REVIEW: Xeno (2025 Film) - Starring Lulu Wilson

Review by Jon Donnis

Matthew Loren Oates' 2025 sci-fi adventure, Xeno, is a curious blend of familiar storytelling and fresh emotional stakes. At first glance, it might seem like another entry in the well-trodden alien encounter genre, but what sets it apart is its grounding in human emotion, family tension, and the unpredictable spark of an interspecies friendship.

The story follows Renee, a teenage girl navigating life in the desert with her mother, whose depression weighs heavily on their household, and her mother's cruel boyfriend. One day, Renee stumbles upon a crash-landed alien, a creature both threatening in appearance and unpredictable in behaviour. After freeing it from a trap, she names it Croak and takes on the responsibility of keeping it safe. The bond that forms between them drives the narrative, pushing Renee into morally complex situations as government agents close in and secrets about the creature's origins come to light.

There is a lot to admire in Xeno. Part E.T., part monster movie, part domestic drama, the film balances its tones with skill. At its core, it is a story about empathy, about the courage required to extend compassion to something wholly other. The film carries darker undertones, yet remains accessible as a film for young adults, while still engaging older viewers. Lulu Wilson delivers a performance of real grit and heart, embodying Renee's bravery and vulnerability in equal measure. Croak, designed by the Jim Henson Creature Shop, is a triumph in creature effects, simultaneously terrifying and oddly endearing, which helps the emotional stakes land hard. Watching their friendship unfold is genuinely rewarding, and the moments of levity amidst tension are deftly handled.

Xeno does lean heavily on its influences. Echoes of Starman, The Iron Giant, and E.T. are evident, and for some viewers, the plot will feel familiar. Yet, rather than detracting from the experience, this homage works in its favour, delivering an assured, heartfelt story that embraces its inspirations with affection. The action sequences are satisfying, the humour lands surprisingly well, and the overall pacing, while slightly long at around 100 minutes, allows enough time to develop both human and alien characters with care.

On the flip side, there is no denying the film is unoriginal in concept. Those looking for a revolutionary take on extraterrestrial cinema may be left wanting. Trimming a few minutes might have tightened the narrative, particularly in the slower domestic scenes. But even with these minor flaws, Xeno's emotional resonance and striking visuals make it a compelling watch.

Xeno is a film that charms through its heart rather than novelty. It offers thrills, humour, and genuine tenderness, anchored by strong performances and an unforgettable alien design. Think E.T. if the alien were closer to a Xenomorph in menace but no less capable of forging a deep bond. For what it is, Xeno succeeds admirably, and I walked away feeling entertained, moved, and impressed. On balance, it earns a solid 8 out of 10.

In Selected Cinemas Now

PREVIEW: Bad Boy (2025 Film) The Fight Beyond the Ring

Preview by Jon Donnis

Back in 2006, Britain watched one of the most audacious crimes in its history unfold. Armed men raided the Securitas depot in Tonbridge and made off with £53 million in cash. Dozens were pulled in for questioning. Among them was Jeremy Bailey, a fighter from Basingstoke already carrying the nickname "Bad Boy." He was eventually cleared after years of trials and interrogations, but the association never really left him.

That's the backdrop for Bad Boy, a new documentary from Terry Stone and Richard Turner. Rather than reheating the details of the heist, the film digs into Bailey's story, a messy mix of crime, sport, and survival. Born into trouble, homeless at sixteen, he found purpose in prize fighting and clawed his way up to become an MMA and kickboxing champion. Alongside Bailey's own words are contributions from his lawyer, UFC veteran Michael Bisping, and Stone himself, each shedding light on how the case and its fallout shaped him.

What makes the film intriguing is the way it moves between worlds. Bailey's time working security in the '90s rave scene, his criminal connections, the endless suspicion around the heist, all sit alongside his career in combat sports and his work building a gym in Basingstoke. It's not a neat redemption tale. It's the portrait of someone still fighting, both for titles and for a reputation that refuses to shift.

Bad Boy lands in select UK cinemas on 17 October, before heading to digital platforms on 20 October via Miracle Media. It looks less like a true-crime retread and more like a character study of a man who never fully escaped the shadow of Britain's biggest cash robbery.

PREVIEW: Desperate Journey (2025 Film) - Starring Lucas Lynggaard Tønnesen

By Jon Donnis

Emblem Pictures is stepping into the UK distribution scene with a bold start. The company has unveiled the first trailer and key artwork for its debut feature, Desperate Journey, a fast-paced thriller set in 1940s Paris. Directed by Emmy Award-winning Annabel Jankel and penned by two-time Academy Award nominee Michael Radford, the film promises a stylish blend of historical tension and cinematic spectacle.

The story follows Freddie Knoller, portrayed by Lucas Lynggaard Tønnesen, who is forced to flee Vienna as the Nazis advance. Stranded and desperate, Freddie finds work at a notorious Parisian burlesque club, a glittering but perilous world frequented by high-ranking Nazis. There, he falls for the lead showgirl and becomes entwined in a dangerous chain of events that will change his life forever. Clara Rugaard, Til Schweiger, and Steven Berkoff round out a strong cast, giving the period thriller both depth and charisma.

