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.
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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
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
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
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
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
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
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
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
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
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
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?
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
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
No Other Choice
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
28 Years Later: The Bone Temple
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
Hamnet
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
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
Marty Supreme
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
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
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
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Authors
Patrick Cremona is the Senior Film Writer at Radio Times, and looks after all the latest film releases both in cinemas and on streaming. He has been with the website since October 2019, and in that time has interviewed a host of big name stars and reviewed a diverse range of movies.
