PREVIEW: The Vindicator (2026 Film) - Starring Anna Greene

Preview by Jon Donnis

A notorious serial killer turns the tables on a true crime podcast in The Vindicator, a dark new horror that twists obsession with justice into something far more dangerous. Recently released in the US, the film arrives on UK digital platforms on 19 January through Miracle Media.

Directed by Luca Patruno and Brandon Sherrill in their feature debut, The Vindicator follows podcasters Ava, Tommy and Bradley as they chase their biggest story yet. Ava is played by Anna Greene from Down Below, with David W. Rice from Lady Scorpions as Tommy and MacCallister Byrd from Running Point as Bradley. Together they host the popular podcast Serial Chat, built on digging into unsolved cases and notorious killers.

Hoping to unmask one of the most prolific murderers of the 21st century, known as The Vindicator, the trio travel to Arizona to stage a special livestream. Armed with what they believe could be crucial evidence, they prepare for an episode that promises answers and acclaim.

Everything changes when the livestream abruptly cuts out. Instead of silence, the hosts receive a call from the killer himself. What follows is a chilling proposition. If they want the truth, they must play his game. Ava agrees, and the group are set seven questions, each one dragging them closer to the killer's identity while forcing them to confront secrets they would rather keep buried.

As the challenges grow more sinister, the hunt for justice begins to fracture their sanity. The line between investigator and victim blurs, and the cost of curiosity becomes terrifyingly clear.

The Vindicator promises a grisly, unsettling ride where the search for truth is as deadly as the crimes themselves.

The Vindicator is on UK digital 19 January from Miracle Media

PREVIEW: Tabula Rasa (2026 Film) - Starring Macarena Gómez & Carlos Bardem

Preview by Jon Donnis

From Black Mandala comes Tabula Rasa, a psychological thriller directed by Juanfer Andrés and Esteban Roel that leans into sustained tension and carefully placed twists. The film sets out to explore the darker corners of the human psyche, where memory becomes unreliable and the line between reality and madness begins to blur.

The story centres on Leo and her husband Julio, who host a small family gathering at their home. Joining them are Leo's sister Claudia, Claudia's partner Héctor, and their newborn son Izan. What begins as a quiet, intimate celebration takes a disturbing turn when Claudia realises that Izan has vanished. His nanny, Luciana, is also gone, with no explanation and no trace.

The disappearance triggers something buried deep within Leo. Long suppressed psychiatric trauma resurfaces, pulling her into a psychological spiral where her grip on reality starts to weaken. As events unfold, her perception fractures, leaving both Leo and the audience questioning what can truly be trusted.

At the same time, unresolved family tensions begin to surface. Old conflicts and unspoken resentments rise to the surface, forcing Leo to confront uncomfortable truths about her relationships and her past. The film gradually reframes its central mystery into a more unsettling examination of identity, guilt and the consequences of a mind pushed beyond its limits.

Tabula Rasa is directed by Juanfer Andrés and Esteban Roel, from a script by Sofía Cuenca and Juanfer Andrés. The cast includes Macarena Gómez, Carlos Bardem, Amaia Salamanca, Ramón Emilio Candelario, Stephany Liriano, Luis del Valle, Nicolás Mercedes Peña and Pedro Casablanc.

Coming Soon

PREVIEW: The Huntsman (2026 Film) - Starring Shawn Ashmore, Elizabeth Mitchell, Jessy Schram and Garret Dillahunt

By Jon Donnis

Epic Pictures Group has set a North American release for the mystery thriller The Huntsman, with a limited theatrical run beginning on 6 February 2026. The film will then arrive on video-on-demand for rental and purchase on 10 February 2026.

Based on the award-winning novel by Judith Sanders, The Huntsman is directed by Kyle Kauwika Harris from a screenplay he co-wrote with Steven Jon Whritner. The film is executive produced by Frank J. Malinoski and features a cast led by Shawn Ashmore, Elizabeth Mitchell, Jessy Schram and Garret Dillahunt.

The story centres on an ICU nurse whose act of kindness pulls him into a dangerous and unsettling situation. According to the official synopsis, when he volunteers to help a coma patient accused of murdering six women, he becomes trapped in a web of lies, obsession and lethal secrets, while a detective races to uncover the truth before it is too late.

Director Kyle Kauwika Harris says the film explores moral uncertainty, the limits of justice and the fragile nature of truth, creating psychological tension without relying on gratuitous violence. He adds that the real horror lies in what remains unseen, with the story designed to keep audiences questioning every character and moment as themes of grief, guilt and paranoia come to the surface.

Epic Pictures Group CEO Patrick Ewald - "This is the kind of elevated thriller we love backing. Dark, atmospheric, and driven by strong performances, THE HUNTSMAN delivers a smart, twist-forward mystery that keeps the pressure on and audiences guessing until the very end."

