REVIEW: Citizen Vigilante (2026 Film) - Starring Armie Hammer

Review by Jon Donnis

Uwe Boll's Citizen Vigilante arrives as a hard-hitting vigilante action thriller that is guaranteed to divide audiences, politicians and critics alike. Presented through a nonlinear narrative structure, the film follows Sanders (Armie Hammer), a former U.S. Army officer who has built a new life in Europe while secretly operating as the feared Vigilante Citizen. As crime escalates and public confidence in the authorities declines, Sanders takes matters into his own hands, targeting those he believes have escaped justice. The result is a provocative B movie thriller that places its message front and centre and refuses to soften its stance.

The first thing that stands out is just how timely the film feels. The issues explored throughout the story mirror concerns that many people can see are becoming increasingly relevant in modern society, which gives the narrative an immediacy that is difficult to ignore. While the subject matter is undoubtedly controversial, Citizen Vigilante never attempts to disguise what it wants to say. Instead, it confronts its themes head on, creating a film that feels designed to spark debate as much as entertain.

Armie Hammer delivers a strong performance as Sanders. The character is presented as a man driven by frustration at institutions that he believes have failed ordinary people. Whether confronting criminals directly, visiting victims who feel abandoned by the justice system, or evading law enforcement, Hammer gives Sanders a sense of determination that makes his actions understandable within the context of the story. The film asks viewers to see events through his perspective, and Hammer carries that responsibility effectively throughout.

Costas Mandylor also performs well as Interpol Regional Chief Henry. Rather than being portrayed as a simple antagonist, Henry serves as the representative of law and order, placing him on a collision course with Sanders. Their conflict provides much of the film's tension and gives the story a second perspective, even as the narrative remains firmly focused on the vigilante's mission.

The action scenes are another major strength. Citizen Vigilante embraces its B movie roots while delivering sequences that are both engaging and effective. The confrontations feel direct and grounded, avoiding unnecessary spectacle in favour of a more realistic approach. Whether Sanders is dealing with street criminals, confronting individuals he believes have escaped punishment, or battling armed authorities, the action consistently keeps the story moving forward.

The story itself is also surprisingly effective. Despite its controversial subject matter, the narrative remains easy to follow and maintains momentum throughout. The nonlinear structure adds intrigue, while the underlying plot steadily builds towards its conclusion. The film's willingness to tackle difficult issues without compromise helps it stand apart from many modern thrillers that often feel reluctant to take clear positions.

Perhaps the strongest endorsement the film receives is the fact that it has been banned in Germany. For many viewers, that alone will make it a title worth seeking out. The controversy surrounding the film is likely to attract as much attention as its content, and it is easy to understand why. Citizen Vigilante challenges accepted narratives and presents a perspective that many mainstream critics and politicians are unlikely to welcome.

As for negatives, there is really only one significant criticism. The attempts to ban or restrict the film may prevent some audiences from seeing it. However, there is also the possibility that the controversy will ultimately increase interest in the film and encourage more people to seek it out. Whether that proves true remains to be seen.

Citizen Vigilante succeeds as an entertaining vigilante thriller while also delivering a message that it considers deeply important. At times its realism is so striking that it almost resembles a documentary. Despite its modest budget, the film manages to leave a strong impression, combining solid performances, effective action and a story that feels highly relevant to current events. For viewers willing to engage with its themes, it is one of the most notable and provocative releases of the year.

Citizen Vigilante is an excellent and very timely film. Its message, serves as a warning that governments ignore public concerns at their own peril. Whether audiences agree with that message or not, the film delivers it with conviction and confidence.

Score: 9/10

Apple TV - https://apple.co/3QXJ1Sr

Amazon US - https://amzn.to/4eF6Iac

Why Watching Foreign Films Broadens Your Perspective?

There's a moment that happens to almost every film lover. You've watched everything on your usual list, scrolled past the same recommendations a dozen times, and felt that flat, stale sensation of déjà vu. Then, almost by accident, you click on a movie from another country. The subtitles feel strange at first. Ten minutes later, you forget they're even there.

That's the magic of foreign movies. They don't just entertain. They rewire how you see the world.

