PREVIEW: A Murder Between Friends (2026 Film) - Starring Dame Joan Collins

By Jon Donnis

Murder mysteries rarely go out of fashion, but A Murder Between Friends looks determined to lean fully into the glamour, mischief and deliciously theatrical chaos that made classic whodunits such enduring crowd-pleasers. Set for release across UK digital platforms on 15 June 2026, the film brings together a flashy ensemble cast, a sprawling countryside estate and a murder that threatens to tear apart a group of old friends.

At the centre of it all is Dame Joan Collins, who appears perfectly cast as Francesca Carlyle, a celebrated true crime television personality suddenly forced to put her sleuthing instincts to real use. Collins has always thrived in roles packed with sharp dialogue and larger-than-life confidence, and A Murder Between Friends seems built around those strengths. The film clearly knows the appeal of placing an iconic screen presence in the middle of a murder mystery where every guest has secrets to hide.

Written and produced by Mark Rozzano, with Joan Collins and Percy Gibson serving as co-producers, the film is directed by Jacob Young and Trent Garrett. The production openly embraces the spirit of classic Agatha Christie mysteries, mixing suspicion, betrayal and dark humour with a modern glossy edge. Alongside Collins, the cast includes Toby-Alexander Smith, best known to many viewers for his villainous turn in EastEnders, as well as Young, Garrett and a wider international ensemble.

The premise is simple but effective. Six old friends gather for a luxurious countryside getaway at Francesca Carlyle’s lavish estate. What begins as an evening of drinking, dancing and rekindled relationships quickly spirals into something far darker when one member of the group is discovered murdered under bizarre circumstances. As accusations begin to fly and tensions rise, the surviving guests are forced to confront the uncomfortable possibility that the killer may be sitting among them.

Rather than focusing purely on grim suspense, A Murder Between Friends appears to be aiming for something more playful and knowingly stylish. The promise of twists, sharp exchanges and escalating paranoia suggests a film more interested in entertaining audiences than overwhelming them with bleakness. The combination of celebrity satire, locked-room mystery energy and glossy showbiz flair could make it an appealing choice for viewers looking for an easy summer thriller with a bit of personality.

With Joan Collins leading the charge and a premise designed to keep audiences guessing until the final reveal, A Murder Between Friends could end up being one of those cosy yet chaotic murder mysteries best enjoyed with a crowd all trying to solve the case before the credits roll.

Watch On Apple TV - https://apple.co/49KlvOV

REVIEW: No Ordinary Heist (2026 Film) - Starring Eddie Marsan and Éanna Hardwicke

Review by Jon Donnis

Colin McIvor’s No Ordinary Heist leans into its roots with quiet confidence, drawing from the Northern Bank robbery without ever feeling chained to it. Co-written with Aisling Corristine, the film settles into Belfast in 2004 and quickly makes clear that this is not about spectacle. It is about pressure. The kind that builds slowly, sits in the room, and never quite leaves.

At the centre are two men who would rather not share a conversation, let alone a crisis. Eddie Marsan’s Richard Murray is all tight control and simmering frustration, while Éanna Hardwicke’s Barry McKenna moves through life with a kind of careless energy that borders on self-destruction. Their relationship starts off brittle and only becomes more complicated once their families are dragged into a tiger kidnapping. With Richard’s wife and Barry’s mother held hostage, the pair are forced into an uneasy partnership that never quite settles into trust.

What stands out most is how deliberately the film handles tension. There is no rush to get anywhere. Instead, it lingers in small, telling details. A cigarette burning down to the filter. A glance that lasts a second too long. A silence that says more than any line of dialogue. These moments accumulate, and before long the atmosphere feels thick enough to cut. McIvor’s direction keeps things grounded, resisting the urge to overplay the drama. It works in the film’s favour. The stakes feel real because they are treated as such.

The performances carry much of that weight. Marsan is reliably excellent, bringing a kind of brittle authority to Richard that hints at deeper insecurity. Hardwicke, though, is the one who leaves the stronger impression. His Barry is unpredictable in a way that keeps the audience slightly off balance. One minute he is reckless and frustrating, the next he shows flashes of vulnerability that make you reconsider him entirely. Their back and forth gives the film its pulse. You believe the resentment, but you also sense the strange bond forming under pressure.

