REVIEW: The End of Oak Street (2026 Film) - Starring Anne Hathaway & Ewan McGregor

Review by Jon Donnis

What if an ordinary suburban neighbourhood was suddenly transported to a prehistoric world, leaving its residents surrounded by dinosaurs with a rather unfortunate appetite for humans? Written, co-produced and directed by David Robert Mitchell, this science fiction survival film stars Anne Hathaway and Ewan McGregor as a married couple whose family problems quickly become the least of their worries.

Set in 1982, the story follows Denise and Greg Platt (Anne Hathaway & Ewan McGregor), whose marriage is already struggling, along with their two children, Audrey and Brian. When a mysterious cosmic event transforms their familiar surroundings into a prehistoric landscape, the family must find a way to survive in a world they barely understand. With dinosaurs roaming the area and danger seemingly around every corner, staying alive becomes their only priority.

I like the basic premise. There is something genuinely unsettling about taking an ordinary residential street, complete with houses, gardens and familiar neighbours, and dropping it into an environment where humans are no longer at the top of the food chain. It is a simple but effective concept, and one that offers plenty of opportunities for suspense.

Anne Hathaway and Ewan McGregor are strong choices for the leading roles, and both deliver convincing performances. Their strained marriage gives the story some emotional weight, while their efforts to protect their children provide a solid foundation for the survival element. The family drama never quite reaches the same level of interest as the dinosaur encounters, but it gives the characters more to deal with than simply running away from whatever happens to be chasing them.

The visual effects are another positive. The CGI dinosaurs look impressive, and the film does a good job of making these creatures feel like a genuine threat. There is a certain appeal to seeing familiar suburban surroundings transformed into a prehistoric hunting ground, and the contrast between the two settings is one of the film's strongest features.

At around 90 minutes, the film also benefits from a sensible running time. It gets to the point without dragging things out unnecessarily, and there is enough happening to keep the story moving. I would much rather watch a film that gets on with its central idea than one that spends an extra hour explaining every little detail.

However, The End of Oak Street is not without its frustrations.

My biggest complaint is the complete absence of humour. There is barely a moment of levity, let alone a decent joke, which makes the whole experience feel unnecessarily serious. Even Jurassic Park managed to mix its suspense and danger with some memorable lighter moments. Here, everything feels relentlessly grim, and a little humour would have made the characters more engaging without undermining the danger.

I also remain unconvinced by the questionable decisions that characters inevitably make in creature films. When you find yourself surrounded by enormous prehistoric predators, common sense should be a priority. Unfortunately, that does not always happen here. I understand that characters need to find themselves in dangerous situations to keep the story moving, but there are moments when I found myself wondering what on earth they were thinking.

My other reservation is that, despite the interesting premise and impressive effects, the film never quite feels special. The dinosaurs look good, the cast does its job, and the survival story is perfectly watchable, but there is a familiar quality to the whole experience. We have seen plenty of films featuring humans being hunted by prehistoric creatures, and simply putting them in a suburban neighbourhood is not enough to make this one stand out.

Perhaps that is the problem. We have reached a point where seeing a dinosaur on screen is no longer the cinematic event it once was. The effects can be impressive, but I rarely found myself experiencing that genuine sense of wonder that made Jurassic Park such a memorable film. The End of Oak Street is entertaining enough, but it lacks the wow factor needed to leave a lasting impression.

The End of Oak Street is a decent science fiction survival film with a strong central idea, good performances and impressive visual effects. Its brisk running time works in its favour, although the lack of humour and occasional frustrating character decisions hold it back.

I enjoyed it, but I cannot say it will stay with me for long. It does enough to justify a watch, yet never quite makes the most of its potential. We might have a little dinosaur fatigue, and this film does not do quite enough to cure it.

I score The End of Oak Street a safe 7 out of 10

Out Now on Digital

Apple TV - https://apple.co/4iHwEVy

Prime Video - https://link.amazon/A07DPSM9W

And out on 4K, Bluray and DVD

Amazon - https://link.amazon/A030YPUUO

REVIEW: Clayface (2026 Film) - Starring Tom Rhys Harries, Naomi Ackie, David Dencik, Max Minghella and Eddie Marsan

Review by Jon Donnis

Clayface is a thoroughly gruesome and surprisingly effective body horror thriller that takes a lesser-known DC Comics character and turns his origin into a disturbing story about identity, obsession and revenge. Rather than relying on familiar superheroes or connections to the wider DC Universe, it focuses on one man's transformation from a promising Hollywood actor into something barely recognisable as human. I came away impressed by how confidently it embraces its horror elements, even if its revenge story occasionally follows a familiar path.