A Window Into Lives You'll Never Live

Most of us will only ever experience one culture firsthand, maybe two if we're lucky enough to travel or relocate. Foreign films hand you a passport without the airport lines. A Korean drama can show you the quiet tension inside a Seoul apartment. A French film might capture the unspoken rules of a Parisian dinner party.

Suddenly, you understand things textbooks never taught you. Why does this matter? Because empathy isn't built through lectures. It's built through stories that make you feel like you're standing in someone else's shoes, even for two hours.

The Numbers Tell an Interesting Story

Foreign film consumption has exploded in recent years. According to data from the Motion Picture Association, international content now accounts for a significant share of total streaming hours on major platforms worldwide. Netflix alone has reported that non-English titles consistently rank among its most-watched content globally, with shows and films from South Korea, Spain, and India pulling in hundreds of millions of viewing hours.

Why does this surge matter? Because audiences are voting with their remote controls. People are tired of formulaic plots. They want something raw, something different, something that doesn't follow the same three-act structure they've memorized since childhood.

Breaking the Hollywood Formula

American cinema, for all its strengths, often follows predictable rhythms. Setup, conflict, resolution. Foreign films laugh at that structure sometimes. They linger in silence. They let scenes breathe without rushing toward a climax.

Iranian cinema, for instance, frequently uses long takes and minimal dialogue to build emotional weight. Japanese films might spend ten minutes on a single conversation over tea, and somehow it's riveting. This isn't a flaw. It's a different philosophy of storytelling, one that values patience over spectacle.

Language as a Bridge, Not a Barrier

Here's something surprising: watching subtitled films can actually improve cognitive flexibility. Reading text while processing audio and visual cues simultaneously keeps your brain engaged in ways passive English-language viewing doesn't. Some linguists argue this is why frequent subtitle-readers often pick up new vocabulary faster, even in their native tongue.

There's also something humbling about hearing a language you don't understand. It reminds you that billions of people communicate, joke, argue, and fall in love in words completely foreign to you. That's not a small realization. It reshapes how you think about communication itself.

Discovering Stories Hollywood Would Never Greenlight

Big studios chase blockbusters. They want sequels, franchises, safe bets. Foreign film industries, especially smaller or independent ones, often take risks that would terrify a major studio executive. A Romanian film might explore bureaucratic absurdity with dark, biting humor. A Senegalese director might tell a story rooted entirely in oral tradition and folklore.

These aren't niche curiosities. They're entire genres of human experience that mainstream cinema rarely touches. Once you start watching, you realize how much storytelling territory has gone unexplored in the films you grew up with.

The Social Side of Cinema

Watching a film is one thing. Talking about it afterward is where the real magic often happens. A great foreign film tends to spark questions you didn't expect: What did that ending really mean? Why did the director choose silence instead of music in that scene? These conversations don't always need to happen with people you already know.

Many viewers are now turning to platforms built specifically for this type of exchange. It's easy to chat with strangers about anything: a new arthouse film, a famous actor's role, the plot of an action movie, or anything else. Sites like OMG Fun let people connect with strangers and chat about whatever's on their minds. On OMGFun, you can find unexpected dialogues with different people at any time.

Festivals: Where Discovery Begins

Film festivals like Cannes, Berlinale, and Busan exist largely because foreign cinema deserves a stage. These events routinely showcase work that later gets distributed worldwide, sometimes years after its festival debut. Parasite, for example, swept through festival circuits long before it made history at the Oscars.

Streaming has democratized access to festival darlings too. You no longer need to fly to France to see what's winning awards. A few clicks, and that acclaimed Belgian drama everyone's talking about is sitting right there on your screen.

How It Changes the Way You See Your Own Country

Strangely enough, watching foreign films often teaches you more about your own culture than you'd expect. Seeing how other societies handle grief, family conflict, or ambition gives you a mirror. You start noticing patterns in your own upbringing you never questioned before.

This isn't about comparison for the sake of judgment. It's about perspective. When you see five different cultural approaches to the same universal theme, like loss or love, you begin to understand that your way isn't the only way. It's just one version among many.

