Section: TV:Film

THE SMASHING MACHINE

(15) 123 min

★★★☆☆

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WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.

Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.

In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.

Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.

He’s not totally unrecognisable, though.

A professional wrestler himself, The Rock already had the fighter’s hulking physique.

Acting muscles

And he’s in familiar territory being on screen with his trademark biceps on display.

But here he proves he absolutely can flex his acting muscles too.

American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.

We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.

But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.

Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.

Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.

The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.

As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.

While the performances are gripping, the script lacks nuance.

Is this brutal watch a knockout? No, not completely.

But will the prosthetics pay off for Johnson come awards season?

They just might.

A HOUSE OF DYNAMITE

(15) 112mins

★★★★★

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KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.

The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.

The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.

Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.

The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.

Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.

It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.

LINDA MARRIC

HIM

(18) 96mins

★☆☆☆☆

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HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.

In short, this is a mess.

The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.

When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.

But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.

Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.

Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.

Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.

Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.

LINDA MARRIC

ONE BATTLE AFTER ANOTHER

(15) 162mins

★★★★★

WHAT time is it? It is a question Leonardo DiCaprio’s stressed-out fugitive Bob Ferguson is asked over and over again in this black comedy.

Wearing a dressing gown and bad shades, Bob doesn’t have the answer because he’s too stoned to remember the code he was given by a left-wing terror group called the French 75.

But I can tell you that the time is absolutely right for One Battle After Another.

This is a political satire that skewers both the extreme right and the extreme left at a moment when both sides are to the fore in the real world in the United States.

The time is also well overdue for this piece of cinematic dynamite that will have you on the edge of your seat — from laughter or the high-octane action.

Directed by Paul Thomas Anderson, it is a work of genius that fuses the best elements of his films There Will Be Blood and Boogie Nights.

It begins 16 years ago with Bob helping to free refugees at a US border crossing.

During the raid his girlfriend, the wonderfully named Perfidia Beverly Hills (Teyana Taylor), orders Sean Penn’s military officer ­Steven J Lockjaw to “get up” his private parts.

The French 75’s increasingly reckless terrorism ends in a thrilling chase and Bob needing to go into hiding with the baby daughter he shares with Perfidia.

Most of the story is set in the current time, with Lockjaw coming after Bob and his daughter Willa.

As things get wilder, the audience is introduced to a bunch of incredible characters, including members of the white supremecist Christmas Adventurers Club, gun-toting nuns and Benecio Del Toro’s always-cool martial arts instructor Sergio.

The serene Del Toro is a perfect comic foil for the frantic DiCaprio who spends a lot of time running around shouting “f, f, f***.”

In one of the standout screwball moments, Sergio keeps repeating “four” as Bob is reluctant to jump out of his moving car like “Tom Cruise”. It is just one of many quotable lines.

But the most memorable scene brings the movie’s various plots to a perfect, heart-racing conclusion.

All of the cast are outstanding, with DiCaprio and newcomer Chase Infiniti as Willa most likely to be nominated for awards.

If there is any justice this film will get one Oscar after another.

GRANT ROLLINGS

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THE STRANGERS: CHAPTER 2

(15) 96mins

★★☆☆☆

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DIRRECTED by Renny Harlin, this second instalment in the Strangers trilogy is a bafflingly incoherent mess.

It picks up right after the events of Chapter 1, but instead of expanding on Bryan Bertino’s original 2008 home-invasion nightmare, it devolves into a clumsy blend of ­borrowed horror tropes held together by a barely coherent backstory.

Chapter 2 follows the survivor, Maya (Madelaine Petsch), as she is relentlessly pursued by masked killers in a sleepy American town.

Despite her injuries, Maya must find the strength to stay alive and tell the tale.

Petsch is committed to the physical demands of the role, fighting a CGI boar in a bafflingly out-of-place sequence.

However, the film’s drawn-out and repetitive cat-and-mouse chases become truly unbearable.

Narratively, the film is all over the place lurching from home-invasion suspense to slasher to survival horror.

The only thing that prevents it becoming a total farce is Harlin’s occasional use of a few inspired jump scares.

As a middle chapter, this feels like a placeholder for the next film.

LINDA MARRIC

DEAD OF WINTER

(15) 98mins

★★★☆☆

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IF you were casting for a Ramboesque heroine, Emma Thompson would not be the first name to spring to mind.

But in this rescue of a kidnap victim from a remote cabin thriller, it is the Love Actually actress displaying ingenious ways to survive.

