REVIEW: Propeller One-Way Night Coach (2026 Film) - Directed by John Travolta

Images courtesy of APPLE TV 

Review by Jon Donnis

John Travolta's directorial debut arrives in an unusual package. Running for just 61 minutes, Propeller One-Way Night Coach could easily have felt slight or underdeveloped. Instead, it proves that a modest story, told with care and attention to detail, can leave a surprisingly lasting impression.

Based on Travolta's own 1997 children's novel, the film follows young aviation enthusiast Jeff as he and his mother Helen travel from New York to Los Angeles during the closing days of 1962. What begins as a simple cross-country flight gradually becomes a defining moment in both of their lives. Along the way they encounter memorable passengers, kind-hearted flight attendants and a series of unexpected experiences that shape Jeff's future.

One of the film's greatest strengths is its remarkable sense of authenticity. From the aircraft interiors to the uniforms, airport terminals and social attitudes of the era, everything feels lovingly recreated. The production never draws attention to its period detail for the sake of nostalgia alone. Instead, it uses the setting to immerse viewers in a vanished age of air travel, when flying still carried a sense of wonder and glamour.

The film also succeeds because of how carefully it observes its characters. Jeff's fascination with aviation could easily have become repetitive, but Clark Shotwell gives the role an earnest charm that makes his enthusiasm infectious. Through his eyes, every aircraft, every stopover and every interaction becomes an adventure. The script understands that childhood memories often attach themselves to seemingly small moments, and it builds much of its emotional power from that idea.

Kelly Eviston-Quinnett delivers a warm and understated performance as Helen. Her relationship with Jeff provides the emotional anchor throughout the journey. While she dreams of pursuing an acting career in Hollywood, the film never turns her ambitions into melodrama. Instead, it quietly explores a mother balancing her own hopes with the responsibility of raising a child.

Ella Bleu Travolta and Olga Hoffmann both leave strong impressions despite relatively limited screen time. Hoffmann's Liz brings unexpected emotional depth to the story, particularly through conversations that reveal her difficult past. Meanwhile, Ella Bleu Travolta's Doris embodies much of the film's gentle optimism. Her interactions with Jeff are sweet without becoming overly sentimental, and she becomes a key figure in shaping the boy's future.

What makes Propeller One-Way Night Coach particularly effective is its willingness to focus on ordinary moments. There are no villains, no major crises and very little conventional conflict. Instead, the film finds drama in human connection. A conversation during a flight. A broken toy aeroplane. A chance meeting between strangers. These moments accumulate naturally, creating a surprisingly rich portrait of lives crossing paths.

The humour is equally understated. Small observations, awkward encounters and Jeff's endless curiosity generate a steady stream of gentle laughs. The film never chases easy jokes, allowing its warmth and wit to emerge organically from the characters.

Perhaps most impressively, the story manages to cover an enormous emotional landscape within its brief running time. Themes of childhood wonder, ageing, ambition, loss, friendship, romance and legacy all find a place here. Yet the film never feels rushed. Travolta demonstrates a confident understanding of pacing, knowing exactly which moments deserve attention and which can be left implied.

That said, the film is not without shortcomings. Some viewers may find the narrative almost too gentle. The lack of significant conflict means that certain sections risk feeling episodic, drifting from one encounter to the next without a strong sense of momentum. While this approach suits the nostalgic tone, audiences looking for a more traditional adventure may find themselves wanting greater dramatic stakes.

The supporting cast is also so appealing that several characters feel underserved. Liz, in particular, could easily have supported a larger storyline, while some of the relationships introduced during the journey are resolved rather quickly. The film's short running time is admirable in an era of bloated family entertainment, but there are occasions when a little extra breathing room would have been welcome.

Even so, these criticisms do little to diminish the overall experience. Propeller One-Way Night Coach understands exactly what it wants to be. It tells a simple story with confidence, filling it with enough detail and emotional honesty that the characters linger in the mind long after the credits roll.

This is an easy film to enjoy. Its nostalgic atmosphere is deeply appealing, its performances are sincere and its recreation of a bygone era is consistently convincing. Most importantly, it proves that family films do not need excessive spectacle or unnecessary filler to leave an impact.

Propeller One-Way Night Coach is a charming, thoughtful and genuinely entertaining family adventure that captures the magic of aviation and the importance of seemingly ordinary moments. At just over an hour, it remains engaging throughout and should hold the attention of younger viewers while offering plenty for adults to appreciate.

Score: 8 out of 10

Out Now on Apple TV - https://apple.co/4x52DV3

REVIEW: Disclosure Day (2026 Film) - Starring Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo

Review by Jon Donnis

Steven Spielberg's Disclosure Day arrives with a premise that sounds tailor-made for modern science fiction fans. The question at the heart of the film is a simple but fascinating one. What would happen if humanity finally learned, beyond any doubt, that we are not alone? Unfortunately, despite its ambitious ideas and impressive production values, the finished result never comes close to fulfilling its potential.

