, preparing a TV film about his Welsh hero, Gwyn Thomas, he explains, "I watched videos and listened to his vocal mannerisms. Then I went to the wardrobe department and asked for a greenish jacket, brown cavalry twill trousers which were a bit too tight and suede shoes. I looked in the mirror and thought, 'That’s him.'" In Alan Parker’s new film, The Road to Wellville, opening in January, he wears protuberant false teeth which give him an uncanny performance as Dr John Kellogg, the health guru and inventor of the cornflake. He has well-known reservations about The Silence of the Lambs and now says, "It’s not wise to make films like that. There’s so much violence around. I don’t want to sound pretentious, but actors have a bit of a responsibility. I’d have to think strongly and deeply about doing a sequel. It would have been crazy of me to turn the film down at the time. I was in my usual naive state of being surprised to be offered a film in America. I’ve always been a bit like that. There is a great snobbishness in the theatre about the film business, but I don’t take any notice. I’ll go where I’m asked if it’s a good script. "I used to take anything because I thought I’d never work again, but I’m a bit more choosy now. My American agent is like a killer. He beats at producers’ doors until they increase the fee. I tell him, ‘I want to do the job,' and he says, ‘Don’t worry. I’m not satisfied with the deal.' It’s nice to make a good living because I don’t want to be insecure, but ifs ludicrous when actors are paid $15 million to do a film. What are you going to do with that money? You have to farm it out somewhere, circulate it, otherwise it destroys you. If you keep money it rots you." View Green Video on the source website He knows about Hollywood because he lived there for ten years, leaving England in 1972 after, he says, "I had a bit of a punch-up at the National. It was my own stupid idiocy. People say I was a hellraiser. I wasn’t. I was just a bloody nuisance and boring. Actors get scared, and fear causes temper. I went through a couple of awkward patches and was a bit troublesome. I never wrecked a studio like some actors, but I had a fiery temperament which used to worry me." Drink fuelled it and could have ruined his career if it hadn’t been for one day in July 1975 when he woke up in Phoenix, Arizona, having no idea how he got there. He attended an Alcoholics Anonymous meeting and hasn’t touched a drop since. He goes to AA meetings three times a week, and says he had his last big bust-up on a set ten years ago. "I had a ferocious row with a ghastly pig of a man, a British TV director." The Silence of the Lambs and subsequent films have made him wealthy, but he says he is frugal. "I don’t want anything. I don’t need three houses and three cars. I don’t give a damn about clothes, although I’m sick of actors walking around looking filthy. I like to keep clean and fit. I drive a Renault because the dealer is round the comer. I’m not interested in holidays. Hollywood is full of people who seek power and wealth and turn into monsters. They become even more acquisitive and, strangely, tight with money. "I’m no pure angel but if you accumulate power and prestige you’ve got to have a daily checking balance where you must ask yourself, ‘Do I really need all this?' Towards the end of my time in Hollywood, the old alarm signal was set off when my agent told me they couldn’t pay as much as on my previous film. I was annoyed before I realised, ‘Hang about. The last film paid me more money than I’ve ever seen. I have a nice house and I’m becoming weird.' Hollywood is like an insect-eating plant. You sit by the pool thinking you should have more and more and it gradually closes in on you. It was then Jenny said, ‘We should go back to England.' It is Wales, though, for which he hankers and where he may one day settle. He has already bought himself a burial place at Margam Abbey, outside Port Talbot ("I feel a bit odd about that"), but it will hopefully not be needed for many, many years. Meanwhile, he has developed a motto for himself. "Ask nothing. Expect nothing. And accept everything. That gets me through. I live in a state of total non-expectation and then extraordinary things happen. I can’t run my life. I make a few little plans here and there but beyond that it is none of my business." Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Industry star David Jonsson reveals why it was important his new prison drama didn’t feel "exotic"
Jonsson stars opposite Tom Blyth in new drama Wasteman, out this week in UK cinemas.
Since breaking out with his role as Gus in the first two seasons of Industry, David Jonsson has emerged as one of the UK's finest young actors – impressing in a diverse range of films including Rye Lane, Alien: Romulus and The Long Walk. Now, for his latest role, last year's BAFTA Rising Star Award winner is starring alongside another up-and-coming British actor – People We Meet on Vacation's Tom Blyth – for gritty prison drama Wasteman, the feature directorial debut of filmmaker Cal McMau. The film is inspired in part by real footage that was shot inside prisons on contraband mobile phones, and speaking to Radio Times at last year's London Film Festival, Jonsson explained why it was important the film captured the harsh realities of prison life as opposed to the sanitised or glamorised depiction that can sometimes be seen in Hollywood films. "I think we knew from the offset that we weren't going to make anything that felt exotic or glorifying violence," he said in an exclusive interview. "Like, those films exist and some of them are cool, but that's not what we were doing here." He explained that the production had worked with a "wonderful charity" called Switchback, whose goal is to help bring former prisoners back into society and readjust them to a more normal way of life. "They gave us so much," he explained. "[And] 50% of them was like our cast – they were all in in it. And they helped us, not just sculpt the world, but also sculpt our characters. Having that as your baseline, just meant that we were able to elevate this into a thrilling place from that kernel of truth, that kernel of society. "Because prison affects all of us. Like, we pay our taxes, you're contributing to it, and it's a system that does need a bit of reform." View Green Video on the source website Wasteman is a film that had been a long time in the works, and counts as something of a passion project for Jonsson. He had first auditioned for the role as far back ago as 2017 – well before his big acting break – and considered it something of a "miracle" that it ended up being made at all. "Making films is really hard," he explained. "When I auditioned for this, I'd just left school, and I just wanted to do theatre, because that was something that I know and love. [But] I got this one script through that just meant so much to me. It felt like people that I'd come in contact with, growing up in East London, it just felt like people that I knew." He remembered thinking he'd "nailed" his audition, but when months passed and he never heard back, he assumed that he must not have done enough to secure the role. The reality, though, was that the film "just fell apart" due to funding problems. And so when he found the script again, Jonsson was able to use his newfound cachet to get it made as not just an actor but also a producer – something which also allowed him to "sculpt" his character in a way "that felt really current and real to me." He added: "I couldn't do it then... it was meant to happen now, And I couldn't imagine acting with anyone opposite of me than Tom, it was exactly the way it was meant to be." Wasteman is released in UK cinemas on Friday 20 February 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Marty Supreme true story: How accurate is the ping-pong drama?
