PREVIEW: The Lonely Crowd (2026 Film) - A First Look at the New Romantic Crime Thriller

Preview by Jon Donnis

A bad first date takes a dangerous turn in The Lonely Crowd, a new romantic crime thriller that combines relationship drama with a rapidly escalating tale of violence, corruption and stolen money.

Written and directed by David St. Clair in his feature directorial debut, the film stars Adam Wesley as Peter and Taylor Anne Danehower as Ashley, whose attempt at an online date quickly goes wrong. What begins as an uncomfortable meeting fuelled by frustration and assumptions soon develops into something far more dangerous.

Set against a backdrop of dating fatigue, loneliness and growing mistrust between men and women, The Lonely Crowd explores the difficulties of forming genuine connections in an age of online dating. Peter and Ashley's date ends badly, with Ashley storming out after their encounter descends into an argument shaped by emotional defensiveness and gender assumptions.

However, their evening is far from over. Peter later finds Ashley being harassed outside and intervenes, an act that unexpectedly draws him into a dangerous situation involving corrupt police officers, a kidnapping and stolen money. From there, the story unfolds over three days as the characters become caught up in a whirlwind of crime, violence and romance.

“The Lonely Crowd’s foundation is personal, not procedural. Beneath the suspense lies a story about what happens when people see each other as stereotypes rather than individuals. Romance isn’t fantasy here; it’s forged in the clash of loneliness, pride, fear, and misunderstanding,” said St. Clair, writer/director.

“The film blends thriller pacing with romantic tension and character-driven storytelling that will appeal to audiences who enjoy emotional suspense. The themes resonate across generations, connecting with anyone who has struggled in relationships or in moving beyond first impressions,” adds St. Clair.

“Story comes first,” said St. Clair. “We wanted to make a film that moves with energy and suspense yet is grounded in something honest about how people struggle to connect with one another,” he added.

Alongside Wesley and Danehower, the cast includes Giancarlo Carmona, Jon Oshei, Haley Spencer, Blair Chambers and Andrew Mena.

The Lonely Crowd marks the first feature film from producer Jim St. Clair and co-producer David St. Clair under their Desario Productions banner. Behind the camera, the filmmaking team includes composer Kevin Morrison, cinematographer Garrett Stotko, editor Daniel Seigerman, casting director Bevin Hamilton, and production designers Emily Kiihnl and Paige McGhee.

Indie Rights acquired The Lonely Crowd for worldwide distribution, with the film debuting on Amazon for rent and purchase in May 2026. It is now also available on streaming platforms including YouTube, Tubi and Fawesome, with releases on other major streaming services expected to follow.

With its combination of online dating, relationship drama and a crime story that quickly spirals out of control, The Lonely Crowd looks set to offer a darker take on the modern search for connection.

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

REVIEW: Spider-Man: Brand New Day (2026 Film) - Starring Tom Holland

Review by Jon Donnis

After the disaster that was Supergirl, we needed a good superhero film, and Spider-Man: Brand New Day is just that. It is far from perfect, and low expectations have probably helped elevate it, but this is a surprisingly mature and heartfelt Spider-Man film that puts Peter Parker's emotional journey ahead of the wider MCU.

Tom Holland gives a soulful, emotionally strong performance as a Peter who has spent four years alone, protecting New York while the people he once loved have forgotten he exists. The film gives him meaningful development as he gradually realises that being Spider-Man does not mean shutting everyone else out. His loneliness could have been explored more deeply, but the relationship with MJ provides some of the film's strongest emotional material. Peter remembers everything they shared while she remembers nothing, creating a genuinely painful dynamic without resorting to an easy resolution.

Sadie Sink is a standout as Jean Grey. Rather than functioning as a generic Marvel antagonist, Jean is given understandable motivations rooted in grief and loss. Her connection with Peter eventually becomes one of the film's most affecting elements, while the story allows her to remain sympathetic without excusing her actions.

