REVIEW: The Running Man (2025 Film) Starring Glen Powell

Review by Jon Donnis

Edgar Wright's 2025 adaptation of The Running Man brings Stephen King's dystopian vision into a sleek, modern action thriller, but it is a strange mix of spectacle and missed opportunity. Set in a near-future United States ruled by a media network that pacifies the poor with violent game shows, the film follows Ben Richards, played with solid charm by Glen Powell, as he is coerced into the titular competition to save his sick daughter. Powell brings grit and determination to the role, making Ben both sympathetic and compelling as he navigates a deadly landscape populated by professional hunters and a bloodthirsty public. Josh Brolin is suitably menacing as Dan Killian, the charismatic producer who manipulates the game for maximum ratings, while Lee Pace's masked Hunter, Evan McCone, adds a cold, methodical threat that keeps the tension high. Supporting turns from Michael Cera, Emilia Jones, and William H. Macy provide light relief and a touch of humanity amidst the carnage.

The film is undeniably entertaining. Wright delivers some spectacular set pieces, from explosive firefights in Boston to high-speed chases through New York and tense sequences in isolated bunkers. Cinematography and visual effects are impressive, giving the world of The Running Man a polished, futuristic sheen, while the pacing rarely lets up. The narrative manages to balance personal stakes with wider social commentary, highlighting economic disparity and the dangers of media manipulation without feeling too heavy-handed. There is a satisfying arc in Ben's journey, culminating in a final confrontation that provides a clear sense of justice and catharsis.

But there are drawbacks. The film lacks memorable dialogue or quotable lines, and the villains, while competent, feel flat compared to the over-the-top antagonists of the 1987 version. Much of the humour and camp that made the original film so endearing has been removed, leaving a more serious, but also more forgettable, tone. The insertion of modern political commentary sometimes feels forced, undermining the otherwise thrilling spectacle. For fans of the original, these changes make the remake feel unnecessarily safe and polished, stripping away much of the charm that gave the 1987 Running Man its cult status.

The Running Man is a slick, fun film with solid performances and plenty of action, but it suffers from being a remake that removes the soul of its predecessor. It works as a popcorn movie and is enjoyable in its own right, yet it begs the question of why a modern update was necessary when a wholly original dystopian action story could have delivered the same excitement. Despite its flaws, it is still an entertaining watch, earning a fair 7 out of 10.

Out Now on Digital

https://apple.co/4q4pprK

REVIEW: The Thursday Murder Club (2025 FIlm) - Starring Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie

Review by Jon Donnis

Chris Columbus's The Thursday Murder Club, adapted from Richard Osman's 2020 novel, leans hard into the comforting pleasures of the cosy mystery. On that front it mostly delivers. The film's greatest strength is its cast. Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie are a delight together, their chemistry turning a tidy, familiar premise into something genuinely warm and often very funny. They carry the film with a kind of effortless authority, making the club's weekly meet-ups feel lived in and alive. Naomi Ackie, Richard E. Grant and Jonathan Pryce provide solid support, so the ensemble never runs thin.

Acting, in fact, is the thing the movie never lets you down on. The leads bring nuance to roles that could so easily have been played as caricature. Mirren's Elizabeth has a dry, brisk wit. Brosnan's Ron is both charming and stubborn. Kingsley and Imrie add restraint and a human softness that balance the performances. The supporting cast add flavour without stealing scenes, and the camerawork and soundtrack are consistently tasteful. There are moments of neat visual framing and a score that steers the emotion without ever getting in the way.

Where the film falters is where it chooses comfort over surprise. The plot follows the Thursday Murder Club as they turn their hobby of solving cold cases into a real investigation after a death occurs on their doorstep. The setup is enjoyable, the reveals are neat, but the screenplay rarely takes risks. It is, as the notes put it, quite formulaic at times. The structure leans on familiar beats from the genre, and the mysteries resolve with a certain neatness that undercuts the potential for darker, stranger turns. If you come for thrills you will find polite twists rather than shocks.

Pacing is another issue. At nearly two hours the film does sag in places. There are stretches that feel indulgent in their coziness, as if the movie expects you to make a cup of tea and return without missing much. That same cosy quality is also its selling point, so this complaint is conditional: if you want comfort and steady humour, it plays to that strength; if you want urgency and edge, it will frustrate. In short, it does not push the genre forward. It keeps it safe, and that safety will please some viewers and bore others.

