Monday, 6 April 2026

REVIEW: The Super Mario Galaxy Movie (2026 Film) - Stars Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black and Keegan-Michael Key

The Super Mario Galaxy Movie


Review by Jon Donnis

The Super Mario Galaxy Movie knows exactly what it is trying to do, and it does not waste time pretending to be anything else. Directed by Aaron Horvath and Michael Jelenic, and written by Matthew Fogel, this sequel pushes the Mario world into a much bigger, more chaotic space setting, and it never really slows down once it gets going.

The story centres on Princess Rosalina, who is kidnapped by Bowser Jr. as part of a plan to drain her power and fuel a universe destroying weapon in honour of Bowser. From there, Mario and Luigi are pulled into a rescue mission that quickly expands across multiple galaxies. Along the way they meet Yoshi, defend the Mushroom Kingdom, and eventually reunite with Peach and Toad as the scale of the threat grows. The film keeps moving from one set piece to the next, with very little downtime.


That constant movement is a big part of why it works. At around ninety five minutes, the runtime feels just right. It does not drag, it does not overstay its welcome, and it is clearly designed to hold the attention of younger viewers from start to finish. This is a film built on momentum, and it sticks to that approach.

The animation is easily one of the strongest elements. Every environment feels bright, detailed, and full of life, from the Honeyhive Galaxy to the Comet Observatory. The action sequences are packed with energy, and there is a clear effort to make each setting visually distinct. It looks exactly how a Mario film should look, colourful, playful, and constantly moving.
 

There is also a steady stream of references various video games. These are woven into the film in a way that feels natural rather than forced, giving fans plenty to recognise while still keeping things accessible for younger audiences. It is very much a film that both kids and long time players can enjoy without needing to overthink anything.

That idea of not overthinking things runs through the entire film. There is nothing complicated here, and that is clearly intentional. It is a straightforward, action heavy adventure that focuses on fun above all else. Kids are going to love it, and that is ultimately where its priorities sit.


One of the more interesting aspects is how unapologetically simple it is in terms of messaging. There is no attempt to push any kind of political angle or wider agenda. It sticks to telling a fun, energetic story without trying to layer in anything beyond that. At a time when audiences are increasingly aware of that kind of thing, this approach stands out. It is easy to see why general audiences will respond positively to that, even if some critics take issue with it.

Critics will likely push back on the film because it does not include those elements, and that feels baked into how this will be received. It is the kind of film that some will dismiss for what it does not try to do, while others will enjoy it for exactly the same reason. That divide is part of what will drive its success. The general audience are sick of political agendas, and woke nonsense. Where as critics are paid to push it. Ignore that noise.


The film's only weakness is the lack of character development. With so much happening and so many locations to move through, there is not much time to explore the characters in depth. Moments that could have been expanded are often brief before the film moves on to the next action sequence. That said, with this level of constant adventure, it is not something that significantly hurts the experience.

In the end, The Super Mario Galaxy Movie delivers exactly what it promises. It is fast, colourful, and built around non stop action. It does not try to be deeper than it needs to be, and it does not get bogged down in anything that would slow it down.


This is a film that general audiences, especially younger viewers, are going to enjoy far more than critics. It keeps things simple, avoids unnecessary messaging, and focuses on entertainment. That alone makes it stand out.

The Super Mario Galaxy Movie earns a strong 9 out of 10.

Out Now in Cinemas

Friday, 3 April 2026

PREVIEW: No Ordinary Heist (2026 Film) - Starring Eddie Marsan, Éanna Hardwicke, Michelle Fairley, and Eva Birthistle

Preview by Jon Donnis

No Ordinary Heist  is on its way this spring, with Epic Pictures Group set to release the thriller across North America. It arrives in select cinemas on April 24, 2026, before moving quickly onto digital video-on-demand platforms on April 28, 2026, which means it will not be long before audiences can catch up with it either way.


