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Martin Kemp might be battling bugs on I'm A Celeb right now, although his latest screen outing throws him into something far nastier. Doctor Plague is a fresh slice of horror that drops the pop icon into a grim hunt across London, where a masked figure stalks the streets with a taste for blood. Miracle Media brings the film to UK audiences on 12 January, and the first look sets quite a tone.
Kemp steps in as John Verney, a worn down detective who has seen far too much, yet somehow not enough to prepare him for this. A killer dressed like a seventeenth century plague doctor is carving through the city, leaving Verney to wonder if the threat is human or something far stranger. The Hollywood News calls the film a unique horror thriller with hints of The Wicker Man, which suits the uneasy atmosphere that hangs over every frame.
It is a sharp contrast to the jungle camp. Instead of clearing trials, Kemp finds himself racing through dark alleys while the mask of the plague doctor glints in the gloom. The question is whether Verney can survive long enough to unmask what is really happening. He is a celebrity after all, so you cannot help hoping he escapes before the clock runs out.
The trailer is ready to view and sets the stage for what looks like a chilling start to the new year.
Doctor Plague is on UK digital 12 January from Miracle Media
Wicked: For Good arrives with the weight of expectation on its shoulders, picking up the second act of the stage musical and the story left hanging at the end of the 2024 film. Jon M. Chu once again leans into spectacle, and you can feel the confidence of a director who knows this world inside out. The film looks gorgeous. Every frame seems shaped to draw you deeper into Oz, from the shadowed forests where Elphaba hides to the polished glow of the Emerald City. When the music swells, the production finds its stride. Big show tunes fill the space with energy and feeling, and the film wears its heart on its sleeve with numbers about loyalty, love, and the price of standing firm.
Cynthia Erivo carries the whole thing with remarkable presence. She gives Elphaba real depth, and you can feel every bit of frustration and heartbreak as she fights for the truth and tries to keep hold of whatever hope she has left. Jonathan Bailey gives Fiyero a warmth that helps ground the darker moments, and Jeff Goldblum breezes from charm to menace without ever slipping out of place. The returning ensemble fits neatly into this larger, heavier chapter. Fans of the first film will probably sink straight back into it, pleased to find much of the original tone still intact.
That said, the cracks show. The film sits at 2 hours and 18 minutes, and you feel every minute of it. For all the time it spends lingering on detail, the ending somehow rushes by in a blur. It leaves you wondering why the pacing could not have been tightened in the earlier acts. Ariana Grande's Glinda never quite settles either. Her performance feels oddly muted in a story that demands a far stronger emotional punch from her character. The film tries to recapture the magic of its predecessor, although the first one was not exactly beloved across the board. That comparison ends up highlighting the weaker moments here. There is spectacle, yes, but that spark that lifts a musical into something truly memorable never fully appears.
There is a sense throughout that the studio wanted lightning to strike twice. The first film drew huge attention thanks to relentless promotion. This one feels like an attempt to follow that momentum rather than create something that stands on its own. Whether that pays off remains to be seen. It could settle comfortably into fan favourite territory, or it could fade beneath the inevitable chatter about sequel fatigue.
Wicked: For Good will please viewers who already loved the first film, and they may even find it adds emotional weight to moments they already cared about. Beyond that crowd, it may struggle to justify its length or its timing. Even so, I would still give it a generous 7 out of 10.
One of the most heart-warming films of the year, The Ballad of Wallis Island, comes home on stunning 4K Ultra HD, Blu-ray™ and DVD. Own it from 17th November!
And to celebrate we have a copy on Bluray to give away!
Synopsis:
This sweet, funny and uplifting story follows Charles (Tim Key, The Paper, Alan Partridge: Alpha Papa), an eccentric lottery winner who lives alone on a remote island. Dreaming of getting his favourite musicians, McGwyer Mortimer (Tom Basden, After Life, Here We Go and Carey Mulligan, Promising Young Woman, Maestro), back together, his fantasy turns into reality when the bandmates and former lovers accept his invitation to play a private show at his home on Wallis Island. Old tensions resurface as Charles tries desperately to salvage his dream gig.
