Cert – 15, Run-time – 2 hours 36 minutes, Director – Bi Gan

In a world where only a handful of people still dream, those that do are called Deliriants and hunted down to prevent their dreams from leaking out and harming the longer lives of those who don’t.

Over the years, if something has had a hazy, down-to-interpretation narrative it may well have been referred to as Lynchian. Much of what gets labelled to this simply doesn’t make sense. Where the term if less used is in the dream-like nature that the director immersed himself in so much. Famously he loved dreams and the power they could have, the sides of reality they could contrast with and show. A love of dreams and what art can say fuels writer-director Bi Gan’s Resurrection, a film deserving of the Lynchian label.

Set in a world where the majority of people have chosen not to dream to extend their lives, those who still do are known as Deliriants, with hunters sent out to kill them in case their dreams leak out and cause harm to others. Jackson Yee plays one of the last ones left, already slipping away a projector is set up in his mind by a hunter (Shu Qi) so his last moments can be lived through dreams, visions and film styles and genres of the past. Opening as a silent film with dialogue cards and plenty of texture in the production design to fit the era we move through the decades from there with just as much attention to detail. Immersing both the Deliriant in the different roles he takes on and the audience.

Chapters play out to capture the six senses of Buddhist thought (the five basic sense and mind). There’s something personal and solemn about each one. A feeling of something closing for the last time, the shutters being pulled down as if a soulful farewell to cinema. Yet, Bi avoids negativity or a downbeat tone. Instead, he celebrates dreams and the power they have. How they can transport us, how we can identify with them and not be completely mindless by having them. It’s a film about the power of dreams and film. One rich in their ability, and in just how it shows this.

The design of each location we visit, each story that unfolds is striking from both cinematography and production design. While there can be a slightly long feeling to the just over two-and-a-half hour run-time there’s a continuing emotional undercurrent to the segments and the lives the central Deliriant takes on – Yee plays each lead role in the stories while the faces of those around him change, he’s dropped into each film and scenario. Experiencing the emotions alongside the cast of the films the projector shows. Bi’s film is as much about feeling as it is dreams, the pair go hand-in-hand, those who don’t dream are blank-faced, turning in unison in the opening stages to stare at the camera in empty judgement for it continuing to look to the fading silver screen.

Some have referred to Resurrection as a love letter for film’s deathbed, David Ehrlich fittingly said on Letterboxd that if you told him this would be the last movie anyone ever made he wouldn’t be surprised. It’s a look back at cinema, at film and dreaming and a push for the power that it holds without mentioning the busyness of the modern day, the instancy of smart phones and on-demand. Because it’s not about that, it’s about cinema and the ability to feel and dream. About connecting. And Bi shows this with an occasional wooziness that doesn’t flood with sentimentality. Visions flash before the eyes of the Deliriant, a flicker of frames. We get to live in them for a little bit at a time and know for us they aren’t fading just yet.

A Lynchian set of filmic dreams, brought to life with precise production design and cinematography, and a woozy, if slightly lengthy, look at our connection with cinema and the world around us through dreams and the emotions they create and understand.

Cert – PG, Run-time – 1 hour 38 minutes, Directors – Aaron Horvith, Michael Jelenic

When Bowser’s (Jack Black) son (Benny Safdie) kidnaps space princess Rosalina (Brie Larson) to use her powers so the pair can control the universe, Mario (Chris Pratt) and co must venture into the galaxy to save Rosalina and beyond.

With her role as Princess Rosalina in The Super Mario Galaxy Movie Brie Larson has shattered the record for the highest hourly rate ever paid. I can only presume this is the case because with her character having been featured heavily in trailers, and Larson a prominent face on the promotional trail, it comes as quite a surprise that she must have only spent an hour in the recording booth with around ten lines of dialogue; largely confined to the opening. For the rest of the film she’s an afterthought, or is just kept awkwardly silent as if the writers just forgot to give her lines in scenes where plenty of others speak.