Directed by Colin McIvor, who co-wrote the screenplay with Aisling Corristine, the film takes its cue from the real-life Northern Bank robbery. That alone makes it one to keep an eye on, especially given how it frames the story through two bank employees who are already feuding before everything escalates. Their situation takes a sharp turn when criminals kidnap their families and force them into carrying out what becomes Ireland's largest bank robbery. It is a setup that naturally raises questions about how that tension between them plays out under pressure.

The cast brings together Eddie Marsan, Éanna Hardwicke, Michelle Fairley, and Eva Birthistle, with the production led by Ruth Carter, Damon Lane, and Johanna Hogan. With that mix of talent in front of and behind the camera, it feels like a project that will rely heavily on its performances to carry the weight of the story.


At this stage, it is the combination of the real-life inspiration and that central dynamic between the two leads that stands out most. It will be interesting to see how closely the film leans into the events that inspired it, and how it builds the tension around the situation they are forced into.

With the release date not far off, this is one I am looking forward to seeing when it arrives. I will be watching it as soon as it becomes available and will follow up with a full review after its release.

Coming to Apple TV on April 28th - https://apple.co/419iyTB


PREVIEW: The Last Spy (2026 Documentary) from Katharina Otto-Bernstein

Preview by Jon Donnis

Dogwoof has released the trailer for The Last Spy, a new feature documentary from Katharina Otto-Bernstein, set to arrive in select cinemas and on digital on 24 April 2026.

The film follows Peter Sichel, a former CIA spymaster who, at 100 years old, reflects on a life shaped by secrets, covert operations and geopolitical intrigue. The trailer points to a story that moves from Berlin to Washington, and across Iran, Latin America, Indonesia and China, suggesting a wide-reaching account of his experiences.

What is clear from this first look is that Sichel is offering a direct reflection on loyalty and truth, while revisiting moments defined by moral dilemmas. The film presents him as someone looking back with clarity, while also challenging the past and what can be learned from it.

The Last Spy is framed as a rare portrait of a figure who has lived through significant global events, while still holding on to his sense of humanity. As the trailer suggests, this is a story not just about what happened, but about facing the future with the lessons of the past firmly in view.

THE LAST SPY IS IN SELECT CINEMAS AND ON DEMAND FROM 24 APRIL www.thelastspy.film


Wednesday, 1 April 2026

Interview with Director Scott Mann

Ahead of HEIST airing on LEGEND XTRA on April 6, director Scott Mann looks back on collaborating with Robert De Nero, explains how personal family loss shaped the creation of FALL, and reveals how HEIST went on to influence the launch of his innovative company FLAWLESS.

LEGEND XTRA is broadcasting your 2015 crime thriller HEIST. Looking back what are your fondest memories of making the film?
 
The cast, without question, Robert De Niro, Jeffrey Dean Morgan, Dave Bautista, Gina Carano, Kate Bosworth. It was a tough shoot, filming on a moving bus without a Speed-level budget, but it was also one of the first films I made that really came from the heart. Under the heist-thriller setup, it's a story about fatherhood, Jeff's character will do anything to save his daughter, which puts him up against De Niro's intimidating criminal.
 

The film plays heavily with shifting loyalties. How did you ensure those twists felt earned rather than purely plot-driven?
 
By grounding everything in character truth. I actually had an early call with De Niro where he nearly dropped out because the script had real issues, and he'd spotted the same problems I had. I was honest about it, and we ended up working through the character together in New York. That rewrite became the foundation: if the characters' choices are authentic, the twists feel inevitable, surprising but earned.
 
What was your approach to building tension within the confined space of the bus for much of the film?
 
You need ticking clocks, escalating stakes, and the sense that there's no escape. The premise creates inevitability: a dangerous crime against someone who will stop at nothing to punish the people responsible. From there it's about pacing, reveals, and finding fresh ways to keep the audience surprised.
 

Crime thrillers often follow familiar beats. What did you want to do differently with Heist to stand out within the genre?
 
Keep it character-first. The single-location constraint forces you into dynamics, reversals, and meaningful surprises. The film is designed to build toward a strong third act, the payoff matters as much as the setup.
 

Your heart-stopping survival thriller FALL closed FrightFest in 2022. What do you remember about the experience?

