REVIEW: Kraken (2026 Film) - Directed by Pål Øie

Review By Jon Donnis

Pål Øie’s Kraken arrives with a premise that feels instantly promising. A remote Norwegian fjord, a scientific experiment gone wrong, and something ancient stirring beneath the surface. It is a strong foundation, and for a while the film leans into that sense of quiet unease rather well. The opening stretch, centred on marine biologist Johanne and her work at a fish farm in Vangsnes, builds intrigue through small details and strange occurrences. There is a clear effort to ground the story before unleashing chaos, and it works. The fjord itself becomes a character, vast and unknowable, and the cinematography makes full use of Norway’s natural beauty. Wide shots of still water and towering landscapes create a calm that you just know will not last.

The central idea, a sonic device designed to deal with lice infestations in farmed salmon accidentally awakening something monstrous, is genuinely compelling. It blends environmental themes with classic creature feature storytelling in a way that feels fresh. When the Kraken finally makes its presence felt, the film finds its rhythm. These moments carry weight and scale, hinting at something enormous lurking beneath the surface. The creature itself is basically a giant octopus type thing and this is where the film is at its most exciting. There is a real sense that something powerful has been disturbed, and those sequences give the film the jolt of energy it needs.

That said, the cracks start to show once the narrative pushes beyond its setup. The film never quite escapes the limitations of its budget, and it becomes noticeable. Some of the visual effects feel inconsistent, and at times oddly artificial, which pulls you out of the experience. It is especially frustrating because the concept deserves better visual support. There is also a lingering sense that the audience is always one step ahead of the characters. The film reveals too much too early, leaving little room for tension to build naturally. Instead of discovery, it often feels like waiting for the characters to catch up.

Character work is another weak point. Johanne is a solid lead in concept, but the script does not give her or the supporting cast enough depth to fully engage. Relationships feel underdeveloped, and key decisions lack emotional weight. A few plot holes do not help either, especially when the story begins to rely on characters acting in ways that serve the plot rather than feeling believable. It is a shame, because the cast itself is capable, but they are not given enough to work with.

At just under 90 minutes, the film moves at a decent pace and never truly drags. It remains watchable throughout, even when it stumbles. There is always that core idea keeping things afloat, along with the occasional striking visual of the fjord and the glimpses of the creature beneath it.

Kraken should have been something stronger. The story is there, the setting is perfect, and the initial setup draws you in. The execution, though, never quite matches that promise. It is an enjoyable enough watch, but one that leaves you thinking about what it could have been with a bit more polish and care.

I score Kraken 6 out of 10

Out On Digital - https://apple.co/4ulJOKV

PREVIEW: Power Ballad (2026 Film) - Starring Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunkett, Havana Rose Liu, and Jack Reynor

Preview by Jon Donnis

Power Ballad arrives in UK and Irish cinemas on 29 May 2026, directed by John Carney and written with Peter McDonald.

At the centre of the story is Rick, played by Paul Rudd, a wedding singer who feels past his prime. During a gig, he meets Danny, a fading boy band star portrayed by Nick Jonas. The two connect over music, sharing a late night jam session that brings them together.

That moment sets things in motion when Danny takes one of Rick’s songs and turns it into a hit, reigniting his own career. Rick then sets out to reclaim the recognition he believes he deserves, even if it means risking everything he cares about.

The cast also includes Marcella Plunkett, Havana Rose Liu, and Jack Reynor. The film is produced by Anthony Bregman, John Carney, Peter Cron, Rebecca O’Flanagan, and Robert Walpole.

Power Ballad is described as a feelgood story about music, self respect, friendship, and the price of ambition, presented by Lionsgate in association with 30WEST and Fís Éireann Screen Ireland, and produced by Likely Story and Distressed Films in association with Treasure Entertainment.

PREVIEW: Rememory (2026 Film) - Starring Michaël Cohen

Preview by Jon Donnis

Action thrillers rarely hinge on an idea as unusual as this. Rememory arrives on UK digital this May with a premise that blends reincarnation with a relentless crime chase, setting the stage for a story that moves as quickly as it intrigues. At its centre is David, a French police officer drawn far from home to Thailand, following a lead that sounds almost impossible to believe.

That lead comes in the form of Ravi, a young boy who claims to remember a previous life as Floyd, a man once connected to a dangerous criminal network. Rather than dismiss it, David sees an opportunity. Alongside his colleague Joanna, he begins to piece together the fragments of Floyd’s past through Ravi’s memories, using them to track a criminal enterprise that has remained just out of reach. It is an uneasy alliance, built on something neither fully understands, yet too valuable to ignore.

The stakes rise quickly as those same memories place Ravi in immediate danger. The closer David and Joanna get to the truth, the clearer it becomes that the organisation they are pursuing will do anything to silence the boy. What follows looks set to be a tense race against time, where protection and pursuit become one and the same. With its mix of high-speed action and a concept rooted in memory and identity, Rememory promises a thriller where the past is not just relevant, it is the key to everything.

Rememory, arriving on digital 18 May 2026, thanks to Miracle Media.