The film also benefits from a strong supporting cast. Jon Bernthal's Punisher is a likeable addition, while Florence Pugh's Yelena and Mark Ruffalo's Bruce Banner provide entertaining contributions. Unfortunately, there are simply too many characters and plotlines competing for attention. Peter can sometimes feel sidelined in his own film, while several supporting characters never receive enough development.

The action is consistently impressive, with strong set pieces supported by excellent practical effects, visual effects, cinematography and score. Importantly, the film avoids relying on endless CGI spectacle. The action has physical weight, although it lacks the invention of the Spider-Verse films and never approaches the heights of Spider-Man 2.

The biggest problem is the structure. The story feels clunkily episodic, and at 145 minutes it is unnecessarily long. Too much time is devoted to setting up future MCU material, weakening a film that works considerably better when it focuses on Peter and Jean. The final act also veers into a Stranger Things-style supernatural storyline that feels less distinctive than what came before.

In my opinion the film should have been more radical. The premise offered an opportunity for a genuine reboot, but Brand New Day still carries considerable MCU baggage. The post-credits scene does little to justify that baggage, serving primarily as another piece of franchise setup.

Despite those shortcomings, the film gets the important things right. It balances action, humour and emotion effectively, and its emotional stakes generally take priority over franchise building. The result is a Spider-Man film with genuine feeling rather than simply another superhero spectacle.

Superhero fatigue is undoubtedly a problem, but Spider-Man: Brand New Day proves there is still life in the genre when the characters are given something meaningful to lose. It is messy and overstuffed, but Holland and Sink provide the emotional foundation for a film that ultimately earns its place among the better recent Marvel releases.

Spider-Man: Brand New Day scores 8.5 out of 10.

Out in cinemas now!

REVIEW: Masters of the Universe (2026 Film) - Starring Nicholas Galitzine and Jared Leto

Review by Jon Donnis

The return of Masters of the Universe to live action arrives with a confidence that feels earned rather than forced. This second adaptation of Mattel’s sword-and-sorcery franchise leans heavily into its roots, picking up the familiar thread of Prince Adam, the Sword of Power, and the fractured world of Eternia under Skeletor’s rule. After being sent to Earth as a teenager and separated from his past for 15 years, Adam is drawn back into his destiny, discovering a ruined kingdom and a resistance struggling to survive under tyranny.

What follows is a straightforward but energetic fantasy adventure that rarely loses sight of what made the original material endure. The film understands its own heritage and is unashamed about it. There is a playful, almost nostalgic rhythm to the way Eternia is presented, as if the filmmakers have finally embraced the fact that this world works best when it feels like myth filtered through childhood imagination. Nicholas Galitzine’s Adam carries the emotional arc with a grounded performance, even if he could be more muscular to truly fit the role, while Idris Elba brings weight and authority to Duncan, giving the film a steady moral centre. Camila Mendes as Teela fits neatly into the action-driven dynamic, keeping the pace moving even when the story briefly settles.

The biggest talking point, unsurprisingly, is Jared Leto’s Skeletor. He leans into theatrical menace and biting humour, creating a villain who constantly threatens to steal focus from every scene he enters. There is a mocking irreverence to the performance that fits the tone of the film, keeping things just the right side of comic book excess without tipping into parody. The action itself is frequent and well staged, with moments that feel pulled directly from playground imagination rather than grounded realism, which works in its favour.

That sense of fun is the film’s strongest asset. It captures the spirit of the 1980s cartoon era without becoming trapped by it. The story mixes familiar lore with new narrative threads in a way that feels accessible, even for viewers who have no attachment to the franchise. It never takes itself too seriously, and that decision gives it a lightness that keeps the momentum steady through its longer stretches.

However, the film is not without its flaws. At two hours and fifteen minutes, it runs longer than it needs to, particularly in the middle sections where the pacing becomes uneven. There is also an overreliance on CGI, which, while technically strong, occasionally overwhelms the more grounded character moments. Some sequences would have benefited from restraint, allowing the performances to breathe rather than competing with constant visual spectacle.

