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98th Annual Academy Awards With awards season now entering its decisive phase, the Oscar race has finally sharpened into something resembling a finish line rather than a blur of possibilities. The guild awards, critics’ prizes, and industry chatter have clarified much of what once felt uncertain back in October. While a few late-season releases attempted to disrupt the hierarchy, the Academy’s preferences are becoming clearer by the day. Momentum, narrative, and timing have aligned for some contenders, while others have quietly slipped out of serious contention. At the center of the race, One Battle After Another has successfully converted its early “masterpiece” reputation into sustained awards dominance. Skipping festivals initially seemed risky, but the film’s critical consensus and strong guild support have kept it firmly positioned as the Best Picture frontrunner. Hamnet , buoyed by its People’s Choice win at TIFF, has held on remarkably well, proving once again that emotional resonance and broad appeal still matter deeply to Academy voters. Meanwhile, Sinners has completed an impressive long-game campaign, defying its early-year release disadvantage and emerging as one of the season’s most resilient contenders. In the performance categories, the landscape this year feels surprisingly less competitive than usual, with clear frontrunners emerging early but still plenty of uncertainty bubbling underneath. Lead Actor is steadily settling down and with a lot of certainty, so is Lead Actress. That said, both lead acting races still have one nomination slot very much up in the air, leaving room for late surges or unexpected misses. Supporting Actor currently looks like the most settled category on paper—but awards season has a way of humbling certainty—while Supporting Actress remains wide open, with genuine scope for surprises and high-profile snubs on nomination morning, which may come as ‘ wicked ’ surprise to many. Late arrivals made noise but stopped short of reshaping the race. Josh Safdie’s Marty Supreme  earned passion and looks to be very much on the up, while John M. Chu’s Wicked: For Good  is losing steam but may still perform strongly in tech categories. Avatar: Fire And Ash  made some early noise but never came close to dominating the above-the-line conversation. International contenders like Sentimental Value  and The Secret Agent  remain potent threats, particularly in screenplay and acting races. As final ballots loom, this Oscar season looks less chaotic than expected—but no less competitive, with prestige, popularity, and narrative all colliding at just the right moment. With that in mind, this is a year that feels ripe for risk-taking. I’m very much in the mood to take a few big swings with these predictions—leaning into gut instincts, late momentum, and the Academy’s long history of surprises. Some of these picks may feel bold on paper, but in a season this fluid, playing it safe feels like the bigger gamble. Best Picture One Battle After Another Marty Supreme Hamnet Sinners Sentimental Value The Secret Agent Train Dreams Bugonia F1 Frankenstein Leonardo DiCaprio in One Battle After Another .  © Warner Bros Best Director Paul Thomas Anderson ( One Battle After Another) Chloé Zhao ( Hamnet) Ryan Coogler ( Sinners) Josh Safdie ( Marty Supreme) Guillermo Del Toro ( Frankenstein) Best Actor Timothée Chalamet ( Marty Supreme) Leonardo DiCaprio ( One Battle After Another) Wagner Moura ( The Secret Agent) Michael B. Jordan ( Sinners) Jesse Plemons ( Bugonia) Best Actress Jessie Buckley ( Hamnet) Renate Reinsve ( Sentimental Value) Emma Stone ( Bugonia) Chase Infiniti ( One Battle After Another) Rose Byrne ( If I Had Legs I’d Kick You) Best Supporting Actor Sean Penn ( One Battle After Another) Benicio Del Toro ( One Battle After Another) Paul Mescal ( Hamnet) Stellan Skarsgård ( Sentimental Value) Jacob Elordi (Frankenstein) Best Supporting Actress Teyana Taylor ( One Battle After Another) Wunmi Mosaku ( Sinners) Amy Madigan ( Weapons) Inga Ibsdotter Lilleaas ( Sentimental Value) Odessa A'zion ( Marty Supreme ) Amy Madigan in Weapons .  © Warner Bros Best Original Screenplay Sentimental Value  (Joachim Trier & Eskil Vogt) Sinners  (Ryan Coogler) It Was Just an Accident (J afar Panahi) Marty Supreme ( Ronald Bronstein and Josh Safdie) Weapons (Zach Cregger) Best Adapted Screenplay Hamnet  (Chloé Zhao) One Battle After Another  (Paul Thomas Anderson) Bugonia  (Will Tracy) Train Dreams  (Clint Bentley & Greg Kwedar) Frankenstein ( Guillermo Del Toro) Best Animated Feature KPop Demon Hunters  (Netflix) Arco  (Neon) Little Amelie Or The Character Of Rain (GKIDS) Elio ( Pixar ) Zootopia 2  (Disney) Mira, Rumi, and Zoey in KPop Demon Hunters.  © Netflix Best International Feature Sentimental Value - Norway It Was Just an Accident - France No Other Choice - South Korea The Secret Agent  - Brazil Sirat - Spain Nominations for the 98th Annual Academy Awards will be announced on January 22, and the awards ceremony will be held on March 15, 2026.