REVIEW: No Ordinary Heist (2026 Film) - Starring Eddie Marsan and Éanna Hardwicke

Review by Jon Donnis

Colin McIvor’s No Ordinary Heist leans into its roots with quiet confidence, drawing from the Northern Bank robbery without ever feeling chained to it. Co-written with Aisling Corristine, the film settles into Belfast in 2004 and quickly makes clear that this is not about spectacle. It is about pressure. The kind that builds slowly, sits in the room, and never quite leaves.

At the centre are two men who would rather not share a conversation, let alone a crisis. Eddie Marsan’s Richard Murray is all tight control and simmering frustration, while Éanna Hardwicke’s Barry McKenna moves through life with a kind of careless energy that borders on self-destruction. Their relationship starts off brittle and only becomes more complicated once their families are dragged into a tiger kidnapping. With Richard’s wife and Barry’s mother held hostage, the pair are forced into an uneasy partnership that never quite settles into trust.

What stands out most is how deliberately the film handles tension. There is no rush to get anywhere. Instead, it lingers in small, telling details. A cigarette burning down to the filter. A glance that lasts a second too long. A silence that says more than any line of dialogue. These moments accumulate, and before long the atmosphere feels thick enough to cut. McIvor’s direction keeps things grounded, resisting the urge to overplay the drama. It works in the film’s favour. The stakes feel real because they are treated as such.

The performances carry much of that weight. Marsan is reliably excellent, bringing a kind of brittle authority to Richard that hints at deeper insecurity. Hardwicke, though, is the one who leaves the stronger impression. His Barry is unpredictable in a way that keeps the audience slightly off balance. One minute he is reckless and frustrating, the next he shows flashes of vulnerability that make you reconsider him entirely. Their back and forth gives the film its pulse. You believe the resentment, but you also sense the strange bond forming under pressure.

There is also a strong undercurrent of social tension running through the story. Workplace hierarchies, old grudges, and the lingering divisions of a place still finding its footing all feed into the narrative. It adds texture without ever feeling forced. The heist itself becomes almost secondary at times, overshadowed by the human dynamics that drive it forward.

That said, the film is not without its drawbacks. Anyone familiar with the real events may find the plot a touch overcomplicated. In reality, the situation was more direct, and the film’s added twists can feel like embellishment for the sake of drama. It is understandable from a storytelling perspective, but it does slightly undercut the authenticity the film works so hard to establish elsewhere.

There is also the question of accessibility. The dialogue leans heavily into local accents, which adds to the realism but may prove challenging for some viewers. If you are not used to it, subtitles might become essential, and that can affect how easily you settle into the rhythm of the film.

Even with those issues, No Ordinary Heist remains an engaging watch. Its relatively tight running time keeps things moving without overstaying its welcome, and the balance between tension and character work is handled with care. It never feels bloated or self-indulgent.

In the end, this is a film that succeeds because it keeps its focus narrow. It does not chase grand statements or flashy set pieces. Instead, it builds a story out of distrust, fear, and reluctant cooperation. The result is something that feels both intimate and quietly gripping.

No Ordinary Heist lands as a strong, character driven thriller with enough edge to keep you invested throughout. An easy 8.5 out of 10.

Out Now on Digital

Apple TV - https://apple.co/419iyTB

PREVIEW: Hunting Party (2026 Film) - Starring Mark Wingett

Preview by Jon Donnis

British thrillers have always had a knack for peeling back the surface of authority, and Hunting Party leans straight into that tradition with a premise that feels both timely and quietly unnerving. Set against the imposing backdrop of a secluded country estate, the film introduces a world where those entrusted with upholding the law begin to reshape it in their own image. What starts as a whispered frustration with a failing justice system soon spirals into something far more dangerous, as a hidden circle of judges abandon restraint and embrace a brutal, ritualistic form of punishment.

At the centre of it all is Eve Campbell, an MI5 agent already carrying the weight of a damaged reputation. Her investigation pulls her into a tightening web of secrets, where every answer only deepens the sense that something is profoundly wrong. The film pairs her perspective with the escalating plight of Jay Doherty and his father Danny, who find themselves caught in a nightmare after being framed for a crime they did not commit. Their story adds urgency and emotional stakes, grounding the wider conspiracy in something immediate and human. Meanwhile, the Hardin family stands as a chilling embodiment of power unchecked, their estate becoming both playground and prison.

There is a deliberate tension running through the setup, one that suggests Hunting Party is less interested in simple thrills and more concerned with the uneasy space between justice and vengeance. The idea of authority figures acting as judge, jury and executioner carries an obvious weight, and the film appears keen to explore how easily that line can blur. With a cast drawn from across British film and television, and a director already familiar with morally complex storytelling, the stage is set for a thriller that aims to be as thought provoking as it is intense. Often fiction mirrors reality, and in the UK right now, it feels very apt. Hunting Party arrives on digital platforms on 11 May courtesy of Miracle Media, inviting viewers into a game where survival is uncertain and the rules are written by those who believe they are beyond them.

Apple TV - https://apple.co/4eMqFx9