Set in northern Minnesota in the US, Thompson’s Barb heads out in a snow storm to a lake that had a sentimental value to her recently deceased husband.

There she comes across a man who has tied up a young woman in his cellar.

Unable to go to get help, Barb vows to save the girl herself.

But the man is not her main concern, because it is a gun-toting woman played by Judy Greer who is the one with the least to lose by fighting to the bitter end.

Thompson is remarkably good when Barb is stitching up a bullet wound in her arm with fishing wire, and the attention to detail in the sets also impresses.

But choosing her isn’t enough to make this last- person-standing drama feel particularly original.

Like the tracks that Barb leaves in the snow, you know where most of the plot turns lead.

GRANT ROLLINGS

ACTOR Tom Holland was rushed to hospital after a stunt on the set of the latest Spider-Man blockbuster went wrong.

It is believed he cracked his head in a fall and was treated for concussion.

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A woman, thought to be a stunt double, was also taken to hospital in an ambulance.

Filming of £150million Spider-Man: Brand New Day was suspended at Leavesden Studios in Watford, Herts, on Friday and could be on hold for weeks.

British star Tom’s comedian dad Dominic, attending a charity dinner in Mayfair, confirmed his son would be away from filming “for a while”.

Tom, 29, was there too and even posed for pictures with co-star and fiancée Zendaya, 28.

However, he left early after feeling ill.

The fall could lead to an investigation by the Health and Safety Executive.

The film — Tom’s fourth standalone Spider-Man movie — is due out next July.

Leavesden Studios and Sony Pictures were contacted for comment.

An East of England Ambulance Service spokesman said: “We were called at 10.30am on Friday to attend to a patient who had sustained an injury at Leavesden Studios in Watford.

“An ambulance was sent to the scene, and the patient was transported to hospital for further care.”

DARTH Vader’s lightsaber has been sold for £2.7million — making it the most expensive Star Wars prop in history.

The fake weapon, made from an old flash camera attachment, beat pre-sale expectations by £100,000.

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It was famously used in 1980’s The Empire Strikes Back in the battle where baddie Vader chops off Luke Skywalker’s hand — then reveals that he is, in fact, his opponent’s father.

Brandon Alinger, of auction house Propstore in Los Angeles, said: “The result marks a landmark moment for the entire world of film collecting.”

“To see a Star Wars lightsaber – the symbol of one of cinema’s greatest sagas – become the highest-valued piece of the franchise ever sold at auction is incredibly special.”

He added: “It speaks to the enduring cultural power of Star Wars and the passion of fans and collectors who see these artifacts as touchstones of modern mythology.”

The 1ft (32cm) green lightsaber was used in scenes by Darth Vader actor David Prowse and stunt performer Bob Anderson.

In the pre-auction process it was described as “one of the most significant cinema artefacts ever.”

Other items sold on Thursday night included the Spider-Man suit worn by Tobey Maguire in the 2002 superhero film, which went for $289,800 (£214,000).

Harrison Ford‘s eight-foot bullwhip, belt and whip holster from Indiana Jones And The Last Crusade (1989) beat its pre-sale estimate to sell for $485,100 (£360,000).

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THE CONJURING: LAST RITES

(15) 135mins

★★★★☆

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FOR over a decade, the Conjuring franchise has been scaring us silly with its “true stories”.

But this will be the final haunted hurrah from parapsychologists Lorraine (Vera Farmiga) and Ed Warren (Patrick Wilson).

The married couple are as devoted to keeping bad spirits at bay as they are each other.

The film begins with a flashback to 1964, where a haunted mirror causes Lorraine to go into early labour.

The birth is traumatic and the demon that wants to get her young baby, Judy, almost wins, with the tot being stillborn.

Evil presence

But after begging the Lord to make the baby breathe, Lorraine wins that battle and we see the loving family grow up with happiness around them.

All while ghostbusting, of course.

But demons don’t rest and Judy, who has visions like her mum, often feels that she is being watched.

Fast-forward to 1986 and the Warrens are retired due to Ed having a heart condition.

But that pesky mirror turns up again, this time in the family home of the Smurls in Pennsylvania.

There are some seriously creepy goings-on and this is a demon not to be messed with. The Smurls have been so violently attacked by a powerful evil presence that they all live in terror.

As usual in these films, what you don’t see is far more terrifying than what you do.

Every usual horror trope is thrown out with a vengeance. But hey, if it ain’t broke. . . 