Practical Tips for Getting Started

Diving into foreign cinema can feel overwhelming at first. Where do you even begin? Start with award-winning titles from countries known for strong film industries: South Korea, France, Japan, Iran, and Spain are solid entry points. Mix genres too. Don't just watch dramas; try a foreign comedy or thriller to see how tone shifts across cultures.

Keep a running list of films you finish, along with one sentence about how they made you feel. Over time, that list becomes a map of how your taste, and maybe even your worldview, has shifted.

Final Thoughts

Foreign movies aren't just entertainment from somewhere else. They're invitations into entirely different ways of thinking, feeling, and storytelling. Every subtitle you read, every unfamiliar setting you absorb, chips away at the assumption that your perspective is the default one.

So next time you're scrolling through a streaming app, skip the algorithm's top picks for a moment. Search for something foreign instead. You might walk away with more than just a good story. You might walk away seeing the world just a little differently than before.

REVIEW: Toy Story 5 (2026 Film) - Starring Tom Hanks, Tim Allen, and Joan Cusack

Review by Jon Donnis

Toy Story 5 brings Pixar’s long running world of talking toys back into play with a story that leans heavily into the collision between childhood imagination and modern technology. The film follows Woody, Buzz Lightyear, Jessie and the rest of Bonnie’s toys as their place in her life is disrupted by Lilypad, a frog themed tablet designed to help Bonnie socialise. What follows is a split narrative that pulls the toys into different directions, from Jessie’s journey back towards Emily’s old farmhouse to Buzz and Woody dealing with malfunctioning high tech Buzz units and the growing influence of Lilypad over Bonnie’s attention.

There is a lot here that works well. The core characters remain strong and familiar, and the story is clearly built with both children and adults in mind without losing sight of either audience. Jessie takes on a central role and the emotional weight of her storyline, particularly around identity and belonging, gives the film some of its most grounded moments. Buzz Lightyear, especially in Tim Allen’s performance, continues to stand out whenever he is on screen, bringing a steady comic energy that keeps the film moving. The animation is also of a very high standard, with Pixar once again delivering a polished and detailed visual world that feels alive in every frame. There is a sense that these characters still have something to say, and the film does at least attempt to explore that idea of purpose, imagination and change in a modern setting.

At the same time, the film is not without its problems. At points it feels weighed down by its own nostalgia, as if it is trying to revisit familiar emotional territory rather than fully evolve it. The central idea of toys competing with a tablet device is interesting on paper, but the execution sometimes feels a little awkward, especially when it leans too heavily into the contrast between old fashioned play and modern technology. There is also a sense that the film overstays its welcome. At 100 minutes it feels slightly stretched, when a sharper and more focused runtime would likely have suited the material better. For a story built around imagination and creativity, there are moments where it ironically feels a little constrained and predictable in its own structure.

Overall, Toy Story 5 is a solid but slightly tired continuation of the franchise. It delivers strong animation, dependable character work and a clear message about imagination holding its place in a digital world, even if that message does not always land with fresh energy. There is enough heart here to carry it through, and enough familiarity to make it feel safe, but it rarely surprises in the way earlier entries once did. It is an enjoyable return, just not a necessary one, and it ultimately feels more like a careful extension of something well loved rather than a bold new chapter.

I score Toy Story 5 a generous 7.5 out of 10.

Out Now in Cinemas

REVIEW: Propeller One-Way Night Coach (2026 Film) - Directed by John Travolta

Images courtesy of APPLE TV 

Review by Jon Donnis

John Travolta's directorial debut arrives in an unusual package. Running for just 61 minutes, Propeller One-Way Night Coach could easily have felt slight or underdeveloped. Instead, it proves that a modest story, told with care and attention to detail, can leave a surprisingly lasting impression.

Based on Travolta's own 1997 children's novel, the film follows young aviation enthusiast Jeff as he and his mother Helen travel from New York to Los Angeles during the closing days of 1962. What begins as a simple cross-country flight gradually becomes a defining moment in both of their lives. Along the way they encounter memorable passengers, kind-hearted flight attendants and a series of unexpected experiences that shape Jeff's future.