Steal © Prime Video When you find yourself wondering how an ordinary day can become the worst day of your life, look at Steal , the new series on Prime Video. Prime Video's new crime thriller follows Zara Dunne, a mild-mannered employee at Lochmill Capital, a pension fund investment company, who becomes entangled in a grand heist to rob 4 billion pounds of pensions. She and her best friend, Luke, become persons of interest for DCI Rhys Covac, who discovers the nature of the crime goes deeper than anything he could have expected. Created and written by Sotiris Nikias, Steal stars Sophie Turner as Zara Dunne, Archie Madekwe as Luke, and Jacob Fortune-Lloyd as DCI Rhys Covac. The series boasts a brilliant plot with striking realism and excellent performances from the cast, led by the amazing Sophie Turner. Unfortunately, after starting with a bang in the pilot episode, Steal becomes stagnant and struggles to regain momentum. Steal Ignites A Spark To No Explosion Sophie Turner as Zara Dunne in Steal, Season 1, Episode 1. © Prime Video The pilot feels like a prologue to a Die Hard movie, with the notable exception of John McClain. There are no heroes; only villains and victims. Palpable dread ensues when we see these ordinary employees going about their day-to-day business, being held at gunpoint by heartless criminals conspiring to rob billions of pension funds. The entire episode is a breathtaking introduction to a crime thriller that has something unique to offer. Given the excellence of the story, performances, and gripping suspense, this should have been a movie by all accounts. Unfortunately, the following episodes travel through uncertain terrain. Steal , initially presenting itself as a heist epic, is revealed to be an ambitious conspiracy thriller that ironically peaks with its introduction, only to get lost in the pursuit of its potential. Sotiris Nikias and his creative team are undoubtedly rich in talent, but it feels like their ideas were left depleted after outdoing themselves in episode 1. Without going into spoiler territory, Steal's first episode ends with a jaw-dropping twist that can whet anyone's appetite for an exciting freshman season; however, the story moves backward when it should have been moving forward. While there are sporadic glimpses of similar energy to the pilot, they fade quickly. The series mostly drags on, following a non-linear approach from episode 2 onwards. Our Faces In The Crowd Sophie Turner as Zara Dunne and Archie Madekwe as Luke in Steal , Season 1, Episode 1. © Prime Video Although the narrative loses momentum, the performances by Sophie Turner, Archie Madekwe, Jacob Fortune-Lloyd, and the supporting cast remain consistent. Their performances are thoughtful and precise, so audiences can see themselves in their characters and experience the severity of this nightmare scenario. Sophie Turner stands out as the protagonist, Zara Dunne. She is a terrified social butterfly caught in a messy web between life and death. As mentioned earlier, there are no heroes. Zara is anything but John McClain. She is simply trying to survive and minimize the risks of her friends and colleagues getting hurt. Zara, being front and center, showcases Turner's range and ability to lead a series of this genre. Her screen presence adds a redeeming quality to Steal , allowing viewers to remain invested in her character throughout the first season. Archie Madekwe is also convincing as Luke, Zara's best friend. He presents an interesting contrast to her as he reacts differently to the crisis without compromising natural human instincts. He is understandably a mess, as Madekwe makes us fear for his character's life by being frantic 95% of his screen time. As Steal shifts into a grander corporate conspiracy, Jacob Fortune-Lloyd's DCI Rhys Covac arguably becomes the protagonist. Fortunate-Lloyd does a great job of conveying the weight of the world on Cavac's shoulders through his character portrayal. Underneath his bravado is a detective who takes the case personally. Pardon the third Die Hard reference, but Covac feels like he wishes he were John McClain so he could have been there to stop the villains. Steal Starts Strong But Misses The Mark Jacob Fortune-Lloyd as DCI Rhys Covac and Sophie Turner as Zara Dunne in Steal , Season 1, Episode 1. © Prime Video The heist thriller is worth watching for Sophie Turner, Archie Madekwe, and Jacob Fortune-Lloyd's acting. The cast reacts how any of us would in a disaster that no one should be in, while having identities they can call their own. Steal  should have been a great series. The elements for making a hit are present: a solid hook, a unique plot, an unpredictable twist, high stakes, and amazing talent from the cast. Keeping those elements together proves to be a challenge, considering how inconsistent the story structure became following the brilliance of the first episode. Hope is not lost; the potential is still there, waiting to be fully realized. All six episodes of Steal, Season 1 ,  will be released on January 21 on Prime Video. Steal © Prime Video About Steal Premiere Date:  January 21, 2026 Episode Count:  6 Executive Producers: Greg Brenman, Rebecca de Souza Writers: Sotiris Nikias Director: Hettie Macdonald, Sam Miller Production:   Amazon MGM Studios, & Drama Republic Distribution:  Prime Video Cast:   Sophie Turner, Archie Madekwe, Jacob Fortune-Lloyd Synopsis: A high-octane, heart-pounding thriller about the heist of the century. A typical day at Lochmill Capital is upended when armed thieves burst in and force Zara (Sophie Turner) and her best friend Luke (Archie Madekwe) to execute their demands. In the aftermath, conflicted detective Rhys (Jacob Fortune-Lloyd) races against time to find out who stole 4 billion pounds of people’s pensions and why.

© DC As reported by Nexus Point News, a female supporting character was being cast for Man of Tomorrow  with warrior-like qualities and a certain height requirement. Although fans initially suspected this would be the debut of the DC Universe’s Wonder Woman, NPN can confirm that this character will be Maxima . Maxima is set to debut in Man of Tomorrow  as a secondary antagonist and sources tell NPN that similar to the comics, she will eventually join forces with the heroes. Maxima was created by Roger Stern and George Perez in 1989 in Action Comics (1938) issue 645. Maxima is the queen of Almerac who came to Earth to find a suitable mate and to marry her as king. She sets her sights on Superman as a potential mate, who rejects her. Another notable storyline involving Maxima is the “Panic in the Sky” crossover event where Brainiac, with the help of Maxima, invades Earth. Brainiac had taken over Almerac and coerced Maxima into aiding him. Superman assembles a team of heroes to fight Brainiac and following Maxima’s betrayal of Brainiac, the heroes defeat him and Warworld. She later goes on to join the Justice League. All signs point to Man of Tomorrow being an adaptation of “Panic in the Sky” with the involvement of Brainiac and Maxima. There are also reports of another hero being cast for the film who could potentially join Superman and Lex Luthor to fight off Brainiac’s invasion. Although unconfirmed, it’s possible that the Justice Gang can return to join the heroes along with characters like Supergirl, Peacemaker, and Lobo. A Justice League film may be far off, but Man of Tomorrow  certainly can begin planting the seeds for that eventual crossover. As announced in September 2025, James Gunn is set to write, direct, and produce the film. DC Studios’s co-CEO and chairman, Peter Safran, will produce along with Gunn. David Corenswet and Nicholas Hoult are set to reprise their roles as Clark Kent/Superman and Lex Luthor, respectively and will serve as co-leads of the film. Additionally, Frank Grillo is confirmed to return as Rick Flag Sr. Although the film will continue their rivalry and feature Lex as an antagonist, rumors suggest they will also join forces as well. Although unverified, NPN exclusively reported that Supergirl (Milly Alcock), Lobo (Jason Momoa), and Peacemaker (John Cena) will have roles in the film as well. In December 2025, Gunn revealed that Lars Eidinger had joined the cast as Brainiac. Production for the film is set to begin in April in Atlanta and shoot through the Summer.  Superman released on July 11, 2025 as the first feature film from DC Studios and the first film of the newly launched DCU. In addition to Superman and Luthor, the film introduced fans to the DCU’s Lois Lane (Rachel Brosnahan), Jimmy Olsen (Skyler Gisondo), Mister Terrific (Edi Gathegi), Guy Gardner/Green Lantern (Nathan Fillion), Hawkgirl, Supergirl, Perry White (Wendell Pierce), and more. The film had a $225 million budget and earned $616 million in its global theatrical run. Threads of the storyline introduced in Superman  will be explored in season 2 of Peacemaker , which recently concluded. Future DCU projects include Supergirl , Lanterns, and Clayface  which are all currently in post-production. Additionally, a series starring Jimmy Olsen is in development for HBO Max with plans to shoot this Summer. DC Studios’ Man of Tomorrow is set to be released by Warner Bros. on July 9, 2027.

