REVIEW: Descendants: Wicked Wonderland (2026 Film) - Starring Kylie Cantrall, Malia Baker, and Leonardo Nam

Review by Jon Donnis

Disney's Descendants franchise has never been afraid to embrace colourful fantasy, catchy musical numbers and ever-expanding family trees of famous fairy tale characters. Descendants: Wicked Wonderland continues that tradition, picking up after the events of the previous film with Red and Chloe discovering that changing the past has created consequences they never expected. Unfortunately, while the premise offers plenty of opportunities for an entertaining adventure, the execution quickly spirals into an overstuffed and confusing mess.

The story sees Red and Chloe returning to Wonderland after Maddox Hatter seizes control of the kingdom by kidnapping the now reformed Queen of Hearts. Along the way they are joined by an ever-growing collection of new allies, including Red's newly introduced sister Pink, Maddox's son Max and several descendants of other Disney favourites. On paper it sounds like an ambitious crossover, but the film never gives itself enough room to develop any of these characters before introducing another. Every few minutes another familiar surname appears, each demanding attention, until it becomes difficult to care about anyone because nobody receives enough focus to leave much of an impression.

The biggest problem is the story itself. Descendants: Wicked Wonderland attempts to juggle time travel, alternate timelines, family drama, magical artefacts, betrayal, redemption and multiple character arcs all at once. Rather than weaving these ideas into a satisfying narrative, it feels like several different scripts stitched together into one film. Plot developments happen simply because the story needs them to happen, with little regard for logic or consistency. The result is a film where the central adventure barely makes sense, leaving audiences struggling to follow exactly why characters are making certain decisions or how the constantly shifting timeline is supposed to work.

It also suffers from trying to recycle ideas from the original Descendants trilogy instead of carving out its own identity. Familiar themes of redemption, friendship, magical family conflicts and choosing your own destiny are all revisited, but without adding anything particularly fresh. Instead, the film comes across as a patchwork of old concepts unsuccessfully merged into one increasingly chaotic adventure.

The cast is another mixed bag. The performers themselves do what they can with the material and there is no shortage of enthusiasm in their performances. However, the production once again falls into Disney's now familiar approach of assembling what feels like a tick box cast where diversity appears to take priority over finding the strongest performers for each role. Combined with the enormous number of characters fighting for screen time, very few are given the opportunity to genuinely stand out.

Not everything falls flat. Younger viewers will likely enjoy the musical numbers, with several songs proving catchy enough to stick in the memory long after the credits roll. The production design is also undeniably impressive. Wonderland bursts with vibrant colours, imaginative costumes and visually playful set pieces that constantly give the audience something interesting to look at. Even when the story loses its way, the film rarely looks dull.

Sadly, colourful visuals and energetic songs cannot compensate for weak storytelling. As the film continues to pile on more characters, more magical objects and more convoluted twists, it becomes increasingly exhausting rather than exciting. Emotional moments fail to land because relationships are never explored deeply enough, while the endless stream of new arrivals only serves to make an already cluttered narrative even harder to invest in.

After watching this for 90 minutes, I found myself wishing I had a Pocketwatch of my own so I could travel back in time and simply skip the experience altogether. Descendants: Wicked Wonderland throws together recycled ideas, an overcrowded cast and a story that never finds its footing. While the colourful presentation and catchy songs may entertain younger fans, everything else feels muddled and frustrating. The actors give it their best effort, but they cannot rescue a film weighed down by its own confused ambitions.

Even if you already subscribe to Disney+, it is difficult to recommend spending your time on this one.

Score: 2 out of 10.

Out Now on Disney +

COMPETITION: Win Chusei Sone Double-bill Scars of the Sun (1981) and Blow the Night (1983) on Limited Edition Blu-ray

This 2-disc special edition release contains a double-bill of films from Chusei Sone focusing on youth gangs, drugs, sex and violence in ‘80s Japan. Both films get their first ever physical releases outside of Japan and both films are also receiving their world bluray debuts.

And to celebrate we have a copy on Blu-ray to give away!

Synopsis:

Scars of the Sun (1981)

太陽のきずあと

Chusei Sone’s 1981 film Scars of the Sun departs from the director’s previous works in the field of Roman Porno, with this Toei youth-drama starring Kenichi Kaneda. Kenichi plays Shuhei, a member of a rough-and-tumble gang whose customs are broken apart when Kenichi is reunited with his estranged brother whose girlfriend’s entry into the group starts to cause friction between its members and the traditions they follow.

Blow the Night (1983)

夜をぶっとばせ

The first film from Chusei Sone’s production company “Filmworkers” is a hard-hitting Docu-drama based on the stories of Namie Takada: a 15 year old thinner-sniffing, girl-gang member.

