REVIEW: Storm Rider: Legend of Hammerhead (2026 Film) - Starring Marco Ilsø, James Cosmo, Caroline Goodall, Sarah-Sofie Boussnina and Billy Barratt

Review by Jon Donnis

Zoran Lisinac and Domagoj Mazuran's Storm Rider: Legend of Hammerhead arrives with a clear sense of ambition. Set in a distant future shaped by catastrophe, it drops us into a fragmented world where civilisation clings to scattered islands and survival hinges on obedience to unseen powers. It is the kind of premise that immediately invites comparison to other dystopian science fiction, yet the film still manages to carve out its own identity through atmosphere and visual confidence.

The setting does much of the heavy lifting. Three centuries after the so called Great Flood, the Earth feels both alien and eerily familiar. The ever present electrical storm that splits the ocean is not just a backdrop but a constant threat, looming over every decision the characters make. Argos, the fortified sanctuary ruled by the Founders, has a cold, almost mythic quality to it. There is a sense of history here, even if not all of it is fully explored, and that gives the film a strong foundation.

Visually, the film is striking. Shot in Croatia, the landscapes are used to impressive effect, giving the world a raw and windswept beauty that suits the tone perfectly. The cinematography often lingers just long enough to let the scale of the setting sink in. The storm itself is particularly well realised. The CGI never tips into distraction, instead blending naturally with the practical elements to create something that feels genuinely threatening rather than artificial.

Marco Ilsø leads the film as Neb, a rebellious figure driven by both defiance and curiosity. He carries the central thread well enough, especially in the quieter moments where the character's internal conflict begins to surface. Ivana Dudić's Ana complements him, bringing a grounded presence to what could easily have become a purely plot driven partnership. Around them, there is a solid supporting cast, with James Cosmo lending gravitas as Neb's grandfather and Caroline Goodall adding a sharp edge to the authority of Argos.

Where the film falters slightly is in its balance. For all the effort poured into building this world, the characters themselves do not always receive the same depth of attention. There are glimpses of richer backstories and emotional stakes, but they are often brushed aside in favour of pushing the narrative forward. As a result, some of the more dramatic moments lack the full weight they could have carried.

The pacing also reflects this imbalance. At around 100 minutes, the film moves quickly, sometimes too quickly. There is a lot happening, from world building to action sequences to revelations about the storm and the Founders. It creates an engaging ride, but it also leaves the impression that the story might have benefited from more breathing room. A longer runtime, or even a split into multiple parts, could have allowed the ideas to develop more naturally.

In terms of originality, the film sits in an interesting position. It borrows familiar elements from the dystopian genre, from authoritarian elites to a chosen figure challenging the system. None of these ideas are new on their own, and the film does not always disguise its influences. However, the way these pieces are assembled, combined with the distinct visual style, keeps it from feeling overly derivative.

The ending stands out as one of the film's stronger elements. It closes the immediate story while clearly pointing towards a larger narrative still to come. There is a sense that this is only the beginning, and that the world has far more to reveal. It leaves the audience with enough curiosity to want to follow wherever the story goes next.

Storm Rider: Legend of Hammerhead is not without its flaws, but it remains an enjoyable and often impressive piece of science fiction. It succeeds in drawing viewers into its world, even if it does not fully explore every corner of it. With stronger character development and a little more space to breathe, it could have reached a higher level. As it stands, it is a solid and engaging film that hints at even greater potential.

I score Storm Rider: Legend of Hammerhead a 7.5 out of 10.

Out In Cinemas Now

PREVIEW: Tom Clancy’s Jack Ryan: Ghost War (2026 Film) - Starring John Krasinski

Image Credit: Amazon MGM Studios

By Jon Donnis

After four successful seasons on Prime, Jack Ryan steps into a new phase with Ghost War, a feature-length story that pulls the character back into the world of espionage for what is described as his most personal and dangerous mission yet. The shift to film brings a broader, global scope, while keeping the intelligent, grounded tone that defined the series.

The story follows Jack as he is reluctantly drawn into an international covert operation that quickly begins to fall apart. What starts as a mission soon exposes a deadly conspiracy, forcing him to confront a rogue black ops unit as the situation escalates. With events unfolding in real time and lives on the line, the pressure builds with every moment, leaving little room for error.