Donald Glover (who apparently campaigned to be cast in his role), too, must have had an easy day at work repeating his character Yoshi’s name and otherwise uttering gibberish. Yoshi’s inclusion in this sequel to the highest grossing film of 2023 is largely a case of ‘just because’. It’s the reason for almost everything that happens here, a barrage of easter eggs and musical cues shouting to the audience ‘hey, remember this!?’ as references to the Mario game franchise, and beyond, are prioritised over a plot.

As Bowser Jr (Benny Safdie) kidnaps Rosalina in order to use her power to free his father (Jack Black) so they can control the universe Mario (Chris Pratt) and Luigi (Charlie Day) set out to save her and the galaxy, whilst Princess Peach (Anya Taylor-Joy) and Toad (Keegan-Michael Key) set out on their own adventure. Scenes jump back and forth between different events and characters with a barrage of visually and audibly loud sequences which provide little to engage. It’s difficult for a film this loud and chaotic to feel thoroughly boring, yet somehow I found myself struggling to stay awake as the clutter of the poster made its way into the editing.

Action scenes feel as if the film is cutting around itself so that shots switch away from the action, or sit just outside of it, as if trying to avoid properly showing it in a succession of rapid cuts. All while still trying to throw more and more references at the screen. It’s as if the creatives don’t entirely have confidence in the screenplay – hinted at in just how starry the voice cast is, relying on names over anything else. Yet, the new additions get almost nothing to do in utterly thankless roles. The same could be said for returning characters; Peach may have dialogue, but even her strand feels like a side plot largely given because she’s Peach and needs something to do.

There’s more of the same here in terms of both humour and what’s thrown at the screen and audience in the hope of entertaining, although misjudging what’s entertaining rather than just whether it will be or not. Trying to appeal to fans of the games, there’s little structure for anyone else, or even them as it will most likely work best for the youngest audience members (although at the screening I saw this at there was little laughter or response from even them – The Magic Faraway Tree had a much more engaged family audience). It’s a film that would border on overload if it wasn’t for the fact that it’s so dull. Maybe it would be a different experience if I could name which game which item or power-up comes from, but even then that’s just a reliance on audience nostalgia and participation, avoiding both a properly formed narrative and characters who actually have something to do.

Trying to branch out into the galaxy, the world seems a lot smaller when it’s limited to game references which do little more than simply act as a reference. With barely used new characters and a shambolically-assembled set of subplots and action scenes it’s a bland mess that doesn’t seem to have confidence in its own material.

Cert – 15, Run-time – 1 hour 45 minutes, Director – Michael Angelo Covino

When Carey’s (Kyle Marvin) wife (Adria Arjona) asks for a divorce he learns friends Paul (Michael Angelo Corvino) and Julie’s (Dakota Johnson) marriage secret is an open relationship. However, chaos and competition erupts between all four when Carey and Julie sleep together.

Despite good reviews I was somewhat sceptical going into Splitsville. Not being overly struck by the trailers it seemed the sex comedy angle may have been likely to not particularly strike me. What a welcome surprise it is that in actuality a rom-com in the vein of the late-90s and 2000s emerges from this polyamory comedy. One led and consistently sparked by the decisions of its characters rather than situations thrown at them.

Carey (Kyle Marvin) believe that he’s happily married to Ashley (Adria Arjona) until in the middle of a car ride she asks for a divorce. Running to his married friends’ house for help he learns that the secret to Paul (Michael Angelo Corvino) and Julie’s (Dakota Johnson) happy marriage is that they’re in an open relationship. However, when Carey and Julie sleep together tensions erupt leading to scraps and competition between all four characters as open relationships are tested and explored.

A wave of guests, some staying much longer than others, come in and our of Carey and Ashley’s home. A handful of scenes capture the busy chaos of the personalities, and bodies, seemingly sent to test Carey as he’s busy falling more into a relationship with Julie. Leaning into the comedy of these characters, without bringing out a sense of wackiness, and the situation they’re all a part of – has Ashley broken up with them yet, or are they on the schedule to be broken up with next week?

