REVIEW: The Pickup (2025 Film) - Starring Eddie Murphy, Pete Davidson, Eva Longoria and Keke Palmer

Review by Jon Donnis

The Pickup arrives with a clear promise. A noisy, star driven action comedy built around a bad day, a worse plan, and a pairing that should clash in entertaining ways. For the most part, it delivers something close to that brief. Not spectacular, not disastrous, but watchable enough if expectations are kept firmly in check.

The set up is enjoyably simple. Russell Pierce, a long serving armoured truck driver edging towards retirement, finds himself paired with Travis Stolly, a jittery rookie who dreams of a police badge. Their routine run turns into chaos when they are ambushed by Zoe, a criminal mastermind with ambitions that stretch far beyond the contents of the truck. What begins as a hostage situation mutates into a revenge driven heist, complete with betrayals, emotional confessions, explosions, and a steadily rising body count of bad decisions.

The film's biggest strength is its energy. Tim Story keeps things moving at a brisk pace, rarely letting the story linger long enough for its logic to collapse completely. There is a sense of fun running through the better sequences, especially once the plan to steal an armoured vehicle rather than its contents is revealed. The story may be familiar, but it is put together with enough momentum to remain engaging.

Keke Palmer is the standout. As Zoe, she brings confidence, sharp timing, and just enough emotional grounding to sell the character's backstory without dragging the film into melodrama. She dominates every scene she is in, balancing menace and charm with ease. The film belongs to her far more than it does to its nominal leads.

Eddie Murphy, meanwhile, is something of a curiosity here. Visually, he looks astonishing, with immaculate make up and styling that shave decades off his age. It is distracting in its own way. Performance wise, he is restrained to the point of frustration. Casting Murphy as the straight man in an action comedy feels like a waste of one of cinema's most charismatic comic presences. He is perfectly competent, even likeable, but rarely allowed to cut loose.

Pete Davidson fares less well. His Travis is written as awkward and emotionally muddled, but the performance leans heavily into the character's least appealing traits. Rather than providing contrast or comic friction, he often grates, and the romantic subplot with Zoe never quite convinces. It is hard to escape the sense that he is miscast.

The film's emotional core, centred on Zoe's revenge against the casino that failed her father, is serviceable if blunt. It gives the plot a motive beyond greed, though it is resolved with a neatness that feels unearned. By the time the final chase erupts and alliances are settled, The Pickup seems more interested in wrapping things up cleanly than interrogating any of its ideas.

Ultimately, this is a paint by numbers Netflix film. It is competently made, intermittently entertaining, and easy to forget once the credits roll. There are laughs, a few decent action beats, and one genuinely strong performance holding it together. What it lacks is ambition, and a willingness to let Eddie Murphy be Eddie Murphy.

The Pickup earns a generous 5 out of 10. Ninety minutes of mild distraction for the evening when scrolling feels more exhausting than settling.

Out Now on Netflix

REVIEW: Roofman (2025 Film) - Starring Channing Tatum, Kirsten Dunst, LaKeith Stanfield, Juno Temple and Peter Dinklage

Review by Jon Donnis

"Roofman" is one of those stories that almost sounds too bizarre to be true. Directed by Derek Cianfrance, it tells the tale of Jeffrey Manchester, an ex-soldier turned roof-climbing burglar who once hid inside a Toys "R" Us for half a year without anyone noticing. On paper, it sounds like a madcap heist comedy, but what unfolds on screen is far more complex, sitting somewhere between tragedy, absurdity and a strangely touching love story.

Channing Tatum gives one of his most grounded performances to date as Manchester, a man whose crimes seem less driven by greed than by desperation and loneliness. Cianfrance, known for intimate dramas like Blue Valentine and The Place Beyond the Pines, brings that same raw emotional style here. His camera lingers on quiet, mundane details, making even the sight of Tatum brushing his teeth in a toy store feel oddly human. It's funny, yes, but never cartoonish.