Still, the movie hits many of the highs that fans of the cosy murder mystery expect. The balance of warmth and wit is well judged, and the film's camera work and soundtrack lift scenes. There are effective set pieces, and the interplay between the retirees and the younger police officers gives the story a pleasant generational counterpoint. 

If the film has an overall character it is amiable restraint. It is a high-quality, comfortable watch with dependable performances and clean production values. But it is also cautious, choosing the familiar route instead of striking out for something riskier or more ambitious. For viewers who just want a well acted, gently amusing whodunit to watch with family, it will feel like a gift. For viewers after daring plotting or real suspense, it will feel like a missed opportunity.

The Thursday Murder Club is charming, polished and reliably pleasant, but it does not aspire beyond being cosy entertainment. If that sounds like your kind of film, you will be well served. 6 out of 10.

Out Now on Netflix

PREVIEW: Monsters of California (2025 Film) from Blink–182’s Tom DeLonge

Preview by Jon Donnis

Tom DeLonge, best known as a founding member of Blink-182, turns his long-held obsession with the paranormal into a full-blown sci-fi feature with Monsters of California. Arriving on UK digital platforms on 7 July 2025 via Plaion Pictures, this teenage adventure drama dives into government secrets, UFO lore and unexplained phenomena, all through the lens of one teenager's search for the truth.

Set in sunny Southern California, the story follows Dallas Edwards, played by Jack Samson, a teenager still reeling from the unexplained disappearance of his father. While his family has slowly begun to move forward, Dallas remains fixated on the idea that something larger is at play. Alongside his friends Riley (Jared Scott) and Toe (Jack Lancaster), he spends his days in abandoned buildings, chasing ghosts, and speculating about extraterrestrial life. When they stumble across classified documents connected to Dallas's father, a former fighter pilot, things quickly spiral beyond their control.

What begins as a curious search turns into a dangerous pursuit. With the help of Dr Walker, one of his father's former colleagues played by Richard Kind, Dallas tries to uncover the meaning behind the files. Meanwhile, his Uncle Myers, portrayed by Casper Van Dien, is part of the military force determined to keep those secrets hidden. As they dig deeper, the friends are pulled into a web of hidden truths and shadowy organisations, and the mission becomes more than just personal.

DeLonge's inspiration comes from the sci-fi classics of his youth. He has described the film as a mix of UFOs, skateboarders and Bigfoot, referencing the early Amblin films that sparked his imagination. That influence shapes the tone of the film, which balances its science fiction elements with humour, friendship and a sense of youthful defiance. Echoes of E.T. and The Goonies are present, but the story keeps its feet planted in a contemporary world where the line between conspiracy and reality feels increasingly thin.

The supporting cast includes Gabrielle Haugh and Arianne Zucker, both known for their work in Days of Our Lives, adding extra weight to the film's emotional core. The script moves between light-hearted moments and high-stakes revelations, keeping the tension grounded in the characters' relationships rather than special effects alone.

What gives Monsters of California its distinct flavour is not just the plot, but the way DeLonge blends real-world paranoia with the restless energy of teenagers who refuse to accept easy answers. Dallas and his friends are not heroes in the traditional sense. They are just kids asking the kind of questions that grown-ups have stopped trying to answer. That stubborn curiosity pushes the film forward and lends it a human edge, even as the story edges into the strange and unbelievable.

While the mystery around Dallas's father drives the plot, the heart of the film lies in the bond between the characters and the fear that sometimes the truth is not just out there, but much closer than anyone realised. It is a film about chasing something impossible and finding yourself somewhere unexpected. And for DeLonge, it is a project that connects the obsessions of his youth with a story that feels personal.

Monsters of California does not try to hide what it is. It is loud, curious, and unapologetically interested in the unexplained. For anyone drawn to stories of hidden files, secret bases and teenage rebellion, it offers a ride worth taking.

On UK digital platforms 7 July 2025

Apple TV - https://apple.co/44b1RIf

REVIEW: Locked (2025 Film) - Starring Bill Skarsgård and Anthony Hopkins

Review by Jon Donnis

Locked is a tense, stripped-back thriller that thrives almost entirely on the performances of its two leads. Directed by David Yarovesky and produced by Sam Raimi, it's a film that doesn't waste time with backstory or world-building. Instead, it dumps you straight into a desperate situation and dares you to look away. With Bill Skarsgård locked in a luxury SUV and Anthony Hopkins pulling the strings from afar, the film squeezes every ounce of tension from its simple premise. Whether or not it does enough to justify its feature-length runtime is another question.