Namie stars in the film as herself to tell a brutal tale of wild youth in early 80s Japanese society.

Pre-Order from https://amzn.to/4wcUoVY

Enter now for a chance to win.

Who plays Shuhei, a member of a rough-and-tumble gang in Scars of the Sun?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 03-08-26

2. No alternative prize is available

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.

Hollywood’s The Odyssey Controversy: A Greek Epic Without the Greeks?

By Jon Donnis

There are few works of literature more deeply connected to a nation’s identity than Homer’s The Odyssey is to Greece. For nearly three thousand years, the story of Odysseus has represented Greek imagination, history, mythology and cultural influence across the world.

So when Hollywood decides to make a major cinematic adaptation of this legendary Greek epic, many people would expect one thing above all else: respect for the culture that created it.

Instead, many Greeks (myself included) feel they have been sidelined.

The controversy surrounding Christopher Nolan’s The Odyssey is not simply about casting. It is about a series of decisions that many Greeks believe reveal a troubling attitude towards their heritage. A film based on one of the most important works in Greek civilisation was made with Greek locations, received major financial support from Greece, and drew heavily from Greek mythology, yet critics argue that Greek people themselves were largely absent from the most important parts of the production.

The question being asked in Greece is straightforward: if Hollywood is telling a Greek story, why are Greeks not being given a central role in telling it?

Greece supported the production through its film incentive programme, with the final approved rebate reported at approximately €6.57 million. The country provided locations and infrastructure for the filming of a story that exists because of Greek culture.

Yet those benefits appear to have flowed mostly towards an international Hollywood production rather than towards meaningful Greek representation.

The absence of Greek actors in the principal cast has become one of the biggest points of anger. For many Greeks, this is not simply a matter of personal preference or artistic freedom. A story rooted in ancient Greece should not treat Greek identity as nothing more than scenery.

The argument is not that only Greek actors can play Greek mythology. Greek stories have influenced the entire world and have always been adapted internationally. The issue is that when a culture’s most important stories are being retold, excluding that culture’s own performers sends a message that many find deeply uncomfortable.

Hollywood has repeatedly argued that representation matters. The industry has celebrated films that make efforts to ensure cultural authenticity, including Disney’s Moana, which received praise for involving Polynesian voices and performers connected to the culture being represented.

That raises an uncomfortable question: why does cultural authenticity appear to matter more for some cultures than others?

If Hollywood produced a major film centred on black history, African culture or African mythology and excluded black performers from significant roles, there would likely be immediate and widespread criticism. Many would argue that the production had ignored the very people whose heritage it was portraying.

Many Greeks believe the same principle should apply to them.

Ancient Greek culture is not a less important cultural identity simply because it is thousands of years old. Greek civilisation has shaped democracy, philosophy, theatre, science, mathematics, architecture and literature. Homer’s epics are among the foundations of Western storytelling.

Yet critics believe Hollywood has adopted a double standard: demanding cultural sensitivity when portraying certain communities while treating Greek culture as universal property that can be separated from modern Greeks.

The controversy has also extended beyond casting. 

Critics have questioned several aspects of the film’s historical accuracy, arguing that the production appears to take creative liberties that move it away from the world Homer was describing. One of the most discussed examples has been the armour and weapon design, with critics pointing out that some elements appear closer to later Classical Greek imagery than the Late Bronze Age Mycenaean period traditionally associated with the Trojan War. The concern is that the film presents a generic Hollywood vision of ancient Greece rather than a historically informed representation of the era.

Questions have also been raised about the ships, costumes and overall visual design, with many experts arguing that certain choices appear influenced by familiar modern interpretations of Greek mythology rather than archaeological evidence. Others have criticised the use of modern-sounding dialogue, suggesting that contemporary language weakens the connection to the ancient world.

For many Greek critics, these are not isolated details, when combined with the casting decisions and lack of Greek representation, the result feels less like a respectful adaptation of Greek heritage and more like a Hollywood reinterpretation that has removed much of the cultural identity at the heart of the original work.

For many, the problem is not diversity. The problem is inconsistency.

Hollywood has spent years rightly emphasising the importance of authentic representation, but appears to have completely ignored those same principles when dealing with Greek heritage.

Adding to the frustration has been the reaction towards critics. Some Greeks feel that objections about representation have been too quickly dismissed, with people who question the choices being labelled intolerant rather than being engaged with seriously.

Defending Greek cultural representation is not an attack on anyone else’s identity. It is a demand for the same respect that Hollywood claims to support.

The controversy surrounding The Odyssey ultimately represents a much bigger debate about ownership, representation and cultural respect in modern cinema.

