REVIEW: Evil Dead Burn (2026 Film) Starring Souheila Yacoub

Review by Jon Donnis

The Evil Dead series has built its reputation on relentless gore, inventive horror and unforgettable practical effects. Evil Dead Burn continues that tradition with absolute confidence, delivering the sixth entry in the franchise and a direct sequel to Evil Dead Rise. Directed by Sébastien Vaniček, the film wastes very little time before plunging viewers into another nightmare fuelled by the Necronomicon, Deadites and enough blood to satisfy even the most hardened horror fan.

The story centres on Alice Price, played by Souheila Yacoub, who reunites with her late husband's family following his death. What should have been a sombre family gathering quickly descends into chaos as Deadite possession spreads through the household, turning relatives into monstrous killers. Hidden family tensions, buried secrets and supernatural terror combine to create a brutal battle for survival that becomes increasingly desperate as the body count rises.

What immediately stands out is just how expertly staged the horror sequences are. Every major kill feels carefully crafted rather than repetitive, with each attack finding a fresh way to shock the audience. The violence never becomes predictable because the film constantly introduces new ways for the Deadites to terrorise their victims. Whether it is savage hand to hand encounters, grisly dismemberments or horrifying creature attacks, the film maintains an impressive level of creativity throughout.

Sébastien Vaniček proves himself to be an outstanding horror director with an exceptional visual eye. He understands how to build tension before unleashing absolute carnage, while ensuring every gruesome moment remains memorable. The pacing within each individual set piece is excellent, allowing suspense to build naturally before exploding into scenes of complete chaos. His direction gives the film a distinctive personality while remaining faithful to the savage spirit that fans expect.

Fans looking for extreme horror will certainly not be disappointed. Evil Dead Burn is unapologetically violent from beginning to end, offering very little respite once the blood starts flowing. The opening sequence immediately establishes the brutal tone, and from that point onwards the film barely slows down. Severed limbs, torrents of blood, mangled bodies and grotesque Deadite transformations arrive with remarkable frequency. Even the family dog becomes part of the nightmare, ensuring almost nothing is off limits.

Souheila Yacoub delivers a convincing lead performance, carrying the emotional weight of the story while remaining believable as an increasingly desperate survivor. Alice's difficult relationship with her in-laws adds another layer to the horror, while her determination to fight back prevents her from becoming another helpless victim. The supporting cast also commit fully to their increasingly disturbing transformations, helping the possessed family members become genuinely unsettling threats.

Despite its strengths, the film is not without problems. One aspect that proves difficult to ignore is what feels like an obvious attempt to push a feminist message. Rather than allowing these themes to develop naturally through the story and characters, they often feel overly deliberate and forced, occasionally distracting from the horror itself. The franchise has always been strongest when it lets the terror speak for itself, and these moments interrupt that balance.

The absence of Bruce Campbell is another issue that longtime fans may struggle with. Although his iconic Ash Williams does receive a small cameo through a photograph, it feels more like an acknowledgement than a meaningful appearance. Ash has long been the heart of the Evil Dead franchise, bringing a unique mix of horror, humour and charisma that helped define the series. Without him, Evil Dead Burn often feels like a very good supernatural horror film rather than a true Evil Dead film. With only a handful of changes, it could easily have existed as a standalone story outside the franchise.

The running time also works against the film. At 110 minutes, it stretches the material further than necessary. Horror often benefits from tighter pacing, and trimming around twenty minutes would have resulted in a far more intense experience. There are sections where the momentum briefly slows before another spectacular horror sequence gets things moving again.

Even so, Evil Dead Burn succeeds where it matters most. It delivers spectacular gore, inventive scares and some genuinely unforgettable moments of carnage. It may not fully capture the magic that Bruce Campbell brought to previous entries, but it still offers an entertaining and uncompromising horror experience for those who simply want to watch Deadites unleash absolute mayhem.

Evil Dead without Ash never feels quite right, and this instalment highlights just how important that character has been to the franchise's identity. Nevertheless, if you can accept it on its own terms, there is plenty to enjoy. It is savage, relentless and visually impressive, making it a worthy watch for horror fans who appreciate unapologetic gore.

I score Evil Dead Burn 7.5 out of 10.

