REVIEW: Motor City (2026 Film) - Starring Alan Ritchson, Ben Foster, Pablo Schreiber, Lionel Boyce and Shailene Woodley

Review by Jon Donnis

Motor City is the kind of action thriller that immediately stands apart from the crowd. While the story itself follows a familiar path of betrayal and revenge, director Potsy Ponciroli presents it in a way that feels remarkably fresh. With very little dialogue, the film leans almost entirely on visual storytelling, expressive performances and an expertly curated rock soundtrack, creating an experience that often feels closer to an extended music-driven fever dream than a conventional Hollywood action film.

Set in a grimy, industrial 1977 Detroit, the film follows John Miller, played by Alan Ritchson, a factory worker whose life is destroyed after he is framed for a crime he did not commit. Sentenced to decades behind bars, he eventually escapes and embarks on a relentless mission to hunt down the gangster responsible, Reynolds, portrayed with trademark menace by Ben Foster. Along the way, Miller leaves behind a trail of destruction as he battles his way through Reynolds' criminal empire in search of justice for himself, Sophia and the friends who sacrificed everything to help him.

Motor City deserves praise simply for taking creative risks. American action films often rely on endless exposition and constant quips, yet this film strips almost all of that away. Instead, it trusts its audience to follow the story through visuals, facial expressions, action and music. It is an approach that feels bold rather than gimmicky, and for the most part it works brilliantly.

Alan Ritchson carries the film almost entirely through physical performance. Without lengthy speeches or dramatic monologues, he communicates John's anger, heartbreak and determination through body language alone. His imposing presence makes him entirely believable as an unstoppable force of vengeance, while quieter moments reveal enough vulnerability to stop the character becoming a one-dimensional action hero.

Ben Foster once again proves why he remains one of the most dependable screen villains. Reynolds is cold, manipulative and utterly ruthless, providing exactly the sort of antagonist needed to fuel the film's revenge narrative. Pablo Schreiber also makes a memorable impression as the corrupt officer Savick, particularly during one of the film's most savage and brutally choreographed fights.

The action itself is consistently impressive. Every confrontation feels impactful, with bone-crunching violence and inventive staging. Rather than relying on excessive computer-generated spectacle, the film favours grounded brutality that gives every punch, gunshot and explosion genuine weight. The explosive final act delivers exactly the payoff the film has been building towards, with several standout sequences that rank among the year's most entertaining action set pieces.

Equally important is the soundtrack. Setting much of the film to existing rock songs gives Motor City a distinctive rhythm and identity. Combined with the limited dialogue, it creates the feeling of watching a violent mixtape unfold on screen. There are echoes of silent cinema mixed with classic 1970s vigilante films, yet the finished result still feels original rather than nostalgic imitation. It is refreshing to leave an action film feeling as though you have genuinely seen something new.

That originality does not completely disguise the familiar framework underneath. At its core, this is still a fairly standard revenge story featuring many of the genre's well-established tropes. Betrayal, prison escape, corrupt criminals and bloody vengeance all play out much as expected. The presentation may be unique, but the narrative itself rarely surprises.

The pacing is another area where the film could have been stronger. At around 100 minutes, Motor City is not especially long, but it occasionally feels as though it is stretching material that would have benefited from a tighter edit. Several slow-motion sequences linger longer than necessary, reducing the momentum rather than enhancing the emotion. Trimming a few of these moments could have made the film even more effective.

Despite those shortcomings, Motor City succeeds because it fully commits to its unusual vision. It demonstrates that action films do not need endless dialogue to engage an audience, trusting visuals, music and physical performances to tell the story instead. The revenge plot may be familiar, but the stylish execution, brutal action and confidence behind its storytelling ensure it never feels routine.

Motor City is refreshing, exciting and unapologetically different. It proves there is still room for experimentation within mainstream action cinema, delivering a visually striking revenge thriller that leaves a lasting impression long after the credits roll.

Score: 7.5 out of 10

Out Now in Cinemas.

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

Interview with Director Scott Mann

Ahead of HEIST airing on LEGEND XTRA on April 6, director Scott Mann looks back on collaborating with Robert De Nero, explains how personal family loss shaped the creation of FALL, and reveals how HEIST went on to influence the launch of his innovative company FLAWLESS.

LEGEND XTRA is broadcasting your 2015 crime thriller HEIST. Looking back what are your fondest memories of making the film?

