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Andrew Scott takes on the role of acclaimed actor Ian Charleson in ELSINORE, a new drama directed by BAFTA-nominated Simon Stone, director of The Dig, and written by BAFTA winner and Golden Globe nominee Stephen Beresford, writer of Pride.
Based on Charleson's life, the film follows the actor as he prepares to play Hamlet at London's National Theatre while facing incredible odds and working towards what would become the performance of his life.
Scott, who also serves as a producer on ELSINORE, stars alongside Olivia Colman, the Academy Award, Golden Globe and Emmy winner and BFI Fellow known for The Favourite, The Crown and The Lost Daughter.
The cast also includes Billie Piper, Johnny Flynn, Luke Thompson, Monica Dolan, Juliet Stevenson, Joe Locke, Adeel Akhtar, Matthew Beard, David Dawson, Kadiff Kirwan, Dickie Beau and BAFTA winner Peter Mullan.
The film is produced by Andrea Occhipinti of Lucky Red, Gabrielle Tana of Magnolia Mae Films, Pete Shilaimon and Mickey Liddell of LD Entertainment, alongside Stefano Massenzi and Carolyn Marks Blackwood.
ELSINORE will open the 70th edition of the BFI London Film Festival on 7 October, before arriving in UK cinemas through STUDIOCANAL on 29 January 2027.
Kung Fu Soccer difficult to judge without thinking about Shaolin Soccer. Written and directed by Stephen Chow, this spiritual successor takes the familiar idea of combining football with martial arts and gives it a new identity by focusing on the fictional Emei women's football team.
The setup works well. Emei are a grassroots team of ordinary working women, struggling with limited funding, poor facilities, injuries and prejudice against women playing football. Led by veteran captain Shuangshuang (Zhang Xiaofei), they enter the tournament as huge underdogs and gradually discover that teamwork is more important than relying on one player to carry them.
The football is one of the film's biggest strengths. This is obviously not realistic football, but that is hardly the point. Once the matches begin, the combination of football and kung fu produces some wonderfully ridiculous sequences, with martial arts techniques, exaggerated abilities and increasingly absurd action. The final match is particularly entertaining and delivers the sort of escalating madness that fans of Shaolin Soccer will be hoping for.
The comedy also has a very recognisable Stephen Chow feel. There are exaggerated characters, slapstick situations and plenty of physical humour, while the cartoonish visual effects suit the deliberately over-the-top style. The actresses playing the Emei team are also convincing during the football and martial arts sequences, helping the action feel more believable within the film's deliberately absurd world.
I particularly like the decision to centre the story around a women's team. It gives Kung Fu Soccer its own identity rather than simply repeating Shaolin Soccer with a different cast. The international tournament also gives the opposing teams their own personalities, rather than making them generic villains.
Unfortunately, the film never quite reaches the level of Shaolin Soccer. That film found a stronger balance between comedy, heart and memorable characters, while Kung Fu Soccer sometimes feels more like an attempt to recreate that formula.
The emotional story is where it falls short. Shuangshuang's relationships with Yu Long (Dilraba Dilmurat) and Xu Feng (Lay Zhang) are interesting, and her realisation that she has put too much pressure on her teammates gives her character some development. However, there are too many players and supporting characters competing for attention, meaning several never receive enough development to make their personal stories particularly meaningful.
The comedy is also inconsistent. Some jokes are genuinely funny, but others feel familiar, and the constant slapstick can become tiring. The CGI does not always help either, with some larger sequences looking noticeably cheap and unfinished.
The football can be equally frustrating. Even allowing for the deliberately ridiculous approach, some of the action makes little sense from a footballing perspective, while the repeated structure of the tournament means some matches begin to feel similar.
Despite those problems, I enjoyed Kung Fu Soccer. At around 100 minutes it perhaps feels slightly longer than necessary, but there is enough comedy, action and inventive football to keep it entertaining.
It is not going to replace Shaolin Soccer, and it lacks some of the spark that made Stephen Chow's older films so memorable. However, as a silly, energetic sports comedy with plenty of kung fu and outrageous football, it delivers enough fun to justify its existence.
This is not really a film for serious football fans, nor is it likely to appeal to anyone unfamiliar with Stephen Chow's particular style of Chinese comedy. For fans of Shaolin Soccer, though, there is plenty here to enjoy.
Trieste Science+Fiction Festival will celebrate the centenary of Roger Corman’s birth with a major retrospective dedicated to one of the most prolific and influential figures in the history of cinema.
Taking place in Trieste from 3 to 8 November, the festival will explore Corman’s career as a director, producer and talent scout, with six films highlighting the different sides of his extraordinary contribution to fantastic cinema.
Corman’s connection with Trieste dates back more than six decades. During the first edition of the International Science Fiction Film Festival in 1963, the forerunner of today’s Trieste Science+Fiction Festival, his X: The Man with the X-Ray Eyes won the festival’s top award. Corman would return to Trieste several times as a guest, establishing a lasting connection with the event.
The centenary retrospective will be divided into two strands, reflecting Corman’s work both behind and in front of the camera.
Boxcar Bertha
The first strand will focus on his role as a producer and his extraordinary ability to identify emerging filmmaking talent. Three screenings at Cinema Ariston will take place ahead of the main festival, beginning with Martin Scorsese’s Boxcar Bertha on Friday, 9 October at 10.30pm.