Out in Cinemas Now

REVIEW: Young Washington (2026 Film) - Starring William Franklyn-Miller

Review by Jon Donnis

Young Washington, the 2026 American epic historical war drama directed, produced and co written by Jon Erwin, arrives as a confident and unapologetic retelling of George Washington’s early years, focusing on his formative experiences during the French and Indian War between 1753 and 1755. It positions itself firmly as a story of ambition, hardship and the slow shaping of a future founding father, tracing his path from a young colonial surveyor into a military figure tested by war, loss and reputation.

What stands out immediately is how strongly the film commits to its tone. It is unapologetically patriotic, built around strong action sequences, solid storytelling and assured direction that together create an engaging historical crowd pleaser. There is a clear sense of intention behind it, an old fashioned tale of leadership and patriotism that leans into its subject without hesitation. At its best, it delivers a straightforward but compelling narrative about perseverance and duty, presenting Washington’s early struggles as a kind of proving ground where character is shaped under pressure. It also offers a glimpse of romance and captures his growing passion for his homeland, alongside a message about overcoming the odds that gives the story a familiar but effective emotional backbone. As a historical biopic it remains accessible and well crafted, charting the maturation of a figure who would later become central to the identity of a nation. The overall result is a film that feels like a history lesson designed for broad appeal, and one that remains consistently watchable throughout.

William Franklyn Miller delivers the film’s most arresting performance as George Washington, carrying much of the narrative weight with a grounded intensity that holds the story together. Around him, the supporting cast also contributes strongly, with Ben Kingsley as Robert Dinwiddie, Andy Serkis as Edward Braddock, Joel Smallbone as George William Fairfax, Kelsey Grammer as Thomas Fairfax, Mary Louise Parker as Mary Ball Washington, Mia Rodgers as Sally Fairfax, Jonno Davies as James Mackay, John Foss as Lawrence Washington, Michael Benz as Thomas Gage, Leo Hanna as Christopher Gist and Clement Toyon as Joseph Jumonville all giving performances that help maintain the film’s dramatic momentum.

There is relatively little to criticise in terms of ambition, though its runtime does push over two hours, which makes it quite long and occasionally more drawn out than it needs to be. That said, it never fully loses pace, even when it lingers in its more reflective moments.

Taken as a whole, Young Washington is an excellent film that balances entertainment with historical drama, even if it is not always precise in its accuracy. It is the kind of film that critics will likely dismiss due to its lack of wokeness, its patriotic tone and its unapologetic approach to American history, while general audiences are more likely to respond positively to its straightforward storytelling and strong central performance. It presents itself as a celebration of resilience and early leadership, and in doing so it commits fully to its perspective without hesitation.

Score: 9.5 out of 10

Out Now in Cinemas.

COMPETITION: Win The Mortuary Assistant on Blu-ray

The Mortuary Assistant (Shudder Original), a blood-curdling new possession horror film based on the critically acclaimed, best-selling videogame of the same name, is set to arrive on Blu-ray, DVD and digital on 20 July 2026, courtesy of Acorn Media International. 

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

The film follows Rebecca Owens (Willa Holland – The O.C., Arrow), a newly certified mortician with a troubled past. After being hired at River Fields Mortuary, she takes over the night shift, but what starts out as your run-of-the-mill embalming takes an unnerving turn,  as the cold, clinical lights begin to flicker, bodies begin to move on their own and Rebecca realises she is not alone. 

 

Things go from suspicious to outright sinister when she begins experiencing horror-fuelled hallucinations derived from her deepest fears and darkest secrets. As the visions start to put her and those around her in danger, she confides in her enigmatic mentor, Raymond Delver, who reveals that a demonic entity has latched onto the young assistant and is using the morgue as a bridge between the living and the dead. 

 

With only one night to prevent the entity from completing its full possession, Rebecca must navigate a series of demonic rituals, unravel the truth behind Raymond’s shady secrets and confront her own buried traumas to survive until sunrise. 

 

Intertwining trauma, gore and outstanding practical effects, join The Mortuary Assistant for a spine-chilling, against-the-clock fright fest, delivering ‘fun, creepy demonic horror’ (Ginger Nuts of Horror). 

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

Enter now for a chance to win.

The Mortuary Assistant is based on a famous video game, but in what year did was that game released?

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 27-07-26

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: Supergirl (2026 film) - Starring Milly Alcock

Review by Jon Donnis

Craig Gillespie’s Supergirl attempts to launch a bold new DC direction, but it never quite locks into a clear identity. It opens with the fall of Krypton and the desperate survival of Argo City, before shifting to Kara Zor-El’s arrival on Earth and her later life drifting between worlds with Krypto. The story eventually settles into a revenge-driven pursuit after Krem (Matthias Schoenaerts) of the Yellow Hills attacks her and poisons Krypto, forcing Kara into an interstellar chase that should feel urgent but often plays out in a fragmented and uneven way.