Despite these issues, the film lands its emotional beats in the final act. The transformation of Adam into He-Man feels earned rather than rushed, and the final confrontation with Skeletor carries enough weight to justify the build-up. The ending restores a sense of balance to Eternia, with Queen Marlena re-established as ruler and Adam finally accepted as its protector. The post-credit moments tease further expansion, and that is all I will say!

As a whole, Masters of the Universe succeeds because it commits fully to what it is. It is loud, colourful, occasionally messy, but consistently entertaining. It feels designed for audiences who grew up with the franchise but still wants to be accessible to newcomers. Mainstream critics may struggle with its tone, but viewers looking for straightforward fantasy spectacle will likely find plenty to enjoy.

It is not perfect, but it understands its purpose. On balance, it is a solid, enjoyable return to Eternia, carried by strong performances and a clear affection for the source material.

I score Masters of the Universe a solid 8.5 out of 10.

Out In Cinemas Now!

REVIEW: Tom Clancy’s Jack Ryan: Ghost War (2026 Film) - Starring John Krasinski

Photo Credits: Amazon MGM Studios

Review by Jon Donnis

Turning a successful streaming series into a feature film can be risky. Television allows characters and political intrigue to breathe, while films often lean harder into spectacle and momentum. Tom Clancy’s Jack Ryan: Ghost War lands somewhere in the middle. Directed by Andrew Bernstein and written by Aaron Rabin and John Krasinski, the film delivers an entertaining and polished espionage thriller, even if it occasionally feels too comfortable playing by the numbers.

John Krasinski returns as Jack Ryan, once again stepping into the role with confidence. Ryan is pulled back into the world of covert operations after an international mission collapses and exposes a deadly conspiracy involving a rogue black-ops unit. With the threat escalating by the hour, the story pushes Ryan into a desperate race against time alongside trusted allies Mike November, played by Michael Kelly, and former CIA boss James Greer, played by Wendell Pierce. Sienna Miller also makes a strong impression as MI6 officer Emma Marlow, bringing fresh energy to the established dynamic.

The film’s biggest strength is easily its presentation. Ghost War looks fantastic throughout, with glossy cinematography and a scale that gives it a genuine cinematic feel rather than simply resembling an extended episode of the television series. The action scenes are particularly well handled. Fight sequences feel grounded and believable, avoiding the exaggerated style that often weakens modern action thrillers. There is real weight behind the violence, and the tension remains consistent across the film’s larger set pieces.

The music also deserves praise. The score keeps the pace moving while adding an extra layer of urgency during the film’s more suspenseful moments. Combined with the sharp editing and strong visual style, it helps maintain momentum even when the story itself starts becoming familiar.

The explosive finale is another highlight. After steadily building pressure across the runtime, the final act delivers the kind of large-scale payoff fans will likely want from a Jack Ryan film. It is chaotic, tense and satisfying without completely abandoning the grounded tone that made the series popular in the first place.

The returning cast continue to work well together, particularly Krasinski, Kelly and Pierce. Their chemistry carries much of the film, and there is an easy sense of history between the characters that helps the emotional moments land naturally. Sienna Miller also fits into the world surprisingly well, giving Emma Marlow enough intelligence and presence to avoid feeling like a generic late addition to the franchise.

That said, Ghost War does not entirely escape criticism. One of the strongest aspects of the Jack Ryan television series was its intelligence. The show often focused on political tension, surveillance, analysis and slow-burning espionage. The film moves away from that approach in favour of brute force action and constant urgency. While that certainly keeps things entertaining, it also removes some of the depth that made the series stand out from other spy thrillers.

There is also a lingering sense that the film was designed mainly for existing fans rather than newcomers. The relationships, callbacks and character dynamics rely heavily on audience familiarity with the series. Anyone jumping into the franchise for the first time may feel as though they are missing part of the bigger picture.