This review contains minor spoilers for 'A Knight of the Seven Kingdoms' Season 1 Episode 1. Peter Claffey as Ser Duncan the Tall in A Knight of the Seven Kingdoms © HBO Amidst rumours around a  Game of Thrones sequel series and House of the Dragon Season 3 comes a new, smaller-scale adventure within the land of Ashford Meadow. Those expecting gruesome violence and brooding villainy may be taken aback during A Knight of the Seven Kingdoms' opening episodes. As it debuts cutaway gags and crude, immature humour within seconds of its premiere, it possesses a style more akin to Family Guy than Game of Thrones' usual bleakness. And it makes no mistake in committing to such personality, never once second-guessing itself and walking back into familiar GoT territory, for better or worse.  Audiences follow Ser Duncan the Tall (Peter Claffey), a naive and clumsy, but brazenly ambitious, hedge knight embarking on a series of ridiculous exploits determined to make a name for himself. Episode 1, titled "The Hedge Knight," finds Duncan, or Dunk as he innocently calls himself, finding his feet after the passing of his Knight. No longer a squire, he travels with a fire in his belly in the pursuit of purpose, determined to compete in a local tournament. Along the way, he interacts with an ensemble of strange characters, from the stable boy called Egg (Dexter Sol Ansell) to the powerful Lord Lyonel Baratheon (Daniel Ings). Peter Claffey as Ser Duncan the Tall and Daniel Ings as Lord Lyonel Baratheon in A Knight of the Seven Kingdoms © HBO Such quirky personalities lend a delightful humour to the debut episode. Creating a distinct and uniquely cozy atmosphere that leans into the world of Game of Thrones but deliberately avoids falling in. Set 100 years before the events of the original series, AKOTSK allows the opening episode to establish the gentle charm of Dunk, the hurt he carries and the past in which he has suffered. This magic is drawn from gags, which, whilst serving belly-aching laughs, provide snippets of exposition; Why the adventure is so important, and why he is so headstrong on becoming a knight different to the one he followed. Peter Claffey ( Small Things Like These ) serves an incredible performance here and from early doors proves to be a stellar, vertically superior casting.  In many ways, audiences may resonate with the character of Ser Duncan. An overlooked outcast taught to “fit in and keep your head down”, yet yearning for purpose, even if just to be seen. Thematically, Episode 1 successfully completes an arc in this respect, or at least comes close in doing so. Overly self-critical, Dunk often acknowledges the snarky comments others brandish him with, from a slumped posture to his wholesome, gullible approach, atypical for a Knight within such times. Constantly kicking himself for letting others walk over him, he manages to overcome this attitude. Calling out bullyish behaviours and standing his ground, ironically earning the respect he is sought-after. Already growing towards the mentality of a heroic Knight.  Dexter Sol Ansell as Egg and Peter Claffey as Ser Duncan the Tall in A Knight of the Seven Kingdoms © HBO Similarly, early achievement is found within Dunk’s treatment of Egg, the stable boy fixated on Ser Dunk, offering his services as a squire when tending to his horses. Whilst Dunk declines, it is done so with kindness, hoping the stable boy pursues a life better than the one he grew up with. Such moments highlight an incredible quality within the script, as audiences, hardly familiar with the character, become attached and aware of his personality as a good-natured gentle giant. Upon the reveal that Egg followed Duncan to the tournament, he finally accepts his services. Yet the parallel to managing the boy already feels different from his own experience as a squire, with Dunk acknowledging the unfair treatment he received and vouching to be better.  Throughout the episode, and a mentality likely to continue throughout the series, Dunk resonates more with the younger characters, than those he stands alongside. In the absence of a father figure, he leans on any support he can find. Whether the office tournament registry, local whores or even Lord Baratheon himself, encouraging an early range of performances that illustrate Ser Dunk’s purposelessness. Intertwining with this variety of characters proves endlessly exciting, with unpredictable remarks and laughs hiding around every corner. Simultaneously serving as cleverly sculptured insights into the minds of each role; how they treat Duncan and approach conversation, all the while contributing to audience’s gaining further understanding of this new time period and the temperaments within. Peter Claffey as Ser Duncan the Tall in A Knight of the Seven Kingdoms © HBO Given a blend of substance accustomed to television such as Ted , Game of Thrones, and even The Office (given its affable charm), one might not be unfair to suggest Episode 1 takes small and steady strides in narrative development. It seems keen on quickly developing personalities and introducing audiences to its raucous festival-like environment. In the best possible way, A Knight of the Seven Kingdoms truly feels like a spin-off, opposed to a sequel or prequel series of a similar vein – like House of the Dragon . Unabashed by its humorous take on the region, as well as the colourful characters that feature, it executes a hysterical, quick-witted introduction that is unapologetically entertaining.  Episode 1 lays the groundwork for a stellar series showcasing a surprising range within the fantastical world of Game of Thrones . Unexpected by many, A Knight of the Seven Kingdoms boasts an incredible start to 2026’s television slate.  A Knight of the Seven Kingdoms  © HBO About A Knight of the Seven Kingdoms Premiere Date:  January 18, 2026 Writer: Ira Parker, Aziza Barnes, Hiram Martinez, Annie Julia Wyman, Ti Mikkel Director: Owen Harris, Sarah Adina Smith Distribution:  HBO Cast:   Peter Claffey, Dexter Sol Ansell, Finn Bennett, Bertie Carvel, Tanzyn Crawford, Daniel Ings, Sam Spruell

Miguel Torres Umba as Ben the chimpanzee in Primate  © Paramount Pictures January is usually a quiet month for movies at the start of the year, and it’s often that we get releases that don’t end up being either memorable or just worth talking about in general. It seems like Hollywood has given itself a new year resolution that we haven’t been aware of, because it’s taking the “new year, new me” motto seriously by releasing several films that have impressed in one way or another. It’s more impressive that there have been several horror movies that have been released this year, and I can safely say that we’ve yet to receive one that’s a reminder of last year’s Presence , which was dull, or 2024’s Night Swim , which had an out-there concept. Johannes Roberts’ Primate falls more in line with Night Swim , but the only thing they share is a concept that sounds ridiculous. The difference is that Primate’s storyline is an actual possibility; it’s just that the likelihood of some of the kills and fights might be slightly too far-fetched. Primate follows Lucy Pinborough (Johnny Sequoyah) who returns back home to Hawaii after years away, reuniting with her friends, family, and most importantly, Ben the chimpanzee (Miguel Torres Umba). When Ben catches rabies from another animal, he becomes aggressive and lets loose, forcing Lucy and friends to survive a vicious night alone with him. When hearing the name Johannes Roberts, I think of the two movies that I’ve seen from him: The Stranger: Pray at Night and Resident Evil: Welcome to Raccoon City , with one of these being pretty mediocre but still the best movie in the franchise, while the other was quite easily the worst adaptation we had received yet of the IP. Safe to say, I went into Primate believing that I’ll likely have a fun time despite the film being bad. Jessica Alexander as Hannah and Miguel Torres Umba as Ben the chimpanzee in Primate © Paramount Pictures I wasn’t entirely wrong. To call Primate a bad movie would be an insult to some of the beautiful craft behind it that gives it that realism, but to also call the movie good would be to gaslight myself. Primate is merely an entertaining movie that just happens to be an okay watch. There’s a lot to like about it, but there’s also a lot that leaves you scratching your head in confusion. There’s nothing more I love than a genius and captivating cold open that sells you on the idea of the movie. Primate delivers on all angles in that field, as we’re instantly introduced to Ben and are brought to our first death of the film. It’s a scene that builds up the tension well into the kill, which is not only gruesome but also highlights the strength of a chimpanzee and just how crazy the remainder of the movie is going to be. When it comes to Ben and how he’s portrayed and written, I’m genuinely