REVIEW: The Sheep Detectives (2026 Film) - Starring Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Molly Gordon, Hong Chau, and Emma Thompson

Review by Jon Donnis

Family films often struggle to balance broad comedy, emotional storytelling and a compelling plot, but The Sheep Detectives manages to bring all three together with surprising confidence. Directed by Kyle Balda and based on Leonie Swann's beloved novel Three Bags Full, this mystery comedy takes an undeniably unusual premise and turns it into one of the most entertaining family adventures of the year. What could have been little more than a novelty quickly develops into a genuinely engaging whodunnit, packed with humour, heart and enough twists to keep both children and adults invested from beginning to end.

The story follows a flock of sheep whose lives are thrown into turmoil after the death of their shepherd, George Hardy, played by Hugh Jackman. Having spent years listening to George read detective novels aloud, the sheep have unknowingly absorbed all the lessons needed to become investigators themselves. As the local police struggle to piece together the truth, the flock embarks on its own investigation, uncovering secrets hidden beneath the surface of their quiet English village.

One of the film's greatest strengths is the mystery itself. Family films often simplify their plots for younger audiences, but The Sheep Detectives refuses to take that route. Instead, it presents a genuinely satisfying investigation filled with red herrings, hidden motives and surprising revelations. The screenplay trusts viewers to follow the clues, creating a story that feels rewarding rather than predictable. While adults will appreciate the structure of the mystery, younger viewers are given enough humour and character moments to remain engaged throughout.

The voice cast is exceptional. Julia Louis-Dreyfus brings warmth, intelligence and determination to Lily, the flock's self-appointed detective, while Chris O'Dowd delivers many of the film's funniest moments as the endlessly memorable Mopple. Bryan Cranston gives Sebastian a surprising amount of depth, transforming what could have been a simple supporting role into one of the film's emotional anchors. Across the board, the sheep are far more memorable than many of the human characters, which is ultimately a compliment considering how much personality the filmmakers manage to give each member of the flock.

That success extends to the film's emotional core. Beneath the comedy lies a surprisingly mature exploration of grief, memory and loss. Like Babe and Homeward Bound before it, The Sheep Detectives treats younger viewers with a level of respect that is becoming increasingly rare in family entertainment. Difficult themes are not avoided or softened beyond recognition. Instead, they are presented in a thoughtful and accessible way that allows the story to carry genuine emotional weight. Some of the film's most effective moments arrive when it slows down and allows its characters to process what has happened rather than rushing towards the next joke.

The film also deserves praise for its tone. Family features often feel frightened of sincerity, constantly undercutting emotional scenes with a joke or reference. The Sheep Detectives embraces earnest storytelling without embarrassment. The result is perhaps the most tonally surprising family film of the year so far, a genuinely heartfelt PG-rated adventure that succeeds through strong characters and timeless storytelling rather than relying on irony or cynicism. Its confidence in well-worn storytelling traditions proves remarkably effective.

Visually, the film creates a charming countryside setting that perfectly suits the story. The village, meadows and farms feel inviting while still maintaining enough atmosphere to support the murder mystery elements. The contrast between the picturesque surroundings and the darker investigation creates much of the film's appeal.

If there is a significant weakness, it is the running time. At 1 hour and 49 minutes, The Sheep Detectives occasionally stretches beyond what its youngest audience members may comfortably sit through. While the mystery remains engaging, some sections feel slightly overextended and a tighter edit could have improved the pacing. Children may begin to lose focus during certain middle portions before the film regains momentum heading into its final act.

Even so, the lengthy runtime does little to diminish the overall achievement. This is a truly lovely and consistently funny family film that never forgets the importance of telling a good story. The mystery is clever, the characters are charming and the emotional moments land exactly as intended. Most impressively of all, the sheep completely steal the spotlight, often overshadowing Hugh Jackman despite his strong performance.

The Sheep Detectives may well become one of the year's biggest surprises. It delivers laughs, mystery, emotion and genuine heart in equal measure, creating a family film that appeals across generations. In an era where family entertainment often struggles to connect with audiences of all ages, this one succeeds with remarkable ease.

The Sheep Detectives is an excellent family film and earns a strong 9 out of 10.