 

The cast, without question, Robert De Niro, Jeffrey Dean Morgan, Dave Bautista, Gina Carano, Kate Bosworth. It was a tough shoot, filming on a moving bus without a Speed-level budget, but it was also one of the first films I made that really came from the heart. Under the heist-thriller setup, it's a story about fatherhood, Jeff's character will do anything to save his daughter, which puts him up against De Niro's intimidating criminal.

 

The film plays heavily with shifting loyalties. How did you ensure those twists felt earned rather than purely plot-driven?

 

By grounding everything in character truth. I actually had an early call with De Niro where he nearly dropped out because the script had real issues, and he'd spotted the same problems I had. I was honest about it, and we ended up working through the character together in New York. That rewrite became the foundation: if the characters' choices are authentic, the twists feel inevitable, surprising but earned.

 

What was your approach to building tension within the confined space of the bus for much of the film?

 

You need ticking clocks, escalating stakes, and the sense that there's no escape. The premise creates inevitability: a dangerous crime against someone who will stop at nothing to punish the people responsible. From there it's about pacing, reveals, and finding fresh ways to keep the audience surprised.

 

Crime thrillers often follow familiar beats. What did you want to do differently with Heist to stand out within the genre?

 

Keep it character-first. The single-location constraint forces you into dynamics, reversals, and meaningful surprises. The film is designed to build toward a strong third act, the payoff matters as much as the setup.

 

Your heart-stopping survival thriller FALL closed FrightFest in 2022. What do you remember about the experience?

Fall is my favourite filmmaking experience, and the hardest. It was also the most honest. I learned that originality often comes from stripping things back: smaller scale can mean more creative control. On Fall, I had the freedom to cast the best actors for the roles, Virginia Gardner and Grace Caroline Currey, and we filmed at height with a small crew in brutal conditions. It was gruelling, but it bonded us and created something I'm incredibly proud of. The story was personal too, it came out of grief my family experienced, and the film became part of processing that.

 

The film relies heavily on fear of heights. How did you translate vertigo into a cinematic language that feels physical and immediate?

 

It starts with the characters. The concept came from standing on a stadium roof during another shoot and asking: why does height create such intense anxiety? You communicate it through performance, tension, and the audience being slightly ahead, seeing danger before the characters do. Ultimately, the actors sell the fear.

 

What were the biggest logistical challenges in creating the illusion of extreme height while keeping cast and crew safe?

 

Making something look unsafe while keeping it safe. We built multiple towers, including one about 100 feet high, and had to find a mountaintop location with the right vista and workable access. That meant carving roads to get equipment up, managing tight shooting windows, and adapting constantly, wind, weather, everything. We filmed during COVID as well, which added another layer, but being outdoors helped.

 

You are Co-CEO of FLAWLESS AI, a company pioneering ethical, AI-driven visual effects and post-production technology for Hollywood. Can you describe the impact your DeepEditor tool continues to have on the filmmaking process?

 

Heist actually inspired Flawless. Seeing how dubbing compromises performance, especially in foreign-language versions, sent me looking for a better solution. Our earliest prototype was a Heist scene with De Niro, where we synced his performance to authentic foreign-language dialogue. That became the foundation of what we built: tools that help filmmakers preserve performances responsibly.

 

With all the confusion and controversy swirling around the use of AI in movies, what ethical boundaries do you think filmmakers should establish when using generative AI in production?

 

 

The key distinction is assistive vs. generative. Tools that enhance artistry, acting, directing, editing, can be hugely positive. But generative systems that replace artists or rely on scraped IP are dangerous and unethical. Audiences want human connection, not synthetic photocopies. AI should protect and amplify performance, not erase it.

Finally, what's next?

 

Flawless is now being adopted across major studios, and you'll see more multi-language versions of content rolling out over the next year. Creatively, we have Fall sequels in progress, one nearing completion and another I'll direct, incorporating new technologies in an exciting way.

 

HEIST is showing on LEGEND XTRA on Mon 6 April, 9.00pm.

Available: SKY 317 | FREELY 51 |  FREESAT 138 | FREEVIEW 69 | VIRGIN 171

REVIEW: Shelter (2026 film) - Starring Jason Statham

Review by Jon Donnis

Ric Roman Waugh's Shelter arrives with a premise that feels immediately recognisable. A former assassin in hiding, a shadowy agency that refuses to let him disappear, and a young innocent caught in the middle. It is territory that action cinema has explored many times before. What keeps Shelter engaging is not the originality of the idea, but the confidence of the execution and the presence of Jason Statham at the centre of it all.

