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: Eddington (2025 Film) - Starring Joaquin Phoenix and Pedro Pascal,

By Jon Donnis

Eddington is a sprawling, intense film that tries to say a lot about modern America through the lens of a small town caught in a bitter standoff. Joaquin Phoenix leads the charge as Joe Cross, a sheriff who clashes with the town’s mayor, played by Pedro Pascal, over pandemic rules and power. It’s a story about how fear, politics, and misinformation can tear communities apart, but the film often struggles to balance its many ideas. At times it feels like it wants to cover everything all at once, which makes the narrative feel heavy and a little unfocused.

Phoenix is magnetic as always, delivering a performance full of tension and frustration that grounds the film. Emma Stone is a strong presence too, playing Joe’s wife with a mix of vulnerability and volatility that adds emotional weight. The supporting cast, from Austin Butler’s cult leader to Michael Ward’s deputy, bring interesting energy, but some characters feel lost in the shuffle. The film runs long, over two hours, and the pacing suffers because it tries to juggle so much without always making it clear what it wants to say.

One of the film’s weaknesses is that it doesn’t really pick a side, showing both the town’s divisions without leaning into a clear viewpoint. While that might be intentional, it leaves the satire feeling somewhat neutral and less sharp than it could be. Some plotlines aren’t fully developed, and the story can wander, which might leave viewers wanting more focus and clarity. It’s a lot to take in, and at times the film feels like it bites off more than it can chew.

Still, Eddington has its moments of dark humour and raw insight into how paranoia and conflict can escalate. The violence hits hard and feels real, never cheap. The film demands patience and attention, rewarding those willing to sit with its messy, complicated portrait of a community unraveling. It’s not an easy watch, and some might find it slow or confusing, but it stands out for its ambition and strong performances, even if it doesn’t always deliver a fully satisfying story.

I score Eddington a safe 6 out of 10.

Out Now

Apple TV - https://apple.co/4eWD8fQ