Out Now on Prime Video https://amzn.to/4f1kODW

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: Frankenstein (2025 film)- Starring Oscar Isaac, Jacob Elordi, Mia Goth, and Christoph Waltz

Review by Jon Donnis

Guillermo del Toro's 2025 take on Frankenstein feels like a filmmaker pouring his heart into a story he has cherished for years. It shows from the opening moments on the icebound Horisont Navy Ship. The film settles into a confident stride straight away, using the familiar framing of Victor recounting his sins while the shadow of his creation closes in. It taps into the soul of Mary Shelley's novel with a level of devotion that never feels stiff. Instead it feels lived in, tender in places, and achingly sad in others.

Oscar Isaac gives Victor a cold brilliance that suits the character's inflated sense of purpose. His fall from promising surgeon to broken fugitive has real weight, helped by the film's astonishing design work at every stage. Del Toro fills each frame with towering sets, rich colour, and the sort of textured detail that makes even the bleakest landscape feel strangely inviting. The world around Victor and the Creature has an almost painterly glow. It feels crafted by someone who understands the gothic tone down to its bone marrow. When the story shifts to the Creature's memories, the change in mood is gentle but striking. The forest scenes, the warmth of the blind man's home, the eerie calm of the Arctic. Everything is lit and staged with a confidence that reminds you why del Toro has long been considered a master of monsters.

Jacob Elordi's version of the Creature is one of the film's strongest elements. He captures the pain, confusion, and flickers of fragile hope that define the character. His scenes of learning and companionship are some of the film's most affecting. The only drawback is physical. Elordi plays the emotional notes beautifully, yet he never quite looks as imposing as the classic image of Frankenstein's creation. It is a small gripe, though it does stand out when the story leans into the Creature's terrifying strength.

The length will also test some viewers. At around two and a half hours the film never feels slow, yet it is still a solid commitment. The emotional heft piles up steadily. By the time Victor and the Creature meet again in the present, you can feel the journey in your chest. Their final moment together is quiet, painful, and beautifully earned.

What impresses most is how del Toro reshapes a tale we all know without distorting its essence. This is still a story about life, death, grief, and responsibility. It simply tilts the focus a little more toward forgiveness. Personally, I found myself missing a touch more of the Creature's rage, something closer to the fury of Shelley's original. Even so, it is hard not to admire the sincerity behind this version. It is crafted with love and it shows.

In the wider landscape of adaptations, this may be the finest screen telling so far. It looks extraordinary, it feels deeply human, and it marks a strong return to form for del Toro. I walked away convinced he was born to make this film.

A confident and resonant triumph, and an easy 9 out of 10.

Out Now on Netflix - https://www.netflix.com/gb/title/81507921

And in Select Cinemas

PREVIEW: H is for Hawk (2026 Film) - Stars Claire Foy, Brendan Gleeson, Lindsay Duncan, Denise Gough and Sam Spruell

Preview by Jon Donnis

Lionsgate UK has set 23 January 2026 as the UK and Ireland cinema release date for H Is for Hawk, Philippa Lowthorpe's anticipated adaptation of Helen Macdonald's acclaimed memoir. A striking new trailer and artwork have also been released, offering a first look at the film's deeply emotional tone and its windswept landscapes.

Directed by Philippa Lowthorpe (Misbehaviour, The Crown) and co-written with novelist Emma Donoghue, the film stars Claire Foy as Helen, alongside Brendan Gleeson, Lindsay Duncan, Denise Gough, and Sam Spruell. Produced by Dede Gardner and Jeremy Kleiner, the project brings together an impressive creative team, promising a poignant and visually rich experience.

At its heart, H Is for Hawk follows Helen, a young academic whose life collapses after the sudden death of her father. Lost in grief and memories of their shared passion for birdwatching, she throws herself into the daunting task of training a goshawk named Mabel. What begins as a distraction soon becomes an all-consuming journey of survival, solitude, and spiritual renewal.

As Helen isolates herself in the quiet edges of Cambridge life, she fills her freezer with hawk food, silences her phone, and immerses herself in the raw world of predator and prey. Through her attempts to tame the fierce bird, she begins to confront her own wildness, exploring how love, loss, and nature intertwine in unexpected ways.

Both an elegy and a celebration, H Is for Hawk promises to be one of early 2026's most emotionally resonant releases, a meditation on the untidy beauty of grief, the power of nature, and the courage it takes to live again.