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Action thrillers rarely hinge on an idea as unusual as this. Rememory arrives on UK digital this May with a premise that blends reincarnation with a relentless crime chase, setting the stage for a story that moves as quickly as it intrigues. At its centre is David, a French police officer drawn far from home to Thailand, following a lead that sounds almost impossible to believe.
That lead comes in the form of Ravi, a young boy who claims to remember a previous life as Floyd, a man once connected to a dangerous criminal network. Rather than dismiss it, David sees an opportunity. Alongside his colleague Joanna, he begins to piece together the fragments of Floyd’s past through Ravi’s memories, using them to track a criminal enterprise that has remained just out of reach. It is an uneasy alliance, built on something neither fully understands, yet too valuable to ignore.
The stakes rise quickly as those same memories place Ravi in immediate danger. The closer David and Joanna get to the truth, the clearer it becomes that the organisation they are pursuing will do anything to silence the boy. What follows looks set to be a tense race against time, where protection and pursuit become one and the same. With its mix of high-speed action and a concept rooted in memory and identity, Rememory promises a thriller where the past is not just relevant, it is the key to everything.
Rememory, arriving on digital 18 May 2026, thanks to Miracle Media.
Colin McIvor’s No Ordinary Heist leans into its roots with quiet confidence, drawing from the Northern Bank robbery without ever feeling chained to it. Co-written with Aisling Corristine, the film settles into Belfast in 2004 and quickly makes clear that this is not about spectacle. It is about pressure. The kind that builds slowly, sits in the room, and never quite leaves.
At the centre are two men who would rather not share a conversation, let alone a crisis. Eddie Marsan’s Richard Murray is all tight control and simmering frustration, while Éanna Hardwicke’s Barry McKenna moves through life with a kind of careless energy that borders on self-destruction. Their relationship starts off brittle and only becomes more complicated once their families are dragged into a tiger kidnapping. With Richard’s wife and Barry’s mother held hostage, the pair are forced into an uneasy partnership that never quite settles into trust.
What stands out most is how deliberately the film handles tension. There is no rush to get anywhere. Instead, it lingers in small, telling details. A cigarette burning down to the filter. A glance that lasts a second too long. A silence that says more than any line of dialogue. These moments accumulate, and before long the atmosphere feels thick enough to cut. McIvor’s direction keeps things grounded, resisting the urge to overplay the drama. It works in the film’s favour. The stakes feel real because they are treated as such.
The performances carry much of that weight. Marsan is reliably excellent, bringing a kind of brittle authority to Richard that hints at deeper insecurity. Hardwicke, though, is the one who leaves the stronger impression. His Barry is unpredictable in a way that keeps the audience slightly off balance. One minute he is reckless and frustrating, the next he shows flashes of vulnerability that make you reconsider him entirely. Their back and forth gives the film its pulse. You believe the resentment, but you also sense the strange bond forming under pressure.
There is also a strong undercurrent of social tension running through the story. Workplace hierarchies, old grudges, and the lingering divisions of a place still finding its footing all feed into the narrative. It adds texture without ever feeling forced. The heist itself becomes almost secondary at times, overshadowed by the human dynamics that drive it forward.
That said, the film is not without its drawbacks. Anyone familiar with the real events may find the plot a touch overcomplicated. In reality, the situation was more direct, and the film’s added twists can feel like embellishment for the sake of drama. It is understandable from a storytelling perspective, but it does slightly undercut the authenticity the film works so hard to establish elsewhere.
There is also the question of accessibility. The dialogue leans heavily into local accents, which adds to the realism but may prove challenging for some viewers. If you are not used to it, subtitles might become essential, and that can affect how easily you settle into the rhythm of the film.
Even with those issues, No Ordinary Heist remains an engaging watch. Its relatively tight running time keeps things moving without overstaying its welcome, and the balance between tension and character work is handled with care. It never feels bloated or self-indulgent.
In the end, this is a film that succeeds because it keeps its focus narrow. It does not chase grand statements or flashy set pieces. Instead, it builds a story out of distrust, fear, and reluctant cooperation. The result is something that feels both intimate and quietly gripping.
No Ordinary Heist lands as a strong, character driven thriller with enough edge to keep you invested throughout. An easy 8.5 out of 10.