Statham plays Michael Mason, a former operative of an elite government kill team known as the Black Kites. Having turned his back on the agency, Mason now lives alone on a small island off the coast of Scotland, (apparently filmed in Ireland) keeping his distance from the world and from the violent life he once led. His quiet routine is broken when Jessie, a young girl grieving the death of her mother, becomes stranded on the island during a storm. When Mason ventures to the mainland to buy supplies for her, his presence is noticed by his former handler Manafort, who quickly sets events in motion that drag Mason back into a conflict he had hoped to escape.

The Scottish (really Ireland) setting gives the film a welcome sense of atmosphere. Windswept coastlines, isolated farms and dimly lit rural roads create a backdrop that suits the film's tone of quiet tension. Waugh uses these locations well, giving the story a grounded feel that contrasts nicely with the bursts of violence that erupt throughout the film.

As expected, the action is where Shelter finds most of its energy. The film delivers several intense driving sequences and some particularly brutal hand to hand fights that allow Statham to do what he does best. The confrontations feel physical and immediate, with punches landing heavily and fights unfolding in tight spaces that heighten the sense of danger. Fans of Statham's particular brand of action will recognise the rhythm straight away. The film hits the familiar marks but does so with enough confidence to remain entertaining.

Much of the film's emotional weight comes from the relationship between Mason and Jessie. Bodhi Rae Breathnach gives a strong performance as the young girl who slowly breaks through Mason's guarded exterior. Their scenes together give the story a bit of warmth and prevent the film from becoming a simple sequence of chases and fights. Statham, often cast as the silent professional, finds a convincing balance between hardened killer and reluctant protector. The chemistry between the two works surprisingly well and becomes one of the film's stronger elements.

The supporting cast also contributes solid performances. Bill Nighy brings a quiet menace to Manafort, Mason's former handler who refuses to let his rogue operative disappear. Daniel Mays adds some welcome personality as Mason's friend Arthur Booth, while Naomi Ackie's Roberta provides a glimpse into the cold bureaucracy behind the operation. None of these characters are particularly complex, but the actors give them enough presence to keep the story moving.

Despite its strengths, Shelter never fully escapes the feeling that it is following a well worn path. The central concept is very familiar and the plot developments rarely surprise. Many of the twists can be seen coming well in advance, which removes some of the tension from the story. Viewers who have seen a few films in this genre will likely recognise the structure long before the final act arrives.

The opening half hour also moves at a slightly slower pace than it needs to. The early scenes of Mason's isolated life establish the character and the setting, but they linger a little too long before the main conflict begins. Once the action properly starts the film finds its rhythm, though the initial stretch may test the patience of some viewers.

Fortunately, Shelter keeps its running time to a sensible one hour and forty five minutes. The film moves briskly once the chase begins and avoids overstaying its welcome. By the time Mason confronts the people who want him eliminated, the story has built enough momentum to carry it through to a satisfying conclusion.

Shelter does not attempt to reinvent the action thriller, and in truth it never really tries to. Instead it focuses on delivering a solid, straightforward piece of entertainment built around a dependable action star, a striking Scottish backdrop and a handful of well staged set pieces. The result is a film that may be predictable, but is rarely dull.

In the end, Shelter stands as a perfectly decent action film. The story may feel familiar and the early pacing is a little slow, but the performances and the action keep it consistently watchable. Jason Statham once again proves why he remains one of the most reliable leads in this genre.

I enjoyed it, and I would happily watch it again. Shelter earns a strong 8.5 out of 10.

Out Now on Apple TV - https://apple.co/4l4ehtK

NEWS: LEGEND Unveils a Blockbuster Line-up for February 2026

Images: Legend TV Press

By Jon Donnis

LEGEND is going big in February 2026, rolling out a packed month of Channel premieres that celebrate iconic directors, unforgettable performances and cult favourites. From crime epics and political thrillers to dystopian sci-fi and high-octane action, the schedule is a confident showcase of films that have left a lasting mark.

The month is led by heavyweight names both behind and in front of the camera. Robert De Niro, Al Pacino and Clint Eastwood take centre stage across a selection of films from directors whose work continues to define modern cinema. Brian De Palma’s SCARFACE, Martin Scorsese’s CAPE FEAR, Donald Siegel’s THE BEGUILED and John Frankenheimer’s BLACK SUNDAY form the backbone of a season rooted in bold storytelling and intense character work.