Tom Rhys Harries stars as Matt Hagen, an actor whose career appears to be taking off after an Academy Award nomination. That promise is shattered when crime lord Markos Szabo has him brutally disfigured. Unable to work and increasingly isolated, Hagen sees his future slipping away until he discovers Dr Caitlyn Corr, played by Naomi Ackie, and her experimental treatment for damaged tissue.

The treatment initially seems miraculous, restoring Hagen's appearance and offering him the chance to reclaim his career. However, the results come with consequences neither Hagen nor Caitlyn fully understands. His body develops extraordinary regenerative abilities, allowing him to recover from injuries and alter his appearance, but his mental state deteriorates as his obsession with regaining control takes hold.

What makes Clayface work is that Hagen's downfall feels rooted in more than the physical transformation. His disfigurement destroys the life he has built, exposing how readily people abandon him once he no longer fits their expectations. The film uses Hollywood's obsession with appearance to establish a world where personal worth is often tied to how someone looks and what they can offer. It is an uncomfortable idea, and one that gives Hagen's suffering a recognisable foundation before the story becomes increasingly grotesque.

Tom Rhys Harries gives Hagen enough vulnerability to make his initial desperation understandable, while allowing the character to become genuinely frightening as his resentment grows. The film does not ask us to excuse his increasingly violent behaviour simply because he has been wronged. Instead, it shows how his desire for revenge gradually consumes whatever remains of the person he once was.

Naomi Ackie provides a strong counterpoint as Caitlyn Corr. Her scientific ambitions lead her to develop a treatment with extraordinary potential, but she soon finds herself struggling to control its consequences. Her relationship with Hagen becomes increasingly uncomfortable as his understanding of love shifts towards obsession and possession. Caitlyn's predicament gives the story an important human dimension, particularly as she begins to realise that the man she wanted to help may be beyond her ability to save.

The supporting cast serves the story well, although not every character receives enough development. Eddie Marsan's Frank Fitzpatrick and David Dencik's Markos Szabo provide the betrayal and cruelty that fuel Hagen's revenge, while Max Minghella's John Borrelli adds an investigative thread. However, these characters sometimes feel more like obstacles for Hagen to overcome than people with compelling stories of their own.

The revenge plot is also fairly predictable. Once Hagen discovers the full extent of his abilities, the direction of the story becomes increasingly apparent. There are few surprises in the basic progression from victim to avenging killer, and I would have welcomed more complexity in some of the relationships driving the narrative. Fortunately, the film's execution is strong enough that this rarely becomes a serious problem.

Where Clayface really distinguishes itself is in its body horror. The practical and computer-generated effects are spectacularly grotesque, turning Hagen's changing body into a source of genuine discomfort. Flesh stretches, faces distort and his physical form becomes increasingly unstable. The imagery is often revolting, but it serves a clear purpose, reinforcing the horror of losing control over the very thing that defines your identity.

There is plenty of gore, and some scenes are likely to make even seasoned horror fans wince. What I appreciated is that the effects do not feel like a collection of gruesome moments assembled purely for shock value. They are closely tied to Hagen's transformation, making his deteriorating physical condition an extension of his psychological collapse. The result is considerably more effective than a conventional monster film that relies on violence alone.

The film also benefits from its pacing. Hagen's transformation develops steadily, with his changing abilities reflecting his increasingly unstable personality. The story rarely feels as though it is standing still, and the progression from desperate victim to dangerous killer is handled with enough momentum to maintain interest throughout. Even when the plot becomes predictable, the increasingly disturbing consequences of Hagen's actions keep the experience compelling.

The final act is particularly effective because it brings the film's central themes into focus. Hagen becomes so consumed by his desire to recover the life he believes he deserves that he loses his ability to distinguish reality from fantasy. His physical transformation is horrifying, but the psychological collapse behind it is what gives the ending its impact. By this point, the tragedy is not simply that Hagen has become a monster. It is that he can no longer recognise what he has lost.

Clayface is not without its limitations. The supporting characters could have been more fully developed, and the revenge narrative lacks the unpredictability that might have made it truly exceptional. Its graphic body horror will also divide audiences. Anyone expecting a conventional DC superhero film may be taken aback by the relentless focus on disfigurement, bodily transformation and gore. This is very much a horror film, and viewers who are unprepared for its more unpleasant sequences may find it difficult to stomach.