The film's strongest stretch comes during the Toys "R" Us sequence. Manchester's life among dolls, bicycles and baby monitors becomes a sort of twisted domestic fantasy, half survival story, half suburban dream. His relationship with Leigh, played by Kirsten Dunst, is handled with tenderness. She brings warmth to what could have been a throwaway role, grounding the film's stranger moments in something recognisably real. When the romance blossoms, it's oddly sweet, even though the audience knows it's built on lies.

There's also excellent support from LaKeith Stanfield as Steve, Manchester's pragmatic old army mate, and Peter Dinklage as the weary store manager Mitch. Dinklage, in particular, adds a dry sense of humour that cuts through the film's more sentimental edges.

The problem is that once Manchester's life outside the store takes over, the story begins to sag. The pace slows, the tone darkens, and the tension that once made the film so compelling slips away. The final act feels heavier, more procedural, and less inspired than the early scenes. Cianfrance's interest in emotional fallout overtakes the playfulness that made the premise so unique.

And despite the film being sold as a crime comedy, the laughs are rare. It's more melancholy than madcap, often reflecting on isolation, regret and the longing to belong. That's not a flaw so much as a mismatch of tone between marketing and reality, but some viewers might be caught off guard.

Still, "Roofman" is an engaging, original take on the true-crime genre. It's stylish, well-acted, and deeply human. Tatum's performance captures both the absurdity and sadness of a man trying to rebuild his life inside a toy shop, while Dunst provides the heart that keeps it from collapsing under its own weirdness.

It loses some magic once the fluorescent lights of the store fade, but as a character study, it lingers. "Roofman" may not be the laugh-out-loud caper its trailers promise, yet it offers something better: a bittersweet glimpse at a man trapped between redemption and self-destruction.

A flawed but fascinating piece of storytelling. I'd give Roofman a solid 7 out of 10.

Out now on Digital

Apple TV - https://apple.co/49j0ITw

PREVIEW: The Naughty List of Mr. Scrooge (2025 Film) - A Bloody Good Christmas

Preview by Jon Donnis

It's beginning to look a lot like murder. The Naughty List of Mr. Scrooge is here to turn Christmas cheer into festive fear, bringing a sinister twist to Dickens' classic tale. The film arrives on UK digital platforms on 3 November, just in time to kick off the season with something far more chilling than tinsel and eggnog.

Written, directed and produced by Jake Helgren (Dashing in December, Bad Connection), this gruesome holiday slasher takes a group of old college friends and traps them in a snow-dusted nightmare. Their cosy reunion turns macabre when memories of a friend's death a decade earlier resurface. The mood darkens further with the arrival of an uninvited guest wearing an Ebenezer Scrooge mask and a taste for vengeance.

What follows is a wild mix of festive nostalgia and blood-soaked terror, as the killer methodically crosses each victim off his "naughty list". The film balances knowing wit with grisly creativity, leaning into its Christmas setting with twinkling lights, dark humour and enough jump scares to make even the hardiest horror fan flinch.

Early praise from genre outlets hints at a cult hit in the making. Hysteria Lives calls it "a future Christmas slasher classic", while Macabre Daily describes it as "a present you definitely want to open". Between the sharp script, stylish cinematography and committed performances, The Naughty List of Mr. Scrooge looks set to become a must-watch for horror fans who prefer their Christmas stories blood-red.

So, pour the mulled wine, lock the doors and prepare for a frightfully festive night in. The Naughty List of Mr. Scrooge is one Christmas gift that bites back.

The Naughty List of Mr. Scrooge on digital 3 November from Miracle Media

REVIEW: A House of Dynamite (2025 Film) - Starring Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, and Tracy Letts

Review by Jon Donnis

Kathryn Bigelow's A House of Dynamite sets out to explore the nightmare scenario of a nuclear missile threatening the United States, presenting the story through three overlapping perspectives: Capt. Olivia Walker in Washington, the military generals at STRATCOM, and the President himself. Each segment covers roughly the same thirty minutes of escalating crisis, creating a structure that, in theory, promises a fresh take on political thrillers. It's an intriguing approach, letting audiences see the mounting tension from multiple vantage points, but in practice, it feels like the film struggles to fully commit to its own narrative ambition.