quite satisfied. Instead of opting for a fully CG chimp, which would’ve been a horrifying outlook for a low-budget horror movie, they take the direction of getting the very talented Miguel Torres Umba to portray Ben inside a practical suit. It makes all the interactions he has with the people around him feel realistic, and when he goes on his violent rampage, the kills seem to have weight to them. It can get a laugh from the audience with how Ben plays around with his victims, laughing at them or tricking them, but overall, the idea of a man in a suit works better for Primate than a completely CG creature that wouldn’t have provided the same type of emotion. Miguel Torres Umba as Ben the chimpanzee in Primate . © Paramount Pictures The human characters in this story are all rather boring to watch, and Roberts and Ernest Riera try their best to develop their characters in hopes that the audience will connect with them by the time Ben’s rampage begins, but each character comes off as dull, one-dimensional and irritatingly annoying. It’s a struggle to care about Lucy having a crush on her childhood friend, Nick (Benjamin Cheng), or that Nick wants to sleep with Rachel (Jessica Alexander), his sister Kate’s (Victoria Wyant) friend. I also don’t care for Lucy and Kate’s father, Adam (Troy Kotsur), who’s a famous author trying to get a movie deal. Roberts and Riera try their hardest to make these characters interesting, but their interactions with each other may easily be the worst part about the movie, with dialogue that’s just outright cringe and out of place. When these characters are interacting with Ben, the film is at its best, and whether that’s because I’m rooting for him to slaughter them all or simply because there seems to be an emotional connection between him and the family that seems to be nonexistent with any other relationship in the family is hard to tell, but I think it’s a bit of both. Primate is, frustratingly, an irritating movie with a script that’s beyond stupid, a plot that’s ridiculous and performances that are laughable, but you didn’t come here for a well-written and thought-out movie. You came to watch a chimpanzee rip faces and pull jaws off its victims, and Primate delivers by producing some shockingly gory kills that make for an entertaining experience full of nonstop relentless violence. Primate . © Paramount Pictures About Primate Premiere Date:  January 30, 2025 Writer: Johannes Roberts, Ernest Riera Director: Johannes Roberts Production:  18Hz Productions Distribution:  Paramount Pictures Cast:  Johnny Sequoyah, Jessica Alexander, Troy Kotsur, Victoria Wyant, Gia Hunter, Benjamin Cheng, Miguel Torres Umba

Ben Affleck and Matt Damon Reunite in The Rip © Netflix There is an undeniable gravitational pull when titans of the industry reunite. With Joe Carnahan’s latest Netflix thriller, The Rip , the promise of a Matt Damon and Ben Affleck reunion set expectations sky-high. On paper, it’s a winning formula: a gritty crime thriller, high stakes, and two of Hollywood’s most storied collaborators sharing the screen again. Yet, despite the star power, The Rip  ultimately feels like watching Michelin-star chefs make a ham sandwich. The premise is familiar territory for the genre: cops down on their luck stumble upon a massive hoard of cash, leading to a spiral of moral questioning and paranoia. The moral calculus is immediate: take the money and fix their broken lives or book it and stay clean. To Carnahan's credit, the tension is palpable, and the pacing is well-executed, keeping us engaged as the stakes rise. However, the film suffers from a "plug-and-play" quality. The script feels so generic that you could swap Damon and Affleck for any other duo and the result would be identical. The film leans heavily on their dialogue, often leaving the impressive supporting cast – including Kyle Chandler, Teyana Taylor, and Steven Yeun – feeling wasted largely relegated to the background. Watching an actor of Steven Yeun's caliber be given little to do but look concerned in a stash house and used mainly as a plot device was kind of a rip-off for me. Steven Yuen, Teyana Taylor and Sasha Calle co-star in The Rip © Netflix Ideally, a film with this much wattage would elevate the material, but The Rip  largely plays out as a mid-tier entry that we have all seen before. The tropes are standard fare: the discovery of the money, the questioning of morality, and the inevitable questioning of loyalty between partners.   However, amidst the sea of A-list testosterone, there is a distinct beacon of light: Sasha Calle. Despite limited screen time compared to her heavyweight co-stars, Calle shines the brightest. She brings a fresh honesty that the rest of the film lacks, proving she has a massive future ahead of her. It is a genuine shame that the narrative didn't carve out more space for her performance. The film’s conclusion also leaves much to be desired. After a tense buildup, the ending feels rushed and underwhelming, devolving into a corny, early-2000s buddy cop resolution that undermines the grit established earlier. Perhaps the biggest letdown, however, comes after the credits roll. For those like me who enjoy diving into the "true events", especially with what was touted to be a crime thriller worthy of the screen, The Rip  offered me a sting of disappointment. The story is not a recounting of history, but merely loosely based on events involving a friend of the director and very, VERY, loosely based off the Miami River Cops scandal in the mid 80s – a realization that makes the two-hour runtime feel even more hollow. If you are looking to kill two hours and can't get over the fact you are watching Damon and Affleck question their morality over a pile of cash, The Rip  might suffice. But by the time the credits roll, you might find yourself questioning your decision to stay till the credits roll.   The Rip   ©  Netflix About The Rip Premiere Date:  January 16, 2026 Writer: Joe Carnahan Director: Joe Carnahan Production: Artists Equity Distribution: Netflix Cast:   Matt Damon, Ben Affleck, Steven Yeun, Teyana Taylor, Sasha Calle, Catalina Sandino Moreno, Scott Adkins, and Kyle Chandler

This article contains spoilers for St. Denis Medical  S2E10. Kahyun Kim as Serena, and Allison Tolman as Alex in St. Denis Medical © Justin Lubin/NBC Season 2 of St. Denis Medical  continues its strong run this week with “This is From Joyce,” an episode that leans hard into bad decisions. It’s tightly packed, juggling multiple storylines without ever feeling overloaded, providing its audience with another escapist 25 minutes as Serena and Alex work a “Botox and Bubbly” party, Joyce enlists Matt’s help with a personal issue, and Bruce introduces Ron to the world of memecoins. The cold open sees Serena (Kahyun Kim), Matt (Mekki Leeper), and Alex (Allison Tolman) invent a fake television series, Grey Mornings , to mess with Bruce (Josh Lawson), who often references obscure, high-brow British dramas that no one else has watched. Their commitment to the bit is impressive, discussing fake plot details and even going as far as to ask Bruce to name his favourite Dame while he does his best to act like he’s up to date with the show. Bruce abruptly announces the death of Keith (Dave Theune), who is very much alive, to escape the conversation, creating panic among the nurses. It’s a hilarious reminder that Bruce’s self-importance regularly leads to unnecessary collateral damage, something that Ron (David Alan Grier) later learns the hard way. David Alan Grier as Ron and Josh Lawson as Bruce in St. Denis Medical © NBC Justin Lubin/NBC From there, the episode goes between three storylines. The first revolves around Serena’s “Botox and Bubbly” side hustle, which involves hosting parties with champagne-filled gossip and cosmetic injections. When a nurse cancels at the last minute, Serena ropes Alex in with the promise of easy money (exactly $150). To the surprise of no one, Alex is spectacularly ill-suited to this environment, which is where many of the episode’s biggest laughs come from. Being compared to Wanda Sykes by an attendee clearly flatters her, but she suspects that another attendee, Katie, might be underage, which spirals into worry and paranoia. Fresh from her separation from Sanderson (Steve Little), Joyce (Wendi McLendon-Covey) is determined to present herself as thriving, unbothered, and irresistible. She has a box of personal items that she needs returned to him, but refuses to handle the situation directly as the pair are not speaking. Instead, she enlists Matt as a go-between while micromanaging exactly how the exchange should go by role-playing the scenario beforehand, complete with instructions on tone and delivery, as she has little faith in Matt. Naturally, things do not unfold according to Joyce’s plan. Her obsession with appearing fine only highlights how unsettled she is, particularly when she