British thrillers have always had a knack for peeling back the surface of authority, and Hunting Party leans straight into that tradition with a premise that feels both timely and quietly unnerving. Set against the imposing backdrop of a secluded country estate, the film introduces a world where those entrusted with upholding the law begin to reshape it in their own image. What starts as a whispered frustration with a failing justice system soon spirals into something far more dangerous, as a hidden circle of judges abandon restraint and embrace a brutal, ritualistic form of punishment.
At the centre of it all is Eve Campbell, an MI5 agent already carrying the weight of a damaged reputation. Her investigation pulls her into a tightening web of secrets, where every answer only deepens the sense that something is profoundly wrong. The film pairs her perspective with the escalating plight of Jay Doherty and his father Danny, who find themselves caught in a nightmare after being framed for a crime they did not commit. Their story adds urgency and emotional stakes, grounding the wider conspiracy in something immediate and human. Meanwhile, the Hardin family stands as a chilling embodiment of power unchecked, their estate becoming both playground and prison.
There is a deliberate tension running through the setup, one that suggests Hunting Party is less interested in simple thrills and more concerned with the uneasy space between justice and vengeance. The idea of authority figures acting as judge, jury and executioner carries an obvious weight, and the film appears keen to explore how easily that line can blur. With a cast drawn from across British film and television, and a director already familiar with morally complex storytelling, the stage is set for a thriller that aims to be as thought provoking as it is intense. Often fiction mirrors reality, and in the UK right now, it feels very apt. Hunting Party arrives on digital platforms on 11 May courtesy of Miracle Media, inviting viewers into a game where survival is uncertain and the rules are written by those who believe they are beyond them.
Prepare for an exhilarating ride with Scarborn (Kos), a Polish period drama inspired by true events, hitting Viaplay UK on 27 April 2026. Set in 18th-century Poland, the film blends historical intrigue with high-octane action in a style reminiscent of Tarantino, offering audiences both intensity and drama.
The story follows Ignac, an illiterate peasant played by award-winning Bartosz Bielenia (Corpus Christi), who discovers he is the illegitimate son of a nobleman. When his father dies, Ignac must flee his scheming half-brother and deliver a stolen will to court within two days to claim his heritage. Along the way, he crosses paths with Domingo, a loyal friend of the revolutionary General Tadeusz "Kos" Kościuszko, portrayed by Jacek Braciak (Leave No Traces). Domingo is played by Jason Mitchell (Straight Outta Compton, Mudbound), who brings depth to the story of loyalty and unexpected alliances.
The backdrop is spring 1794, a Poland on the brink of rebellion. Kościuszko plans an uprising against Russian forces while being pursued by the ruthless Russian captain Dunin (Robert Więckiewicz). Ignac, initially distrusted, finds himself at the centre of these historic events and must decide whether to chase his own ambitions or stand with Kos in the fight for freedom.
Scarborn has already claimed top honours at the Gdynia Film Festival, winning the Golden Lion for Best Film, alongside awards for Best Editing, Best Makeup, and Best Supporting Actor for Więckiewicz. With a Directors Guild of Poland nomination and multiple festival accolades, the film promises a gripping and modern tale of courage, unity, and justice.
Content arrives as a sharp, uneasy blend of satire and psychological horror, with Adam Meilech, known for The Leak and Junk Male, pushing found footage into the era of constant scrolling and online performance. It takes the DNA of Creep meets Unfriended and reshapes it into something built for the modern attention economy.
Following a strong festival run, including Grimmfest 2025, the film is now set for its digital debut on 27 April through GrimmVision, bringing its unsettling vision to home screens.
At the centre is AJ, played by Meilech himself, a modern-day renaissance figure in the influencer world who presents as an actor, writer and director. Beneath that curated identity sits something far darker, a stalker, kidnapper and outright psychopath who treats real lives as raw material.
Using hacked phones and laptops, AJ surveils his targets as though they are characters in a private production, erasing the boundary between reality and fiction in pursuit of what he believes is his cinematic masterpiece. The result is a world where every screen becomes both stage and trap.
Already described as “unpredictable, unhinged and batshit crazy” by Slasher Reviews, Content positions itself as a scarily charged piece of digital horror, landing on 27 April for its online release.