Piranha
Joe Dante’s Piranha follows on Friday, 16 October at 10.30pm, before Francis Ford Coppola’s Dementia 13 concludes the strand on Friday, 30 October at 10.30pm.
The three films demonstrate how Corman’s independent productions provided opportunities for young filmmakers to experiment and develop their craft. Scorsese, Dante and Coppola would all go on to become major figures in American cinema, having benefited early in their careers from the creative opportunities offered by Corman.
Dementia
The main festival programme will then turn its attention to Corman the director, presenting three films that showcase his willingness to move between genres and embrace unconventional ideas.
The Masque of the Red Death represents his celebrated Gothic period and his cycle of films inspired by Edgar Allan Poe. It will be accompanied by two works demonstrating Corman’s approach to science fiction.
Gas-s-s-s reflects the irreverent and countercultural side of his filmmaking, while Frankenstein Unbound marked his return to directing after a lengthy absence. The film offered Corman’s own science-fiction interpretation of the Frankenstein myth.
Together, the three films illustrate the breadth of Corman’s directing career, from Gothic horror and literary adaptations to science fiction and countercultural cinema.
Adding a personal dimension to the retrospective, Julie Corman, Roger Corman’s wife and a producer in her own right, will attend the festival as a special guest. She will introduce the screenings dedicated to Corman and share the journey through his work and cinematic legacy.
The tribute also reflects the close relationship between Corman and the Trieste festival, which has been part of the city’s genre cinema tradition for more than 60 years.
With six films spread across two strands, Trieste Science+Fiction Festival will use Corman’s centenary as an opportunity to revisit both his own filmography and the filmmakers he helped launch. The result is a celebration of a career built around independent production, experimentation and a willingness to give emerging talent the opportunity to find its voice.
Heart of the Beast takes a fairly straightforward survival premise and gives it an emotional centre through the relationship between retired Special Forces veteran James Belmont and his combat dog, Odin. After a plane crash leaves them stranded deep in the Alaskan wilderness, the pair face a 56-mile journey towards civilisation, with injuries, predators and the elements standing in their way.
The relationship between James and Odin is easily the film's strongest element. Their history together is believable, and the way they rely on each other gives the journey genuine emotional weight. Odin never feels like a simple sentimental prop either. His natural expressions and reactions make him feel like a character in his own right, while his loyalty to James provides many of the film's most effective moments.
Brad Pitt also works well in the lead role. Rather than playing James as an indestructible action hero, Pitt gives him a quieter vulnerability. James is experienced and capable, but he is also carrying the psychological scars of his military career and struggling with PTSD. That makes his increasingly desperate fight to survive more convincing, particularly during the quieter stretches of the journey.
The Alaskan wilderness is another major strength. The scenery is spectacular, while the enormous distances and remote setting give the film a convincing sense of isolation. Some of the best scenes require very little beyond James, Odin and the environment around them, allowing the scale of the wilderness to create much of the tension.
There are several strong survival sequences as well. The confrontation with the grizzly bear is tense, while the bridge sequence provides a particularly effective demonstration of Odin's importance when James is injured. The later wolf attack is considerably more violent and pushes James towards his physical limits.
Unfortunately, the film becomes less convincing as the journey progresses. James suffers so many injuries and encounters so many dangers that his continued survival eventually starts to feel implausible. What begins as a harsh survival story gradually starts to resemble a collection of increasingly extreme obstacles.
The CGI wildlife is also disappointing. The real Alaskan landscapes look excellent, but some of the computer-generated animals are noticeably less convincing. That creates an awkward contrast, because the film otherwise does a good job of establishing a realistic and unforgiving wilderness.
The repeated war flashbacks are another weakness. James's military background is important to understanding him, but the flashbacks become distracting rather than adding much to the story. The film is more effective when it stays focused on the immediate struggle facing James and Odin.
I also think the decision to reveal Odin's survival at the beginning weakens some of the suspense. It removes much of the uncertainty surrounding the dog's fate, meaning several dangerous encounters involving Odin carry less tension than they otherwise could have. There is still plenty of concern for James, but the stakes are uneven.
Heart of the Beast can also become too sentimental. The bond between James and Odin is strong enough to generate an emotional response naturally, so some of the more obvious attempts to underline that relationship feel unnecessary.
Even with those problems, there is plenty to enjoy. The central relationship works, Pitt gives the film a solid lead performance, and the Alaskan setting provides some genuinely impressive visuals. The best sections are intimate and straightforward, focusing on two companions trying to survive rather than attempting to turn every obstacle into another major action sequence.
Heart of the Beast is not a flawless survival thriller, but its strongest elements are strong enough to carry it. The film occasionally overdoes the injuries, flashbacks and sentimentality, while the wildlife effects can undermine its realism. However, the combination of Brad Pitt, an impressive setting and an engaging central relationship makes this well worth a watch.
The film follows Will Bastion (Morrison) as he returns home from the army after 20 years to bury his father. Upon returning home, tradition dictates that Will must take the tribal chief position. Due to his disinterest in the role, his brother Kahu (Makoare) takes charge as he appoints himself with the position. Faced with Kahu's drug-dealing and radical views, Bastion must decide if he should act.
Cast
Temuera Morrison as Will Bastion
Lawrence Makoare as Kahu Bastion
Jaime Passier-Armstrong as Ripeka Bastion
Quinton Hita as Api
Nancy Brunning as Marama
Sydney Jackson as Pettigrew
George Henare as Tipene
Calvin Tuteao as Sergeant Ropiha
Stan Wolfgramm as Timo
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