Corvino and Marvin’s screenplay (Corvino also acts as director) is smart and filled with plenty of chuckles as it relaxes into the swing of its shaken relationship story. Putting the characters and their responses at the core of that story and seeing the developments all the way through to the end – including an amusing turn from Nicholas Braun as a mentalist struggling at a children’s birthday party. In this way, it feels as if things infrequently step into cheap gags just for the sake of a laugh, it wouldn’t fit in with the surroundings, including a subplot about Paul and Julie’s young son Russ (Simon Webster) starting to act out, a running gag involves him having a tendency to steal jet-skis.

There’s a sparky rom-com in Splitsville, the tagline runs “an unromantic comedy” which perhaps seems more fitting than calling it an anti-rom-com. However, there’s still a genuine feeling to the relationships at hand as their tested from all angles with increasingly relaxed attitudes which just add to the tensions in the quartet’s separate and joint relationships with each other. A solid dose of modern-angled comedy in a familiar rom-com vein, and a welcome surprise, too.

A modern-angled rom-com in a 90s-2000s vein, Splitsville is a smart, funny, character-led look at the chaos the growing tensions in the central relationships raises.

Cert – 15, Run-time – 1 hour 31 minutes, Director – Vicky Jewson

After breaking down in the woods on the way to a competition, a group of ballet dancers are taken into an inn run by a criminal enterprise, from which there may be no way out.

It would be easy to find issue with Pretty Lethal’s ballet actioner. It is with almost any slice of pure genre entertainment. But, what’s the point in doing so when the aim is to simply have a good time, and one is certainly had in this bloody slice of B-movie genre schlock.

From the moment that creates the sudden turn in the opening few minutes to the title card and beyond there’s a string of giggle-inducing thrills throughout as a group of young American ballet dancers find themselves stranded in the Hungarian woods after breaking down on the way to a competition. Taking refuge in a gothic inn, which seems like more of a nightclub mixed with a hotel, one gunshot leads to a fight for escape and survival (and Uma Thurman doing an accent).

There’s a consistently entertaining energy to the action led by the characters, at times scattered around the building in very different circumstances. While Millicent Simmonds casually eats snacks from behind a desk watching her friends on CCTV, having flirted with one of the mob members trapping the group, the likes of Avantika and Maddie Ziegler (pitched as the lead of the troupe) are amusingly battling giving away information with one under the influence of a truth drug.

Director Vicky Jewson leans into an overplayed style that tries to turn multiple dials up for a blown out entertainment flick. Amounting to plenty of giggles from the characters as they fight or try to get out of various situations and some flinch-inducing swipes and stabs when it comes to the action, certainly wearing a blood-coated 15 rating with pride. It all builds up to a delirious dance fight which could well, and perhaps should, act as the grand finale, or close to it. It certainly feels aimed as such, despite there being 20 more minutes of the run-time left. 20 minutes which can’t quite reach the heights of what has come before, especially right before, and feels as if it just doesn’t have the same energy, and is almost somewhat coasting. A shame for a film that has been riding rather high on energy and pure enjoyment for so long, it almost just seems to run out of steam, tired out from its grand highlight dance fight whilst trying to figure out how to wrap up its unresolved points in the moment.

But, for genre thrills, and spills, there’s plenty to enjoy within what comes beforehand in Pretty Lethal. It’s a welcome surprise that may not quite stick the landing, but has a good number of chuckles and gleeful splatter in an action film that’s aware of itself. It’s exactly what you’d hope for from a film about ballet dances facing the mob. Great fun.

While it might not quite stick the landing, Pretty Lethal is an entertaining, splattery surprise with plenty of giggles along the way. An energetic slice of joyous genre schlock.

Cert – 12, Run-time – 1 hour 30 minutes, Director – Polly Findlay

An aging couple (Lesley Manville, Ciarán Hinds) take a trip to Amsterdam which causes them to confront personal feelings and past tragedies in their relationship.