SCARFACE

February opens on Sunday 1 February at 21:00 with the Channel premiere of SCARFACE from 1983. Al Pacino stars as Tony Montana, a Cuban immigrant who rises to the top of Miami’s drug trade through ruthless violence. His empire grows quickly, but pressure from law enforcement, rival cartels and his own paranoia drive him towards an inevitable collapse.

Friday 6 February at 22:55 brings THINGS TO DO IN DENVER WHEN YOU’RE DEAD from 1995. Andy Garcia plays Jimmy the Saint, an ex-gangster pulled back into the criminal world for one final job. When the plan goes wrong, Jimmy has just 48 hours to survive as the city turns against him. The film also stars Christopher Walken and Steve Buscemi.

On Saturday 7 February at 21:00, EQUILIBRIUM arrives. Set in a future where emotions are outlawed to prevent war, Christian Bale stars as an elite enforcer who begins to feel again and realises he may be the key to dismantling the system he once served.

Sunday 8 February at 21:00 sees the Channel premiere of STATE OF PLAY from 2009. When a rising US politician’s assistant is murdered, journalist Cal McAffrey, played by Russell Crowe, uncovers a web of secrets and corruption. Ben Affleck and Helen Mirren also star in this tense political thriller.

BLACK SUNDAY follows on Thursday 12 February at 21:00. The 1977 film tells the story of a Black September terrorist plot to attack the Super Bowl using a Goodyear blimp, with tens of thousands of lives at risk. Robert Shaw and Bruce Dern lead the cast.

MAN OF TAI CHI

Saturday 14 February at 21:00 introduces MAN OF TAI CHI from 2013, directed by Keanu Reeves. Tiger Hu Chen stars as a devoted martial artist drawn into underground fighting to protect his master’s temple, forced to confront the clash between his pacifist beliefs and brutal reality.

On Sunday 15 February at 21:00, Martin Scorsese’s CAPE FEAR arrives. Nick Nolte plays a lawyer whose past actions come back to haunt him when violent ex-con Max Cady, portrayed by Robert De Niro, is released from prison and begins a relentless campaign of revenge against his family.

Thursday 19 February at 21:00 brings THE BEGUILED from 1971. During the American Civil War, a wounded Union soldier played by Clint Eastwood is taken in by women at a secluded Southern boarding school. Desire, jealousy and manipulation spiral into a dark and violent reckoning.

NO ESCAPE

Saturday 21 February at 21:00, NO ESCAPE premieres. Owen Wilson stars as an American businessman whose family becomes trapped during a violent uprising in Southeast Asia. Pierce Brosnan also features in this tense survival thriller.

Sunday 22 February at 21:00 sees AMERICAN MADE from 2017. Tom Cruise plays Barry Seal, a pilot recruited by the CIA who becomes entangled in drug smuggling for the Medellín Cartel during the 1980s, with events linked to the Iran Contra Affair.

UPGRADE follows on Thursday 26 February at 21:00. Directed by Leigh Whannell, the 2018 sci-fi thriller centres on a paralysed man given a computer implant that restores his mobility and grants extraordinary abilities, which he uses in a quest for revenge.

DEATH RACE

The month closes on Saturday 28 February at 21:00 with DEATH RACE from 2008. Jason Statham stars as a wrongfully imprisoned driver forced to compete in a deadly televised race for a chance at freedom, or face life behind bars.

With its February 2026 schedule, LEGEND delivers a confident mix of iconic cinema and modern cult hits, offering viewers a full month of intense stories, standout performances and unforgettable film-making.

TV: Sky 148 / Virgin 149 / Freeview 41 / Freesat 137

PREVIEW: Dead of Winter (2025 Film) Starring Emma Thompson

Preview by Jon Donnis

Emma Thompson takes centre stage in Dead of Winter, a tense survival thriller arriving in UK and Irish cinemas on 26 September. She plays Barb, a widow still reeling from loss, who sets out on a pilgrimage to scatter her husband's ashes in the icy wilderness of northern Minnesota, the place where their life together first began. What begins as a personal journey of remembrance soon spirals into a fight for survival, as a sudden blizzard leaves her stranded and alone in the snow.

Seeking shelter, Barb discovers a remote cabin that holds a far darker secret than the storm outside. Inside, a young woman is being held captive by a volatile couple, played by Judy Greer and Marc Menchaca. Trapped in the frozen wilds, Barb must face both the immediate threat in front of her and the buried pain within, drawing on memory, love and sheer determination to endure. Dead of Winter blends stark landscapes, psychological tension and raw emotion, promising a gripping cinema experience this autumn.

DEAD OF WINTER, out in UK and Irish cinemas from 26th September