What films are out in UK cinemas this week? Reviews from Bridget Jones to Captain America
Your weekly round-up of all the films currently showing in UK cinemas.

This weekend sees two of the biggest new releases of 2025 so far hit UK cinema screens – and it's safe to say that it's a tale of rather mixed fortunes as far as our reviews.
While Bridget Jones: Mad About the Boy – Renée Zellweger's fourth outing as the beloved singleton – gets a thumbs up from us, we're a little less enamoured with latest MCU instalment Captain America: Brave New World, which sees Anthony Mackie's Sam Wilson take on the titular mantle for the first time.
Meanwhile, there are also a couple of other noteworthy releases this week, in the shape of Oscar-nominated animation Memoir of a Snail and new Valentine's Day horror-comedy Heart Eyes.
Of course, several other great films are also still playing in cinemas – including Brady Corbet's mesmerising epic The Brutalist – and you can find our reviews of the major films currently out in the UK below.
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? 14th-20th February
Bridget Jones: Mad About the Boy

Renée Zellweger returns as Bridget Jones for a splendid fourth feature. Bridget is single again, but this time she is a widow, her beloved Mark Darcy (Colin Firth) having died four years ago, leaving her with two children. She reluctantly enters the world of dating apps – meeting 29-year-old horticulturalist Roxster (One Day’s swoon-worthy Leo Woodall).
The well-crafted script nails exactly what it’s like to be middle-aged and female in the shark-infested world of online romance, and Zellweger is once again effortless in the central role. Director Michael Morris (To Leslie) smartly integrates returning characters – Hugh Grant has a riot as Bridget’s ex-boss – with newbies, including Chiwetel Ejiofor’s whistle-happy science teacher.
This is a mature and incisive outing, beautifully shot, and blending humour and emotion into the perfect movie martini. – James Mottram
- Read our full Bridget Jones: Mad About the Boy review
- Read our interview with Renée Zellweger
- Read our interview with Leo Woodall
- Read our interview with Michael Morris
Captain America: Brave New World

This 35th entry in the Marvel Cinematic Universe is a largely flat and insipid affair. The first film to see Anthony Mackie’s Sam Wilson take on the Captain America mantle, it follows his uneasy alliance with new US President Thaddeus ‘Thunderbolt’ Ross (Harrison Ford, replacing the late William Hurt) as they tackle a conspiracy plot involving Tim Blake Nelson’s Samuel Sterns – who last appeared in 2008’s The Incredible Hulk.
Where once Marvel had created a relatively seamless interconnected universe, the attempts to link back to previous films here are clunky and a little desperate. Meanwhile, an underbaked central narrative, bland expository dialogue, consistently drab visuals, poor characterisation and nondescript action scenes combine to create a conspiracy thriller lacking even a whiff of intrigue or paranoia.
Despite the best efforts of the reliably charismatic Mackie and Hollywood icon Ford – who lends the picture a gravitas it hardly deserves – it’s exactly the sort of cobbled together effort you’d expect from a film which required extensive reshoots and boasts three different credited writing teams. – Patrick Cremona
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Memoir of a Snail

This delightfully dark and quirky adult animated film follows the tragi-comic life of a snail-loving girl who learns how to come out of her shell. Glass-half-full Gracie (voiced by Sarah Snook) and glass-half-empty Gilbert (Kodi Smit-McPhee) are twins orphaned at a young age, then separated to live with different foster families on opposite sides of Australia.
Gracie dreams of becoming an animator while Gilbert wants to be a Parisian street performer, but randy gerbils, religious cults and a microwave oven salesman stand in their way, before Gracie finds inspiration in a free-spirited old woman with an eccentric history.
This is the second feature from esoteric Aussie stop-motion animator Adam Elliot, arriving some 15 years after the excellent Mary and Max. The cute-but-scuzzy animation style is unmistakable, and thematically, it’s very similar; a biographical movie about bullied, working class kids growing into dysfunctional adults who learn to love themselves (think Tim Burton meets Ken Loach).
Thankfully, it’s every bit as good as its highly praised predecessor, bursting with wit, invention, charm, poignancy and moments of exquisite vulgarity. – Kevin Harley
Heart Eyes