One of the film's greatest strengths is its remarkable sense of authenticity. From the aircraft interiors to the uniforms, airport terminals and social attitudes of the era, everything feels lovingly recreated. The production never draws attention to its period detail for the sake of nostalgia alone. Instead, it uses the setting to immerse viewers in a vanished age of air travel, when flying still carried a sense of wonder and glamour.

The film also succeeds because of how carefully it observes its characters. Jeff's fascination with aviation could easily have become repetitive, but Clark Shotwell gives the role an earnest charm that makes his enthusiasm infectious. Through his eyes, every aircraft, every stopover and every interaction becomes an adventure. The script understands that childhood memories often attach themselves to seemingly small moments, and it builds much of its emotional power from that idea.

Kelly Eviston-Quinnett delivers a warm and understated performance as Helen. Her relationship with Jeff provides the emotional anchor throughout the journey. While she dreams of pursuing an acting career in Hollywood, the film never turns her ambitions into melodrama. Instead, it quietly explores a mother balancing her own hopes with the responsibility of raising a child.

Ella Bleu Travolta and Olga Hoffmann both leave strong impressions despite relatively limited screen time. Hoffmann's Liz brings unexpected emotional depth to the story, particularly through conversations that reveal her difficult past. Meanwhile, Ella Bleu Travolta's Doris embodies much of the film's gentle optimism. Her interactions with Jeff are sweet without becoming overly sentimental, and she becomes a key figure in shaping the boy's future.

What makes Propeller One-Way Night Coach particularly effective is its willingness to focus on ordinary moments. There are no villains, no major crises and very little conventional conflict. Instead, the film finds drama in human connection. A conversation during a flight. A broken toy aeroplane. A chance meeting between strangers. These moments accumulate naturally, creating a surprisingly rich portrait of lives crossing paths.

The humour is equally understated. Small observations, awkward encounters and Jeff's endless curiosity generate a steady stream of gentle laughs. The film never chases easy jokes, allowing its warmth and wit to emerge organically from the characters.

Perhaps most impressively, the story manages to cover an enormous emotional landscape within its brief running time. Themes of childhood wonder, ageing, ambition, loss, friendship, romance and legacy all find a place here. Yet the film never feels rushed. Travolta demonstrates a confident understanding of pacing, knowing exactly which moments deserve attention and which can be left implied.

That said, the film is not without shortcomings. Some viewers may find the narrative almost too gentle. The lack of significant conflict means that certain sections risk feeling episodic, drifting from one encounter to the next without a strong sense of momentum. While this approach suits the nostalgic tone, audiences looking for a more traditional adventure may find themselves wanting greater dramatic stakes.

The supporting cast is also so appealing that several characters feel underserved. Liz, in particular, could easily have supported a larger storyline, while some of the relationships introduced during the journey are resolved rather quickly. The film's short running time is admirable in an era of bloated family entertainment, but there are occasions when a little extra breathing room would have been welcome.

Even so, these criticisms do little to diminish the overall experience. Propeller One-Way Night Coach understands exactly what it wants to be. It tells a simple story with confidence, filling it with enough detail and emotional honesty that the characters linger in the mind long after the credits roll.

This is an easy film to enjoy. Its nostalgic atmosphere is deeply appealing, its performances are sincere and its recreation of a bygone era is consistently convincing. Most importantly, it proves that family films do not need excessive spectacle or unnecessary filler to leave an impact.

Propeller One-Way Night Coach is a charming, thoughtful and genuinely entertaining family adventure that captures the magic of aviation and the importance of seemingly ordinary moments. At just over an hour, it remains engaging throughout and should hold the attention of younger viewers while offering plenty for adults to appreciate.

Score: 8 out of 10

Out Now on Apple TV - https://apple.co/4x52DV3

REVIEW: Disclosure Day (2026 Film) - Starring Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo

Review by Jon Donnis

Steven Spielberg's Disclosure Day arrives with a premise that sounds tailor-made for modern science fiction fans. The question at the heart of the film is a simple but fascinating one. What would happen if humanity finally learned, beyond any doubt, that we are not alone? Unfortunately, despite its ambitious ideas and impressive production values, the finished result never comes close to fulfilling its potential.