Fall is my favourite filmmaking experience, and the hardest. It was also the most honest. I learned that originality often comes from stripping things back: smaller scale can mean more creative control. On Fall, I had the freedom to cast the best actors for the roles, Virginia Gardner and Grace Caroline Currey, and we filmed at height with a small crew in brutal conditions. It was gruelling, but it bonded us and created something I'm incredibly proud of. The story was personal too, it came out of grief my family experienced, and the film became part of processing that.
 
The film relies heavily on fear of heights. How did you translate vertigo into a cinematic language that feels physical and immediate?
 
It starts with the characters. The concept came from standing on a stadium roof during another shoot and asking: why does height create such intense anxiety? You communicate it through performance, tension, and the audience being slightly ahead, seeing danger before the characters do. Ultimately, the actors sell the fear.
 
What were the biggest logistical challenges in creating the illusion of extreme height while keeping cast and crew safe?
 
Making something look unsafe while keeping it safe. We built multiple towers, including one about 100 feet high, and had to find a mountaintop location with the right vista and workable access. That meant carving roads to get equipment up, managing tight shooting windows, and adapting constantly, wind, weather, everything. We filmed during COVID as well, which added another layer, but being outdoors helped.
 

You are Co-CEO of FLAWLESS AI, a company pioneering ethical, AI-driven visual effects and post-production technology for Hollywood. Can you describe the impact your DeepEditor tool continues to have on the filmmaking process?
 
Heist actually inspired Flawless. Seeing how dubbing compromises performance, especially in foreign-language versions, sent me looking for a better solution. Our earliest prototype was a Heist scene with De Niro, where we synced his performance to authentic foreign-language dialogue. That became the foundation of what we built: tools that help filmmakers preserve performances responsibly.
 
With all the confusion and controversy swirling around the use of AI in movies, what ethical boundaries do you think filmmakers should establish when using generative AI in production?
 
 
The key distinction is assistive vs. generative. Tools that enhance artistry, acting, directing, editing, can be hugely positive. But generative systems that replace artists or rely on scraped IP are dangerous and unethical. Audiences want human connection, not synthetic photocopies. AI should protect and amplify performance, not erase it.
Finally, what's next?
 
Flawless is now being adopted across major studios, and you'll see more multi-language versions of content rolling out over the next year. Creatively, we have Fall sequels in progress, one nearing completion and another I'll direct, incorporating new technologies in an exciting way.
 
HEIST is showing on LEGEND XTRA on Mon 6 April, 9.00pm.
Available: SKY 317 | FREELY 51 |  FREESAT 138 | FREEVIEW 69 | VIRGIN 171



Monday, 30 March 2026

PREVIEW: Golden (2026 Film) - Written and directed by Nick Leisure

Golden

Preview by Jon Donnis

Golden shifts Brian Austin Green away from familiar territory and drops him into a far more dangerous world, where quick decisions and bad luck collide. Set against a backdrop of crime, deception, and rising tension, the film follows an ordinary man pushed into extraordinary circumstances, with consequences that spiral fast.


Written and directed by Nick Leisure, the thriller draws from a shocking true story and builds its momentum around a simple but risky idea. Frank, approaching his fiftieth birthday and stuck in a life going nowhere, decides to take a chance. Using his father's printing business, he begins producing counterfeit money, crossing into Mexico to exchange it for real cash. At first, it works. The plan feels almost too easy, and the rewards come quickly.


That early success does not last. As suspicion grows and the cracks begin to show, Frank finds himself pulled deeper into a world he cannot control. What started as a desperate attempt to change his life soon becomes a dangerous game involving criminals, corrupt police, and a cartel linked to stolen gold. Each step forward brings greater risk, and the sense of control slips further away.


The film leans into its tension, building a story where ambition and fear constantly clash. Frank is forced to think on his feet as the pressure mounts, facing enemies who are always one step ahead. The stakes rise steadily, turning his gamble into a fight for survival as much as success.

Golden arrives on UK digital platforms on 6 April through Miracle Media, offering a fast moving thriller built on risk, greed, and the thin line between getting away with it and losing everything.