Timothée Chalamet's new sort-of-biopic has arrived in UK cinemas, but who was the real Marty Supreme?
Marty Supreme has caused quite a splash since opening in cinemas at the tail end of 2025. Josh Safdie's freneticallypaced ping-pong drama has become its distributor A24's highest-grossing film ever, while also boasting the finest acting of Timothée Chalamet's career – at least if you believe the star himself. And while Chalamet's grandstanding may have raised some eyebrows, few would argue against the fact that he turns in a pretty stellar performance. In fact, at the time of writing, he's runaway favourite to add a best actor Oscar to his steadily growing list of accolades that already includes a Golden Globe and Critics Choice award. In the film, Chalamet plays Marty Supreme, a character whose arrogant attitude he admits to have channeled during the press tour. "This is in the spirit of Marty," he told Indiewire. "And I feel like this is ultimately an original film at a time when original movies aren’t really put out." He continued: "It’s a movie about the pursuit of a dream. I’m leaving it on the field. Whether it’s the merch or the Zoom or the media appearances, I’m trying to get this out in the biggest way possible. In the spirit of Marty Mauser." In the movie, which is out still showing in some cinemas, Marty is a New York City shoe salesman who is driven by a massive ambition to become the greatest table tennis player in the world, and he soon ends up going to extreme lengths to rise to the top. But how does the figure we see in the film compare to the real-life champion ping-pong player Marty Reisman, upon whom the movie is based? Read on for everything you need to know about the true story behind Marty Supreme. Is Marty Supreme based on a true story? Yes – but only loosely. Safdie used the life of real table tennis player Marty Reisman as a jumping off point for the script, but never intended the film to be a wholly accurate account of his life. Marty Supreme true story: How accurate is the film? View Green Video on the source website As mentioned above, the film follows a character named Marty Mauser, who is loosely based on the real-life champion ping-pong player Marty Reisman – but it is not telling a one-to-one adaptation of his life or career. Instead, as reported by Deadline, Marty Supreme is "a fictionalised original, rather than a biopic". In other words, this is clearly a dramatised account of Reisman's career. Interestingly, there is a 2014 documentary about the real Reisman’s life titled Fact or Fiction: The Life and Times of a Ping-Pong Hustler, whose director Leo Leigh recently explained in an interview with The Smithsonian that Marty Supreme "has its own engine." He added that "the broad strokes are there, but it has its own agenda and thing going on" while also explaining that Josh Safdie had contacted him to ask some questions about Leigh's own time with Reisman while he was making his documentary. So while certain aspects of the film do somewhat resemble real events – for example, his match with Koto Endo in London is something of a mirror of his game against Hiroji Satoh at the 1952 World Table Tennis Championships in India – other things are pure invention, such as his relationship with retired actress Kay Stone (Gwyneth Paltrow). Fascinatingly, one of the most incredible stories featured in the film – the tale told by Holocaust survivor and Marty's fellow table tennis player Bela Kletzki (Géza Röhrig) – is based on the true story of a man named Alojzy Ehrlich. "I learned more about the Holocaust in that little story than from some movies that are only about the Holocaust," Safdie explained in an interview with The Guardian. Who was the real Marty Supreme? The real Marty Supreme (or, rather, the real Marty Mauser) was actually called Marty Reisman. Reisman was born in 1930 and died at 82 in 2012. He was a champion table tennis player whose professional career spanned over 50 years. His career began at the age of just 12, and rumours quickly began to spread about his incredible talent – with comedian Jonathan Katz even once recalling that Reisman once beat him while using the flat end of a chess piece rather than a bat. Throughout his career, Reisman won five bronze medals at the World Table Tennis Championships – a combination of both singles and doubles medals – while he won a total 22 major table tennis titles including two US Opens and a British Open. He remained active in the sport long into his life, and was serving as president of Table Tennis Nation at the time of his death. To put his longevity into perspective: on the film's release date, Timothée Chalamet will be 29 - only half the number of years between Reisman's first and final major table tennis awards, in 1946 and 2002 respectively. Reisman published a memoir in 1974 titled The Money Player, The Confessions of America's Greatest Table Tennis Player and Hustler. And although it's nearly impossible to track down a copy today, it's possible that this served as an inspiration for Marty Supreme. Marty Supreme is in cinemas now. If you're looking for something to watch tonight, check out our TV Guide and Streaming Guide or visit our Film hub for all the latest news. For more TV recommendations and reviews, listen to The Radio Times Podcast.