Skarsgård plays Eddie Barrish, a down-on-his-luck father who makes one bad decision too many. His plan to rob a seemingly abandoned SUV spirals into a waking nightmare when the vehicle locks him inside. He soon learns it's all part of an elaborate trap designed by William, played with icy calculation by Hopkins. William, a terminally ill doctor turned vigilante, uses his wealth and technology to administer his own brand of justice, punishing petty criminals who cross his path.

The set-up is both intriguing and disturbing. The film rarely leaves the confines of the SUV, and Yarovesky leans into that claustrophobia hard. It's grimy and visceral, with a real-time feel that pushes the tension up as the hours tick by. Watching Eddie deteriorate physically and emotionally becomes the heart of the film, and Skarsgård does some remarkable work here. His expressions, body language, and increasingly frantic attempts to escape carry the weight of the story. Without his full commitment to the role, Locked wouldn't work. Hopkins, on the other hand, is more reserved, largely heard over the phone or through the car's speakers. But even in voice alone, he brings a chilling authority to the character, swinging between paternal calm and clinical menace with ease.

The dynamic between Eddie and William is what keeps things interesting. William sees himself as a righteous force, a man wronged by the world and determined to set it right by making others suffer. But the film never tries to romanticise his actions. If anything, Locked leaves you sitting in the discomfort of that moral grey area. Eddie's no saint, but William's sadistic game pushes the idea of justice to its breaking point. The script does well to let that ambiguity linger without spelling everything out.

Visually, the film is surprisingly engaging despite its limited space. The use of camera angles, lighting, and close-ups creates a sense of movement and emotional flux even when Eddie is stuck in one place. There's a brutal inventiveness to the way the car becomes a prison, a weapon, even a torture chamber. The sound design also deserves credit, every mechanical click, every blast of music or freezing air, feels deliberately placed to keep Eddie and the audience on edge.

Still, there's no denying the film struggles with pacing. At just 90 minutes, it should feel tight, but there are stretches where it drags. Some scenes overstay their welcome, and a few late attempts to ramp up the stakes feel forced. The novelty of the premise wears thin around the halfway point, and while Skarsgård does his best to keep things emotionally charged, you can feel the strain of the runtime on a concept that might have been better served in a shorter format. It doesn't derail the film, but it does dull some of the impact.

There are moments where the social commentary feels like it's reaching for something deeper, touching on class resentment, fatherhood, and the failure of systems. But it never quite digs far enough to leave a lasting impression. The film works best when it stays grounded in the raw, psychological standoff between its two characters.

Locked is at its most effective when it's just two voices battling for moral high ground across a wall of glass and steel. It's a nasty little thriller with a mean streak and just enough humanity to keep you invested. Without Skarsgård and Hopkins, there really wouldn't be much here. But with them, it holds together just enough to be worth the ride.

A generous 7 out of 10.

Out Now on 

Apple TV - https://apple.co/3Zg7xiN

REVIEW: Fountain of Youth (2025 Film) - Starring John Krasinski, Natalie Portman, Eiza González, and Domhnall Gleeson

Review by Jon Donnis

Guy Ritchie's 2025 film Fountain of Youth is a heist action adventure that ticks most of the boxes for fans of the genre, even if it rarely surprises. The story follows disgraced archaeologist Luke Purdue, played by the always likeable John Krasinski, who kicks off the film by stealing a painting from dangerous criminals in Thailand. This early sequence sets the tone with some lively action and a hint of mystery, introducing the film's main thrust: a treasure hunt for the legendary Fountain of Youth. Alongside Luke, his sister Charlotte, played by Natalie Portman, a museum curator going through a difficult divorce, gets drawn into the adventure. Their complicated sibling dynamic adds a bit of emotional weight and humour amid the chaos.

Question? Why wasn't John Krasinski chosen as the natural successor to Harrison Ford in Indianna Jones? Perfect fit in my opinion. Instead we got the god awful Phoebe Waller-Bridge, who just stopped any momentum that series had.

Anywho, the film leans heavily on its ensemble cast, with Domhnall Gleeson as Owen Carver, a wealthy backer with hidden motives, and Eiza González as Esme, the enigmatic antagonist whose loyalties and agenda keep the tension simmering. Arian Moayed's Interpol Inspector Jamal Abbas adds a procedural edge, pursuing the team as they race from London to Cairo, chasing clues hidden in historic paintings and ancient texts. The story unfolds like a classic treasure hunt, complete with secret societies, coded messages, and narrow escapes. While the narrative feels familiar, it's presented with enough energy and charm to stay engaging.