There is also a strong undercurrent of social tension running through the story. Workplace hierarchies, old grudges, and the lingering divisions of a place still finding its footing all feed into the narrative. It adds texture without ever feeling forced. The heist itself becomes almost secondary at times, overshadowed by the human dynamics that drive it forward.

That said, the film is not without its drawbacks. Anyone familiar with the real events may find the plot a touch overcomplicated. In reality, the situation was more direct, and the film’s added twists can feel like embellishment for the sake of drama. It is understandable from a storytelling perspective, but it does slightly undercut the authenticity the film works so hard to establish elsewhere.

There is also the question of accessibility. The dialogue leans heavily into local accents, which adds to the realism but may prove challenging for some viewers. If you are not used to it, subtitles might become essential, and that can affect how easily you settle into the rhythm of the film.

Even with those issues, No Ordinary Heist remains an engaging watch. Its relatively tight running time keeps things moving without overstaying its welcome, and the balance between tension and character work is handled with care. It never feels bloated or self-indulgent.

In the end, this is a film that succeeds because it keeps its focus narrow. It does not chase grand statements or flashy set pieces. Instead, it builds a story out of distrust, fear, and reluctant cooperation. The result is something that feels both intimate and quietly gripping.

No Ordinary Heist lands as a strong, character driven thriller with enough edge to keep you invested throughout. An easy 8.5 out of 10.

Out Now on Digital

Apple TV - https://apple.co/419iyTB

PREVIEW: The Session Man: Nicky Hopkins

Preview by Jon Donnis

The Session Man: Nicky Hopkins is one of the greatest session musicians you’ve probably never heard of now a new feature documentary celebrates the unsung rock and roll hero whose contributions helped create some of the most iconic music of all time

There is a certain irony in how some of the most recognisable music ever recorded can be traced back to a man whose name rarely made the sleeve. That quiet absence is exactly what makes the arrival of The Session Man feel so overdue. Landing digitally in the UK on 4 May 2026 through Reel2Reel Films, the documentary turns its full attention to Nicky Hopkins, a musician whose influence has long echoed louder than his public profile.

Directed by Mike Treen and produced by John Wood alongside Mike Sherman, the film sets out to correct that imbalance. It traces the life of a pianist who helped define the sound of an era while deliberately staying out of its spotlight. Hopkins built a career across more than three decades, navigating personal setbacks while quietly shaping the recordings of some of the biggest names in popular music.

His list of collaborators reads like a map of rock history. He worked extensively with The Beatles, even contributing to solo work from all four members, including John Lennon’s Imagine. His relationship with The Rolling Stones was equally significant, appearing across fourteen of their albums. From The Kinks and The Who to Rod Stewart, Dusty Springfield and Jeff Beck, his fingerprints are everywhere. The reach extends even further, touching the work of Cat Stevens, Peter Frampton, Joe Cocker, Art Garfunkel, Ella Fitzgerald and Carly Simon, among many others.

Across more than 250 albums and countless singles, Hopkins developed a style that felt instantly recognisable yet never intrusive. His piano lines carried songs without overwhelming them. You hear it in Revolution, in Sympathy for the Devil, in Angie, in Jealous Guy, in You Are So Beautiful. Each track carries a trace of his touch, a subtle lift that turns a good recording into something lasting.

Recognition, when it finally came, arrived long after his passing. Over thirty years on, Hopkins was inducted into the Rock and Roll Hall of Fame in November 2025, with another honour set to follow at the Musicians Hall of Fame on 28 April 2026. The timing gives this documentary a certain weight. It feels less like a rediscovery and more like a correction.

Narrated by Bob Harris, the film gathers voices from across that golden era, including Keith Richards, Mick Jagger, Pete Townshend, Peter Frampton and Bill Wyman. There is also a more personal perspective through his widow, Moira Hopkins, who helps bring the man behind the music into clearer focus.

The Session Man does not try to rewrite history. It simply fills in the space that was always there, the space behind the piano, where one of rock’s most important musicians quietly shaped the sound of a generation.

On digital 4 May from Reel2Reel Films

APPLE TV - https://apple.co/4dJn3f3

PREVIEW: Trapped (2025 Film) - A Raw and Unflinching British Drama Arrives This November

Preview by Jon Donnis

Powerful and uncompromising, Trapped tells the story of Raye, a woman caught in an abusive relationship, fighting for freedom and survival. The film follows her desperate struggle to escape, while laying bare the far-reaching damage caused by violence and control. Premiering at Genesis Cinema in London on 8 November 2025, Trapped will be available to rent or buy from Amazon Prime, Google Play, and iTunes from 17 November 2025.