A perfect example of a drama lifted by its leading performances, Lesley Manville and Ciarán Hinds are the heart of Midwinter Break, even if it, like those of their characters, isn’t entirely beating. They play long-married couple Stella and Gerry. Over an opening which sees a Christmas where there’s perhaps more fondness than love, but still some spark present between them, Stella gifts a holiday for the couple to Amsterdam. However, there may be more to the trip for her than just a present, stemming back to a tragedy faced decades ago during The Troubles – which forced the couple to move from Belfast to Scotland.

While we see details of the tragedy acting as the film’s opening there’s still an air of mystery around Stella’s intents in Amsterdam. There appears to be more behind her want to see the various Catholic churches in the city than just her religious beliefs, while Gerry tags along with a slightly disinterested view with his own lack of belief. Yet, the mystery that plays out doesn’t have a great deal of actual mystery. Everything that we see in Midwinter Break is on the surface of both the characters and narrative. That isn’t necessarily a bad thing, and Manville and Hinds both give, as you’d expect, solid performances which hold the film up.

Without them then there may be a faltering nature to things, and a slight blandness even at just 90-minutes. However, the pair, and indeed the feature debut direction of Polly Findlay lean into the theatrical, without overdoing things and still bearing in mind this is a film. It helps that Findlay comes from a theatrical background, having directed productions for the National Theatre and Royal Shakespeare Company, and appears to have worked closely with her lead actors in this film in forming their characters and the relationship rooted in growing distance and lingering tragedy.

Emotions come to the fore, particularly in the monologues of the final stages, and there are some nice touches in the silences and failed interactions that crop up two. Gerry tries to start conversations, or make light after a particularly heavy conversation, especially for him on the receiving end, as his wife continues on her way and largely ignores him. There may not quite be punches throughout, however much the film may want them – those final monologues seem more like a back-and-forth of ideas trying to individually lead towards wrapping up than something properly fluid. Yet, there’s still an overall likability to things. A slight gentleness that sees the events pan out over a largely contained hour-and-a-half with help from two strong performances who hold the film up and see it through with an authenticity in the characters and their relationship, even if not entirely a connection with their dramas.

Manville and Hinds deliver expectedly strong performances which lift up Midwinter Break, allowing for interest in its on-the-surface drama if not always emotion.

Cert – PG, Run-time – 1 hour 29 minutes, Director – Ugo Bienvenu

2075, Iris (Margot Ringard Oldra) attempts to help ten-year-old Arco (Oscar Tresanini) return to his home in the far future.

Arco is a film directly inspired from the world of Ghibli. From the brightly coloured hand-drawn animation to narrative style and childhood friendship, the French filmmakers behind this Oscar-nominated feature appear to have a good deal of influence from Miyazaki’s work in particular as they race through both the far-future of 2932 and nearer environment of 2075.

Young Iris (Margot Ringard Oldra in the original French version, with Romy Fay voicing the English dub) lives in the latter time, chasing a rainbow one day she discovers not a pot of gold at the end of it but a ten-year-old boy who’s crash-landed from the future. After taking him home, and evading three brothers who appear to be seeking him, she becomes committed to ensuring that Arco (Oscar Tresanini/ Juliano Krue Valdi) gets back to his time safely.

The world’s they come from are very different responses to the changing, or changed environments. Neither quite treated as dystopias, although there is an environmental message at the core of the film, 2075 has hints of The Jetsons, while 2932 sees humanity living above the clouds, the environment on land seemingly inhospitable at this point. Both are treated with bright (and not just because of Arco’s rainbow flying suit), immersive animation which is a delight to see on the big screen as the adventure unfolds around it. One particular sequence seeing characters race through different environments is fun run through much of the imagination that has been present through much of the film up until this point, but with more pace. Helped in the English dub by the voice performances of the three bickering brothers (Andy Samberg, Flea and an entertainingly restrained Will Ferrell, who appears to be the most engaged with the film), acting as a likably traditional set of antagonist forces.

