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WarDriver arrives as a new cyber thriller from director Rebecca Thomas, the outline points towards a tense and tightly wound story rooted in the dangers of the digital world.
The premise follows a hacker forced into a million dollar cyberheist, setting up a situation where survival and morality are placed under constant strain. The idea of a deadly cat and mouse game driven through lines of code suggests a narrative where every move carries consequences, with the digital space becoming just as threatening as the real one. It is a concept that leans into obsession, danger, and deception, all framed within a contemporary setting.
The cast includes Dane DeHaan, Mamoudou Athie, and Sasha Calle, bringing together a group of performers attached to a story that appears focused on tension and high stakes. The film is described as a razor sharp cyber thriller, built around adrenaline and moral conflict, which gives a clear sense of the tone it is aiming for.
WarDriver had its world premiere at the Cinequest Film Festival on 14th March 2026, marking its first introduction to audiences ahead of a wider release.
The film is set to arrive on digital platforms including Amazon Prime Video, Apple TV, YouTube Movies, Sky Store, Rakuten, and Virgin Media on 27th April 2026, positioning it as an accessible release for viewers ready to step into its high risk digital world.
Simeon Halligan’s Past Life leans into a familiar idea and still manages to give it an unsettling edge. A psychological sci fi thriller with horror elements simmering beneath the surface, it follows a traumatised war reporter pulled into something far stranger than his past would suggest. It is a film that works best when it embraces mood and performance, even if it stumbles slightly when trying to tie everything together.
Aneurin Barnard carries much of the weight as Jason Frey, a former international journalist clearly damaged by what he has seen and endured. The script does not shy away from his PTSD or survivor’s guilt, and Barnard plays him with a volatility that feels believable. He is not always easy to like, but that is the point. There is a sense that he is clinging to this bizarre investigation as a way of making sense of himself, and Barnard keeps that tension alive throughout.
Opposite him, Jeremy Piven’s Timothy Bevan walks a careful line. The character is introduced as a renowned hypnotist with a questionable reputation, and Piven plays into that ambiguity well. There is always a flicker of doubt about his intentions, which adds an extra layer to the central dynamic. The two leads work effectively together, grounding a story that could easily drift into something far less convincing.
The film finds its strongest footing during the hypnotic sequences. These moments are where Halligan’s direction becomes more expressive, shifting into something more surreal and visually striking. The dreamlike quality of these scenes gives the film a distinct identity, with a sense of unease that builds quietly rather than relying on obvious shocks. It is here that the horror elements really come into play, contrasting nicely with the more grounded drama unfolding outside of the visions.
That contrast is one of the film’s more interesting strengths. The real world scenes focus on Jason’s deteriorating personal life, particularly his strained relationship with his wife Claira, played by Pixie Lott. She brings a level of emotional clarity to the film, acting as a counterbalance to Jason’s increasingly obsessive behaviour. Their scenes together give the story some needed weight, reminding you of what is at stake beyond the central mystery.
Considering its low budget, Past Life looks and feels more assured than expected. The performances never dip into half-hearted territory, and there is a sense that everyone involved is fully committed to making the material work. The more dramatic moments are handled with care, and they help anchor the more fantastical elements of the plot.
At around ninety minutes, the film moves at a steady pace and does not linger longer than it needs to. However, the final third feels rushed, and the twist is fairly predictable, which takes some of the impact out of the ending.
Even with that shortcoming, Past Life remains engaging. It is a film that raises questions about memory, trauma, and the possibility of manipulation, without ever fully settling on a single answer. That lingering uncertainty works in its favour, giving it a staying power that extends beyond its runtime.
There is a clear sense of ambition here, and while it does not quite reach every mark it aims for, it succeeds where it matters most. Strong central performances, a distinctive visual approach during its dream sequences, and a willingness to explore darker psychological territory all combine to make it worth watching.
Past Life may not be flawless, but it is thoughtful, well performed, and quietly compelling. It stays with you, which is often the best compliment you can give a film like this. 8 out of 10.
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.
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.
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