The first third, Inclination Is Flattening, situates viewers in the White House Situation Room with Rebecca Ferguson's Capt. Olivia Walker. Ferguson brings credibility to her role as an officer tasked with making life-and-death decisions in real time, balancing calm authority with the human vulnerability of someone watching the clock tick down on a city. Moments like her phone call to her family humanise the stakes, reminding viewers that behind government protocol are individuals with personal lives on the line.

The second part, Hitting a Bullet With a Bullet, shifts focus to STRATCOM, led by Jared Harris as Secretary of Defense Reid Baker and Tracy Letts as General Anthony Brady. This segment emphasises military precision and the frantic attempts to identify the missile's origin. Gabriel Basso's Jake Baerington serves as a moral and procedural compass, urging caution in the face of incomplete intelligence. These scenes are tense and methodical, highlighting how military and diplomatic considerations collide when nuclear escalation looms. The interplay with Russia's foreign minister and the scramble of B-2 bombers adds realism, and Bigelow captures the meticulous calculations and near-misses that define such high-stakes decision-making.

Finally, A House Filled With Dynamite examines the President's perspective as Idris Elba navigates evacuation, familial concern, and the unbearable weight of a potential nuclear strike. Anthony Ramos' portrayal of Major Daniel Gonzalez at Fort Greely adds another layer, showing the human cost of technical failure when interceptors fail to launch. This segment is emotionally charged, particularly in the subplot of Secretary Baker trying to save his daughter. The President's indecision over retaliation leaves the narrative unresolved, which is meant to underscore the moral ambiguity and pressure inherent in such decisions, but instead results in a frustrating anticlimax.

The performances are consistently strong. Ferguson, Elba, and Basso carry the film with convincing authority and subtle emotional depth, while Harris, Letts, and Ramos provide strong support. Their portrayals lend credibility to the story even when the film itself struggles with pacing and scope.

However, the production has clear limitations. The film looks and feels like a TV miniseries squeezed into 90 minutes. Some of the tension is undercut by low-budget visuals and staging that don't match the gravity of the narrative. The narrative structure, while innovative, sometimes feels repetitive, as the overlapping perspectives cover similar ground without adding sufficient new information. And the decision to withhold the President's ultimate choice leaves viewers dissatisfied, as the film ends without resolution, undermining the suspense built across three perspectives.

A House of Dynamite is a film of contrasts: a fascinating premise undermined by uneven execution, a talented cast navigating a plot that never quite delivers on its promise, and a structure that is ambitious in design but frustrating in practice. The moral, procedural, and human stakes are all present and often compelling, but the anticlimactic ending and TV-like production ensure the experience remains unfulfilling. For all its effort and occasional brilliance in character moments, it is an instantly forgettable film. I score it 4 out of 10.

Out Now on Netflix

REVIEW: The Toxic Avenger (2025 film) - Starring Peter Dinklage

Review by Jon Donnis

Macon Blair's reboot of The Toxic Avenger is exactly the sort of noisy, grimy revival fans hoped for. It is the fifth instalment in the series and a remake of the 1984 original. The film knows what it is, an ultra-violent, black comedy that mixes cartoonish gore with broad satire and a measure of heart. It will delight those who came for the shock value and unsettle anyone expecting a straightforward superhero picture.

Peter Dinklage leads the charge as Winston Gooze, a downtrodden janitor who is transformed after a catastrophic toxic accident. Dinklage brings a steady humanity to the role. He makes Winston more than a mask of green fury. When the story asks for pathos, he supplies it. Jacob Tremblay is touching as Wade, Winston's stepson, giving the film its emotional centre. 

Taylour Paige's J.J. Doherty adds fire as the whistleblower whose actions kick some of the plot into motion. Kevin Bacon is gleefully sleazy as company boss Bob Garbinger, and Elijah Wood supplies a twitchy intensity as Fritz. Luisa Guerreiro, credited as the suit performer, does the physical work of the Toxic Avenger with commitment.

The plot is straightforward, which serves the film well. There is a corrupt pharmaceutical company, BTH. There are thugs, a mob connection, a whistleblower in danger and a community under threat. From those raw ingredients Blair assembles a string of violent set-pieces, gross-out gags and darkly comic encounters. The film leans into parody more than into earnest reinvention. It is loud, filthy and frequently funny. Moments of genuine feeling sit between the carnage, so the film never becomes merely a parade of shocks.

