REVIEW: Evil Dead Burn (2026 Film) Starring Souheila Yacoub

Review by Jon Donnis

The Evil Dead series has built its reputation on relentless gore, inventive horror and unforgettable practical effects. Evil Dead Burn continues that tradition with absolute confidence, delivering the sixth entry in the franchise and a direct sequel to Evil Dead Rise. Directed by Sébastien Vaniček, the film wastes very little time before plunging viewers into another nightmare fuelled by the Necronomicon, Deadites and enough blood to satisfy even the most hardened horror fan.

The story centres on Alice Price, played by Souheila Yacoub, who reunites with her late husband's family following his death. What should have been a sombre family gathering quickly descends into chaos as Deadite possession spreads through the household, turning relatives into monstrous killers. Hidden family tensions, buried secrets and supernatural terror combine to create a brutal battle for survival that becomes increasingly desperate as the body count rises.

What immediately stands out is just how expertly staged the horror sequences are. Every major kill feels carefully crafted rather than repetitive, with each attack finding a fresh way to shock the audience. The violence never becomes predictable because the film constantly introduces new ways for the Deadites to terrorise their victims. Whether it is savage hand to hand encounters, grisly dismemberments or horrifying creature attacks, the film maintains an impressive level of creativity throughout.

Sébastien Vaniček proves himself to be an outstanding horror director with an exceptional visual eye. He understands how to build tension before unleashing absolute carnage, while ensuring every gruesome moment remains memorable. The pacing within each individual set piece is excellent, allowing suspense to build naturally before exploding into scenes of complete chaos. His direction gives the film a distinctive personality while remaining faithful to the savage spirit that fans expect.

Fans looking for extreme horror will certainly not be disappointed. Evil Dead Burn is unapologetically violent from beginning to end, offering very little respite once the blood starts flowing. The opening sequence immediately establishes the brutal tone, and from that point onwards the film barely slows down. Severed limbs, torrents of blood, mangled bodies and grotesque Deadite transformations arrive with remarkable frequency. Even the family dog becomes part of the nightmare, ensuring almost nothing is off limits.

Souheila Yacoub delivers a convincing lead performance, carrying the emotional weight of the story while remaining believable as an increasingly desperate survivor. Alice's difficult relationship with her in-laws adds another layer to the horror, while her determination to fight back prevents her from becoming another helpless victim. The supporting cast also commit fully to their increasingly disturbing transformations, helping the possessed family members become genuinely unsettling threats.

Despite its strengths, the film is not without problems. One aspect that proves difficult to ignore is what feels like an obvious attempt to push a feminist message. Rather than allowing these themes to develop naturally through the story and characters, they often feel overly deliberate and forced, occasionally distracting from the horror itself. The franchise has always been strongest when it lets the terror speak for itself, and these moments interrupt that balance.

The absence of Bruce Campbell is another issue that longtime fans may struggle with. Although his iconic Ash Williams does receive a small cameo through a photograph, it feels more like an acknowledgement than a meaningful appearance. Ash has long been the heart of the Evil Dead franchise, bringing a unique mix of horror, humour and charisma that helped define the series. Without him, Evil Dead Burn often feels like a very good supernatural horror film rather than a true Evil Dead film. With only a handful of changes, it could easily have existed as a standalone story outside the franchise.

The running time also works against the film. At 110 minutes, it stretches the material further than necessary. Horror often benefits from tighter pacing, and trimming around twenty minutes would have resulted in a far more intense experience. There are sections where the momentum briefly slows before another spectacular horror sequence gets things moving again.

Even so, Evil Dead Burn succeeds where it matters most. It delivers spectacular gore, inventive scares and some genuinely unforgettable moments of carnage. It may not fully capture the magic that Bruce Campbell brought to previous entries, but it still offers an entertaining and uncompromising horror experience for those who simply want to watch Deadites unleash absolute mayhem.

Evil Dead without Ash never feels quite right, and this instalment highlights just how important that character has been to the franchise's identity. Nevertheless, if you can accept it on its own terms, there is plenty to enjoy. It is savage, relentless and visually impressive, making it a worthy watch for horror fans who appreciate unapologetic gore.

I score Evil Dead Burn 7.5 out of 10.

