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Severin Films has announced the worldwide UHD premiere of Zulu Dawn, Douglas Hickox's 1979 war film and the prequel to the 1964 classic Zulu. The film has been given a new 4K digital remaster and will return to cinemas on 13 March 2026.
The cast brings together some of the most recognisable names of its era. Burt Lancaster, known for Gunfight at the O.K. Corral, stars alongside Peter O'Toole of Lawrence of Arabia. They are joined by Simon Ward, who appeared in The Three Musketeers, and Bob Hoskins, remembered for The Long Good Friday.
A special preview screening will take place at Southampton Harbour Lights on 25 February 2026. The event will include an introduction and a question and answer session with Ian Knight, regarded as the UK's leading historian of the Anglo Zulu War.
The nationwide cinema release follows on 13 March 2026 in a new edition scanned in 4K from the interpositive. A UK physical release is scheduled for 25 May 2026, with further details still to come.
Zulu Dawn is set in January 1879. Officials from the British colony of Natal issued a list of ultimatums to the Zulu Nation. When the Zulu King refused to accept the terms, the Empire declared war. What followed was a series of serious tactical mistakes. A garrison of 1,500 British soldiers faced 25,000 Zulu warriors, in what became the most devastating disaster in British military history.
Emerald Fennell's Wuthering Heights is not the kind of period romance you put on for comfort. It opens with a public hanging and a crowd whipped into a strange, almost ecstatic state, and from that moment the tone is set. This is a grim, sweaty, openly sexual world where love is tangled up with humiliation and cruelty. Any expectation of a gentle literary adaptation quickly disappears into the mud of the Yorkshire moors.
Set in eighteenth century England, the story follows Catherine Earnshaw, known as Cathy, and the orphan boy her father brings home from Liverpool. He is presented to her as a kind of pet, a cruel little joke that says everything about the household. Cathy names him Heathcliff after her dead brother and the two grow inseparable. Their bond is fierce and protective, formed in opposition to an alcoholic, abrasive father and a house that seems to be slowly rotting from the inside out. When Heathcliff takes the blame for them being out late and is whipped, leaving permanent scars across his back, the film makes clear that pain and devotion will always sit side by side for these two.
Years later Wuthering Heights has fallen into disrepair, dragged down by gambling and drink. Cathy sees an escape in their wealthy neighbour Edgar Linton, a textile merchant with money and status. She believes that courting him might lift them all out of misery and somehow pull Heathcliff into high society too. Heathcliff, now reduced to a lowly servant, watches this plan with jealousy and quiet rage. Fennell leans hard into the erotic and the transgressive here, filling the edges of the house and the barns with furtive encounters and overheard moments that make the whole place feel feverish.
Cathy's time recovering at Thrushcross Grange leads to Edgar's proposal, which she accepts. When she returns home dressed in finery, Heathcliff keeps his distance. In a tearful confession to Nelly, Cathy admits she truly loves Heathcliff but feels it would degrade her to marry someone so poor. Heathcliff overhears only the worst of it and rides away, heartbroken, before she can speak of how deeply their souls are entwined. It is one of the film's strongest passages, powered by regret and missed words rather than spectacle.
Five years later he returns transformed, well groomed and mysteriously wealthy. Instead of reconciliation, he brings bitterness. He buys Wuthering Heights from Cathy's father, begins an intense sexual affair with Cathy, and toys with the idea of marrying Edgar's ward Isabella out of spite. From there the drama spirals into revenge, jealousy and self destruction. Marriages become weapons. Affairs turn vicious. Cathy locks herself away and starves. Letters are burned. Illness and miscarriage follow. By the time Heathcliff arrives too late to say goodbye to her dying body, the film has tipped fully into tragedy.
There is no denying how gorgeous the production is. The costumes, the design of the houses, and the windswept moors are beautifully realised. Every frame looks carefully composed. The performances are equally committed. Margot Robbie gives Cathy a reckless, volatile edge, while Jacob Elordi plays Heathcliff with a brooding intensity that suits the character's simmering resentment. Hong Chau provides a steadier presence as Nelly, observing the chaos with quiet concern. Visually and atmospherically, it is often breathtaking.
Yet for all that craft, the film feels oddly distant from its own characters. The emotions are big, the scenes explicit and provocative, but depth is sometimes lacking. Motivations blur together and plot turns arrive without much weight behind them. At two hours and fifteen minutes, it also feels long. There are stretches where the story simply drifts, relying on handsome close ups and moody cinematography rather than momentum. It gives the impression that style is being used to cover gaps in character and narrative.
What remains is a bold but uneven experience. This take on Wuthering Heights is sexy, toxic and melodramatic, full of lust and revenge, and undeniably striking to watch. At the same time, it lacks the consistency and emotional richness needed to truly land. You admire it more than you love it.
Wuthering Heights goes on a bit, and while you can clearly see where the budget has gone, the end result feels average rather than exceptional. It is likely to appeal most to those already fond of the story.