That said, it is not flawless. The storyline is thin by design, and at times it feels like a series of skits linked by blood and bile. A few jokes overstay their welcome and the middle section can meander. At about 100 minutes the picture runs a little long for its material. If you want tight plotting and subtlety, this is not the Toxic Avenger to choose.

But those are small complaints in a film that mostly knows its audience. Blair respects the source by keeping the tone filthy and anarchic, while allowing the core relationship between Winston and Wade to give the film an emotional anchor. There are throwaway scenes that land beautifully and others that do not. Overall, the sheer commitment on screen keeps the momentum going. Performances are uniformly strong, the satire lands often enough, and the film finds a strange affection beneath its nastiness.

The Toxic Avenger is not a film for everyone. It will offend, it will shock and it will laugh at its own grotesquerie. For viewers willing to embrace that, it is a raucous, often touching reboot that pays its respects to the original while firmly staking its own claim. I score it an 8 out of 10.

Out Now at https://apple.co/4ozVYwU

PREVIEW: Trapped (2025 Film) - A Raw and Unflinching British Drama Arrives This November

Preview by Jon Donnis

Powerful and uncompromising, Trapped tells the story of Raye, a woman caught in an abusive relationship, fighting for freedom and survival. The film follows her desperate struggle to escape, while laying bare the far-reaching damage caused by violence and control. Premiering at Genesis Cinema in London on 8 November 2025, Trapped will be available to rent or buy from Amazon Prime, Google Play, and iTunes from 17 November 2025.

The film boasts a striking ensemble cast led by Gina Jones, joined by Shane McCormick, Craig Fairbrass, Geoff Bell, Simon Manyonda, Eddie Webber, Josh Witcher, Calum MacNab, Lottie Lewis, Kadeem Ramsay, Miguella Charley, Aimée Hills, Karen Seacombe, Byron Gibson, Tom Gordon, Tom Padley, and James Hicks. The film is directed by Roland Manookian, best known for Castle in the Sky and Eastenders.

Behind the scenes, Trapped marks a key collaboration between Shane McCormick's new company, Move Mountains Production, and actor, writer, and producer Josh Witcher. The screenplay, penned by Manookian, expands on an original story by Witcher.

Echoing the emotional depth and realism of Gary Oldman's Nil by Mouth, Trapped explores the corrosive effects of domestic abuse and the toll it takes on everyone caught within its orbit. It's a grounded, character-driven drama that looks set to challenge, unsettle, and move audiences in equal measure.

Trapped premieres 8 November at Genesis Cinema, London, before its digital release on 17 November 2025.

REVIEW: The Smashing Machine (2025 film) - Starring Dwayne Johnson and Emily Blunt

Review by Jon Donnis

Watching The Smashing Machine, I couldn't help but notice just how far Dwayne Johnson has come as an actor. He's not The Rock here, not really. He's Mark Kerr, stumbling through victories and failures with this raw honesty that hits harder than you expect. There's something in the way he carries himself, in the quiet moments after a loss or during a fight, that feels completely lived-in. Emily Blunt is brilliant too. Dawn could have been a flat, unsympathetic figure, but she's complicated, fragile and frustrating all at once, and Blunt captures that without ever overplaying it. Their relationship scenes are messy, uncomfortable, and somehow very real.

The film itself, well, it's a mixed bag. Safdie tries to cram so much into two hours that it never really breathes. One moment you're in the middle of Kerr's brutal fights, the next he's wrestling with personal demons or dealing with Japanese officials. Sometimes it feels like you're being handed pieces of a puzzle but never quite given the picture. The editing doesn't help either. It jumps around so much that I occasionally found myself trying to figure out what the film actually wanted me to feel.

And yet, there's something undeniably engaging about it. The fight scenes are tense, physically convincing, and full of small details that tell you a lot about Kerr's mindset without spelling it out. Moments with Bas Rutten and Mark Coleman are lively and often funny in unexpected ways, breaking up the intensity. Some quieter scenes, like Kerr arguing with Dawn or struggling in rehab, stick with you longer than you'd think. They feel messy in the best way, like life itself.