Love and gore mingle in this genre-savvy but messy mash-up of slasher movie and romcom, directed by Josh Ruben (Werewolves Within). Following a break-up, marketing exec Ally (Olivia Holt) is so through with love that she rejects dashing new freelancer Jay (Mason Gooding). But a masked murderer who slaughters couples every Valentine’s Day targets the pair anyway. Might mortal danger help Ally to love again?
Ruben has fun with this Hallmark-goes-horror set-up, and the killer’s heart-shaped goggles add a nifty design flourish. The carnage is ferocious, too, though the blunt-tool script proves less inventive. The gags keep falling flat, as with the needlessly referential names of comic-relief cops Hobbs and Shaw (horror veterans Devon Sawa and Jordana Brewster).
Neither warm enough for romance nor sharp enough for terror, the result simply accumulates knowing genre nods – meet-cutes, jump scares – without any real satirical focus or suspense. Climaxing with a so-what killer reveal, Heart Eyes needed a surer aim to secure a spot in Scream fans’ satirical affections. – Kevin Harley
Best of the rest still showing in UK cinemas
September 5

The tragic events that unfolded at the 1972 Munich Olympics – when 11 Israeli athletes were taken captive by pro-Palestinian militants – have been chronicled to Oscar-winning effect in documentary One Day in September (1999) and dramatised in Steven Spielberg’s Munich (2005).
However, the focus for this Oscar-nominated thriller is an American TV sports crew, whose wall-to-wall coverage of the Games is starkly superseded when shots ring out from the nearby Olympic village – with John Magaro’s fledgling producer left to take his team out of their comfort zone and cover the crisis live.
The film's slim 94 minutes and confinement to the studio ensures there's no slackening in the tension, while the crew's use of old-school, largely manual broadcast tech as they compete for satellite time is staggering to consider. Magaro is excellent, grappling with doing his job while deadly chaos erupts outside, as are Ben Chaplin, Leonie Benesch and Peter Sarsgaard as ABC Sports' bullish but supportive president. – Jeremy Aspinall
Hard Truths

Mike Leigh is on familiar but fruitful ground with this London-set family drama. The story of two siblings with very different attitudes to life, it’s a potent examination of not only sisterhood but also marriage and mental ill health.
Marianne Jean-Baptiste, reuniting with Leigh for the first since since 1996’s Secrets & Lies, plays Pansy, a troubled mother-of-one who is permanently angry at the world. She's particularly resentful of her laidback sister Chantelle (Michele Austin), a hairdresser who has a loving relationship with her two daughters.
Exploring issues of anxiety and grief, this highly empathetic tale is Leigh’s first film with an almost entirely black cast. Jean-Baptiste gives one of her finest performances, and some scenes (notably a get-together at Chantelle’s flat) are almost unbearably uncomfortable to watch.
Some stock characters are recognisable from earlier Leigh films – Pansy’s insular, overweight son Moses recalls James Corden in All or Nothing – but overall this is a finely etched character study, and Leigh and his cast offer engagingly nuanced work. – James Mottram
Companion

Resembling The Notebook via TV's Black Mirror, writer/director Drew Hancock’s feature debut is a darkly mischievous horror comedy with a feminist thrust. Sophie Thatcher plays Iris, a robot companion whose partner (Jack Quaid) takes her to a lakeside retreat with his friends, who plainly dislike her.
The mood is tense, but when the property’s owner sexually assaults Iris and she kills him, events spiral messily out of control. Following a careful build-up to the film's first major reveal, Hancock juggles genres and themes nimbly, weaving critiques of toxic masculinity into noirish developments and romcom stylings.
Sci-fi elements are playfully handled and the twists are plentiful, though the script is never quite as funny or surprising as it could’ve been, especially for anyone familiar with films about AI or gender conflicts. However, Quaid and Thatcher’s superb turns compensate right up to the climax, where Companion lands its blood-soaked pay-offs and punchlines with vigour, wit and the niftiest misuse of kitchenware since Don’t Breathe’s infamous meat-baster moment. – Kevin Harley
The Brutalist