Out in Cinemas Now

REVIEW: Propeller One-Way Night Coach (2026 Film) - Directed by John Travolta

Images courtesy of APPLE TV 

Review by Jon Donnis

John Travolta's directorial debut arrives in an unusual package. Running for just 61 minutes, Propeller One-Way Night Coach could easily have felt slight or underdeveloped. Instead, it proves that a modest story, told with care and attention to detail, can leave a surprisingly lasting impression.

Based on Travolta's own 1997 children's novel, the film follows young aviation enthusiast Jeff as he and his mother Helen travel from New York to Los Angeles during the closing days of 1962. What begins as a simple cross-country flight gradually becomes a defining moment in both of their lives. Along the way they encounter memorable passengers, kind-hearted flight attendants and a series of unexpected experiences that shape Jeff's future.

One of the film's greatest strengths is its remarkable sense of authenticity. From the aircraft interiors to the uniforms, airport terminals and social attitudes of the era, everything feels lovingly recreated. The production never draws attention to its period detail for the sake of nostalgia alone. Instead, it uses the setting to immerse viewers in a vanished age of air travel, when flying still carried a sense of wonder and glamour.

The film also succeeds because of how carefully it observes its characters. Jeff's fascination with aviation could easily have become repetitive, but Clark Shotwell gives the role an earnest charm that makes his enthusiasm infectious. Through his eyes, every aircraft, every stopover and every interaction becomes an adventure. The script understands that childhood memories often attach themselves to seemingly small moments, and it builds much of its emotional power from that idea.

Kelly Eviston-Quinnett delivers a warm and understated performance as Helen. Her relationship with Jeff provides the emotional anchor throughout the journey. While she dreams of pursuing an acting career in Hollywood, the film never turns her ambitions into melodrama. Instead, it quietly explores a mother balancing her own hopes with the responsibility of raising a child.

Ella Bleu Travolta and Olga Hoffmann both leave strong impressions despite relatively limited screen time. Hoffmann's Liz brings unexpected emotional depth to the story, particularly through conversations that reveal her difficult past. Meanwhile, Ella Bleu Travolta's Doris embodies much of the film's gentle optimism. Her interactions with Jeff are sweet without becoming overly sentimental, and she becomes a key figure in shaping the boy's future.

What makes Propeller One-Way Night Coach particularly effective is its willingness to focus on ordinary moments. There are no villains, no major crises and very little conventional conflict. Instead, the film finds drama in human connection. A conversation during a flight. A broken toy aeroplane. A chance meeting between strangers. These moments accumulate naturally, creating a surprisingly rich portrait of lives crossing paths.

The humour is equally understated. Small observations, awkward encounters and Jeff's endless curiosity generate a steady stream of gentle laughs. The film never chases easy jokes, allowing its warmth and wit to emerge organically from the characters.

Perhaps most impressively, the story manages to cover an enormous emotional landscape within its brief running time. Themes of childhood wonder, ageing, ambition, loss, friendship, romance and legacy all find a place here. Yet the film never feels rushed. Travolta demonstrates a confident understanding of pacing, knowing exactly which moments deserve attention and which can be left implied.

That said, the film is not without shortcomings. Some viewers may find the narrative almost too gentle. The lack of significant conflict means that certain sections risk feeling episodic, drifting from one encounter to the next without a strong sense of momentum. While this approach suits the nostalgic tone, audiences looking for a more traditional adventure may find themselves wanting greater dramatic stakes.

The supporting cast is also so appealing that several characters feel underserved. Liz, in particular, could easily have supported a larger storyline, while some of the relationships introduced during the journey are resolved rather quickly. The film's short running time is admirable in an era of bloated family entertainment, but there are occasions when a little extra breathing room would have been welcome.

Even so, these criticisms do little to diminish the overall experience. Propeller One-Way Night Coach understands exactly what it wants to be. It tells a simple story with confidence, filling it with enough detail and emotional honesty that the characters linger in the mind long after the credits roll.

This is an easy film to enjoy. Its nostalgic atmosphere is deeply appealing, its performances are sincere and its recreation of a bygone era is consistently convincing. Most importantly, it proves that family films do not need excessive spectacle or unnecessary filler to leave an impact.

Propeller One-Way Night Coach is a charming, thoughtful and genuinely entertaining family adventure that captures the magic of aviation and the importance of seemingly ordinary moments. At just over an hour, it remains engaging throughout and should hold the attention of younger viewers while offering plenty for adults to appreciate.