REVIEW: Space / Time (2026 Film) - Starring Ashlee Lollback and Hugh Parker

Review by Jon Donnis

Space / Time is a compact and engaging sci-fi thriller set in 2033, exploring the consequences of a radical experiment in bending space itself. The story begins with a promising scientific breakthrough that ends in disaster, leaving the key players discredited and the project abandoned. Into this void steps Holt, played with controlled intensity by Hugh Parker, whose determination to salvage his work drives the narrative forward. With his sharp assistant Liv, portrayed with poise and intelligence by Ashlee Lollback, he descends into the criminal underworld to rebuild the device, creating a tense, high-stakes atmosphere that grips the audience.

The film's strongest asset is its pacing. At under 90 minutes, it wastes no time, moving quickly into the action and keeping the story taut. Once the time travel element kicks in, roughly an hour in, the plot demands full attention, rewarding viewers with clever twists and moral tension. Michael O'Halloran's direction makes the most of a limited Australian budget, delivering surprisingly polished visual effects that elevate the stakes without feeling overblown. Parker and Lollback provide strong central performances, balancing brilliance and obsession with subtle emotional beats. Pacharo Mzembe adds depth to the ensemble, rounding out a cast that holds the story together. The film also distinguishes itself by offering a fresh take on time travel, a genre where originality is rare, giving the story a sense of novelty without unnecessary complexity.

On the downside, the film never fully conveys the actual threat the characters are trying to avert. It hints at global collapse, perhaps tied to climate change, but the stakes remain somewhat abstract. A clearer depiction of the looming danger would have added weight to their urgency and intensified the drama. Despite this, the story maintains enough tension to carry the narrative.

Space / Time is a well-made, well-acted, and visually impressive film that offers an inventive approach to time travel. It is both exciting and thoughtful, rewarding viewers who engage with its ideas and pace. I give Space / Time a solid 8 out of 10.

Out on Digital

Apple TV - https://apple.co/4oRY4rD

REVIEW: Primate (2026 Film) - Starring Johnny Sequoyah, Jessica Alexander, and Troy Kotsur

Review by Jon Donnis

Primate wastes no time setting its stall out. Director Johannes Roberts opens with a blunt, nasty prologue in rural Hawaii, where a veterinarian meets a gruesome end at the hands of a pet chimpanzee. It is an immediate statement of intent and a reminder that this film is not interested in subtlety. From that moment on, the film locks into survival mode and rarely lets up.

The story rewinds 36 hours to introduce Lucy, returning home after years away, alongside a group of friends whose relationships are already fraying at the edges. The location does a lot of heavy lifting. Lucy's family home, carved into a cliff face with an exposed infinity pool, is both striking and inherently threatening. Roberts understands the power of space, and the house quickly becomes a trap rather than a sanctuary.

At the centre of it all is Ben the chimpanzee, a family pet raised with unusual care and intelligence. Through soundboard software developed by Lucy's late mother, Ben is able to communicate in short phrases, which gives him an unsettling presence even before things turn violent. Once rabies enters the picture, the film leans hard into feral horror. Ben becomes unpredictable, cruel, and frighteningly physical. The performance work and effects make him the undeniable star of the film. Every appearance crackles with tension, and his slasher-like method of picking off the group one by one is executed with savage enthusiasm.

Roberts and co-writer Ernest Riera keep the storytelling brutally simple. There is very little interest in expanding the mythology or pausing for emotional depth. Instead, the focus is on pressure, movement, and escalation. The extended pool sequence is a standout, using Ben's fear of water to create a cruel standoff that feels both inventive and claustrophobic. The kills are gnarly, efficient, and unapologetically mean spirited, firmly placing Primate in B-movie territory with a decent budget behind it.

The cast largely exists to be hunted, but they serve their purpose well enough. Johnny Sequoyah gives Lucy enough grounding to keep the film from becoming completely hollow, while Troy Kotsur brings a welcome seriousness as Adam, the deaf father whose delayed realisation of the danger adds another layer of tension. The film's final moments, particularly the chilling use of Ben's soundboard, land with a nasty little sting rather than emotional closure.

That said, Primate is built almost entirely from familiar horror beats. Every cliché is here, from the isolated location to the doomed side characters making questionable decisions. The film knows this and does not try to disguise it. If you are looking for originality or depth, you will not find much. The narrative is sparse, sometimes barely holding together, and the film relies heavily on momentum to stop you from questioning it.

Fortunately, the short runtime works in its favour. At under 90 minutes, Primate moves too quickly to outstay its welcome. It is uncomplicated, visceral, and designed to be consumed in one breathless sitting. The lack of story becomes part of the appeal rather than a flaw, provided expectations are kept in check.

Primate is a blood curdling, efficient slice of natural horror that knows exactly what it is. It is all horror, very little story, and just enough invention to keep things entertaining. For fans in need of a fast, nasty fix, it more than does the job.

I score Primate a generous 7.5 out of 10.

Out Now - https://apple.co/4pyarJY