Nobody is suggesting that ancient Greek mythology belongs only to Greece. These stories have inspired humanity for centuries. But many Greeks believe there is a difference between sharing a culture’s stories with the world and removing that culture’s own people from the process.

For them, the question is simple.

If Hollywood can understand why representation matters for other cultures, why does it appear to matter less when the culture being represented is Greek?

That is the question The Odyssey has left behind, and it is one that Hollywood cannot easily dismiss.

Some sections of this article discuss criticism and opinion surrounding The Odyssey. Sources below provide reporting and background information on the casting debate, Greek reactions, production details and historical discussions.

Sources and Fact Checks

The Guardian: "What the Hellenic! Why is Christopher Nolan’s new Greek epic entirely devoid of Greeks?"

https://www.theguardian.com/film/2026/jun/03/christopher-nolan-no-greek-actors-the-odyssey-matt-damon-zendaya-charlize-theron

Greek Reporter: "Christopher Nolan’s The Odyssey Global Tour Skips Greece"

https://greekreporter.com/2026/07/09/christopher-nolan-odyssey-global-tour-skip-greece/

Entertainment Weekly: "Where was The Odyssey filmed? Inside the six countries that brought Homer's epic to life"

https://ew.com/where-was-the-odyssey-filmed-all-about-the-real-life-locations-12020770

People: "See the Star-Studded Cast of The Odyssey"

https://people.com/the-odyssey-cast-everything-to-know-12020344

Hellenic Film Commission:

https://filmcommission.gr/

Academy of Motion Picture Arts and Sciences: Representation and Inclusion Standards

https://www.oscars.org/awards/representation-and-inclusion-standards

Encyclopaedia Britannica: Homer and The Odyssey background information

https://www.britannica.com/topic/Odyssey-epic-by-Homer

The British Museum: Ancient Greece and Bronze Age Mycenaean culture resources

https://www.britishmuseum.org/collection/galleries/ancient-greece

Metropolitan Museum of Art: Mycenaean art and archaeology resources

https://www.metmuseum.org/toah/hd/myce/hd_myce.htm

COMPETITION: Win Madfabulous on Blu-ray

Inspired by an unbelievable true story and featuring a stellar cast, Madfabulous comes home on Blu-ray, DVD and Digital from 20th July! 

And to celebrate we have a copy on Blu-ray to give away!

Synopsis:

When the flamboyant Henry Paget arrives in 1890s North Wales to claim his aristocratic inheritance, his theatrical flair and defiant eccentricities send shockwaves through the upper-class elite, much to the amusement of the local townspeople. Alongside his spirited cousin, Lily, and loyal butler, Gelert, Henry tries to carve out his own identity as the Fifth Marquess, navigating suffocating traditions, scheming relatives, and the long shadow cast by his estranged father.

Following its sold-out World Premiere at the 40th BFI Flare: London LGBTQIA+ Film Festival, this riotous, uncompromising celebration of otherness has captivated audiences across the country throughout Pride Month and beyond.

Inspired by a true story, Madfabulous is led fearlessly by rising star and BAFTA nominee Callum Scott Howells (It’s a Sin, The Beautiful Game) alongside a stellar supporting cast of three-time BAFTA nominee Rupert Everett (The Happy Prince, An Ideal Husband), Ruby Stokes (Jay Kelly, Bridgerton), BAFTA winner Siobhán McSweeney (Derry Girls, Alice Through the Looking Glass), Louise Brealey (Sherlock, Brian and Charles), Tom Rhys Harries (White Lines, The Gentlemen) and Paul Rhys (Wuthering Heights, Saltburn).

Icon Film Distribution presents Madfabulous on Blu-ray, DVD & Digital Platforms (inc. Apple TV, Amazon Prime Video & Sky) from 20th July

Pre-Order from https://amzn.to/4hi865d

Enter now for a chance to win.

Who directs Madfabulous?

Send your name, address and of course the answer to competition365@outlook.com

Quick Terms and conditions - For full T&C click here

1. Closing date 03-08-26

2. No alternative prize is available

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.

REVIEW: Christopher Nolan’s The Odyssey (2026 Film) - Starring Matt Damon

Review by Jon Donnis

Christopher Nolan’s The Odyssey arrives with the kind of expectations that surround any adaptation of one of the greatest works of ancient literature. Homer’s epic has survived for thousands of years because its themes of war, loyalty, family, pride and the struggle against impossible odds remain powerful. Unfortunately, this cinematic version takes one of history’s most important Greek stories and turns it into a hollow, woke, modernised spectacle that appears to have little understanding of what made the original so important.