Following premieres at the Sundance Film Festival, SXSW and Glasgow Film Festival, and acclaim from fans and critics all over the world, The Ballad of Wallis Island has captured hearts as one of the best films of the year.
Dazzler Media presents The Ballad of Wallis Island on 4K Ultra HD, Blu-ray™ and DVD from 17th November
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.
5. Entries that come directly from other websites will not be accepted.
It’s time to kick out the jams as seminal ‘90s British classic Boston Kickout celebrates its 30th Anniversary. The film is back in a brand-new stunning 4K edition.
And to celebrate we have a copy on 4K UHD to give away and a copy on DVD to a runner up!
Synopsis:
A new 4K restoration 30-year anniversary edition of the British Classic, originally premiered in October 1995 and released worldwide in 1996 with a soundtrack featuring The Stones Roses, Primal Scream and Oasis.
In the 80’s Phil’s father moves the family from an inner-city slum to build a bright new life in Stevenage. But it’s now the early 90’s and the dream has crumbled. After leaving school Phil (John Simm) and his friends find themselves in the bewildering world of unemployment, violence and drug abuse.
Ted (Andrew Lincoln) disappears, Steve (Richard Hanson) tries to come to conform to his parents’ expectations and Matt (Nathan Valente) becomes engaged. Feeling alienated from his friends and dissatisfied with his existence, Phil becomes involved with Steve’s brother Robert (Marc Warren), a dangerously incompetent villain who is ever planning the ‘big job’. Now trapped between two world, the criminal and the banal, it is the arrival of his cousin Shona (Emer McCourt) that acts as the catalyst for Phil to expand his horizons. But on that horizon are momentous decisions.
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.
5. Entries that come directly from other websites will not be accepted.
Guillermo del Toro's 2025 take on Frankenstein feels like a filmmaker pouring his heart into a story he has cherished for years. It shows from the opening moments on the icebound Horisont Navy Ship. The film settles into a confident stride straight away, using the familiar framing of Victor recounting his sins while the shadow of his creation closes in. It taps into the soul of Mary Shelley's novel with a level of devotion that never feels stiff. Instead it feels lived in, tender in places, and achingly sad in others.
Oscar Isaac gives Victor a cold brilliance that suits the character's inflated sense of purpose. His fall from promising surgeon to broken fugitive has real weight, helped by the film's astonishing design work at every stage. Del Toro fills each frame with towering sets, rich colour, and the sort of textured detail that makes even the bleakest landscape feel strangely inviting. The world around Victor and the Creature has an almost painterly glow. It feels crafted by someone who understands the gothic tone down to its bone marrow. When the story shifts to the Creature's memories, the change in mood is gentle but striking. The forest scenes, the warmth of the blind man's home, the eerie calm of the Arctic. Everything is lit and staged with a confidence that reminds you why del Toro has long been considered a master of monsters.
Jacob Elordi's version of the Creature is one of the film's strongest elements. He captures the pain, confusion, and flickers of fragile hope that define the character. His scenes of learning and companionship are some of the film's most affecting. The only drawback is physical. Elordi plays the emotional notes beautifully, yet he never quite looks as imposing as the classic image of Frankenstein's creation. It is a small gripe, though it does stand out when the story leans into the Creature's terrifying strength.
The length will also test some viewers. At around two and a half hours the film never feels slow, yet it is still a solid commitment. The emotional heft piles up steadily. By the time Victor and the Creature meet again in the present, you can feel the journey in your chest. Their final moment together is quiet, painful, and beautifully earned.
What impresses most is how del Toro reshapes a tale we all know without distorting its essence. This is still a story about life, death, grief, and responsibility. It simply tilts the focus a little more toward forgiveness. Personally, I found myself missing a touch more of the Creature's rage, something closer to the fury of Shelley's original. Even so, it is hard not to admire the sincerity behind this version. It is crafted with love and it shows.
In the wider landscape of adaptations, this may be the finest screen telling so far. It looks extraordinary, it feels deeply human, and it marks a strong return to form for del Toro. I walked away convinced he was born to make this film.
A confident and resonant triumph, and an easy 9 out of 10.
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