Despite ticking all the right boxes for a modern espionage blockbuster, Ghost War never quite shakes the feeling of being a very safe production. The rogue operatives, ticking-clock tension and global conspiracy elements are all competently handled, but very little feels fresh or unexpected. At times, the film comes across as another polished, algorithm-driven streaming action thriller rather than something truly memorable.

Still, it remains entertaining throughout. The pacing rarely drags, the action is strong, and the performances are consistently solid. As part of the wider world of Tom Clancy adaptations, it comfortably earns its place and should satisfy fans looking for another tense mission with these characters.

As someone who enjoyed the Jack Ryan series, I had a good time with Tom Clancy’s Jack Ryan: Ghost War. Unfortunately, the film plays things so safely that it becomes difficult to remember once it is over.

Worth watching for fans of the series, even if it never fully reaches the intelligence or freshness of the show itself.

I score Tom Clancy’s Jack Ryan: Ghost War a safe but entertaining 7.5 out of 10.

Out Now on Prime Video - https://amzn.to/4tGGJ7z

Too Many Opinions, Not Enough People to Share Them With? Here's How Cinema Lovers Are Connecting Online

Source: www.magnific.com

You just watched something that got under your skin. Maybe it was a quiet film that ended before you were ready, or a scene that didn't make sense until you were already in bed thinking about it. Whatever it was, you want to talk about it, and there's nobody around who would care enough.

This is a weirdly common experience for people who take cinema seriously. The watching part is easy. The finding-someone-to-debrief-with part is where things fall apart. Your friends are politely tired of your recommendations. Your family thinks you watch "weird stuff." And somewhere along the way, film Twitter either became unusable or just stopped feeling like itself.

So where do you actually go?

The Limits of the Obvious Answers

Letterboxd is genuinely good, and it deserves the praise it gets. But writing a review and waiting for likes isn't really conversation, it's more like leaving a note on someone's door. You rarely get the back-and-forth that changes how you think about something.

Reddit gets closer. r/TrueFilm has real discussions, and some threads are worth reading start to finish. But there's a flatness to it. You drop a comment, somebody responds, and the thread eventually dies. Nobody's really talking to each other, they're talking at the same topic. Discord servers can feel more alive, but you usually have to already follow the right person to find the right server, which means you end up in echo chambers organized around someone else's taste.

None of it quite replicates the thing you're actually looking for: a real conversation, with a real person, who gives a damn.

The Stranger Conversation Approach

Here's something that sounds weird but actually makes sense: random chat platforms. Not for what they're usually associated with, but because the format accidentally solves a real problem. When you show up to talk about cinema with a stranger who has no reason to be polite, no shared social history with you, and nothing to lose by disagreeing, the conversations get interesting fast.

The official CallMeChat website works this way, it pairs you with random people for real-time chat, and while that might sound like chaos, film lovers have found it surprisingly useful. You can open with a director's name or a film you just watched and see what happens. Sometimes it goes nowhere. Sometimes you end up in a forty-minute conversation with someone whose taste is completely unlike yours, and you leave with five films you'd never heard of and a changed opinion on one you thought you'd already figured out.

It's the closest thing online to the old video store experience, bumping into someone in the foreign section who has something to say.

What Actually Makes These Conversations Worth Having

The good ones aren't really about knowledge. You don't need to have a Cahiers du Cinéma subscription or be able to name the cinematographer on demand. What makes a film conversation click is when both people are actually curious, not performing taste, not trying to win, just genuinely interested in what the other person noticed and why.

The practical side effect of that kind of exchange is a better watchlist. Not algorithm-better, where you get served another version of what you already watched, but human-better, where someone recommends something because they think it's specifically right for you, based on what you just told them about yourself.