I am also not convinced that the character necessarily needs to become a recurring presence in the DC Universe. The film works because it concentrates on Hagen's personal tragedy, rather than trying to establish him as another major villain. His origin is compelling, but its strength lies in telling a complete story about one man's destruction, not in setting up future appearances.

Ultimately, Clayface is an excellent body horror thriller that makes the most of its unusual comic book origins. Its revenge story may be familiar, and some of its supporting characters deserve more attention, but the effects, pacing and central performance make it a memorable experience. More importantly, it understands that the most disturbing part of Hagen's transformation is not what happens to his body, but what happens to his mind.

I thoroughly enjoyed Clayface. It is a bold, frequently revolting and consistently engaging film that takes its premise seriously and delivers a genuinely unsettling origin story. It may not appeal to everyone, particularly those looking for a traditional superhero adventure, but its willingness to embrace the darker side of the character is precisely what makes it work.

For me, Clayface comes remarkably close to getting everything right. It combines effective psychological horror with spectacularly unpleasant effects, while giving its central character a tragic journey that extends beyond the usual tale of a villain seeking revenge. It is one of those films that leaves a stronger impression because it refuses to look away from the ugliness at the heart of its story.

I score Clayface a solid 9.5 out of 10

In Cinemas Now

Coming Soon to Digital

Apple TV - https://apple.co/4yHbcoK

REVIEW: Digger (2026 Film) - Starring Tom Cruise

Review by Jon Donnis

Alejandro González Iñárritu's Digger is an ambitious black comedy that takes aim at corporate greed, political hypocrisy and the environmental consequences of humanity's dependence on fossil fuels. Starring Tom Cruise as an ageing oil magnate facing the consequences of his company's actions, this film has plenty of ideas, impressive visuals and a genuinely committed central performance. Unfortunately, its humour and storytelling do not always match its ambitions.

Cruise plays Digger Rockwell, a wealthy businessman whose drilling operations trigger an ecological catastrophe. As the situation threatens to spiral out of control, he attempts to present himself as humanity's saviour, despite his own role in creating the crisis. It is an absurd premise with obvious satirical potential, particularly when the politicians around him appear more interested in protecting their reputations than addressing the problem.

Cruise is the film's biggest asset. Moving away from his familiar action-hero roles, he delivers an exaggerated, theatrical performance that makes full use of Digger's arrogance, desperation and delusions of grandeur. He commits wholeheartedly to the character, creating a figure who is both ridiculous and strangely compelling. It is a welcome reminder of Cruise's range, and his performance provides much of the film's energy.

The visuals are another highlight. Iñárritu makes effective use of colour, movement and scale, while the production design gives the film a distinctive appearance. The environmental catastrophe provides opportunities for striking imagery, and the craftsmanship behind the sets and carefully constructed environments is evident throughout.

The storytelling is more unconventional than the initial premise suggests. Digger explores the relationship between theatre, cinema and reality, using a stage production as a means of examining how society processes disaster and human suffering. This approach adds an interesting dimension to the film, raising questions about whether satire can genuinely challenge those in power or simply turn serious issues into entertainment.

Its environmental and political commentary is also relevant. Digger's defence of his business interests exposes the convenient arguments used to excuse corporate responsibility, while the political response highlights the dangers of prioritising public image over practical solutions. These ideas give the film substance beyond its more outrageous comic situations.

However, Digger is considerably less successful when it comes to making its audience laugh. Much of the humour feels forced, with absurd situations and exaggerated performances failing to deliver the consistent laughs the film needs. The satire occasionally feels more concerned with being provocative than being funny, leaving some potentially effective moments disappointingly flat.

There is also a tendency to overstate its message. Corporate greed and political hypocrisy are clear targets, but the film repeatedly returns to familiar points instead of allowing its ideas to speak for themselves. This heavy-handed approach, combined with a running time of over two hours, makes parts of the film feel unnecessarily drawn out.

The supporting cast includes Riz Ahmed as environmental safety chief Dr Nirav Ganesh, John Goodman as President Compson, Michael Stuhlbarg as Vice President Eddie, Sandra Hüller as Emma Rockwell and Jesse Plemons as Kenny Rockwell. The ensemble is impressive, but several characters receive limited development, leaving talented performers with less to work with than their casting might suggest.

The film's structural experimentation is intriguing, although not entirely successful. Its shifting perspective changes how the audience understands the story, but the transition does not always feel seamless. While the theatrical elements provide an opportunity to explore the limits of satire, they occasionally interrupt the momentum rather than strengthening the drama.