Score: 8 out of 10

Out Now on Apple TV - https://apple.co/4x52DV3

REVIEW: Disclosure Day (2026 Film) - Starring Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo

Review by Jon Donnis

Steven Spielberg's Disclosure Day arrives with a premise that sounds tailor-made for modern science fiction fans. The question at the heart of the film is a simple but fascinating one. What would happen if humanity finally learned, beyond any doubt, that we are not alone? Unfortunately, despite its ambitious ideas and impressive production values, the finished result never comes close to fulfilling its potential.

The story follows cybersecurity specialist Daniel Kellner, played by Josh O'Connor, who steals classified files and alien technology from Wardex, a secret branch of the US government. The information details decades of extraterrestrial contact and government cover-ups stretching back to Roswell. Hunted by Wardex and its ruthless chief Noah Scanlon, portrayed by Colin Firth, Daniel goes on the run with his girlfriend Jane Blankenship. At the same time, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt, develops strange psychic abilities following an encounter with a mysterious bird. As her powers grow, she becomes linked to the wider conspiracy and eventually joins Daniel in a race to expose the truth to the world.

There is no question that Emily Blunt delivers the film's standout performance. Even when the material around her struggles, she remains compelling and believable. Margaret is easily the most interesting character in the film, and Blunt gives the role enough emotional weight to keep the audience engaged during the slower stretches. It is a strong performance in a film that desperately needs one.

The visual effects are generally impressive. The alien technology, psychic phenomena and larger science fiction elements are all brought to life convincingly. Spielberg and his team know how to create spectacle, and there are moments where Disclosure Day genuinely looks fantastic. The production values are exactly what audiences would expect from a major studio science fiction thriller. HOWEVER there are a few moments of CGI that are just inexcusable in 2026, the "animals" are horrifically bad, the CGI is laughable.

But having a generally good looking production is not enough to save the film.

For all its talk of alien contact, secret programmes and world-changing revelations, Disclosure Day feels surprisingly dated. Rather than feeling like a bold science fiction thriller made for 2026, it often resembles a badly written episode of The X-Files from the years after David Duchovny left the series. The plot constantly piles one revelation on top of another, yet very few of them have the impact they should.

The biggest disappointment is how badly the film wastes its central premise. A story about proving extraterrestrial life exists should be gripping. It should provoke thought, create tension and leave audiences discussing its ideas long after the credits roll. Instead, Disclosure Day never manages to turn its fascinating concept into a satisfying narrative. The film keeps promising something extraordinary but never truly delivers.

The timing of the release also works against it. With UFO discussions and government disclosures becoming increasingly mainstream, particularly following the release of new UFO files by the Trump administration, much of the film's material feels oddly behind the times. What might have felt fresh and provocative years ago now feels strangely old-fashioned. The entire project has the feel of something that should have been released in the early 2000s rather than in 2026.

The idea that people would just be transfixed to their phone as the reveals are made to the world is a nonsense. Certain communities would be rioting and looting, others would be laughing and calling it AI. Remember, trust in the media is at an all time low, and you think the population would just believe the media in 2026? The whole thing just felt unrealistic.

The running time only makes matters worse. At more than two hours and twenty minutes, the film is far too long. Entire sections drag badly, with scenes stretching on long after they have made their point. The pacing becomes a real problem, especially during the middle act, and there are numerous moments where the audience is simply waiting for the story to move forward.

The supporting cast performs well enough with the material they are given. Colin Firth brings authority to Noah Scanlon, while Colman Domingo adds some gravitas as whistleblower Hugo Wakefield. Eve Hewson is solid as Jane Blankenship. None of them are able to overcome the weaknesses in the screenplay, however, and many characters feel underdeveloped despite the lengthy running time.

Oh and the ending, I expected so much more, but was left asking "was that it". The big ending was just a bit meh.

Perhaps the most surprising aspect of Disclosure Day is how little excitement it generates. Spielberg built his reputation on making audiences believe in the impossible and capturing a sense of wonder. Here, that magic is largely absent. The film takes itself very seriously, but the story never earns the level of importance it assigns to itself.

Steven Spielberg just seems incapable of making movies for a younger audience any more. Disclosure Day will probably find an audience among the over 60, atheist white liberal crowd, and it will almost certainly attract viewers because of Spielberg's name and the cast involved. Whether those viewers leave satisfied is another matter entirely.

Disclosure Day may perform well commercially because of the people attached to it, but judged on its own merits, this is a poor film by Spielberg's standards. Emily Blunt is excellent and the visual effects are impressive, but they cannot overcome a story that feels outdated, overlong and frequently boring.

