Welcome to beentothemovies.com, your ultimate destination for all things cinema! Dive into the latest movie news, in-depth reviews, and exclusive trailers that keep you updated on the hottest releases and hidden gems. Whether you're a blockbuster enthusiast or an indie film aficionado, Beentothemovies.com offers insightful critiques, behind-the-scenes looks, and expert analysis to enhance your movie-watching experience. Stay informed, entertained, and connected within the world of movies.
Arriving in UK and Irish cinemas on 19 September, The Glassworker is already turning heads as Pakistan's first-ever hand-drawn animated feature and the country's official submission for Best International Feature Film at the 2025 Oscars. With a story that blends love, art and the looming shadow of war, this striking debut sets a new standard for animation coming out of South Asia.
The film is set in a picturesque seaside town, where glassblowing is both a livelihood and a tradition. Vincent, a young apprentice, works alongside his father Tomas in their renowned workshop. Tomas is a pacifist, and the calm of their craft reflects the peace of the world they've built together. But that peace begins to unravel when war approaches, and a strict army colonel arrives in town with his daughter, Alliz, a violinist. As Vincent and Alliz grow close, their relationship is tested by rising tensions, family expectations and the stark pull of patriotism. The personal and the political begin to blur, and the young couple are forced to face the realities of conflict, love, and the transformative power of art.
Voiced by a talented cast that includes BAFTA nominee Art Malik, RTS winner Sacha Dhawan and Anjli Mohindra, the film brings a British presence to its international production. Behind the scenes, writer and director Usman Riaz makes his feature debut under the mentorship of Geoffrey Wexler, the veteran producer known for his work with Studio Ghibli and Studio Ponoc. That influence can be felt in the film's visual style and storytelling approach, which have drawn comparisons to directors like Hayao Miyazaki and Makoto Shinkai.
The early reception has been strong. Next Best Picture called it "easily the best animated film of the year," while The Guardian praised the craftsmanship, noting that "every hand-drawn frame is handled with the utmost care." Variety highlighted how the film "feels at once familiar and fresh," recognising the way it draws from a tradition of animation while building something entirely its own.
At its heart, The Glassworker is a story about the collision of ideals and emotions, told through carefully animated detail and rich character work. It's a film that doesn't just mark a technical milestone for Pakistani cinema, but also signals the arrival of a distinctive new voice in global animation.
Dazzler Media presents The Glassworker in UK and Irish cinemas from 19 September.
It feels like we've been waiting forever for Marvel's First Family to finally land in the MCU. There have been reboots before, but The Fantastic Four: First Steps is the one that tries to get it right by going back to the beginning, but not quite the way we expected. With Matt Shakman directing and a full tilt into a 1960s-inspired retro-futurist setting, this latest take finds its voice in optimism and spectacle rather than snark or franchise fatigue. It's a surprisingly earnest and often engaging story of four brilliant but flawed individuals trying to save not just the world, but each other.
Set on Earth-828, a separate reality from the mainline MCU, the film doesn't rely on prior continuity, and that turns out to be one of its strengths. We're introduced to Reed Richards, Sue Storm, Johnny Storm and Ben Grimm in a brisk and colourful opening that sees them on a space mission that quickly goes sideways. After being exposed to cosmic rays, the group gains their iconic abilities. Four years later, they're full-fledged heroes and beloved by the public. For once, the Fantastic Four aren't struggling for acceptance or hiding in the shadows. They're celebrated. Even their home at the Baxter Building is a beacon rather than a bunker.
Pedro Pascal brings a subdued confidence to Reed Richards, playing him not as an emotionally unavailable genius but as a man trying to build a future for his family. Vanessa Kirby as Sue Storm is quietly commanding, with a sense of focus that carries many of the film's more grounded moments. Joseph Quinn, meanwhile, channels Johnny Storm's recklessness with a sharp mix of charm and frustration, (yes he has been neutered somewhat compared to the Chris Evans portrayal, some wokeness had to creep in). Ebon Moss-Bachrach as Ben Grimm is the emotional heart, bringing humour and pathos without turning his rocky exterior into a joke. You believe these people care about each other, even when they're at odds.