The film boasts a striking ensemble cast led by Gina Jones, joined by Shane McCormick, Craig Fairbrass, Geoff Bell, Simon Manyonda, Eddie Webber, Josh Witcher, Calum MacNab, Lottie Lewis, Kadeem Ramsay, Miguella Charley, Aimée Hills, Karen Seacombe, Byron Gibson, Tom Gordon, Tom Padley, and James Hicks. The film is directed by Roland Manookian, best known for Castle in the Sky and Eastenders.

Behind the scenes, Trapped marks a key collaboration between Shane McCormick's new company, Move Mountains Production, and actor, writer, and producer Josh Witcher. The screenplay, penned by Manookian, expands on an original story by Witcher.

Echoing the emotional depth and realism of Gary Oldman's Nil by Mouth, Trapped explores the corrosive effects of domestic abuse and the toll it takes on everyone caught within its orbit. It's a grounded, character-driven drama that looks set to challenge, unsettle, and move audiences in equal measure.

Trapped premieres 8 November at Genesis Cinema, London, before its digital release on 17 November 2025.

PREVIEW: Ballad of a Small Player (2025 Film) - Starring Colin Farrell

Preview by Jon Donnis

Colin Farrell stars in Ballad of a Small Player, a tense, atmospheric story set in the bright lights and smoky corners of Macau's casinos. The film, directed by Edward Berger, known for All Quiet on the Western Front and Conclave, will open in select UK and Ireland cinemas on 17 October and arrive on Netflix on 29 October.

Farrell plays Lord Doyle, a man sinking under debt and heavy drinking. He spends his days and nights on the casino floors, gambling what little money he has left. His situation takes a turn when he meets Dao Ming, played by Fala Chen, a casino employee with her own secrets. She offers Doyle a chance at a way out, though it's never clear whether it is real help or another trap.

Adding pressure is Cynthia Blithe, a private investigator portrayed by Tilda Swinton, who is determined to confront Doyle over what he's been running from. As the chase tightens, Doyle struggles to stay in control and keep his grasp on reality.

The film also stars Deanie Ip and Alex Jennings, rounding out a strong cast. Rowan Joffe adapted the screenplay from Lawrence Osborne's novel The Ballad of a Small Player, giving the story its cinematic form.

With Berger directing, the film promises a stylish and intense exploration of risk, obsession and survival in a world that never slows down. Ballad of a Small Player hits cinemas in October before streaming on Netflix later in the month.

PREVIEW: Odyssey (2025 Film) - Starring Polly Maberly

Gerard Johnson is back, and this one looks like a beast. Odyssey, his latest feature, is gearing up to make some serious noise with back-to-back premieres at Edinburgh International Film Festival and FrightFest this August. If you've seen Tony, Hyena, or Muscle, you'll know Johnson doesn't exactly deal in soft edges. This new one looks like it'll be no exception, only more neon, more pressure, and maybe even more personal.

At the centre of it all is Natasha Flynn, a cutthroat estate agent living beyond her means and barely keeping it together. Her world of fast deals and sleek lies comes crashing down when the people she owes money to start calling in favours that can't be paid with cash. What follows sounds like a slick, high-stakes descent through London's seedy corners, all while Natasha tries to stay ahead of everyone out to ruin her. It's being sold as stylish, gritty, and darkly funny, with a sharp eye on the modern housing crisis and the kind of corporate greed that eats people alive.

Polly Maberly takes the lead, and by all early signs, she's throwing everything at it. She's joined by Mikael Persbrandt, always good for an edge of danger, and a solid British cast including Guy Burnet, Jasmine Blackborow, Daniel De Bourg and Peter Ferdinando. Even the soundtrack promises bite, with an original score from THE THE, which feels like exactly the right kind of mood to score this ride.

Critics are already on board. Words like "heart-pounding", "riveting", and "wildly entertaining" have been floating around since its world premiere at SXSW. One even called it a masterclass. Not that Johnson's ever been shy of praise, but there's something about this one that feels like it might push him even further into the spotlight.

If you're into thrillers that come with bite and a bit of brains, Odyssey should be on your list. UK premieres land mid and late August, with a full cinema rollout in November. Feels like it's building towards something big.