The story follows cybersecurity specialist Daniel Kellner, played by Josh O'Connor, who steals classified files and alien technology from Wardex, a secret branch of the US government. The information details decades of extraterrestrial contact and government cover-ups stretching back to Roswell. Hunted by Wardex and its ruthless chief Noah Scanlon, portrayed by Colin Firth, Daniel goes on the run with his girlfriend Jane Blankenship. At the same time, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt, develops strange psychic abilities following an encounter with a mysterious bird. As her powers grow, she becomes linked to the wider conspiracy and eventually joins Daniel in a race to expose the truth to the world.

There is no question that Emily Blunt delivers the film's standout performance. Even when the material around her struggles, she remains compelling and believable. Margaret is easily the most interesting character in the film, and Blunt gives the role enough emotional weight to keep the audience engaged during the slower stretches. It is a strong performance in a film that desperately needs one.

The visual effects are generally impressive. The alien technology, psychic phenomena and larger science fiction elements are all brought to life convincingly. Spielberg and his team know how to create spectacle, and there are moments where Disclosure Day genuinely looks fantastic. The production values are exactly what audiences would expect from a major studio science fiction thriller. HOWEVER there are a few moments of CGI that are just inexcusable in 2026, the "animals" are horrifically bad, the CGI is laughable.

But having a generally good looking production is not enough to save the film.

For all its talk of alien contact, secret programmes and world-changing revelations, Disclosure Day feels surprisingly dated. Rather than feeling like a bold science fiction thriller made for 2026, it often resembles a badly written episode of The X-Files from the years after David Duchovny left the series. The plot constantly piles one revelation on top of another, yet very few of them have the impact they should.

The biggest disappointment is how badly the film wastes its central premise. A story about proving extraterrestrial life exists should be gripping. It should provoke thought, create tension and leave audiences discussing its ideas long after the credits roll. Instead, Disclosure Day never manages to turn its fascinating concept into a satisfying narrative. The film keeps promising something extraordinary but never truly delivers.

The timing of the release also works against it. With UFO discussions and government disclosures becoming increasingly mainstream, particularly following the release of new UFO files by the Trump administration, much of the film's material feels oddly behind the times. What might have felt fresh and provocative years ago now feels strangely old-fashioned. The entire project has the feel of something that should have been released in the early 2000s rather than in 2026.

The idea that people would just be transfixed to their phone as the reveals are made to the world is a nonsense. Certain communities would be rioting and looting, others would be laughing and calling it AI. Remember, trust in the media is at an all time low, and you think the population would just believe the media in 2026? The whole thing just felt unrealistic.

The running time only makes matters worse. At more than two hours and twenty minutes, the film is far too long. Entire sections drag badly, with scenes stretching on long after they have made their point. The pacing becomes a real problem, especially during the middle act, and there are numerous moments where the audience is simply waiting for the story to move forward.

The supporting cast performs well enough with the material they are given. Colin Firth brings authority to Noah Scanlon, while Colman Domingo adds some gravitas as whistleblower Hugo Wakefield. Eve Hewson is solid as Jane Blankenship. None of them are able to overcome the weaknesses in the screenplay, however, and many characters feel underdeveloped despite the lengthy running time.

Oh and the ending, I expected so much more, but was left asking "was that it". The big ending was just a bit meh.

Perhaps the most surprising aspect of Disclosure Day is how little excitement it generates. Spielberg built his reputation on making audiences believe in the impossible and capturing a sense of wonder. Here, that magic is largely absent. The film takes itself very seriously, but the story never earns the level of importance it assigns to itself.

Steven Spielberg just seems incapable of making movies for a younger audience any more. Disclosure Day will probably find an audience among the over 60, atheist white liberal crowd, and it will almost certainly attract viewers because of Spielberg's name and the cast involved. Whether those viewers leave satisfied is another matter entirely.

Disclosure Day may perform well commercially because of the people attached to it, but judged on its own merits, this is a poor film by Spielberg's standards. Emily Blunt is excellent and the visual effects are impressive, but they cannot overcome a story that feels outdated, overlong and frequently boring.

I expected so much more.

Score: 5 out of 10

Out in cinemas now!