Another effective detail in the English dub is having Mark Ruffalo and Natalie Portman, who voice Iris’ busy and present-by-hologram parents also voicing nanny robot Mikki (voiced in the original French version by director and co-writer Ugo Bienvenu). Adding to that slight sense of distance that Iris has with her parents, but pushing her connection with the robot carer, in a society where many jobs are now being performed by such robots (which, again, look like they’ve come from The Jetsons).

Much of Arco’s delight comes from its style and the imagination on display. Mixed with how swiftly it moves along, clocking in at just 89-minutes without feeling too brief, there’s an enjoyable time to be had in the sci-fi aspects which help to get across the environmental messaging without feeling forceful. Both in part to the heart with which things are made and the consistent movement of the narrative.

An entertaining and colourful Ghibli-inspired family sci-fi with plenty of imagination on display throughout the pacey narrative which avoids forceful messaging or oversentimentality.

Cert – 15, Run-time – 1 hour 46 minutes, Director – Gus Van Sant

After being denied an extension on a loan, Tony Kiritsis (Bill Skarsgård) walks into the Meridian Mortgage office with a shotgun and takes the owner’s (Al Pacino) son (Dacre Montgomery) hostage, using his favourite radio host (Colman Domingo) as an intermediary with the police.

Dog Day Afternoon is all over Gus Van Sant’s dialled-back return to feature directing. The casting of Al Pacino on the other side of the hostage situation is surely intentional, and he seems to acknowledge this somewhat in his performance as the head of Meridian Mortgage, holidaying in Florida whilst his son, Richard Hall (Dacre Montgomery), is taken hostage by an angered Bill Skarsgård.

After an extension on a loan payment is denied, Bill Skarsgård’s Tony Kiritsis walks into the Meridian offices for a scheduled meeting and, believing he knows the firm’s plan for where his loan would have gone, puts a shotgun to Richard’s head, marching him to his apartment with the police and reporters not far behind. Kiritsis is a jittery figure who, despite how calm he tries to be, you feel could accidentally pull the trigger at any time, if the dead man’s wire around Hall’s neck doesn’t set it off first. Skarsgård gives on of his best performances to date as the uneven rage of his character is cut up by his near excitement at just what he’s doing, as he and Hall sit in his apartment, occasionally talking to his favourite radio host, Colman Domingo’s suave Fred Temple, who acts as a mediator between Kiritisis and the police.

The look and style of the piece is packed with attention to detail, capturing the sweaty, 70s thriller vibe that’s specifically aimed for. As mentioned, Dog Day Afternoon is present throughout, it would be hard to avoid it even if it wasn’t a key inspiration. But, the gritty look, if not entirely feel, and containment of the Hollywood thrillers of that decade are found thick here, and add to the entertainment factor. Van Sant manages to create a confined piece of work when it comes to the cramped spaces the two leads find themselves in that has a wide scope thanks to the external forces at work trying to stop Kiritsis from pulling the trigger and just how well everything is pulled off with the constantly moving plan at hand, alongside themes at play.

Each figure who plays a part in Kiritsis’ hostage situation contributes to the constantly shifting piece that’s been formed in Austin Kolodney’s screenplay. Each character and group feels interconnected in some way, capturing the tension and uncertainty at hand. All revolving around Skarsgård’s central performance which brings in the uneasy feelings early on and maintains the tension at hand in a film that would fit right in amongst the 70s thrillers that have inspired it.

With 70s thriller influences on clear display, although not copied, Dead Man’s Wire is an entertaining, contained story with scope to allow for interconnected characters who keep things constantly moving around Bill Skarsgård’s strong central performance.

Cert – 15, Run-time – 2 hours 3 minutes, Director – Silvio Soldini

Rosa (Elisa Schlott) is one of seven women forced to become a food taster for Hitler to ensure that it isn’t poisoned.