A sun-drenched villa, a split-second decision, and one small lie that quickly grows legs. That is the starting point for You, Me & Tuscany, a glossy romantic comedy from producer Will Packer that leans into food, fate, and the kind of chaos that only seems to happen when your life is already wobbling.
Halle Bailey leads the story as Anna, a young woman who once dreamed of becoming a chef but now finds herself drifting, stacking up poor choices and wondering how things slipped off course. When she suddenly loses both her house-sitting job and the place she is staying, everything feels precarious. Then comes Matteo, a charming Italian with an empty villa in Tuscany and the sort of chance meeting that feels too convenient to ignore. Acting on impulse, and despite warnings from her straight-talking best friend Claire, played by Aziza Scott, Anna boards a flight to Italy with a risky plan and not much else.
Sneaking into Matteo's villa for what is meant to be just one night sounds simple enough. It is anything but. Things unravel fast when Matteo's mother, Gabriella, unexpectedly arrives. Isabella Ferrari brings weight and warmth to the role, and in a moment of pure panic Anna lets Gabriella believe she is Matteo's fiancée. A tiny fib, said in haste, suddenly becomes the foundation for everything that follows.
The situation only grows messier when Matteo's cousin Michael enters the picture. Regé-Jean Page plays him with easy charisma, and the spark between him and Anna threatens to upend her already fragile cover story. What begins as a harmless escape starts to feel like something far more complicated, and possibly life-changing.
Around them sits an international supporting cast that adds colour and texture. Lorenzo de Moor appears as Matteo, Marco Calvani plays a friendly taxi driver who forms an unexpected bond with Anna, and Nia Vardalos turns up as Mrs. Dunn, the house-sitting client whose exit sets the whole misadventure in motion.
Behind the camera, director Kat Coiro guides the film from a screenplay by Ryan Engle, based on an original idea by Ryan and Kristin Engle. With Will Packer producing, the tone promises warmth, humour, and a touch of escapism, all wrapped in Italian scenery and kitchen-table romance.
Sometimes the wrong place really is the right one. You, Me & Tuscany invites audiences to find out when it arrives exclusively in cinemas on 10 April 2026.
Matthew Modine steps into the spotlight in The Martini Shot, an existential comedy drama that blends humour, reflection and a touch of the surreal. Known for performances in Full Metal Jacket and Batman Begins, Modine plays Steve, an eccentric filmmaker facing a terminal illness. Instead of retreating, he turns towards one final creative push, setting out to make what he sees as his parting masterpiece.
Writer director Stephen Wallis shapes the story with a light but thoughtful hand. Cineuropa describes the film as 'With tact, creativity and simplicity, Stephen Wallis has crafted a beautiful picture about life, death, love and art… brilliant and poetic' . That tone seems to run through the entire project, balancing life's biggest questions with moments of warmth and offbeat charm rather than heavy drama.
Steve gathers a curious mix of friends and colleagues to help bring his so called transcendental film to life, heading out to rural Ireland for the shoot. As his belief that he might be the only real element in his universe takes hold, the lines between past and present start to blur. Faces from different parts of his life appear, both living and dead, forming an unconventional crew that feels as unpredictable as his own state of mind.
The cast around Modine reads like a roll call of familiar talent. John Cleese, Sir Derek Jacobi, Morgana Robinson, Fiona Glascott, Stuart Townsend and Jason London all join the ensemble, giving the film a rich mix of comic timing and dramatic weight. It suggests a story that shifts tone easily, able to be playful one moment and quietly reflective the next.
As Steve's health declines, the urgency grows. He tries to settle old scores and make sense of the life he has led, searching for meaning while time steadily runs out. The question hanging over everything is simple and human. Can he find peace before the final curtain falls.
Combining surreal and supernatural touches with a philosophical core, The Martini Shot promises a journey that is both strange and heartfelt. After a multi award winning festival run, it arrives on UK digital on 2 March through Miracle Media, inviting viewers to sit back and follow a filmmaker chasing one last shot at understanding life itself.
Finding Emily arrives in UK cinemas on May 22, bringing a mix of romance, humour and campus chaos built around one small mistake that sets everything in motion.
The story follows a lovesick musician who is accidentally given the wrong number for the girl he believes is his dream match. Instead of walking away, he joins forces with a focused psychology student and the pair set out to track her down. Their search quickly snowballs into a campus wide frenzy, stirring up confusion and excitement while quietly testing their own hearts and ambitions along the way.
Spike Fearn and Angourie Rice lead the cast, with Alicia MacDonald directing. The film is produced for Working Title by Tim Bevan and Eric Fellner, whose past titles include Bridget Jones, About Time, Love Actually and Notting Hill. Across their work, those films have earned 14 Academy Awards and six Best Picture nominations. Olivier Kaempfer also produces, following credits that include Lollipop and Polite Society.
With its mistaken number set up and two unlikely partners at the centre, Finding Emily frames a simple idea that spirals into something bigger, blending romance and comedy as the chase unfolds across campus.