purposely walks by as Matt hands Sanderson his belongings. Annoyed that Sanderson seems to be dealing with the break-up well, she insists that Matt must ask for her box back, but only so that she can throw a trip to Ottawa in Sanderson’s face, as he always wanted to visit. However, this does little to ease her upset, and it’s Matt who is left to pick up the pieces. He tells Joyce that he knows what it’s like to have feelings for the wrong person, particularly when they're in front of your face every day. You so want the relationship to work, but it just can't, and so you must put those feelings aside and move on, as you'll be better off that way. Leeper is delightful this week, even as Joyce misunderstands Matt’s intent, convincing herself that he’s enamoured with her and that she is flaunting herself in front of him. On the bright side, she’s still got it. Wendi McLendon-Covey as Joyce in St. Denis Medical © Justin Lubin/NBC Elsewhere, Bruce wants to know what Ron does with his money. Ron admits that it mostly sits in a savings account as he’s saving for a massage chair. Bruce, baffled by his restraint, buys one on the spot for his home office, explaining that he’ll write it off thanks to his crypto gains, which means he now can’t spend fast enough to offset the taxes. Ron is intrigued and turns to Bruce for financial advice, who recommends memecoins, buying one for $50,000 that he immediately makes $1000 on. The appeal is obvious. Ron insists that he’d never waste that kind of money on an internet thing, but admits that five or ten thousand might be interesting. It’s an invitation that comes with more risk than Ron realises and a lesson for us all to learn along the way. Clients, Kahyun Kim as Serena, and Allison Tolman as Alex in St. Denis Medical © J ustin Lubin/NBC Back at the Botox party, Alex’s fixation on Katie’s age escalates. Worried that Serena could lose her nursing licence, she crosses a line, searching through Katie’s bag in search of proof of her age. It’s a cringeworthy moment, made worse when some of the other guests, along with Serena, catch her in the act. Alex’s attempts to recover only make things worse when an accident involving a Botox vial and a dog occurs. What follows is gross and frantic as Alex and Serena attempt to save face and retain their dignity in the form of a drug-fuelled lie, which gives Kim and Tolman some brilliant material to work with. As Season 2 continues, St. Denis Medical  remains at its best when it leans into character-driven comedy, and “This Is From Joyce” understands that perfectly. St. Denis Medical . © NBC Universal About St. Denis Medical Premiere Date:  November 3, 2025 Episode Count:  18 Showrunner: Eric Ledgin Executive Producers:   Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Distribution:   Universal Television, a division of Universal Studio Group, More Bees, Inc. and Spitzer Holding Company. Cast:   Wendi McLendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Kahyun Kim, Mekki Leeper, and Kaliko Kauahi. Synopsis: St. Denis Medical  is a mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. In season two, after receiving a large private donation, hospital administrator Joyce bites off more than she can chew while her employees navigate staff shortages, office conflicts and their own personal lives.

This article contains spoilers for Agatha Christie’s Seven Dials. Agatha Christie's Seven Dials © Netflix Launching on Netflix on 15 January, Agatha Christie’s Seven Dials  is a three-episode adaptation of the 1929 novel The Seven Dials Mystery , starring Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, Corey Mylchreest, Nabhaan Rizwan, and Ed Bluemel, among others. Created and written by Chris Chibnall, the series marks his return to television following his tenure as Doctor Who  showrunner between 2018 and 2022. While many will associate Chibnall with time travel and alien invasions, Seven Dials  is thematically closer to his ITV series Broadchurch , in which the first season explored the brutal murder of a schoolboy in a fictional Dorset seaside town. For many viewers, myself included, Broadchurch remains the pinnacle of modern British television drama, and Chibnall’s return to the genre with a murder mystery naturally raised expectations. Unfortunately, Agatha Christie’s   Seven Dials  only begins to justify that anticipation in its final episode. At the heart of the drama is Lady Eileen ‘Bundle’ Brent (McKenna-Bruce). Bundle is spirited, curious, and wholly unimpressed by being told to mind her own business by those around her. The series wisely centres her perspective, allowing the mystery to unfold through her grief, suspicions, and relentless questioning after a death occurs in her home following a party. McKenna-Bruce brings an earnestness to the role that makes Bundle an engaging guide through an increasingly convoluted mystery, even if some of her more overtly dramatic moments feel overstretched. Mia McKenna Bruce as Lady Eileen 'Bundle' Brent for Agatha Christie's Seven Dials © Netflix The supporting cast, however, is where Seven Dials  first stumbles, despite many worthwhile performances. While the ensemble features numerous intriguing personalities, the sheer number of characters, many of whom enter episodes with minimal introduction, can make the story feel overcrowded. More than once, you may find yourself struggling to remember who someone is, let alone why you should suspect them of any wrongdoing. This is also where the writing falters. The series is full of ideas, ranging from a secret organisation and political intrigue to scientific ambition and the topic of war. Still, its three-episode runtime is not enough to explore them all with clarity or depth. Chibnall’s ambition is admirable, but restraint might have served the story and its characters better. Pacing is another area where the series will divide opinion. The first episode is full of promise, setting up the mystery in both the past and the present, but the second episode slows considerably, bogged down by exposition. By the time the third and final episode is reached, the story regains momentum, delivering twists and confrontations designed to make you gasp. It’s entertaining, but not one you’ll remember by the time the next Netflix release or Agatha Christie adaptation rolls around. Mia McKenna-Bruce as Lady Eileen 'Bundle' Brent and Ed Bluemel as Jimmy Thesiger in Agatha Christie's Seven Dials © Netflix What Seven Dials  succeeds at is atmosphere. From its opening death in a flashback to Ronda in 1920, to its second in the present day at Chimneys in 1925, there is a constant sense of unease. The mystery encourages viewers to play detective even as it withholds key information, which can be frustrating, particularly when you realise how little time is spent with certain victims or suspects, but it remains engaging nonetheless. Visually, the series is a treat. The production revels in its 1920s setting, from lavish country houses and masked ball attendees to sweeping shots of the British countryside. Those familiar with Chibnall’s era of Doctor Who  will remember his fondness for bold title cards announcing time and place that fill the screen, a stylistic choice he continues here. Martin Freeman as Superintendent Battle in Agatha Christie's Seven Dials © Netflix Martin Freeman is a highlight as Superintendent Battle, even if many of his early scenes are spent watching Bundle from afar. Their interactions are among the strongest in the series, and it’s hard not to wish the show had invested more time in this dynamic as they (begrudgingly in the case of Battle) work together to uncover the many secrets at play. Helena Bonham Carter fares well as Lady Caterham, particularly in the final episode opposite McKenna-Bruce; yet it’s Ed Bluemel who proves the most entertaining as the charming and unpredictable Jimmy Thesiger. Overall, Agatha Christie’s Seven Dials  is an uneven but entertaining ride. While it never achieves the cohesion of Christie at her best, it offers enough suspense and late-stage payoff to make the journey worthwhile, provided you’re willing to wait for it to find its footing. Agatha Christie's Seven Dials . © Netflix About Agatha Christie's Seven Dials Premiere Date:  15 January 2026 Episode Count:  3 Executive Producer/Showrunner: Chris Chibnall, Suzanne Mackie, Chris Sussman, Chris Sweeney, and James Prichard Writer: Chris Chibnall Director: Chris Sweeney Production:   Orchid Pictures for Netflix Cast:   Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, Corey Mylchreest, Nabhaan Rizwan, and Ed Bluemel Synopsis: England. 1925. At a lavish country house party, a practical joke appears to have gone horribly, murderously wrong. It will be up to the unlikeliest of sleuths - the fizzingly inquisitive Lady Eileen ‘Bundle’ Brent - to unravel a chilling plot that will change her life, cracking wide open the country house mystery.

