REVIEW: The Wrecking Crew (2026 Film) - Starring Jason Momoa and Dave Bautista

Images: Courtesy of Amazon Press

Review by Jon Donnis

There is a brash confidence to The Wrecking Crew that feels almost old fashioned in the best way. This is a loud, violent, self aware buddy cop action comedy that knows exactly which buttons it wants to press and hammers them with real enthusiasm. Directed by Ángel Manuel Soto, the film throws subtlety out of the window early on and commits fully to being a crowd pleasing blast of bruising action, broad humour and clashing personalities.

The story centres on estranged half brothers Jonny Hale and James Hale. Jonny, played by Jason Momoa, is a loose cannon cop working on a reservation in Oklahoma. James, played by Dave Bautista, is a disciplined Navy SEAL living in Hawaii. Their uneasy reunion is triggered by the death of their father Walter, a private investigator whose supposed hit and run quickly proves to be something far more sinister once Yakuza enforcers start turning up uninvited. From there, the brothers return to Hawaii for the funeral and begin pulling at threads that reveal a conspiracy with personal stakes and long buried family resentments.

What really sells the film is the chemistry between Momoa and Bautista. The contrast is familiar but effective. Momoa leans into the chaotic charm of Jonny, delivering most of the film's funniest lines and clearly enjoying himself. Bautista plays James as the tightly wound straight man, all discipline and suppressed frustration. When the two are sharing the screen, the film finally hits its stride. Their bickering, mismatched methods and grudging respect give the action real momentum, recalling the spirit of Lethal Weapon without pretending to reinvent that wheel.

The supporting cast helps keep things lively. Stephen Root is on solid form as Detective Rennert, the perpetually exasperated superior who knows he has lost control of the situation. Jacob Batalon's Pika, Walter's assistant, grows into a surprisingly effective sidekick with several strong comedic moments. Frankie Adams and Maia Kealoha do their best to ground the family drama as cousin Haunani and James' wife Lani, while Temuera Morrison brings an easy authority as the Governor of Hawaii and a trusted family friend.

And a special mention to Morena Baccarin as Valentina, the other half of Jonny Hale.

Soto makes excellent use of the Hawaiian setting. The cinematography gives the film a bright, sun drenched look that contrasts nicely with its violent streak. Explosive set pieces are staged with clarity and energy, and the action rarely feels sluggish. When the film is firing on all cylinders, it becomes a relentless ride that barely pauses for breath.

That said, the cracks are hard to ignore. At two hours, The Wrecking Crew feels a little too long for what it is trying to do. The script is deeply formulaic and rarely surprising, hitting familiar beats almost on schedule. For an action comedy, some of the strongest jokes are spaced too far apart, and the humour does not always land with the consistency it should. It is also a missed opportunity that Bautista is not given more genuinely funny material, as his comic timing has proven strong elsewhere.

Despite those flaws, the film's sheer energy carries it a long way. It embraces its own excess, leans into its central pairing, and delivers exactly the kind of noisy, unapologetic entertainment it promises. The Wrecking Crew might not be particularly original, but it scratches a very specific itch within the buddy cop genre and does so with style.

The Wrecking Crew is a fun, if slightly overlong action comedy with some strong fight scenes, striking use of its Hawaiian backdrop, and a dependable supporting cast. It does not break new ground, but it does remind you why this formula worked so well in the first place.

I score The Wrecking Crew a solid 8 out of 10.

Released on Prime Video from the 28^th January

https://amzn.to/3Z1IDTv

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

PREVIEW: Bambi: A Tale of Life in the Woods (2025) - A New Vision of a Timeless Journey

Images courtesy of Dazzler Media

Preview by Jon Donnis

A forest floor dappled with light. The flicker of an ear in tall grass. A childlike voice asking what it means to be brave. Bambi: A Tale of Life in the Woods, from director Michel Fessler, promises a faithful yet fresh take on Felix Salten's enduring novel, capturing the innocence and awe of the wild through the eyes of a young fawn finding his place in a world that's as beautiful as it is unforgiving.