And it certainly feels like it’s not, as my palms grew clammy and heart rate shot up countless times.

The performances by Farmiga and Wilson are as extraordinary as always, bringing believable calm to the roles.

The climax of the supernatural events includes daughter Judy (Mia Tomlinson) and her boyfriend Tony (Brit actor Ben Hardy), are both tense and unsettling.

Directed by Michael Chaves, who was also the director for the three previous entries in the franchise, the film has a hand-held camera effect that tunes into the 1980s feel very well indeed.

There’s also a nice rounding off at the end with some familiar faces that superfans will appreciate.

A spine-tingling finale to a series of films that will likely haunt generations of fans to come.

ON SWIFT HORSES

(15) 119mins

★★☆☆☆

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THIS odd beast of a film from Daniel Minahan is adapted from Shannon Pufahl’s 2019 novel.

It opens with Muriel (Daisy Edgar-Jones) and her soon-to-be husband, Lee (Will Poulter), chasing the Californian dream after his return from the Korean War.

Their plans for a fresh start are almost derailed by the arrival of Lee’s magnetic younger brother, Julius (Jacob Elordi), who departs for Las Vegas the next day.

There, Julius finds work in a casino and falls into a secret romance with his charismatic coworker, Henry (Diego Calva).

Back in California, Muriel begins her own double life, gambling at racetracks and discovering an unexpected passion with her neighbour, Sandra (Sasha Calle).

On paper, this is rich material, but on screen, Minahan never quite delivers the goods.

The film certainly looks the part – Andre Chemetoff’s cinematography bathes everything in a golden haze – but beneath the gloss there isn’t enough here to truly hold it together.

In the end, On Swift Horses aspires to be a sweeping saga in the vein of East Of Eden, but it never gets out of a slow trot.

All style, with little substance.

LINDA MARRIC

THE COURAGEOUS

(12A) 83mins

★★★★☆

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JASMIN GORDON’S debut feature film is an honest portrait of survival, love, and dignity.

Set against the beautiful landscape of Switzerland’s Valais region, it follows Jule (Ophelia Kolb), a rebellious single mother of three who refuses to give up on her family despite poverty, past mistakes and the indifference of the welfare system.

Kolb, best known for the hugely popular series, Call My Agent!, gives a career-defining performance. She captures Jule’s contradictions with remarkable depth.

Gordon directs with sensitivity, as she blends social realism with poetic imagery in a film that never feels needlessly moralising.

Her film never resorts to cliché or sentimentality; instead, it shines a light on the often invisible battles of the working poor in a modern Swiss society where destitution is often a taboo subject.

This is a powerful, heartfelt drama about love, resilience, and the complexity of being a flawed human.

Gordon’s sensitive direction and Kolb’s mesmerising performance combine to create a film that is both socially aware and profoundly moving.

It may be her first ever feature, but Gordon has made a film that feels both mature and hugely engaging.

LINDA MARRIC

A JAMES Bond favourite has taken himself out of the running after believing he’s “not the right person” for the role. 

Ever since Daniel Craig said goodbye to the role in 2021 release No Time To Die, the role of super spy 007 has been up for grabs, with speculation rife over who should take over. 

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Over time, bookies have placed their bets on a string of Hollywood A-listers to take on the role, including Aaron Taylor-Johnson, Idris Elba and Henry Cavill. 

With Amazon acquiring the 007 franchise from the Broccoli family, this was then extended to American stars including Patrick Schwarzenegger, Timothée Chalamet and Jacob Elordi. 

But one emerging favourite – Top Gun 2 and Anyone But You star Glen Powell – has shut down speculation he could take his martini shaken, not stirred. 

Speaking to The Hollywood Reporter, Glenn said simply: “I’m a Texan. My family and I joke around, I can play Jimmy Bond, but I should not be playing James Bond. 

“Get an authentic Brit for that job. That’s who belongs in that tuxedo.” 

In the 63 years James Bond has been on screen, seven actors have played the character – all of whom white men from the UK and Ireland. 

Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig have portrayed the spy in the film series, with David Niven taking on the role in a non-official adaptation in 1967. 

Debate has since spread over whether the franchise should deviate from tradition when it comes to the character, with James Bond and 007 code names that can be taken on by anyone. 

At one stage, Gillian Anderson was being considered as the first female Bond, while Idris Elba has held firm as a favourite to become the first Black star to portray the spy. 

However, some actors have noted they don’t want to play such an iconic character, as doing so would mean that they could be defined as “Bond” for the rest of their career. 