Krypto is easily the strongest part of the film. Every scene he is in feels more alive than anything surrounding him, and he brings a level of warmth and clarity the rest of the story consistently lacks. There are also brief moments in the Krypton material that hint at something more emotionally grounded, particularly in the depiction of Argo City’s slow decline, but the film never fully returns to that depth once the plot moves outward into its wider space setting.

A major problem sits right at the centre of the film in Milly Alcock’s portrayal of Supergirl. The performance comes across as unlikeable and difficult to connect with, and the character never develops into someone the film invites the audience to invest in emotionally. Instead of a compelling presence at the heart of the story, Kara often feels detached in a way that drains momentum from the scenes around her. This is not softened or redirected elsewhere, it is simply one of the film’s core weaknesses and it consistently undermines the emotional stakes.

The narrative itself struggles under the weight of trying to be too many things at once. It shifts between revenge story, space adventure and wider universe building without ever committing fully to any of them. Encounters with groups like the Sklarian Raiders or the shifting situations on Bilquis and Barenton arrive and pass without leaving much impact, and the overall structure feels episodic rather than purposeful. Krem, as the antagonist, never becomes a strong enough force to anchor the revenge arc, functioning more as a plot device than a meaningful threat.

Ruthye Marye Knoll (Eve Ridley) and Lobo (Jason Momoa) add movement and energy, but they also highlight how unstable the emotional core has become. Ruthye’s grief and desire for vengeance could have created a powerful counterpoint to Kara’s journey, but the relationship between them never develops enough depth to carry real emotional weight. Lobo brings chaos and presence, yet even that feels slightly disconnected from the central narrative rather than reinforcing it.

By the final act, the film resolves its conflict with Krem in a way that feels more functional than satisfying, closing out the immediate danger while leaving much of the emotional thread underdeveloped. Kara’s eventual acceptance of Earth as her home is present, but it does not land with much force because her journey has never fully grounded itself in a relatable emotional progression.

What remains is a film with occasional visual ambition and a sense of scale, but very little cohesion or emotional consistency. Krypto stands out as its only truly reliable element, while everything else struggles to connect into something meaningful or memorable.

Supergirl ultimately scores 3 out of 10.

I will never watch this film again, and no young girl is going to watch and dream of being Supergirl.

What a waste of a franchise.

Out In Cinemas Now

PREVIEW: Shaun the Sheep The Beast of Mossy Bottom (2026 Film)

Images: Sky Cinema

By Jon Donnis

Shaun and the flock are set for their biggest Halloween adventure yet as Sky unveils a new trailer and images for Shaun the Sheep The Beast of Mossy Bottom. The Sky Original film is due for theatrical release in the UK on 18 September, bringing a seasonal twist to Mossy Bottom Farm with chaos building as Halloween approaches.

The story begins with the residents of Mossy Bottom looking forward to a peaceful Halloween, until the Farmer accidentally destroys the flock’s treasured pumpkin patch. In response, Shaun steps in and takes on the role of a makeshift mad scientist, trying to fix the problem, but things quickly spiral out of control in ways no one can manage.

As the situation worsens, the Farmer goes missing and rumours begin to spread of a wild beast roaming the woods of Mossingham. The farm and surrounding area are thrown into confusion, with Halloween preparations turning into something far more unpredictable than anyone expected.

The trailer also introduces Mossingham’s local influencer, voiced by Dani Dyer in her first animation voice role, who captures attention by staging a selfie with the unsuspecting beast. It adds another layer of modern humour to the unfolding chaos around the farm and village.

Meanwhile, the flock are seen going to extreme lengths to protect what is left of their pumpkin patch, while Timmy appears in full sailor outfit for Halloween. The Farmer is squeezed into an uncomfortable and too tight Halloween hoedown costume, adding to the comedy of errors, while the Vet leads a fast moving boat chase that pushes the action into more frantic territory.

With its mix of Halloween mischief, escalating chaos and classic stop motion humour, the trailer builds towards what promises to be a wildly entertaining adventure. From pumpkin patch disasters to beastly confusion in the woods, Mossy Bottom Farm is once again at the centre of a surprisingly large scale mess that threatens to get out of hand.

Shaun the Sheep: The Beast of Mossy Bottom will premiere in cinemas on 18 September 2026