Their camaraderie is tested early when the Silver Surfer arrives on Earth with a warning. Galactus is coming. And it's not just another big CGI villain this time. Ralph Ineson, with that gravelled voice of his, gives Galactus real menace. The scale of destruction feels massive without turning into a completely impersonal battle. The twist is that Galactus doesn't just want to eat the planet. He's interested in Sue and Reed's unborn child, sensing a power that could rival his own. That personal angle drives the second act, and it's where the film finds something a little different.
Julia Garner as Shalla-Bal, the Silver Surfer in this version, gives the story a deeper emotional spine. Her motivations are rooted in desperation, and when the film lets her speak in her own way, through action, expression, and, eventually, broken conversation with Johnny, there's a genuine sense of tragedy to her role. She isn't a full villain, but she isn't exactly a misunderstood hero either. The ambiguity works.
Some of the strongest moments come not from the action sequences but the quieter beats. A family dinner turns into a philosophical debate. A failed press conference shows how quickly public perception can shift. Even the evacuation of New York, with Mole Man surprisingly helping out, feels less like a world-ending spectacle and more like people doing their best under impossible circumstances. Paul Walter Hauser's take on Mole Man brings oddball energy without tipping into parody.
When it comes to the visuals, First Steps is bold and vivid. There's a gleam to everything, from the curved lines of the Baxter Building to the swirling energy of the black hole escape sequence. The action is clean and easy to follow. There's real clarity to the choreography, especially when the team fights as a unit rather than four individuals. The final confrontation in Times Square manages to blend sci-fi stakes with emotional payoff.
Not everything lands, though. Some of the dialogue in the early scenes is stiff. There's a handful of exposition dumps that could have been more gracefully woven into the story. And at just over 110 minutes, the pacing feels slightly baggy in the middle. The setup is strong, and the climax delivers, but there's a lull where too much time is spent recapping what we already understand.
Still, those flaws don't undo what the film gets right. There's a genuine sense of fun here. It doesn't rely on nostalgia or multiverse gimmicks. It's just a solid superhero story told with colour, heart and a little imagination. The tone balances awe and warmth, never dipping into cynicism. It's nice to see a Marvel film that believes in its own world again, and doesn't feel the need to wink at the audience every ten minutes.
It helps that this feels like a complete film. No cliff-hangers, no mid-credit bait and switch. Yes, there's a clear door open for the future, especially with Franklin's powers, but it doesn't feel like a commercial for a dozen other projects. That alone is worth applauding.
In the end, The Fantastic Four: First Steps might not break any new ground, but it doesn't have to. It delivers a smart, heartfelt take on the Fantastic Four with just enough spectacle to thrill and enough character to care. It's more than just a reset. It's a reminder of how good these stories can be when they're told with a little sincerity.
Not revolutionary, but refreshingly straightforward. A colourful, competent step forward for Marvel's cinematic universe.
After making a serious impression in A Thousand Blows, James Nelson-Joyce returns to the screen with Reputation, a gritty British crime drama arriving on digital this July. Set in the fictional Lancashire town of Dennings, the film follows Wes, a working-class dealer whose grip on control starts to slip when his old friend Tommy walks free from prison.
It's been two years since the town was shaken by the tragic shooting of a child. While grief still lingers, a new street drug known as 'clown' has taken hold, with Wes profiting from the fallout. He's built an empire while Tommy's been locked away, but with Tommy now back on the scene and keen to expand, the uneasy balance begins to crumble.
Director Martin Law, making his feature debut, steers the story into bleak and compelling territory. The film draws influence from Shane Meadows' Dead Man's Shoes and Nicolas Winding Refn's Pusher trilogy, though it brings its own northern grit and lived-in realism. At its centre is Nelson-Joyce, delivering a tough, layered performance as a man torn between his loyalty to an old friend and his responsibility to the family he's trying to protect.
Reputation premiered at the Spirit of Independence Film Festival where it earned early praise for its bold direction and stripped-back realism. It's a film that doesn't shy away from darkness but finds human drama in the fallout. With baby Vinnie at home and his father urging him to walk away, Wes faces a choice between survival and self-destruction.