Where it falters is in perspective. If you don't know Mark Kerr, the stakes don't always land. The film tries to show the highs and lows, but it never really tells you why you should care beyond the fights. It's fascinating if you're already invested in MMA, but for a wider audience it can feel a bit thin.

Still, for anyone curious to see Dwayne Johnson actually acting instead of performing, there's plenty here to enjoy. And if you're a fan of MMA like me, there's a lot to take in. For a proper deep dive into Kerr's life, though, the 2002 documentary The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr is still the definitive watch.

It's a film with flashes of brilliance and moments that really hit, but it never quite pulls it all together. I'd give The Smashing Machine a 7 out of 10.

In cinemas now, and coming to digital at https://apple.co/4mYa8qF

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

Deep Cover (2025 film) starring Bryce Dallas Howard, Orlando Bloom and Nick Mohammed

Review by Jon Donnis

Deep Cover takes a daft idea and somehow makes it work. It shouldn't. A trio of struggling improv actors being recruited by the Met to go undercover in London's criminal underworld sounds like something a writer came up with at 2am as a joke. But instead of playing it loud and broad, the film keeps a straight face, and that's what makes it funny. It doesn't wink at the audience. It leans all the way in.

Bryce Dallas Howard is ideal as Kat, an American comic teaching improv to a handful of aimless hopefuls. She's hit that stage in life where nothing's gone the way she expected. Her visa's nearly up, her friends are all married or wealthy or both, and she's quietly panicking. Then she meets DS Billings, played by Sean Bean with just enough menace to raise eyebrows but not enough to scare her off. He needs actors for a low-level sting. She says yes.

She ropes in two students. Marlon, played by Orlando Bloom, is an actor who's been dropped by his agent and is desperate for any break. Hugh, played by Nick Mohammed, works in IT, is painfully awkward and probably shouldn't be involved in any of this. The three of them end up playing fake gangsters called Bonnie, Roach and The Squire, and things spiral from there. What starts as a dodgy shopfront cigarette bust turns into a full-blown infiltration of a mid-level gang.

Bloom is the best thing in the film. He's funny without trying too hard and manages to keep Marlon just on the right side of believability. Howard carries the emotional weight of the film. Kat's dry, smart, always improvising, not just in the job but in life. Nick Mohammed, erm.. does what he usually does. If you've seen him in anything else, you'll know the performance. It doesn't wreck the film, but it does feel predictable, has he ever played any other type of character?.

There are moments that shouldn't work at all but somehow land. One scene, where the trio unintentionally cons a gang into buying back their own drugs, is pure chaos and oddly satisfying. Later, they're forced to dismember a body, rent bikes with a company credit card, dodge the police and lie their way through an intervention dinner party. Somehow it all tracks.

Paddy Considine is great as Fly, a gang member who sees something in the trio. Ian McShane brings his usual gravel and gravitas as Metcalfe, the bigger boss pulling strings. Sonoya Mizuno is fantastic as Shosh, who's both lethal and oddly helpful. The film's happy to let its cast carry the tone, never over-explaining or stopping for unnecessary exposition.

The runtime is the only real issue. It's just a bit too long for what it is. If it had shaved ten minutes off, it would've been tighter. There's a moment near the end where things begin to sag, and you can feel the plot gears grinding. But it picks back up for a solid final stretch. The ending manages to be both ridiculous and satisfying. The criminals are brought down, not by real police, but by a group of amateur performers finally nailing their biggest scene.

It's a fun, strange little film. Not groundbreaking. Not trying to be. It just works. The concept is silly, but the cast commit to it completely, and that's why it clicks. Bloom stands out, Howard keeps it grounded, and even though you can see where it's heading, it's still a joy watching them get there. It's a solid Saturday night kind of film, best enjoyed with a takeaway and a glass of wine. Nothing life changing, but definitely worth a watch.

8 out of 10 feels generous but about right.

Out Now

Apple TV - https://apple.co/4m0j8LA

Prime Video - https://amzn.to/3UgXTJI