The story follows cybersecurity specialist Daniel Kellner, played by Josh O'Connor, who steals classified files and alien technology from Wardex, a secret branch of the US government. The information details decades of extraterrestrial contact and government cover-ups stretching back to Roswell. Hunted by Wardex and its ruthless chief Noah Scanlon, portrayed by Colin Firth, Daniel goes on the run with his girlfriend Jane Blankenship. At the same time, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt, develops strange psychic abilities following an encounter with a mysterious bird. As her powers grow, she becomes linked to the wider conspiracy and eventually joins Daniel in a race to expose the truth to the world.

There is no question that Emily Blunt delivers the film's standout performance. Even when the material around her struggles, she remains compelling and believable. Margaret is easily the most interesting character in the film, and Blunt gives the role enough emotional weight to keep the audience engaged during the slower stretches. It is a strong performance in a film that desperately needs one.

The visual effects are generally impressive. The alien technology, psychic phenomena and larger science fiction elements are all brought to life convincingly. Spielberg and his team know how to create spectacle, and there are moments where Disclosure Day genuinely looks fantastic. The production values are exactly what audiences would expect from a major studio science fiction thriller. HOWEVER there are a few moments of CGI that are just inexcusable in 2026, the "animals" are horrifically bad, the CGI is laughable.

But having a generally good looking production is not enough to save the film.

For all its talk of alien contact, secret programmes and world-changing revelations, Disclosure Day feels surprisingly dated. Rather than feeling like a bold science fiction thriller made for 2026, it often resembles a badly written episode of The X-Files from the years after David Duchovny left the series. The plot constantly piles one revelation on top of another, yet very few of them have the impact they should.

The biggest disappointment is how badly the film wastes its central premise. A story about proving extraterrestrial life exists should be gripping. It should provoke thought, create tension and leave audiences discussing its ideas long after the credits roll. Instead, Disclosure Day never manages to turn its fascinating concept into a satisfying narrative. The film keeps promising something extraordinary but never truly delivers.

The timing of the release also works against it. With UFO discussions and government disclosures becoming increasingly mainstream, particularly following the release of new UFO files by the Trump administration, much of the film's material feels oddly behind the times. What might have felt fresh and provocative years ago now feels strangely old-fashioned. The entire project has the feel of something that should have been released in the early 2000s rather than in 2026.

The idea that people would just be transfixed to their phone as the reveals are made to the world is a nonsense. Certain communities would be rioting and looting, others would be laughing and calling it AI. Remember, trust in the media is at an all time low, and you think the population would just believe the media in 2026? The whole thing just felt unrealistic.

The running time only makes matters worse. At more than two hours and twenty minutes, the film is far too long. Entire sections drag badly, with scenes stretching on long after they have made their point. The pacing becomes a real problem, especially during the middle act, and there are numerous moments where the audience is simply waiting for the story to move forward.

The supporting cast performs well enough with the material they are given. Colin Firth brings authority to Noah Scanlon, while Colman Domingo adds some gravitas as whistleblower Hugo Wakefield. Eve Hewson is solid as Jane Blankenship. None of them are able to overcome the weaknesses in the screenplay, however, and many characters feel underdeveloped despite the lengthy running time.

Oh and the ending, I expected so much more, but was left asking "was that it". The big ending was just a bit meh.

Perhaps the most surprising aspect of Disclosure Day is how little excitement it generates. Spielberg built his reputation on making audiences believe in the impossible and capturing a sense of wonder. Here, that magic is largely absent. The film takes itself very seriously, but the story never earns the level of importance it assigns to itself.

Steven Spielberg just seems incapable of making movies for a younger audience any more. Disclosure Day will probably find an audience among the over 60, atheist white liberal crowd, and it will almost certainly attract viewers because of Spielberg's name and the cast involved. Whether those viewers leave satisfied is another matter entirely.

Disclosure Day may perform well commercially because of the people attached to it, but judged on its own merits, this is a poor film by Spielberg's standards. Emily Blunt is excellent and the visual effects are impressive, but they cannot overcome a story that feels outdated, overlong and frequently boring.

I expected so much more.

Score: 5 out of 10

Out in cinemas now!

PREVIEW: Burner (2026 Film) - Starring Kacy Owens and Akina Wylie

Preview by Jon Donnis

Burner arrives as a new female led action thriller from writer and director Robert Orr, set to make its UK digital debut on 1 June courtesy of Seven Tales. It follows a familiar but combustible setup, where a second chance at life is quickly threatened by the weight of a violent past that refuses to stay buried.

At the centre of the story is Kiki, played by Kacy Owens, who is released from prison and regains custody of her teenage daughter Lola Ray, played by Akina Wylie. Kiki is determined to stay on the straight and narrow, trying to build something stable after her release, with motherhood giving her a clear focus and a reason to move forward.

That fragile stability does not last long. Her violent drug dealing ex husband, played by James Oliver Wheatley, reappears and drags her back towards the criminal world she has tried to leave behind. His return brings immediate danger and the kind of pressure that threatens not just her freedom, but her relationship with her daughter as well.

As the situation tightens, Kiki is forced into a position where avoidance is no longer an option. The story pushes her towards confronting her past directly, with the suggestion that the only way out might involve destroying the ties that once defined her life, even if that comes at a heavy cost.