Bambi ©Eric Travers

Unlike earlier adaptations, this version leans closer to Salten's original text than to the 1942 animated classic. Bambi here is not a cartoon animal with song breaks and comic sidekicks. He's a creature of the woods, curious and vulnerable, whose story unfolds with a realism that feels both grounded and moving. The film tracks his growth from newborn to adult, offering glimpses of the quiet moments that shape a life: first snowfall, first friendship, first encounter with loss. Through each experience, the rhythm of nature pulses beneath it all.

Visually, the film does what few others dare to attempt. Shot on location and featuring wildlife in their natural environments, it uses immersive cinematography to blur the line between documentary and fiction. That choice, a hallmark of Fessler's work on March of the Penguins, gives the film a texture that feels at once intimate and epic. These aren't sets. They're lived-in landscapes.

Bambi ©Florian Alzay

Narration by Mylène Farmer provides a gentle thread through Bambi's story. It's used sparingly, letting the imagery carry the weight where it can. There's a stillness to the way the film moves, a patience that gives space to the more emotional turns. It never rushes Bambi's journey, and the emotional impact of key scenes, particularly those familiar to anyone who grew up with the earlier film, lands with quiet force rather than spectacle.

This is a film that doesn't talk down to its audience. While suitable for families, it doesn't shy away from the hard truths of the forest. Danger is real. So is grief. But what it offers, especially to younger viewers, is a way of seeing nature that feels honest, respectful, and sometimes deeply moving.

Bambi: A Tale of Life in the Woods opens in UK and Irish cinemas on 15 August, courtesy of Dazzler Media. Whether you're discovering it for the first time or returning after many years, this new telling invites you to see the forest, and the creatures who live in it, with fresh eyes.

PREVIEW: The End of It (2025) - Sci-Fi Drama Tackles Immortality and Meaning in the Near Future

Images: Premier PR
Photographer credits:
Rebecca Hall – Andres Arochi
Gael Garcia Bernal – Nino Muñoz
Noomi Rapace – Lenita Visan
Beanie Feldstein – Heather Hazzan

By Jon Donnis

Production is underway on The End of It, a thought-provoking new feature film co-produced by THE MEDIAPRO STUDIO US & Canada and BBC Film. The project marks the feature debut of writer-director Maria Martinez Bayona and stars Rebecca Hall, Gael García Bernal, Noomi Rapace and Beanie Feldstein in a near-future story that blends dark comedy, emotional family conflict and science fiction.

Set in a world where ageing has been cured and death is no longer a necessity, the film follows Claire (Hall), a once-provocative artist approaching her 250th birthday who has decided that enough is enough. Her wish to die sends ripples through her unconventional family: her husband (García Bernal), her daughter (Rapace) and the family’s AI assistant (Feldstein). As Claire reclaims her identity through one final act of creation, the story becomes a meditation on what it truly means to be alive in a world where death is optional.

Bayona’s script poses big existential questions with a tone that is both humane and absurd. "This film asks a question: what would it mean to go on living forever? But more importantly – what does it mean to feel alive?" she said. Drawing on personal experience and philosophical ideas, Bayona aims to create a film that challenges and connects in equal measure.

The film is being shot on location in the Canary Islands, with production beginning in April 2025. The End of It brings together a team of award-winning creatives. It is produced by Emilie Jouffroy and Kamilla Kristiane Hodøl for Elation Pictures (The Damned), Adrià Monés Murlans for Fasten Films (Inside the Yellow Cocoon Shell), and Laura Fernández Espeso for THE MEDIAPRO STUDIO. Dyveke Bjørkly Graver and Andrea Ottmar Berentsen also serve as co-producers for Eye Eye Pictures (The Worst Person in the World).

Developed with support from BBC Film and the iFeatures programme, the film explores legacy, family, autonomy and the weight of eternity, set against a sleek futuristic backdrop. With its cast of acclaimed international talent and a fresh directorial voice, The End of It looks set to become a notable entry in the expanding canon of intelligent, emotionally charged science fiction.

More information and release dates will be announced in due course.