This review contains spoilers for Primal Season 3. Primal © Adult Swim All Primal Season 3 needed to do was give us more Primal. The show is a consistent oasis of some of the most playfully violent yet technically bulletproof animation America has to offer, perpetually using its unique setting to conjure singular environments and increasingly bloody images. Season 3 represents a reset for its neanderthal main character, Spear, but the flow of creator Genndy Tartakovsky and animation house Studio La Cachette remains uninterrupted, the latter officially stamping itself as one of the most consistently stylish studios on the planet and the former proving that he still has the juice after a disappointing outing with Fixed.  After being killed off and leaving behind a child at the end of season 2, it felt natural for Primal to continue without Spear (if it were to continue at all). Instead, in the opening moments of season 3, Spear is resurrected in a zombified state. Part of this feels a little cheap. The world the first two seasons of the show establishes is so rich, full of early human civilisations, dark magic, dinosaurs and mythical creatures. Surely, there was some avenue to go down by not resurrecting the same character who was given an emotional send off just a few years ago.  Initially, the decision to set Spear back to a mindless state is also a little confusing and frustrating. The character is without all the lessons learned and relationships formed throughout the show’s run, embarking on a solo journey towards nothing in particular in the first episode, making it difficult to reconnect with this shell of a character and buy into him emotionally.  Zombie Spear lacks motivation beyond survival, which begins to reveal some interesting shades the more you sit with in this dialogueless universe. Spear has always been representative of this middle point between man and ape, and now he’s occupying a middle state between life and death. We see him walk off would-be fatal injuries from beasts and men, tunnelling through the pain fast enough to enact swift and bloody vengeance, becoming a God of Death, a neanderthal John Wick, and slipping further away from humanity. However, bringing him back to his most human side, and recovering what could have been a massive misstep with the character, are the flashbacks. Every now and then we’re taken into a pink and yellow tinted vision from Spear’s mind, reminding him of the connection he once had to his partner dinosaur, Fang. These flashbacks turn into full on surreal dream sequences as Spear inches closer to the person he once was. When his search to recover his past life becomes his focus, the momentum and purpose of the character reinstalled, the show begins to click into a new gear.  Having said that, if this was just a hangout season with zombie Spear going batshit on evil humans and mythical beasts, it still would’ve slapped. The action in this show balances the fine line between being too gory to look at and too cool to look away from. The surreality of the show’s art style allows the characters to strike more exaggerated poses that heighten Spear’s aura whenever he’s tearing out the tongue of a massive crocodile or gouging out the eyes of a great lion. Genndy has always been someone with an incredible eye for imagery and he uses that skill to both dastardly and emotional effect throughout every episode of the show. That talent was used to less pleasing effect in Fixed where his desire for raunchy humour made for images that left a bad taste in the mouth, especially when paired with the film’s less than stellar dialogue. Primal being a silent show allows for Genndy’s images to speak loudly, and he thrives.  Every frame of this show scratches your brain in just the right way, a magical effect owed to the incredible work by Studio La Cachette. Their style of giving characters and props thick black outlines that squash and stretch so malleably with the action makes everything they do so watchable. There’s an unfiltered roughness that they preserve in their work, as if some of the chicken scratches from early sketches were left in, something that complements Primal’s whole deal extremely well.  To watch Primal is to know you’re in the hands of an animation legend, a relaxed excitement in anticipation of the next frame, knowing it’s going to throw out something fascinating. Genndy lost a bit of credit in the bank from Fixed, but Primal Season 3 sees him get back to basics in a super satisfying way, with a huge helping hand from La Cachette who every animation fan should be keeping an eye on. Thank you for more Primal, Mr. Tartakovsky. Rating: ★★★★☆ Primal . © Adult Swim About Primal Season 3 Premiere Date:   January 11, 2026 Writer: Genndy Tartakovsky Director: Genndy Tartakovsky Cast:   Aaron LaPlante

This review contains spoilers for Ponies . Ponies © Peacock Following the success of The Pape r, All Her Fault and The Copenhagen Test  last year, Peacock is clearly looking to build momentum around their original content in 2026. The first of these is Ponies , an eight-episode Cold War espionage drama. Co-created by Susanna Fogel and David Iserson ( The Spy Who Dumped Me ), it stars Emilia Clarke and Haley Lu Richardson and is set for release on January 15. While the series would benefit from a weekly rollout, thanks to its cliffhangers, reveals, and plot twists that invite post-episode discussion through theories and analysis, the full season will be available to stream on the day of launch. Opening in Moscow, 1976, Bea (Clarke) and Twila (Richardson) meet at a market. Bea has been stationed in the city for six months, and Twila for 24 hours. From the outset, it’s obvious that the pair couldn’t be more different. Bea is an over-educated, Russian-speaking child of Soviet immigrants, and Twila is a small-town American who is as abrasive as she is fearless and openly disdainful of her surroundings. Moscow, to her, is a shit hole, but it’s where they find themselves living while their husbands, Tom (John Macmillan) and Chris (Louis Bayer), work for the CIA. Or at least, that’s what they believe. Emilia Clarke as Bea and Haley Lu Richardson as Twila in Ponies © Katalin Vermes/Peacock The initial 16 minutes of the first episode are well-paced, immediately upending