John Krasinski returns in the lead role, alongside Wendell Pierce and Michael Kelly, whose characters have been central to the series and its appeal. Their shared experience becomes a vital asset as they face an enemy who appears to anticipate their every move, creating a constant sense of tension and uncertainty.

Sienna Miller joins the cast as MI6 officer Emma Marlowe, a sharp and capable addition who quickly proves herself to be as effective as Jack. Together, they form a strong partnership as they navigate a dangerous web of betrayal, with the past resurfacing in ways that make this mission feel closer and more personal than ever before.

Directed by Andrew Bernstein, Ghost War blends sharp storytelling with high stakes action, placing its characters under intense pressure as they face a threat unlike any they have encountered before.

Premiering Globally on Prime Video 20 May 2026

NEWS: Redbreast and Andrew Scott Return to SXSW to Celebrate Emerging Filmmakers

By Jon Donnis

Redbreast Irish whiskey is back at the SXSW Film & TV Festival for the second year with its 'Redbreast Unhidden' programme, a global initiative dedicated to uncovering and supporting new filmmaking talent. This year, the project deepens its commitment to emerging voices with BAFTA-winning Irish actor Andrew Scott taking on the role of Executive Producer for the 2026 Redbreast Unhidden Award winner's project.

The award highlights a single exceptional filmmaker from a curated shortlist of short film finalists, chosen for their creativity, authenticity, and craftsmanship, qualities shared with the celebrated Redbreast single pot still whiskey. Andrew Scott, who has previously served as Brand Ambassador, brings his industry experience and insight to elevate the winning filmmaker's work and help it reach audiences worldwide.

This year's shortlist includes Can I Put You On Hold (James Cutler), Imago (Ariel Zengotita), Visitors (Minnie Schedeen), We Were Here (Pranav Bhasin) and Winter Ceremony (Sidi Wang). These films range from intimate family stories to dark comedies and genre-bending narratives, exploring themes of identity, belonging, migration and generational tension, offering a fresh wave of filmmaking unafraid to challenge convention.

"Short films are where many bold, original ideas take root, and where emerging filmmakers often find their voice," said Andrew Scott. "It's a privilege to help discover these stories and support this year's winner as their work reaches the world."

The 2026 Redbreast Unhidden Award winner will receive a project grant and the opportunity to have their film executive-produced by Scott, building on the success of last year's winner, Andy Reid's Brief Somebodies. 

The announcement will be made at the SXSW 2026 Film & TV Awards on March 18th.

Francis Román of SXSW , "With Redbreast Unhidden returning and Andrew Scott stepping into an Executive Producer role, we are proud to continue championing bold new voices in filmmaking and giving emerging storytellers a global platform at a crucial point in their careers."

Festival-goers can experience Scott's selection of short films at the Unhidden Showcase, while the Unhidden Speakeasy offers a space to enjoy Redbreast-inspired cocktails.

Francis Román "SXSW has always been about discovery and championing new voices that push the art of filmmaking forward. With the return of Redbreast Unhidden, we're proud to continue spotlighting exceptional short filmmakers whose work reflects bold storytelling. Seeing this initiative grow in its second year, and with Andrew Scott stepping into an Executive Producer role, reinforces our shared commitment to giving emerging storytellers meaningful support and a global platform at a pivotal moment in their careers."

For SXSW 2026, Redbreast is expanding its presence with experiences designed to bring the joy of discovery to festival goers. At the Unhidden Showcase, attendees can explore Scott's selection of cinematic hidden gems, while the Unhidden Speakeasy offers a tucked-away space to enjoy Redbreast cocktails, inspired by the art of storytelling. To learn more and register to attend, visit Redbreast's SXSW page.

Aurelie Torre, VP Marketing for Redbreast Irish Whiskey: "'Redbreast Unhidden' is rooted in the brand's global 'Quite the Find' campaign, which celebrates the thrill of discovering hidden gems - from a remarkable short film to the first sip of Redbreast Irish Whiskey. Building on the success of last year, we are proud to evolve the Redbreast Unhidden platform with Andrew Scott's continued partnership and our shared commitment to creative exploration. We look forward to shining a light on the next generation of creative talent and the cinematic gems waiting to be discovered."