The White Lotus star Theo James previously ruled himself out for that reason, telling The Guardian in 2024: “I do think there are better people for that job. 

“And, honestly, it would be terrifying: if you do that, there’s no going back. You’re opening Pandora’s box there.” 

The new favourite for the role is relative unknown actor James Nelson-Joyce, who played James ‘Yatesy’ Yates in BBC drama, Little Boy Blue, and Michael Kavanaugh in the gangster drama, This City is Ours.

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WEAPONS

(18) 128mins

★★★★☆

THINGS that go bump in the night have long been a horror-story theme. But what about things that disappear in the night?

That is the opening of this fascinating thriller when 17 kids run out of their houses at 2.17am in a US town.

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No one knows why, or where they have gone. They ran down the street, arms spread like aeroplanes, and then vanished.

They are all in the same primary school class, taught by Justine (Julia Garner). Only one little boy remains, Alex (Cary Christopher).

We meet the pair a month after the disappearances, where tensions in the small town are running high.

The devastated parents think Justine and Alex must know more than they are telling police and become crazed with frustration.

The eerie feeling of the quiet suburban streets — and an entire town after one teacher — builds the feeling that more very bad things will happen soon.

And boy, they really do.

There’s an ensemble cast and the film is divided into several chapters.

Justine is the stressed teacher who is relying heavily on vodka, and Archer Graff (Josh Brolin) is the broken father who watches the CCTV of his son running out of the house on loop and will do anything for answers.

There’s also a troubled police officer, thieving junkie and the school’s head teacher who have their own different journeys around the horror of the town.

Oh, and Alex — the boy who was left behind — played superbly by young Christopher. His flat answers to questions and slow blinks have your palms a bit clammy.

The few horror tropes that are used — dream sequences and jumps — are done with class and control.

Written and directed by Zach Cregger, following on from his breakout and brilliant Barbarian, this often funny and ferocious film is intriguing until the end.

While most of the film gives you little to no clue of what is behind the children’s sudden disappearance, Cregger truly lets loose in the final half hour.

The foot is slammed on to the horror pedal and I found myself watching much of it through my fingers.

It’s both weird and wild — and certainly does not attempt to wrap an explanation up in a nice little bow for the audience.

You’ll leave with a slightly furrowed brow and a palpitating heart.

FREAKIER FRIDAY

(PG) 111mins

★★★☆☆

IN 2003’s Freaky Friday, therapist Tess Coleman (Jamie Lee Curtis) and her guitar-playing daughter Anna (Lindsay Lohan) temporarily inhabit each other’s bodies and lives.

In this sequel two decades later, Anna is a music producer and single mother to teen Harper (Julia Butters), while Tess records podcasts and plays pickleball.

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Anna’s forthcoming marriage to Eric, who has daughter Lily, will create a blended family – but it’s a union only the bride and groom are happy about.

Then fortune-teller fun – which sees Anna switch bodies with Harper, while Tess and Lily swap – allows them to see things through each other’s eyes.

Comical silliness and heart-warming schmaltz ensues, with typical Boomer, Millennial and Gen X characteristics teased for decent laughs.

The teens are forced to use Facebook and listen to Coldplay while the adults relish regaining their youthful metabolism.

It’s best when the elders play younger personas, and Jamie Lee Curtis is a treat throughout, flexing her funny bones.

A comfortable and entertaining Lohan is her perfect feel-good foil.

THE KINGDOM

(15) 112mins

★★★★☆

ORGANISED crime on the French island of Corsica makes for both a bloodthirsty and beautiful backdrop for Julien Colonna’s gripping Mob drama set in the 1990s.

Mafia racketeering in Sicily has often been portrayed on screen, but this location, along with some standout performances, feels like a fresh take on the much-told gang wars narrative.

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And Colonna knows his stuff – he comes from a Corsican family with Mob connections.

Teenager Leisa (a brilliant Ghjuvanna Benedetti) is the daughter of widowed faction boss Pierre-Paul.

She is enjoying carefree days at her aunt’s house, playing on the beach with her cousins and flirting with boys.

But without warning she is taken off to spend time with her father, who is planning revenge after a failed attempt on his life.

Leisa bonds with him by fishing, shooting boar, practising her rifle aim and sharpening her awareness of underworld politics.

The pace may be slow at times, but the captivating performances, along with a plot of murders, family dynamics and revenge, will hold your attention to the end.

Laura Stott