the trajectory of what the audience will expect the series’ plot to be (unless you have read the logline). While attending an embassy Christmas party later that evening, Bea and Twila are soon taken into a private room, where they are told that a small single-engined aircraft crashed in a field 30 kilometres south of Moscow. Their husbands were on board, and there were no survivors. They are to pack their belongings as they will be returning home to the US to be with their families. If asked about their loss, they are to tell people that while on diplomatic business, two embassy employees were flying a single-engined Soviet aircraft that encountered engine failure and crashed. Twila knows this is a cover story, but she will have no choice but to repeat it. That is, until Bea returns to Providence, Rhode Island, distraught and unsure of what her life is meant to look like without Chris. She does, however, know that she has no choice but to discover what really happened to her husband. When the pair meet up, Twila tells Bea that there is nowhere for her to go, so she is heading back to Moscow, where she will have a place paid for by the US government with no rules. Bea, in turn, was also thinking about going back so that she could discover the truth. She reveals that Chris had a card in his pocket written in another’s handwriting with the phrase “winged horse over the entire world” in Russian. This is their first clue that something is amiss in their husband’s deaths, and they cannot figure out what it means unless they go back to Moscow. Dane Walter (Adrian Lester) is the head of the Moscow station whom they must convince to let them return to the USSR and join America’s intelligence work. Bea wants to make an impact and do something important with her life, and Twila agrees. The latter believes that no one would suspect them of anything as they’re women. While he says no, he does speak to another above him in the CIA, noting that where Bea speaks Russian, Twila is fearless like a bull. Together, they could make a good officer. The US has never successfully run a secret agent in Moscow, and the Russians would never bring on a woman as a case officer. Naturally, they’d never expect the US to either, so they would be one step ahead on their turf. Once agreed, Bea and Twila are to pass and retrieve documents as Ponies, persons of no interest, but they will never be privy to the intelligence, nor will they be a part of the operation. You know how that will go. Adrian Lester as Dane in Ponies © Katalin Vermes/Peacock What follows is steeped in suspicion, encouraging viewers to scrutinise each character, including their relationship to both the Soviet Union and the United States. As Bea and Twila work to piece together the truth behind their husbands' deaths, they also work to uncover a vast Cold War conspiracy, zeroing in on the KGB from the inside and outside. Although Ponies deals with heavy subject matter, namely grief, betrayal, and morality, it remains an entertaining watch. There's a real pleasure to be had in losing yourself within the plot, with no line too small or unimportant to use in your theories. However, given how tightly packed each episode is, it's easy to gloss over characters, particularly those unnamed on either side. Ponies is at its strongest when Clarke and Richardson share the screen. Whether working in tandem or separately, they form a compelling partnership. Their differences never disappear, but over time, they learn how to move in sync, effectively acting as a single agent as they become increasingly entangled with the inner workings of the DPG. Clarke delivers an impressive performance. Her command of Russian, a language she did not speak before the show and learned with her language teacher Fabien Enjalric, adds credibility and tension to Bea's presence in Moscow, reinforcing how exposed and capable she is in equal measure. The relationship she forms with Andrei Vasiliev (Artjom Gilz), the most dangerous KGB officer, is a high point, though it's her chemistry with Sasha Shevchenko (Petro Ninovskyi), a technician for top-secret Soviet technology, that is delightful. Petro Ninovskyi as Sasha and Emilia Clarke as Bea in Ponies © Katalin Vermes/Peacock Richardson, meanwhile, breathes life into Twila, ensuring she never becomes comic relief, despite often being very funny, nor merely a counterpoint to Bea's restraint. Her unconventional outlook is never treated as a caricature either, even as she navigates new emotional and sexual experiences with a woman. Together, Clarke and Richardson ground the show, making a strong case for the pairing as Ponies' greatest asset. With the series ending on a cliffhanger, it's difficult not to hope that this won't be the last time we see Bea and Twila. An assured and consistently engaging run that understands both the pleasures and anxieties of the spy genre should find its audience, particularly as it releases while the second season of The Night Manager , a British spy thriller, is airing. Tense and character-driven without losing momentum, Ponies is your next TV obsession. Ponies . © NBC Universal About Ponies Premiere Date:  January 15, 2026 Episode Count:  8 Showrunner: Mike Daniels Executive Producers: Susanna Fogel, David Iserson, Mike Daniels, Jessica Rhoades, and Emilia Clarke Writers: Susanna Fogel, David Iserson (101-105, 108), Rosa Handelman (106), Carolyn Cicalese, and Jordan Riggs (107) Directors: Susanna Fogel (101, 102, 105, 108), Viet Nguyen (103, 104), and Ally Pankiw (106, 107) Production:   U niversal Television, a division of Universal StudioGroup Cast:   Emilia Clarke, Haley Lu Richardson, Adrian Lester, Artjom Gilz, Nicholas Podany, Petro Ninovskyi, and Vic Michaelis Synopsis: Moscow, 1977. Two “PONIES” ("persons of no interest" in intelligence speak) work anonymouslyas secretaries in the American Embassy. That is until their husbands are killed under mysterious circumstances in theUSSR, and the pair become CIA operatives. Bea(Emilia Clarke) is an over-educated, Russian-speaking child of Sovietimmigrants. Her cohort, Twila (Haley Lu Richardson), is a small-town girl who is as abrasive as she is fearless. Together, they work to uncover a vast Cold War conspiracy and solve the mystery that made them widows in the first place.