To learn more and register to attend, visit Redbreast's SXSW page - https://www.redbreastwhiskey.com/en-us/redbreast-unhidden-bar-2026

Thanks to Redbreast for an excellent whiskey.

REVIEW: Scream 7 (2026 Film) - Starring Neve Campbell, Jasmin Savoy Brown, Mason Gooding, David Arquette, Matthew Lillard and Courteney Cox

Review by Jon Donnis

The long running slasher saga returns with Scream 7, a direct follow up to Scream VI and the seventh entry in the famous horror franchise. This time the story pulls the focus back toward Sidney Prescott, placing her once again at the centre of a new Ghostface killing spree. The result is a film that feels very familiar, sometimes almost deliberately so, but it still delivers an entertaining and suitably violent experience for fans who know exactly what they are signing up for.

The film opens with a classic style prologue set in Woodsboro. Two Stab obsessed fans decide to visit the old home of Stu Macher after hearing rumours that he might have survived the events of the original killings. It is a curiosity that ends in brutal fashion when Ghostface appears and murders the pair before setting the house on fire. The sequence feels like a clear nod to the history of the series and immediately sets the tone for the film. It is violent, tense and unapologetically tied to the past.

The story then moves to Pine Grove, Indiana, where Sidney Prescott has attempted to build a quiet life far away from the horrors that once defined her. She runs a coffeehouse, is married to police officer Mark Evans, and spends her days raising her children. Among them is her teenage daughter Tatum, named after Sidney's late best friend Tatum Riley. For a brief moment the film allows Sidney the illusion of peace, though anyone familiar with the franchise will know that it cannot last.

The return of Ghostface shatters that calm. Sidney receives a chilling call from the killer who claims to be an older and scarred Stu Macher. Whether that claim is genuine or not becomes part of the mystery, but the threat is immediate. The killer reveals that he is standing outside a theatre where Sidney's daughter and her classmates are rehearsing. Sidney races there with the police, but the attack has already begun. Two students are murdered before Ghostface disappears into the night.

From that point onward the story unfolds in the familiar rhythm of suspicion and escalating violence that the series is known for. Tatum becomes the central target of the new attacks, which creates a strong emotional hook for the story. Sidney is no longer just protecting herself. She is trying to prevent her daughter from experiencing the same trauma that shaped her own life.

The biggest strength of the film is the return of Neve Campbell as Sidney Prescott. Campbell remains the heart of the series and her presence instantly grounds the story. She plays Sidney with the calm determination of someone who has endured years of violence yet refuses to be defined by it. Even when the plot becomes chaotic, her performance keeps the emotional focus intact.

The supporting cast provides solid backup throughout the film. Isabel May takes on the role of Tatum and carries much of the tension once the attacks begin to circle around her group of friends. Jasmin Savoy Brown and Mason Gooding return as the Meeks Martin twins, survivors of previous Ghostface attacks who once again find themselves caught in the middle of the carnage. Meanwhile Courteney Cox appears once more as Gale Weathers, the determined reporter who has spent years documenting the bloody history of these murders.

The film does not hold back when it comes to violence. Several of the kill scenes are particularly intense, with Ghostface stalking characters through houses, streets and dimly lit interiors before striking with brutal efficiency. The gore is present and the tension is handled well during these moments, reminding audiences why the Ghostface killer remains such a memorable horror figure.

Where the film struggles slightly is in its lack of originality. Scream 7 clearly understands what its audience expects and it rarely attempts to move beyond that formula. The structure of the story, the suspects and even the eventual revelations follow patterns that long time fans of the series will recognise almost immediately. Nothing here feels wildly new or experimental.

That cautious approach makes the film feel safe at times. The story relies heavily on nostalgia and familiar franchise ideas rather than taking bold risks. For devoted fans that nostalgia can be enjoyable. Seeing the story circle back toward earlier events in Woodsboro gives the film a sense of continuity. At the same time it also highlights how little the formula has changed.