The biggest issue with The Odyssey is that it feels like Christopher Nolan never seriously engaged with Homer’s original source material. This does not feel like a film made by someone who studied the text, understood the culture surrounding it and wanted to bring an ancient masterpiece to life. Instead, it feels like a loose interpretation built around a recognisable title, with the heart, identity and historical importance of the original epic stripped away. For a story that has influenced literature for thousands of years, this version shows a shocking lack of respect for the foundations it is built upon.

The casting is one of the most controversial and distracting elements of the entire production. For a film based on one of the defining works of Greek civilisation, the complete absence of Greek actors in the main cast feels like a staggeringly racist creative decision. The film appears more interested in modern Hollywood trends than respecting the cultural and historical origins of the story. For viewers who value Greek history, mythology and cultural authenticity, this approach feels completely disconnected from the world Homer created.

The casting of Lupita Nyong’o as Helen of Troy is one of the film’s biggest failures. Helen is one of the most famous figures in Greek mythology, traditionally remembered as a woman whose beauty was said to have launched a thousand ships. Unfortunately, Nyong’o’s performance never captures the presence, elegance or mythical quality expected from such an iconic character. The performance feels lifeless, with dialogue delivered without the emotional depth or majesty required for a figure of such importance.

The modern dialogue is another major weakness. Rather than creating a believable ancient world, the script sounds like contemporary conversations placed into a historical setting. The language lacks authenticity and frequently destroys the atmosphere of scenes that should feel legendary. Instead of transporting audiences to the age of heroes, gods and monsters, the screenplay often feels like it was written without any real understanding of the period.

Not a single Greek word is spoken in the entire film. Don't get me wrong, I didn't expect the film to be in Greek, but at least the odd word here or there would have been something.

The opening sequence immediately demonstrates the film’s problems. Having Travis Scott introduce the story of Odysseus and the Trojan War through poetic verse is an incredibly strange creative decision. Rather than creating a powerful introduction to one of humanity’s greatest myths, it feels more like a parody or a sketch from Saturday Night Live. It is one of the weakest openings to a major film in recent memory and immediately establishes the lack of seriousness that damages the entire production.

The rest of the cast cannot overcome the problems created by the script and direction. Matt Damon brings his usual professionalism to Odysseus, but even a talented actor cannot fully rescue a character that feels disconnected from the legendary Greek hero. Tom Holland, Anne Hathaway, Robert Pattinson and Zendaya all bring star power, but the film often feels more focused on assembling famous names than creating convincing portrayals of figures from ancient mythology.

There are some positives. The scale of The Odyssey is undeniably impressive. The enormous budget is visible throughout, with huge sets, dramatic battles and extensive CGI creating moments of genuine spectacle. The encounters with Polyphemus, the journey through the underworld, the dangers of the sea and the mythical creatures all demonstrate the technical resources behind the production. There are scenes where the film looks exactly like the kind of massive fantasy adventure audiences would expect from a director of Nolan’s reputation.

I refuse to even talk about this

However, visual spectacle cannot compensate for a film that fails to understand its own foundation. The Odyssey should be a celebration of Greek mythology, but instead it feels like a modern Hollywood production using Homer’s story as a framework rather than respecting it as one of the greatest achievements of ancient civilisation.

The biggest disappointment is that this was a chance to introduce a new generation to an extraordinary piece of literature. Instead, the film appears to misunderstand the very thing it is adapting. The characters, the culture and the mythology are treated as background elements rather than the reason the story has endured for centuries.

For anyone familiar with Homer’s original epic, the problems are impossible to ignore. The film feels less like a faithful adaptation and more like a reworking that has removed much of what made The Odyssey meaningful in the first place. It is difficult to believe that a project of this scale could arrive with such little connection to the source material.

A woman whose beauty was said to have launched a thousand ships

When news first emerged of a major cinematic adaptation of The Odyssey, expectations were extremely high. This is a story that deserved passion, research and genuine respect. Instead, Christopher Nolan has delivered a film that feels disconnected from its origins, lacking the authenticity and understanding required to handle such an important work.

The Odyssey is one of the most disappointing films of the year. It is a visually expensive production that fails where it matters most. It suffers from poor creative choices, weak dialogue, questionable casting decisions and a fundamental failure to capture the spirit of Homer’s epic. This film was clearly made with the Academy Awards firmly in mind and their DEI requirements, (Representation and Inclusion Standards Entry), basically every film has to have a bunch of ridiculous woke castings to even be considered for the best picture award, and sadly the cowardly Nolan just ticked off every box he could.

I will never watch this film again, and I hope it quickly disappears rather than becoming the definitive cinematic version of this legendary story.

Score: I refused to honour this film with a rating, or share its trailer.