One-Off vs. Ongoing

Both have their place. A single great conversation with a stranger can rewire how you see a film permanently, even if you never speak again. But a lot of cinephiles are also quietly building something smaller and more durable, a group chat with three people who all agree to watch the same thing, a low-key Discord with a strict no-posting-without-actually-watching rule, an email thread that's been going for two years.

These things don't scale and that's exactly why they work. The smaller the group, the more everyone has to actually show up.

Why Strangers Sometimes Beat Friends

Your friends love you. That's the problem. They'll go easy on your take because they don't want to start something. They'll pretend to agree because the movie isn't worth an argument. A stranger doesn't have any of that baggage. If they think you're wrong about something, they'll say so, and that's where the conversation actually starts.

Film is communal by nature. It always has been. The lights go down and you're sitting next to people you don't know, sharing the same two hours. The conversation that wants to happen after the credits is a natural extension of that. The trick is just finding somewhere to have it.

PREVIEW: LifeHack (2026 Film) - Directed by Irish filmmaker Ronan Corrigan

Preview by Jon Donnis

Triple Media Film and Source Entertainment will release the cyber-heist thriller LifeHack in the UK, exclusively through the Vue Cinema chain. The film currently holds a 100% score from critics on Rotten Tomatoes and is set to open on May 15, 2026. It was nominated for two 2025 British Independent Film Awards following its world premiere at SXSW last year, where it debuted to strong critical acclaim.

The film is directed by Irish filmmaker Ronan Corrigan in his feature debut, working from a screenplay by Corrigan and Hope Elliott Kemp. It comes from Unfriended, Searching and Missing producer Timur Bekmambetov, who produces alongside Joann Kushner and Sasha Kletsov, with Bazelevs and Screenlife Liverpool serving as production companies. Academy Award nominee Michael Fassbender executive produces with his partners Daniel Emmerson and Conor McCaughan at DMC Film.

Inspired by true events, LifeHack follows Kyle and his crew of digital Robin Hoods who hack scammers and steal from people the internet hates, all from their bedrooms. When they target a notorious crypto billionaire, their biggest cyber heist pulls them into a world where payback is no longer virtual. The cast includes Georgie Farmer, Yasmin Finney, Roman Hayeck-Green, content creator James Scholz, Jessica Reynolds and Charlie Creed-Miles.

In his review, Variety film critic Siddhant Adlakha wrote, “LifeHack finds deft balance between its heist elements and its quiet moments of character. All of these prove immensely entertaining. With a techno soundtrack that keeps things propulsive, the movie never slows down, even when it takes a breather.”

“Ronan is a special filmmaker and did an amazing job with LifeHack. We’re very proud to be a part of it at DMC and to continue our work supporting emerging Irish and British talent,” said executive producer Michael Fassbender.

Filmmaker Corrigan said, “This film was a love letter to my teenage years growing up gaming, and to all the insane true crime stories that have come out of these online spaces. Making this film was the equivalent of pulling off a heist with the small, scrappy crew we had. I'm beyond excited for it to be hitting theatres!”

“Most movies miss the mark on what it's like to be young today, but this one nails it. It was made by an incredibly talented cast and crew, all in their twenties, and you can feel that raw, unfiltered energy in every frame,” said producer Timur Bekmambetov.

“LifeHack feels incredibly current,” said Mark Rupp, CFO/COO and Co-Founder of Iconic Events Releasing. “It’s a smart, high-stakes thriller that will connect with today’s audiences. We’re excited to bring it to theatres nationwide this May.”

Synopsis:

Kyle and his three friends spend their time gaming and pranking online scammers with their hacking skills. Eager for a real challenge, Kyle persuades them to target billionaire Don Heard by exploiting his daughter Lindsey's overshared social media presence. When the foursome successfully infiltrate Don's cryptocurrency wallet, they believe they've pulled off the perfect crime - until Lindsey calls Kyle with an ultimatum. As the stakes escalate, what begins as a thrill-seeking stunt spirals into a dangerous game with consequences these four friends never anticipated. 

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