Eddington is a sprawling, intense film that tries to say a lot about modern America through the lens of a small town caught in a bitter standoff. Joaquin Phoenix leads the charge as Joe Cross, a sheriff who clashes with the town’s mayor, played by Pedro Pascal, over pandemic rules and power. It’s a story about how fear, politics, and misinformation can tear communities apart, but the film often struggles to balance its many ideas. At times it feels like it wants to cover everything all at once, which makes the narrative feel heavy and a little unfocused.
Phoenix is magnetic as always, delivering a performance full of tension and frustration that grounds the film. Emma Stone is a strong presence too, playing Joe’s wife with a mix of vulnerability and volatility that adds emotional weight. The supporting cast, from Austin Butler’s cult leader to Michael Ward’s deputy, bring interesting energy, but some characters feel lost in the shuffle. The film runs long, over two hours, and the pacing suffers because it tries to juggle so much without always making it clear what it wants to say.
One of the film’s weaknesses is that it doesn’t really pick a side, showing both the town’s divisions without leaning into a clear viewpoint. While that might be intentional, it leaves the satire feeling somewhat neutral and less sharp than it could be. Some plotlines aren’t fully developed, and the story can wander, which might leave viewers wanting more focus and clarity. It’s a lot to take in, and at times the film feels like it bites off more than it can chew.
Still, Eddington has its moments of dark humour and raw insight into how paranoia and conflict can escalate. The violence hits hard and feels real, never cheap. The film demands patience and attention, rewarding those willing to sit with its messy, complicated portrait of a community unraveling. It’s not an easy watch, and some might find it slow or confusing, but it stands out for its ambition and strong performances, even if it doesn’t always deliver a fully satisfying story.
There's a bold, unashamed streak of pulp running through LEGEND's August premieres, and they're not hiding it. Kicking things off is the UK TV premiere of Acceleration, a high-octane revenge thriller where Dolph Lundgren plays a seedy crime lord who kidnaps a child to punish his disloyal employee. It's violent, fast and full of grit, and Natalie Burn's action-hero lead performance adds a surprising charge to what could've been a throwaway B-movie. She holds her own opposite Lundgren, which is saying something.
The month continues with the channel premiere of Drive, Nicolas Winding Refn's 2011 breakout hit. Ryan Gosling's performance as the quiet but deadly 'Driver' still feels iconic over a decade later, and the film's brooding style, sharp violence and synthy soundtrack are as influential as ever. It's a serious bit of programming that gives the lineup some real punch. Then there's Big Kill, a throwback Western that doesn't mind being a bit silly. With Jason Patric and Lou Diamond Phillips navigating a lawless desert town, it's got all the dusty shootouts and crooked preachers you'd expect.
ROBIN HOOD: THE REBELLION (2018)
Renny Harlin's 12 Rounds adds more action muscle to the lineup with John Cena in full unstoppable-detective mode. It's relentless and packed with stunts, but doesn't overcomplicate things. You also get Karl Urban's underseen Viking adventure Pathfinder, a brutal, moody piece that imagines Norse warriors invading pre-Columbian America. Not everyone will go for it, but it's got atmosphere to spare.
There's also Robin Hood: The Rebellion, which leans into old-school swashbuckling more than gritty realism. Brian Blessed plays Friar Tuck and chews through the scenery, while Ben Freeman's take on Robin keeps the pace moving. It's broad and more fun than it has any right to be. How I Spent My Summer Vacation shifts gears again with Mel Gibson stuck in a hellish Mexican prison. Somehow the film manages to mix dark humour with full-on brutality, and Gibson seems to relish playing the desperate anti-hero. It's rough around the edges, but weirdly effective.
BIG KILL
The schedule doesn't stop at films either. From 25 August, the original Charlie's Angels series returns, landing weekdays at 17:30. There's a retro charm to it that still holds up. Farrah Fawcett, Jaclyn Smith and Kate Jackson were huge stars for a reason, and even if some of the plots feel dated, the sheer charisma and camp style make it work. Whether you're watching for nostalgia or curiosity, there's a lot to enjoy.
LEGEND has always carved out a lane for genre lovers and late-night channel surfers. This August, they've lined up a string of titles that embrace action, pulp and bold characters. Not every film in the slate is subtle, but they're not trying to be. If you're after quiet introspection, look elsewhere. If you want brawls, blood and big personalities, August is sorted.