As an upside-down Statue of Liberty drifts into view; it’s clear that The Brutalist will not be a straightforward, flag-waving take on the American Dream.
Director/co-writer Brady Corbet (The Childhood of a Leader) takes his film-making to another level with the ambitious story of fictional architect Laszlo Toth, who arrives in America following the Second World War.
After an ignominious start, this Hungarian Jew is taken under the wing of Harrison Lee Van Buren Sr (Guy Pearce), who commissions him to work on a cultural centre in tribute to his late mother. The building’s construction takes its toll on both men, while later Laszlo is reunited with his wife (Felicity Jones) and niece (Raffey Cassidy).
This richly detailed film speaks volumes about America’s uneasy relationship with immigration. It captures the poison chalice of philanthropy through Pearce’s searing portrayal of the monstrous Van Buren, with Brody nailing the torment of a proud, talented man who cannot help but absorb the hatred of others.
Seven years in the making and shot in the defunct large-scale VistaVision format, the film is epic in its length, weight and ambition, like a modern-day Orson Welles picture. It’s a timely examination of how modern America came into existence, and the resentments that lurk beneath its surface. – Emma Simmonds
A Complete Unknown

Timothée Chalamet excels as Bob Dylan in an absorbing biopic that charts the iconic singer/songwriter’s early career, with a dash of dramatic licence.
The narrative follows the aspiring musician’s arrival in New York in 1961, continues through his burgeoning success and popularity, and culminates four years later when Dylan incurred the wrath of folk purists by going electric.
Director James Mangold and co-screenwriter Jay Cocks take a few liberties with events, times and names, but nonetheless paint an evocative portrait of a superstar in the making and his growing disenchantment with fame, thanks to a compelling, layered portrayal by Chalamet. The actor projects his subject’s physicality and speech patterns perfectly, and especially impresses in his performances of the generation-defining songs, eloquently capturing the essence of Dylan.
In a strong supporting cast, Edward Norton stands out as Pete Seeger, the folk music traditionalist and civil rights activist who became Dylan’s most important mentor. He superbly conveys conflict and heartbreak as his role in the singer’s ascent to the A-list shifts from proud father figure to reluctant adversary. – Terry Staunton
A Real Pain

Jesse Eisenberg writes, directs and stars in this touching comedy drama, which is loosely inspired by his own family history. He plays David, a well-adjusted if rather uptight New Yorker embarking on a tour of Poland with his semi-estranged cousin Benji (Kieran Culkin), who leads a notably less settled life. The trip is intended to honour their late grandmother, who had survived the Holocaust before emigrating to the US.
As the cousins wrestle with this deep-rooted family trauma, though, the focus also extends to painful memories in the more recent past. Eisenberg’s sharp, witty script expertly teases out an emotionally complex history between the pair, and their dynamic – by turns tetchy and tender – feels totally genuine. Culkin, in particular, is in fine form, especially as it becomes clear that Benji’s brash, impulsive demeanour is masking a deep vulnerability.
Despite the heavy subject matter, it’s a fairly breezy film with a light touch, a commendable lack of self-importance and several laugh-out-loud moments, which ensures its emotional high-points are all the more potent. – Patrick Cremona
Nosferatu

FW Murnau's classic 1922 riff on Dracula gets a stylish, visually dynamic remake from director Robert Eggers (The Lighthouse). Nicholas Hoult plays Thomas Hutter, a young clerk in 19th century Germany sent on business to Transylvania where he encounters Count Orlok (Bill Skarsgård).
The ailing aristocrat boasts an unquenchable bloodlust, one that is soon focused terrifyingly on Hutter’s wife (Lily-Rose Depp). Strong support sees Emma Corrin and Aaron Taylor-Johnson play the Hutters's family friends, while Willem Dafoe (who played original Orlok actor Max Schreck in 2000's Shadow of the Vampire) appears as an expert on the occult.
Eggers remains faithful to the spirit of the original film, but works wonders with his creative team to craft a masterclass in gloomy, gothic atmosphere. Unrecognisable under prosthetics, Skarsgård is terrific, adding to his litany of fine horror-movie performances (It, Barbarian).
Hoult is a sturdy presence, while Depp brings the requisite purity. But really, this is Eggers’s baby: you’ll be left marvelling at the ominous, shadowy visuals and the creeping sense of dread that envelops the whole movie. – James Mottram
- Read our full Nosferatu review
- Read our interview with stars Bill Skarsgård and Nicholas Hoult and director Robert Eggers
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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.