Pacing remains a problem throughout. Some scenes linger beyond their usefulness, while repeated commentary dilutes the impact of the film's stronger observations. A tighter edit would have given the comedy more room to breathe and helped the central ideas land with greater force.

Digger is ultimately a mixed bag, but there is more to admire than criticise. Its visual ambition, willingness to experiment and contemporary themes make it an interesting film, while Tom Cruise delivers a bold performance that lifts the material above its weaker moments.

The inconsistent humour, underdeveloped supporting characters and occasionally self-important approach prevent it from reaching its full potential. Nevertheless, there is enough here to make it an enjoyable watch, even if the finished film falls short of what its ambitions promise.

Digger could, and perhaps should, have been better, but Cruise gives it a strong centre and Iñárritu delivers a film that is difficult to dismiss outright.

I score Digger a fair 7 out of 10.

Out In Cinemas Now

LEGEND announces November 2026 premieres

By Jon Donnis

November brings five Steven Seagal films to LEGEND for their channel premieres: INTO THE SUN, SHADOW MAN, FLIGHT OF FURY, RENEGADE JUSTICE and PISTOL WHIPPED, all released between 2005 and 2008. Each features Seagal’s familiar martial arts action and the formidable screen presence that has defined his career.

Also making its channel debut is CASUALTIES OF WAR, Brian De Palma’s 1989 war drama starring Michael J. Fox and Sean Penn. Set during the Vietnam War, the film delivers a harrowing account of the conflict, examining its brutality and the moral consequences of the actions committed by those involved.

Rounding out the premieres is THE REUNION, an action comedy starring John Cena and Amy Smart.

Details in transmission order:

Mon 2 Nov @ 21:00 – INTO THE SUN (2005) Channel Premiere

Steven Seagal stars as Travis Hunter, a former CIA operative tasked with tracking down the killers of Tokyo's governor. Hunter, who was raised in Japan and possesses deep-rooted ties to the Yakuza underground, soon uncovers a massive, violent conspiracy that goes far beyond a political assassination.

Mon 9 Nov @ 21:00 – SHADOW MAN (2006) Channel Premiere

Steven Seagal stars as Jack Foster, a retired CIA operative, who has been targeted to unknowingly act as a courier to smuggle a highly lethal, top-secret biological weapon out of the United States. Now he must navigate a deadly web of international espionage to rescue his kidnapped daughter.

Sun 15 Nov @ 21:00 – CASUALTIES OF WAR (1989) Channel Premiere

Eriksson (Michael J. Fox) is a recent arrival to Vietnam, a naive recruit in a squad of veterans. His loyalty to his hard-nosed sergeant, Meserve (Sean Penn), is sealed when he rescues Eriksson from certain death, but the bond is severely tested when he becomes an unwilling participant in the squad’s abduction of kidnap a young Vietnamese woman.

Mon 16 Nov @ 21:00 – FLIGHT OF FURY (2007) Channel Premiere

John Sands (Steven Seagal) is released from prison and offered a clean record if he helps recover a stolen experimental stealth bomber. Teaming up with Capt. Richard Jannick (Mark Bazeley) in Afghanistan, John discovers the aircraft is held by terrorists who intend to launch an attack on the U.S. and Europe.

Mon 23 Nov@ 21:00 – RENEGADE JUSTICE (2007) Channel Premiere

Max Ballester is a well-meaning street cop working in a high-crime neighbourhood when he is gunned down in a seemingly random, unsolved drive-by shooting. When his father, Simon Ballester (Steven Seagal) - a dangerous, former government special ops agent, learns of the murder, he executes his own brutal brand of street justice to find his son's killer.

Thurs 26 Nov @ 21.00 – THE REUNION (2011) Channel Premiere

Following the death of their wealthy, womanising father, siblings Sam (John Cena), Leo, and Douglas are brought together by their sister, Nina (Amy Smart). To their surprise, their father's will dictates that they cannot simply inherit his millions; instead, they must first go into business together as bail bondsmen.

Mon 30 Nov @ 21:00 – PISTOL WHIPPED (2008) Channel Premiere

When Matt (Stevan Seagall), a down and out ex-cop gets a chance to settle his gambling debts, he takes it. What he doesn’t count on is the deadly game that he would be involved in. Meanwhile, Matt's love for his only daughter helps him battle one of his greatest enemies, alcoholism.

LEGEND is available to watch on various platforms: Sky (148), Virgin Media (149), Freeview (41), Freesat (137) and Freely (38).