The running time of one hour and fifty minutes occasionally stretches the pacing as well. Some scenes linger longer than necessary while the characters attempt to figure out who might be behind the mask. The tension eventually builds towards a violent and chaotic final confrontation, but the middle portion of the film can feel slightly drawn out.

Despite those issues, Scream 7 remains an entertaining slasher film. It delivers the suspense, the gore and the returning characters that audiences expect from the series. The emotional core provided by Sidney's relationship with her daughter adds weight to the story, and Neve Campbell's performance reminds viewers why Sidney Prescott remains one of horror cinema's most enduring survivors.

In the end Scream 7 feels very much like a film made for fans of the franchise. It does not attempt to reinvent the series and it rarely pushes the story into new territory. What it does offer is a familiar and bloody return to the world of Ghostface, packed with nostalgia and anchored by a strong central performance.

It may not reach the heights of the very best entries in the saga, but it is still a solid and enjoyable addition to the series. I would score Scream 7 a respectable 7 out of 10.

Out in cinemas now

REVIEW: Redux Redux (2026 Film) - Starring Michaela McManus

Review by Jon Donnis

Redux Redux arrives with a high concept and the nerve to see it through. Written and directed by Kevin and Matthew McManus, this 2026 American science fiction thriller hinges on a brutal, intimate idea. A mother discovers a way to cross parallel universes and uses it for one purpose. To hunt down and repeatedly kill the man who murdered her daughter.

Michaela McManus takes on the role of Irene Kelly with a performance that does most of the heavy lifting. Irene has turned grief into routine. In universe after universe she tracks Neville, a seemingly ordinary restaurant cook who is anything but, and executes him with cold determination. The repetition is the point. Each jump is another attempt to claw back control in a cosmos that took everything from her.

The film's multiverse mechanics are present, but wisely kept from overwhelming the human story. Irene's machine allows her to slip between realities, though the technical detail is sketched rather than laboured over. The focus stays on what that power does to a person. In one world she saves a teenage runaway, Mia, from becoming Neville's next victim. That rescue shifts the film's centre of gravity. What begins as a revenge thriller slowly becomes something more reflective, even tender.

Stella Marcus gives Mia a wary resilience that plays beautifully against Irene's brittle intensity. Their uneasy alliance grows in fits and starts. There are gunfights, narrow escapes and a tense detour involving smugglers who want something far darker than cash in exchange for help. Yet the most compelling moments come when the action quietens and the two sit with their shared trauma. The sci fi tone holds best not when the film tries to outline the rules of its technology, but when these characters find a strange comfort in one another's pain.

Jeremy Holm's Neville is chilling precisely because he is not exaggerated. He feels plausible. That plausibility gives weight to Irene's obsession and keeps the stakes grounded even as the story hops across realities. A later turn into a universe where events unfolded very differently adds a reflective edge, without tipping into sentimentality or easy answers. The McManus brothers show real ambition here. They are interested less in spectacle and more in the emotional cost of endless second chances.

Visually, Redux Redux does show its indie roots. The scale is modest and some of the effects carry the faint roughness of a low budget production. Sets are sparse, locations limited. Yet there is a certain charm in that restraint. The stripped back aesthetic suits a story that is fundamentally about isolation. Paul Koch's agile synth score adds texture and momentum, lending the film a propulsive energy that belies its means.

There are moments where the script brushes up against exposition that feels slightly on the nose. A few exchanges about how the machine works lack the elegance found elsewhere. Still, these are minor stumbles in a film that largely trusts its audience. It is a clever and ambitious take on the multiverse, one that keeps its attention on the heart of the matter rather than getting lost in cosmic minutiae.

Above all, Redux Redux is character driven. Its approach to revenge is surprisingly humane. It asks whether vengeance, even across infinite worlds, can ever truly heal anything. McManus carries the film with a performance that is fierce, wounded and ultimately moving.

For an indie production, this feels remarkably assured. I wish Hollywood would put this kind of thought and effort into its big budget releases. As it stands, Redux Redux is one of the strongest independent releases of 2026 so far. I would comfortably give it a 9 out of 10.

Out Now on Digital

https://apple.co/4qTqkev