There’s very little tasting in The Tasters. Not just from the obvious hesitancy to try potentially poisoned food, but as the film focuses on the lives and other fears of the seven women forced to ensure that Hitler’s food is safe to eat. We see the bond that forms between them in-between meals, having been taken from their homes and forced to take on their new roles or face the consequences of not doing so.

We primarily see things through the eyes of Rosa Sauer (Elisa Schlott), a young woman taken from her in-laws home soon after arriving whilst her husband is out fighting. She leads many of the conversations and interactions that we see, and this is very much her story, playing into those of the other tasters. There are some likable moments between the group, faintly tinged with familiar emotional beats, against the backdrop of the Nazi threat they face.

A threat which itself can feel, in terms of the film’s tone, somewhat tame as a narrative with a number of familiar elements plays out in rather middle-of-the-road form. What’s present is fine, and generally sees through the 2-hour run-time, but never quite has the tension, threat or emotional effect perhaps wanted, and definitely needed. The tasting scenes themselves have the helpful layer of being what sparks everything and the film revolves around, to some extent. The uncertain fear of whether the food is or isn’t safe, and having no choice as to whether they eat it or not, plays out well, especially with the factor that the poison will likely take time to have an effect, and there’s no real knowledge as to if there’s anything that can be done if it does. Even in subsequent scenes set in the tasting room there’s still an effect to be found that stops a fully cycling feel to things.

The issues largely come when it comes to the more personal side of things to each character. It never quite feels as if The Tasters is able to fully connect to each of the handful of characters it chooses due to how much it still wants to predominantly focus on Rosa, who even still there isn’t a full connection with. Things move along generally fine, but don’t quite have the dramatic impact wanted amongst all it wants to do in moving things along while still trying to have the characters lead. It’s not quite a conflicted film, but one that feels at risk of being pulled in multiple directions whilst still being a familiarly direct, rather middling, drama.

Not quite forming the connection needed with the characters to have a dramatic effect, The Tasters is fine but has a tendency to feel familiar and almost cyclical.

Release Date – 3rd April 2026, Cert – PG, Run-time – 1 hour 12 minutes, Director – Ragnhild Nøst Bergem

30-year-old Ola lives in an inclusive Norwegian village, exploring the community around him and looking at what life is, and could be, like for him in the wider world.

30-year-old Ola Henningsen doesn’t let the world stop him. He doesn’t need to when he’s allowed to be as determined as he is, both by himself and those around him. He lives in Vidaråsen, a small Norwegian village which houses an inclusive community, particularly for those with learning disabilities such as Ola. It’s a quiet place, seemingly tucked away, where people are people. Everyone’s supported and encouraged by each other and life appears to be calm and welcoming.

Of course, there’s a world outside and one of independence which Ola talks about exploring, especially when his friend moves away. Independence, community and respectful acceptance are key themes throughout director Ragnhild Nøst Bergem’s documentary which follows the titular figure through his life as he discusses his passions through taking part in speaking events and activities put on in the community he lives in.

However, after a while the tone and attitude of such scenes can start to feel similar. At just 72-minutes Being Ola is a short film, yet it feels as if its points could be condensed into an actual short film with less bordering on repetition. Ola still makes for a likable focus, especially when talking about his views for independence, moments showing him going out into the world have a particular effect as things finally appear to have developed in some way beyond the affable focus that takes up much of the run-time.

Again, one that’s good-natured and likable, especially when it comes to the figures we see as part of the peaceful and picturesque community at the heart of the film, but feels as if it has more that it could explore and say, yet steers focus into the basics and activities in the village where Ola lives and takes a while to stretch beyond. We see Ola step out, and want to see him succeed and continue the confident stride after his mentions of exploring independence. When this happens, there’s a regrown interest and engagement as ideas of acceptance are widened out to look at the wider world, and possibly make bigger points away from the base of the village where things feel most firmly comfortable.

Feeling better suited to a short film, there’s a likable nature to Being Ola, especially when it manages to widen its focus to look at independence and wider acceptance beyond that of the titular figure’s peaceful community.