Burner positions itself as a fast moving, tension driven thriller built around survival, loyalty and consequence. With its focus on a mother fighting to protect her daughter while facing down a criminal past that refuses to let go, it is shaping up as a release that leans heavily into personal stakes and escalating danger.

On digital 1 June from Seven Tales  

Apple TV - https://apple.co/4oe0EKd

PREVIEW: Fall to the Top (2026 Film) - Starring Paul Chuckle

Preview by Jon Donnis

Paul Chuckle is set to surprise audiences in Peter Hirst’s gritty new British crime thriller Fall to the Top, arriving on digital on 8 June courtesy of Reel2Reel Films. Fresh from receiving his MBE for charitable work earlier this week, the much-loved children’s TV figure makes a sharp shift in tone, stepping into a far darker world of crime and consequence.

In a striking departure from his comedy roots, Chuckle plays ‘The Jackal’, a ruthless hitman and master manipulator. The character is described as someone who psychologically torments his victims, pushing them into madness before their brutal end. It is a role that places him firmly in the shadows of London’s criminal underworld, far removed from the light-hearted image that made him a household name.

The story follows frustrated slacker Mickey, played by Stephen Reilly, who is pulled into a violent world of drugs, power struggles and corruption. As he fights his way up through the ranks, his growing arrogance begins to take hold, feeding paranoia and instability. His path eventually crosses with the notorious Jackal, a meeting that forces him to confront the harsh reality that weakness has no place in the city’s deadly drug trade.

Fall to the Top leans into a bleak and tense vision of ambition gone wrong, with Mickey’s rise and psychological decline sitting at the centre of its narrative. The film is out now on Digital from Reel2Reel Films.

Available on Prime Video at https://amzn.to/4euX22U

REVIEW: Masters of the Universe (2026 Film) - Starring Nicholas Galitzine and Jared Leto

Review by Jon Donnis

The return of Masters of the Universe to live action arrives with a confidence that feels earned rather than forced. This second adaptation of Mattel’s sword-and-sorcery franchise leans heavily into its roots, picking up the familiar thread of Prince Adam, the Sword of Power, and the fractured world of Eternia under Skeletor’s rule. After being sent to Earth as a teenager and separated from his past for 15 years, Adam is drawn back into his destiny, discovering a ruined kingdom and a resistance struggling to survive under tyranny.

What follows is a straightforward but energetic fantasy adventure that rarely loses sight of what made the original material endure. The film understands its own heritage and is unashamed about it. There is a playful, almost nostalgic rhythm to the way Eternia is presented, as if the filmmakers have finally embraced the fact that this world works best when it feels like myth filtered through childhood imagination. Nicholas Galitzine’s Adam carries the emotional arc with a grounded performance, even if he could be more muscular to truly fit the role, while Idris Elba brings weight and authority to Duncan, giving the film a steady moral centre. Camila Mendes as Teela fits neatly into the action-driven dynamic, keeping the pace moving even when the story briefly settles.

The biggest talking point, unsurprisingly, is Jared Leto’s Skeletor. He leans into theatrical menace and biting humour, creating a villain who constantly threatens to steal focus from every scene he enters. There is a mocking irreverence to the performance that fits the tone of the film, keeping things just the right side of comic book excess without tipping into parody. The action itself is frequent and well staged, with moments that feel pulled directly from playground imagination rather than grounded realism, which works in its favour.

That sense of fun is the film’s strongest asset. It captures the spirit of the 1980s cartoon era without becoming trapped by it. The story mixes familiar lore with new narrative threads in a way that feels accessible, even for viewers who have no attachment to the franchise. It never takes itself too seriously, and that decision gives it a lightness that keeps the momentum steady through its longer stretches.

However, the film is not without its flaws. At two hours and fifteen minutes, it runs longer than it needs to, particularly in the middle sections where the pacing becomes uneven. There is also an overreliance on CGI, which, while technically strong, occasionally overwhelms the more grounded character moments. Some sequences would have benefited from restraint, allowing the performances to breathe rather than competing with constant visual spectacle.

Despite these issues, the film lands its emotional beats in the final act. The transformation of Adam into He-Man feels earned rather than rushed, and the final confrontation with Skeletor carries enough weight to justify the build-up. The ending restores a sense of balance to Eternia, with Queen Marlena re-established as ruler and Adam finally accepted as its protector. The post-credit moments tease further expansion, and that is all I will say!

As a whole, Masters of the Universe succeeds because it commits fully to what it is. It is loud, colourful, occasionally messy, but consistently entertaining. It feels designed for audiences who grew up with the franchise but still wants to be accessible to newcomers. Mainstream critics may struggle with its tone, but viewers looking for straightforward fantasy spectacle will likely find plenty to enjoy.

It is not perfect, but it understands its purpose. On balance, it is a solid, enjoyable return to Eternia, carried by strong performances and a clear affection for the source material.

I score Masters of the Universe a solid 8.5 out of 10.

Out In Cinemas Now!