I expected so much more.

Score: 5 out of 10

Out in cinemas now!

REVIEW: The Xenophobes (2026 Film) - Starring Svetlana Tulasi

Review by Jon Donnis

Independent science fiction often lives or dies on the strength of its ideas. When the budget is tiny and the resources are limited, there is nowhere to hide. The Xenophobes, directed by Hal Dace and Penny Cullers, certainly falls into that category. This is an ultra low budget production that wears its limitations on its sleeve, but beneath the rough edges lies a thoughtful story about first contact, time dilation, fear of the unknown and what it truly means to become an outsider.

The story follows Captain Shriya Ballah, played by Svetlana Tulasi, who leads an international crew on humanity's first diplomatic mission to Gliese 849d, the first confirmed home of intelligent alien life. Knowing that the journey will test not only the crew but also her own family, she brings her husband and two daughters aboard the Jerusalem. What follows is a mission that changes everything, both for those making the journey and for the Earth they eventually return to.

One of the film's greatest strengths is its unusual structure. The Xenophobes is very much a film of two distinct halves. The first focuses on the long journey through space, the hostile reception awaiting the crew and the difficult attempts to establish communication with the alien civilisation. The second half shifts to Earth after the crew return to discover that while only twelve years have passed for them, sixty years have passed back home.

This approach works remarkably well. The contrast between the two halves highlights just how quickly societies can change and how easily someone can become a stranger in their own world. The film's title takes on a clever new meaning as the story unfolds. The crew leave Earth to meet aliens, only to return and discover that they have become the outsiders. They are now the ones viewed with suspicion and expected to conform to a society they barely recognise.

Svetlana Tulasi delivers the strongest performance in the film. My wife recognised her immediately and already follows her on social media due to her work as a dancer. She brings genuine presence to the role of Captain Ballah and gives the film a central figure worth investing in. Her performance helps carry the story through some of its weaker moments and demonstrates clear screen charisma throughout.

The production's tiny budget is impossible to ignore, but it also creates some unexpectedly entertaining moments. The spacecraft interiors are full of furniture that looks suspiciously familiar. Many of the crew appear to be sitting on ordinary office or gaming chairs, while one amusing moment makes it clear that the captain herself is sitting on what appears to be a simple wooden dining chair. Combined with some sets that look hand painted, these moments produced more than a few laughs. Whether intentional or not, there is a certain charm to seeing filmmakers stretch every penny as far as possible.

The second half of the film benefits enormously from returning to Earth. Freed from the need to constantly rely on green screens and computer generated environments, the production is able to make use of real locations. The result is a noticeable improvement in the overall look of the film. Scenes feel more natural, more convincing and generally far stronger visually than much of what comes before.

Unfortunately, the weaknesses are just as obvious as the strengths.

Even allowing for the limitations of an ultra low budget production, many of the effects look extremely dated. Space sequences in particular can be difficult to take seriously, with visuals that often appear more distracting than immersive. It is hard not to reflect on how quickly technology has changed. Had this film been made a few years later, modern AI tools might have allowed some of these scenes to be realised far more effectively. Instead, the visual effects often feel like relics from a much earlier era of digital filmmaking.

The extensive use of green screen backgrounds during the first half also hurts the production. Combined with the weak CGI, it frequently reminds viewers of the film's limited resources rather than drawing them into the story.

The running time is another issue. At two hours, The Xenophobes asks a lot of its audience. There is enough interesting material here to justify a substantial film, but a tighter edit would almost certainly have improved the pacing. Several scenes feel longer than necessary, and trimming some of the excess could have resulted in a stronger final product.

The Xenophobes is a film that requires the right mindset. Anyone expecting polished effects, convincing spacecraft interiors or blockbuster production values will likely struggle. Those elements simply are not the point. The real focus is the story, the themes and the questions the film raises about fear, conformity and identity.

Viewed through that lens, there is plenty to appreciate. The concept is interesting, the message is thoughtful and the central performances help sell the material. Most importantly, the film understands what it wants to say and remains committed to those ideas throughout.

Svetlana Tulasi emerges as the standout. She has genuine star quality and it is easy to imagine her thriving if given larger opportunities in the future.