Visually, Fountain of Youth is slick and well-crafted. The globe-trotting locations, from the bustling streets of London and the depths of the Lusitania wreck to the shadowy passages beneath the Great Pyramid of Giza, are captured with a sense of scale and adventure. The action scenes are well choreographed, though they occasionally stretch believability, a common feature in films of this type. The mix of heists, shootouts, and puzzle-solving sequences keeps the pace brisk, though at times the story seems to rush to fit everything in.

One of the film's strengths lies in its characters. Krasinski and Portman have a good rapport, bringing life and a bit of warmth to the treasure-hunting siblings. Their banter and occasional conflict ground the story, making the stakes feel more personal. Esme is a compelling villain, not simply a one-dimensional threat but someone with clear motivations to protect the Fountain's secret. Carver's arc offers a neat twist on the usual 'wealthy patron' trope, adding a layer of tension when his true intentions emerge.

However, originality is not Fountain of Youth's strong suit. The film treads familiar ground with its treasure hunt and secret society themes, and the plot twists follow expected patterns. If you have seen films like National Treasure or Indiana Jones, you might feel a sense of déjà vu. Still, the movie knows its audience well, providing enough fun, humour, and excitement to keep you entertained. The humour, in particular, helps lighten the mood when the plot risks becoming too dense or predictable.

The film's ending wraps things up well and without spoiling the key reveals, it does well to maintain a sense of mystery about the true nature and danger of the Fountain itself. This leaves room for potential sequels, should the filmmakers choose to explore further adventures with the Purdue siblings. The blend of action, mythology, and family dynamics keeps the door open for more stories, which will likely appeal to fans of the genre.

Fountain of Youth is a solid, entertaining addition to the action-adventure heist category. It may not break new ground or redefine its genre, but it offers a satisfying and well-paced ride with enjoyable performances and engaging set pieces. If you are looking for a film that combines treasure hunting with a bit of humour and thrilling moments, this one fits the bill nicely. I would give Fountain of Youth a 7.5 out of 10. It may feel familiar, but it delivers enough fun and flair to make the journey worthwhile.

Out Now on 

Apple TV - https://apple.co/4dStzOI

REVIEW: The Legend of Ochi (2025 Film) Starring Helena Zengel, Finn Wolfhard, Emily Watson, and Willem Dafoe

Review by Jon Donnis

Isaiah Saxon's The Legend of Ochi is a curious and quietly ambitious fantasy that offers flashes of beauty and menace, but ultimately suffers from a meandering middle and sluggish pacing. As a debut, it reveals a distinct visual style and a love of practical effects. However, it may not hit the mark for all audiences, particularly the younger ones it appears to be targeting.

Set on the remote, snowy island of Carpathia, the film follows Yuri (Helena Zengel), a young girl raised in a patriarchal village ruled by fear and violence. Her father Maxim (Willem Dafoe), disappointed she wasn't born a boy, trains children as soldiers to hunt the mysterious, goblin-like creatures known as the Ochi. When Yuri stumbles upon an injured baby Ochi and bonds with it, she decides to defy her upbringing and return the creature to its family. What follows is part escape and part quest, as Yuri evades pursuit from her father and searches for her estranged mother (Emily Watson), while trying to lead the baby Ochi to safety.

Visually, The Legend of Ochi is often mesmerising. Saxon's background in animation and world-building pays off with painted matte landscapes and a mix of media that recalls the tactile magic of 1980s fantasy cinema. Puppetry and animatronics are blended cleverly with digital animation, giving the Ochi a physical presence that feels grounded. The main creature, operated by seven performers apparently, is endearing and well designed, making it a clear highlight for younger viewers.

The film opens with an intense night hunt that sets the tone for something darker than typical family fare. Maxim and his boy soldiers, armed with torches, clash with shadowy creatures in the forest. It is a gripping way to begin and suggests the work of a confident filmmaker with a strong sense of tone and rhythm.

After that strong start, however, the film struggles to maintain momentum. The central premise, where a child finds a misunderstood creature and tries to return it to its kind, is overly familiar. The Legend of Ochi does not do enough to break free of that tradition. The middle portion of the film features extended travel and hiding sequences that are beautifully shot but dramatically thin. It feels like a journey without urgency.