A Knight of the Seven Kingdoms  © HBO For a long time, Game of Thrones was one of the most beloved and talked-about series on television. What initially felt confident and carefully constructed began to deteriorate once the show moved beyond the books, and by its final two seasons, the problems were impossible for me - and honestly, for everyone - to ignore. The finale cemented its reputation as a series that collapsed under its own weight. When House of the Dragon arrived years later, I felt cautiously optimistic. Its first season suggested a return to discipline and character-driven storytelling, but the second season left me disengaged and, honestly, less interested in the franchise as a whole. That context is important, because it shaped how I approached A Knight of the Seven Kingdoms.  I knew it was coming. I did not feel strongly about it either way. After watching the first season, I can say it caught me completely off guard in the best possible way. Set roughly a century before Game of Thrones, the series follows Ser Duncan the Tall, a hedge knight with no lord or land, and Egg, a sharp, insistent boy who becomes his squire. From the opening moments, especially after Ramin Djawadi’s iconic theme begins to play, you will immediately see what kind of show this is going to be. What impressed me most is how intimate the storytelling feels. This isn’t a low-stakes series, because nothing in this world ever truly is, but the stakes are personal rather than epic. I watched Duncan struggle to afford armor, food, and basic dignity, and I felt the weight of how easily his sense of honor could get him killed. Egg’s presence adds both humor and emotional tension, and I found myself increasingly invested in the bond forming between them. I was surprised by how often the series made me laugh, and by how effectively it could turn somber. Peter Claffey’s performance as Duncan is the emotional center. He plays the character with warmth, awkwardness, and a deeply felt sincerity that made me root for him almost immediately. That focus on character pays off most powerfully late in the season. Episode five, especially, had me fully locked in, watching in near silence. Daniel Ings brings an easy charm to Lyonel Baratheon that feels rare in this universe, and Dexter Sol Ansell is remarkably convincing as Egg, selling both the character’s intelligence, sass and his vulnerability at such a young age. On a visual level, the show impressed me with its restraint. The cinematography leans into natural light and textured landscapes, and the production design makes Westeros feel worn, practical, and lived in. I never felt overwhelmed by spectacle, and I appreciated that choice. Everything feels close, tangible, and human. I also appreciated what the show chose not to emphasize. Familiar houses are present but not overused. House Targaryen is the most relevant, followed by House Baratheon. Other houses are mentioned only when necessary. There are no real dragons, and there is very little political intrigue. Instead, the series focuses on class disparity and personal consequence, which made the world feel more grounded to me than it has in years. By the time the season ended, A Knight of the Seven Kingdoms had genuinely won me over. It feels different from what came before, and that difference is its strength. After the disappointments of Game of Thrones and House of the Dragon, I didn’t expect to care this much again. My only real complaint is how short it is. At six half-hour episodes, it ends just as I felt fully settled into its rhythms. Still, as a quiet, character-focused story set in a familiar world, it reminded me why I ever cared about Westeros in the first place. A Knight of the Seven Kingdoms  © HBO About A Knight of the Seven Kingdoms Premiere Date:  January 18, 2026 Writer: Ira Parker, Aziza Barnes, Hiram Martinez, Annie Julia Wyman, Ti Mikkel Director: Owen Harris, Sarah Adina Smith Distribution:  HBO Cast:   Peter Claffey, Dexter Sol Ansell, Finn Bennett, Bertie Carvel, Tanzyn Crawford, Daniel Ings, Sam Spruell

Who would’ve thought that in 2026, we could say that we’ve received another movie in the 28 Days Later franchise? When the news was revealed that we were getting a sequel from both Danny Boyle and Alex Garland, the streets cheered. And cheered we did as 28 Years Later finally came out, and it was better than we ever could’ve expected. With near masterful direction from Danny Boyle and the inventive cinematography he brought to the movie with his usage of iPhone cameras to Alex Garland’s writing, which transported us back to the horrific post-apocalyptic Britain that has been taken by the rage virus.  28 Years Later: The Bone Temple was filmed back-to-back with Nia DaCosta taking over directing and takes place directly after 28 Years Later. It follows Spike (Alfie Williams) as he’s taken into Sir Lord Jimmy Crystal’s (Jack O’Connell) satanic cult as they travel, providing charity to people they come across, while Dr Ian Kelson (Ralph Fiennes) tries to find the humanity in Alpha, Samson (Chi Lewis-Parry), which might be the key to saving the world. While this is a sequel to 28 Years Later , if you’re looking for a movie that feels like it when it comes to its direction and themes, then you’re unfortunately out of luck. This is a Nia DaCosta movie; there’s no usage of iPhones here, and I respect that. Immediately you begin to realise that she’s not just trying to create a sequel that happens to only replicate what Boyle did, but she goes into 28 Years Later: The Bone Temple , making the film her own from its visuals to how she handles Alex Garland’s writing, which tells a completely different story in the same world. 28 Years Later was a movie that focused on the nature of family as we were first introduced to Spike and went with him on a journey to try to find a cure for his mother while dealing with his unreliable father. Despite being in a horrific setting, it was a family movie all the way through, but with Spike separated from his family and on his own, family is no longer something that’s at the forefront, but it still finds itself sneaking in as a theme. 28 Years Later: The Bone Temple is a film that is instead focused on the nature of evil, and it’s safe to say that to start the year with a movie this demented, it could possibly be a bad omen for what’s to come. 28 Years Later: The Bone Temple . © Sony Pictures The movie opens up with Spike being integrated into Sir Lord Jimmy’s cult and becoming one of his “fingers” to help him serve Old Nick (or, as we all know him, Satan). This opening doesn’t waste any time with the bloodspilling and is only just the beginning of some of the horrors that you’re going to witness as you watch the Jimmies provide “charity” (an act of sacrifice killing) to their unfortunate victims. I’m thankful to have seen this movie on numerous occasions, and it’s rare to witness people on each watch turn away during the same scenes. The word 'evil' isn’t enough to describe the type of man Sir Lord Jimmy Crystal is, but what makes watching all these gruesome scenes worthwhile is that you have the extremely talented Jack O’Connell behind the character.  His performance is beautifully deranged, just like the movie itself, and it’s a miracle that Jack walks away from a role like this without being affected because despite playing a villainous role last year, he comes to this with a completely different take and somehow plays a character that doesn’t deserve any pity effortlessly. He’s such a complex character that’s first introduced to us at the start of 28 Years Later as we follow his childhood and how he lost his own family, but to see how that event has traumatised and moulded him into quite literally the devil himself is unbelievable, and to witness the heinous acts he commits is something that not even God himself could forgive. While Jack O’Connell delivers one of the finest horror performances I’ve seen (yet again) and is bound to stay in the conversation for the remainder of 2026 (or, at least, he should), Ralph Fiennes and Chi Lewis-Parry both return as Dr Ian Kelson and Samson, respectively, and deliver exceptional performances which highlight the beauty of this sick and revolting world. Their storyline continues from the first film, but Alex Garland’s script takes a deeper look into Kelson’s interest and care for Samson. We get to learn quite a bit from their interactions on just how the Rage virus might infect people, and for the first time, it starts to feel like there could be a cure that could bring this insane world back to what it used to be. It slightly steps into the nature of the evil theme and plays around in that field, but without stepping into spoiler territory, Kelson and Samson’s scenes are some of the best throughout the film, and the third act delivers both of their finest moments with a bloody rampage and a fiery conclusion (Iron Maiden fans, strap in). 28 Years Later: The Bone Temple is one of the greatest horror movies of this decade and should be witnessed with a full crowd as intended in the cinema. Nia DaCosta takes over from Danny Boyle for this sequel and doesn’t disappoint, reminding audiences why she’s a name that people need to keep their eye out for in the future. It’s only January, but we’ve already been delivered a horror masterpiece that has outstanding performances from all around the board. Thankfully, a sequel has already been confirmed, and after that ending, which will excite fans, I’m sure everyone will be happy that a third movie is on the way. 28 Years Later: The Bone Temple . © Sony Pictures About 28 Years Later: The Bone Temple Premiere Date:  January 14, 2025 Writer: Alex Garland Director: Nia DaCosta Production:  Columbia Pictures, Decibel Films, DNA Films Distribution:  Sony Pictures Cast:  Ralph Fiennes, Jack O’Connell, Alfie Williams, Chi Lewis-Parry, Erin Kellyman