I enjoyed The Xenophobes. The ultra low budget presentation will undoubtedly put some viewers off, but I grew up watching science fiction films and TV shows just like this throughout the 1990s. I have no interest in dismissing a film simply because it lacks expensive special effects. If nothing else, there is a certain pleasure in spotting the little details hidden in the backgrounds and appreciating the ingenuity required to bring such an ambitious project to life.

Independent filmmakers willing to tackle big science fiction concepts on a literal shoestring budget deserve support. The Xenophobes may not be polished, and it may not always succeed, but its ambition, heart and ideas make it far more memorable than many larger productions that cost vastly more to make.

Out Now on Prime Video - https://amzn.to/3RGFIzj

REVIEW: In the Grey (2026 Film) - Starring Henry Cavill, Jake Gyllenhaal, Eiza González, Kristofer Hivju, Fisher Stevens, and Rosamund Pike

Review by Jon Donnis

Guy Ritchie’s In the Grey feels like a deliberate throwback to the kind of muscular action thrillers that used to dominate late night DVD shelves and crowded multiplexes in the early 2000s. It is stylish, loud, occasionally messy, and completely uninterested in pretending to be anything deeper than a fast moving crime thriller with attractive people pointing guns at each other across exotic locations. In truth, that works in its favour more often than not.

The setup is pure Ritchie. A covert team operating in the shadows is tasked with retrieving a stolen billion dollar fortune from a dangerous despot, only for the mission to spiral into double crosses, hidden agendas and escalating violence. The plot itself is not especially original, but the film survives on energy, chemistry and confidence. Ritchie knows exactly the sort of film he is making here and rarely wastes time pretending otherwise.

Henry Cavill and Jake Gyllenhaal make for an entertaining duo as Sid and Bronco, two extraction specialists who spend much of the film bouncing between deadpan humour and brutal action. Cavill in particular looks completely at home in this sort of role. There is a relaxed charisma to him throughout, almost as if he has been waiting years for a film that allows him to simply be cool without drowning him in mythology or franchise baggage. Gyllenhaal meanwhile brings a slightly twitchier edge, giving Bronco enough unpredictability to stop him feeling like just another wisecracking action hero.

Still, the real standout is Eiza González as Rachel Wild. She walks away with the film whenever she appears. Smart, confident and effortlessly magnetic, she injects genuine life into scenes that might otherwise have been little more than exposition dumps and gunfire. There is an old fashioned movie star quality to her performance here that lifts the entire production. Ritchie clearly knows it too, because the film increasingly bends around her presence as it goes on.

For the first hour, In the Grey feels almost too relaxed with itself. There is plenty of style, plenty of witty dialogue and enough swagger to keep things watchable, but the pacing occasionally drifts. It is not until the final half hour that the film properly explodes into life. Once the rescue mission kicks into gear, the film becomes exactly what audiences probably hoped for walking in. The gunfights are chaotic and aggressive, the betrayals come quickly, and Ritchie finally leans fully into the mix of comedy and violence that made his earlier crime films so entertaining.

The humour is another strong point. The dialogue is filled with sharp little exchanges and sarcastic throwaway lines that stop the film becoming overly self serious. Even during the heavier action scenes there is always a sense that the characters are enjoying themselves, which becomes infectious after a while.

That said, the film is undeniably rough around the edges. The continuity can be distractingly jagged at times, with scenes feeling cut down or rearranged in ways that are difficult to ignore. Certain character motivations suddenly change without much explanation, while some plot threads appear and disappear so quickly that they barely register. It strongly suggests the film underwent substantial editing to squeeze itself into the roughly 90 minute runtime. Another twenty minutes might actually have helped smooth everything out.

There are also moments where the action becomes slightly difficult to follow. Ritchie’s fast editing style works brilliantly when the rhythm clicks, but occasionally scenes move so quickly that geography and logic start to blur together. Thankfully, the film never becomes boring. Even at its most chaotic, it keeps charging forward with enough momentum to carry the audience through the confusion.

In the Grey is not trying to reinvent the action thriller. It is a straightforward Guy Ritchie film filled with criminals, mercenaries, betrayals, sharp suits and bullets. Sometimes that is enough. In an era where so many blockbusters feel overstuffed with self importance and endless franchise setup, there is something refreshing about a film that simply wants to entertain for ninety minutes.

It may be slightly by the numbers, and the editing issues are impossible to ignore, but the performances, humour and final act are strong enough to make it easy to recommend to fans of old school action thrillers.

In the Grey earns a solid 8 out of 10.

Out Now - https://apple.co/4tzkMY1