REVIEW: Coyote vs. Acme (2026 Film) - Starring Will Forte and John Cena

Review by Jon Donnis

Live-action films featuring animated characters have become something of a rarity, which makes Coyote vs. Acme a welcome return to a style of filmmaking that gave us Who Framed Roger Rabbit. Directed by Dave Green, this comedy brings the Looney Tunes characters into the human world, combining their familiar antics with a story about corporate greed, justice and friendship. It is a clever use of characters who have spent decades entertaining audiences, and one that gives Wile E. Coyote a long-overdue chance to fight back.

After years of failed attempts to catch the Road Runner, Wile E. decides to take Acme Corporation to court. Its seemingly endless supply of gadgets and explosives has left him battered and bruised, and he wants the company held responsible. His lawyer, Kevin Avery, played by Will Forte, is a struggling personal injury attorney who would prefer to settle the case rather than risk taking on a corporate giant. Wile E., however, has no intention of giving up without a fight.

The premise is inspired. Treating Wile E.'s familiar misfortunes as a legitimate personal injury claim turns one of the longest-running jokes in cartoon history into the basis for a courtroom comedy. Acme has always been responsible for supplying the equipment behind his spectacular failures, so putting the company on trial feels like a natural extension of the original cartoons.

Forte is well cast as Avery, a lawyer whose professional disappointments have left him reluctant to take risks. His growing partnership with Wile E. provides much of the film's appeal. The coyote has never lacked determination, even when his plans end in disaster, while Avery needs to rediscover his confidence. Their contrasting personalities create some entertaining exchanges, but their relationship also gives the story an emotional foundation.

John Cena plays Buddy Crane, Acme's corporate lawyer and Avery's former rival from Harvard Law School. Confident and polished, Buddy represents a company with far greater resources than the small legal firm challenging it. Cena makes an effective opponent for Forte, and their professional rivalry adds some bite to the courtroom scenes.

Lana Condor plays Paige Avery, Kevin's niece and an intern at the firm, while Tone Bell and Martha Kelly appear as fellow partners Sal Maltese and Dottie Jones. The animated cast includes Bugs Bunny, Daffy Duck, Tweety, Granny and Foghorn Leghorn. These familiar faces are given proper roles in the story rather than being reduced to brief appearances designed purely to please fans.

The animation is one of the film's greatest achievements. The characters fit naturally into the live-action environment, and the contrast between cartoon logic and the human world provides much of the comedy. The film understands that Looney Tunes does not need to abandon its absurdity to tell a more substantial story. Explosions, elaborate traps and spectacular mishaps remain part of the fun, but they now have consequences that can be argued over in court.

It is arguably the best combination of live action and animation since Who Framed Roger Rabbit. The effects serve the characters and the comedy, rather than becoming a distraction in their own right. For anyone who grew up watching Looney Tunes, there is plenty to enjoy, but the film does more than rely on nostalgia. It finds a fresh use for these characters while retaining the humour that made them popular.

Beyond the cartoon chaos, Coyote vs. Acme takes aim at corporate greed and the difficulties faced by those challenging powerful organisations. The legal battle gives the story a clear purpose, and the idea of a corporation avoiding responsibility for the damage caused by its products feels particularly well suited to Acme. The satire is broad, as you would expect from a Looney Tunes film, but it gives the comedy an extra layer without weighing it down.

Friendship and perseverance also feature prominently. Wile E.'s determination is central to his character, but his obsession with catching the Road Runner can complicate his relationships with others. His partnership with Avery brings that contradiction into focus. The film finds humour in Wile E.'s stubbornness while allowing room for a more thoughtful look at what keeps him going.

The main weakness is the pacing. At around 100 minutes, the film feels slightly long, and some sections of the legal proceedings and investigation could have been tightened. The story occasionally loses momentum as it moves between the comedy and its more serious themes. It is not enough to spoil the experience, but a shorter running time would have helped keep the film moving.

Nevertheless, Coyote vs. Acme delivers exactly the kind of inventive cartoon comedy its premise promises, while giving its characters a story worth following. The animation is excellent, the performances work well together, and the central idea is both funny and surprisingly effective.

I loved the film. It brings back the live-action and animation combination that made films such as Who Framed Roger Rabbit so memorable, while giving Wile E. Coyote a fresh reason to be at the centre of the action. The pacing could be sharper, but this is a thoroughly enjoyable comedy with plenty of humour and heart.

I score Coyote vs. Acme a solid 9 out of 10.

Out Now on Digital

Apple TV - https://apple.co/4ejcBu4

Prime Video - https://link.amazon/B043s0eXK