On the technical side, the film benefits from a high-calibre team. Editing is handled by Academy Award nominee Jon Harris, while BAFTA and Emmy nominee Ilan Eshkeri provides a full orchestral score. Sound design reaches cinematic heights with a Dolby Atmos mix by Academy Award winner Richard Pryke. The original soundtrack will be released by Sony Music in November 2025, ahead of the nationwide cinema release on November 28. Desperate Journey looks set to combine gripping historical drama with first-rate production values, marking a striking debut for Emblem Pictures.

REVIEW: The Shadow's Edge (2025 Film) - Starring Jackie Chan and Tony Leung Ka-fai

Review by Jon Donnis

Larry Yang's The Shadow's Edge is a big, slick action thriller that manages to keep its head while delivering the kind of set pieces you only get when Jackie Chan is involved. The story follows a cyber-criminal gang that vanishes with billions, forcing the police to rebuild an elite surveillance team led by retired tracking expert Wong Tak-chong, played by Chan. It sounds like standard cat-and-mouse fare, yet the film rises above thanks to sharp direction and a cast that knows exactly what kind of film they're in.

One of the best things here is the balance between plot and spectacle. Too many Jackie Chan vehicles lean on action while the story struggles to keep up, but not this time. The narrative is tight, easy to follow and engaging from the opening heist to the final confrontation. Chan himself does not appear until around the twenty-minute mark, but when he does, he commands the screen with the quiet authority of a veteran who knows his craft. His Wong Tak-chong might not share a name with the cop from Police Story, yet it feels like a spiritual continuation of that iconic character. He is older, wiser and more strategic, and Chan plays the part with the kind of lived-in gravitas that only comes from decades of experience.

Zhang Zifeng shines as rookie officer He Qiuguo, bringing depth and determination to a role that could have been generic. Her evolving relationship with Wong has genuine warmth, adding a father-daughter layer to a film that might otherwise be all chases and fights. The action scenes are every bit as inventive as fans would hope. There is one sequence in particular that looks so impossibly dangerous it seems like computer trickery, only for the post-credits outtakes to reveal it was all done for real, (a car flipping over as Jackie moves out of the way). This is classic Jackie Chan, mixing precision choreography with real-world stunt work and a sense of fun that no amount of CGI can match. Tony Leung Ka-fai, meanwhile, makes a superb antagonist. As criminal mastermind The Shadow, he is a perfect counterweight to Chan, and their eventual showdown carries the weight of two veterans testing each other's limits.

The negatives are more minor than major. At 142 minutes the film runs long, and a tighter edit might have given it a slightly sharper edge. The lack of an English dub will also be a barrier for some viewers. The Mandarin dialogue is subtitled and while the translation is clear, the rapid pace of some scenes can leave you scrambling to keep up. Still, these are small complaints in a film that otherwise delivers on nearly every front.

The Shadow's Edge is proof that Jackie Chan can still anchor a big action thriller without resorting to nostalgia alone. He embraces his age, using it to bring texture to a character who relies on brains as much as brawn, and the result is one of his most satisfying films in years. With gripping set pieces, a clear and engaging story, and performances that hit every note, this is a must-see for action fans. A confident and highly entertaining return to form. Score: 9 out of 10

Trinity CineAsia presents The Shadow’s Edge in UK and Irish cinemas from 3rd October

REVIEW: The Long Walk (2025 film) - Starring Cooper Hoffman

Review by Jon Donnis

Francis Lawrence's 2025 adaptation of Stephen King's novel arrives with a brutal, uncompromising premise. The idea is stark and simple. Fifty boys are forced to walk until only one remains, watched by soldiers and a bloodthirsty public. That setup is the film's central currency, and it buys the filmmakers a mood that is bleak and unrelenting.

If there is a single thing the film does well it is acting. Cooper Hoffman as Ray Garraty is the reason to stay in your seat. He gives Ray a mix of stubbornness, fatigue and quiet decency that feels lived in. When the story narrows to small, human exchanges these scenes land, because Hoffman invests them with a weary sincerity. The main cast around him is serviceable, and the occasional flash of camaraderie among the boys is the movie's emotional glue.

But the positives are limited, in number and in reach. The problem is structural. Once you understand the rules of the Walk, there is not much left to discover. The film stretches that single idea to nearly two hours, and the result is a steady feeling of repetition. Deaths happen, grief follows, the boys talk, and the march continues. Over time the rhythm begins to feel like a loop, and the narrative rarely finds new momentum.

Predictability is another weight against it. Key beats arrive exactly as you expect, which robs the shocking moments of power. A bleak tone can be effective, but here it slides into monotony. Good performances cannot change that. The film feels paper thin at points, as if scenes exist to fill runtime rather than to deepen character or theme. If the core idea had been tightened into a shorter format it would have felt sharper and more urgent. As it stands, the film tests patience more than it rewards it. 

There is a certain grim honesty to the movie, and that may appeal to viewers who want their dystopia raw and unadorned. Yet there is a persistent sense of missed opportunity. The material begs for a clearer emotional arc, or for more surprising turns that interrogate the premise instead of merely replaying it. What might work as a compact, forty-minute television piece feels overextended as a full-length feature.

In short, The Long Walk has a standout central performance and it commits to its bleak vision. It also overstays its welcome and offers little in the way of narrative invention. I left the cinema impressed by Cooper Hoffman and frustrated by how little else the film earned. My score is 4 out of 10.

In Cinemas Now