Zengel gives a committed and physical performance, but the film's restrained tone prevents much emotional range. Dafoe plays Maxim with suitable menace, but the character functions more as an archetype than a fully realised figure. Watson's Dasha barely appears and Finn Wolfhard's Petro leaves little impression. The film is light on dialogue and heavier on silent moments, which sometimes enhances the mood but more often contributes to a feeling of drift.

Clocking in at around 90 minutes, the film is wisely brief. Younger children may enjoy the expressive creature design and calm pacing, while adults may admire the craftsmanship behind the visuals. Unfortunately, there are stretches where very little happens. The film occasionally captivates but more often feels inert, drifting between key scenes without enough story progression.

Despite these flaws, The Legend of Ochi remains a notable debut. Saxon has a clear artistic vision and a willingness to use handcrafted visuals over generic computer graphics. It is a thoughtful production with a gentle message, although it lacks the spark and tempo needed to keep the full audience engaged.

A visually rich and well-intentioned debut with a promising voice behind the camera. The Legend of Ochi begins with tension and ends with heart, but its sleepy middle section may leave some viewers disengaged. While not groundbreaking, it is a respectable first effort that shows Isaiah Saxon has potential.

I score The Legend of Ochi a generous 7 out of 10

Out Now on Digital

Apple TV - https://apple.co/3F6kiFQ

REVIEW: Fight or Flight (2025 film) Starring Josh Hartnett, Charithra Chandran, Marko Zaror, and Katee Sackhoff.

Review by Jon Donnis

Fight or Flight, directed by James Madigan, is a wild action-comedy that locks its audience in for a chaotic and often savage ride. Set almost entirely on a flight from Bangkok to San Francisco, the film follows exiled American agent Lucas Reyes (Josh Hartnett) who is given a final chance at redemption. His mission is to track and identify a mysterious asset known only as The Ghost. Matters soon spiral out of control when it becomes clear the plane is packed with assassins hired to kill them both.

Josh Hartnett anchors the film with a dry, self-aware performance that fits the tone perfectly. Surrounded by a capable supporting cast including Charithra Chandran, Julian Kostov, Katee Sackhoff, and Marko Zaror, the film moves at a relentless pace filled with cartoonish violence and absurd action set-pieces. Madigan's direction leans into the madness, delivering a high-concept B-movie experience that never takes itself too seriously and largely benefits from that approach.

Despite its energy, the film is not without its flaws. At just 100 minutes, Fight or Flight still manages to feel stretched, with some fight sequences dragging on longer than necessary. The script offers little in terms of character development beyond Hartnett's Lucas Reyes, leaving talented performers like Katee Sackhoff underserved. While the carnage is entertaining, the weak plot struggles to support the action, making the experience feel somewhat hollow once the credits roll.

Fight or Flight is a fun but forgettable romp, offering enough carnage, comedy, and magnetic screen presence from Josh Hartnett to satisfy fans of the genre. It treads familiar territory without bringing much new to the table, yet its commitment to pure chaos makes for an entertaining watch.

Score: 7 out of 10.

Out Now on Digital

Apple TV - https://apple.co/3GrsnoO

PREVIEW: First Shift (2025 Film) - Uwe Boll Returns with Gritty New Buddy Cop Thriller

Preview by Jon Donnis

Renowned filmmaker and provocateur Uwe Boll (Rampage, In the Name of the King, Postal) is back with his latest high-octane crime thriller, First Shift, which makes its UK debut this May. This gripping film stars Gino Anthony Pesi and Kristen Renton as an unlikely pair of detectives who must join forces to take down a ruthless criminal gang. First Shift will be available on digital from Plaion Pictures this May.

Prepare for a heart-pounding ride as the story follows two New York law enforcement officers on their very first shift together. Their day on the job quickly escalates, with challenges ranging from dealing with drug lords and solving a murder, to rescuing a stranded dog when its owner falls ill.

Angie (Renton) is a rookie cop who documents every moment of her life on social media, while Deo (Pesi) is an experienced, old-school detective with little patience for the modern world and its trends. As they clash over their differing views, sparks fly, but they must find a way to work together to survive the dangers that await them on the streets.

Get ready for First Shift, a thrilling, action-packed buddy cop adventure that will keep you on the edge of your seat.

First Shift is scheduled for release on 19 May 2025 on UK digital platforms.

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