Spider-Man: Brand New Day (2026)

When looking through the canon of movies in the MCU, which is now something I type out with a bit more resentment than affection, it's clear that Spider-Man remains a firm favourite. It's also pleasantly surprising to see that he's now the character to be featured in standalone movies (relatively speaking) that should remain at the top end of any ranked list of modern superhero movies.

After the events of the last movie, Peter Parker (Tom Holland) has to get used to a life of loneliness. He still pines for MJ (Zendaya) though. And misses his friendship with Ned (Jacob Batalon). Having fewer distractions does seem to help him fully grow into his "friendly neighbourhood Spider-Man" form though, but there's something within him that might be wanting to help him evolve even further. It feels dangerous, and Parker doesn't want to go out of control. That's why he heads along to get some advice from Bruce Banner (Mark Ruffalo). Meanwhile, a new villain is using people like puppets, which makes the city of New York an even more dangerous place, as if it wasn't dangerous enough with Frank Castle (Jon Bernthal) causing carnage as he delivers his own brand of justice.

Written by Chris McKenna and Erik Sommers, who have plenty of experience in the Spidey-verse, Spider-Man: Brand New Day feels like the most straightforward and well-plotted Marvel movie in years. While a couple of important plot points act as connections between the past and the future of the MCU, most people should be able to enjoy this without having to remember every detail of every past movie and TV show that Marvel have given us this century. You should be aware of the main characters who come in and out of the narrative, but none of the key players are minor figures in this long-running universe.

Director Destin Daniel Cretton, who previously helmed the very enjoyable Shang-Chi And The Legend Of The Ten Rings, seems very comfortable here, taking the opportunity to present numerous images and moments that could easily appear in any omnibus of Spidey comics. It's probably a bit lazy and tiresome to say that many scenes here feel as if they could have been ripped straight from the pages of the source material, but it's very true.

Holland has been growing better as an actor in line with the growth of his character, and this may well be his best Marvel performance yet. He also has the benefit of looking so young that it's even more hurtful to see his character being properly beaten down by various villains. Zendaya remains a great MJ, cool and considerate, and Batolon is still good fun as Ned. Ruffalo gets a couple of great scenes, in both Banner and Hulk form, Bernthal allows his Punisher to stay true to the essence of the character while also warily making a connection with someone he strongly suspects is just a bit too young and optimistic to deal with what the world will throw at them, and the plot creates reasons for both Florence Pugh and Marisa Tomei to be back in the picture. Liza Colón-Zayas is enjoyable in the role of Detective Jean DeWolff, Tramell Tillman continues to do well in roles that make the most of his ability to be charming and slightly unnerving, and there's very good work here from Sadie Sink, being introduced into the MCU in grand style. Other names to keep an eye/ear out for include Naomi Watts, Michael Mando, Keith David, and Marvin Jones III. 

Like most of these movies, it's a bit overlong. I'm also a bit irritated, as I have said many times before, when we get so many movies nowadays that can't just give viewers a standard and harsh villain. These are minor criticisms though. This works well enough as blockbuster entertainment. As a Spider-Man movie, specifically, it's right up there alongside the very best of them. I can't wait to rewatch it, and I may even allow my rating to move up after I've absorbed more of the details and treats packed in to so much of the runtime.

8/10

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Prime Time: The Wrecking Crew (2026)

Dave Bautista and Jason Momoa star as two estranged half-brothers who reluctantly reunite after the death of their father. He was killed in a hit and run, but it soon becomes apparent that there was more to his death, and James (Bautista) and Jonny (Momoa) start an investigation that turns parts of Hawaii into a warzone as they upset bad guys, destroy numerous vehicles, and work their way up the chain to face off against whoever is the head villain behind everything.

Simple and entertaining, and even managing to feel well-paced for the 124-minute runtime, The Wrecking Crew is sometimes a nice throwback action comedy that is happy to make the destruction ridiculous, the main villain obvious, and every pay-off predictable. Writer Jonathan Tropper is happy to make the leads enjoyably childish when it comes to the insults and competitiveness between them, and he does well to refrain from adding too many twists and turns that would get in the way of the fun.

Both of the leads are good in their roles, with Momoa having the most fun of the two of them (being sillier and more irresponsible for most of the runtime), and there's a great supporting cast that includes Temuera Morrison, Roimata Fox, Frankie Adams, Claes Bang, Jacob Batalon, Morena Baccarin, Stephen Root, and one or two others you may recognise. 

While director Ángel Manuel Soto does well enough with the material, he fumbles things in a couple of ways. First of all, he overdoes at least one main set-piece. I enjoyed the ridiculousness and carnage of a sequence that has road vehicles and a helicopter targeting our heroes, but it's nowhere near as much fun as the moments that have more grounded and crunchy action. There's also at least one moment, a reveal, that would have worked better as a punchline to an earlier set-up, but it's simply presented without any other context to improve it. And don't get me started on the ill-advised Oldboy homage. These might sound like minor complaints, but they stand out more because of the other times that the film gets things just right. 

Anyone after an easy bit of entertainment should find enough here to enjoy, even if it keeps slipping up every now and again. I suggest a sequel, if we get one, keeps everything much more grounded, maybe kills off, or seriously hurts, one of the main supporting characters, and gives us a moment or two when we can at least consider the possibility that one of our leads is in very serious trouble. It would definitely be worth pairing up Bautista and Momoa again though. They play off one another well, and they feel very capable when it comes to the physicality of their fight scenes. 

6/10

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Novocaine (2025)

Jack Quaid plays Nate, a man who has a condition that stops him from feeling pain. That may sound all well and good, but Nate can't eat solid foods (in case he bites off the end of his tongue without feeling it), he has to set a timer to remind him to urinate before his bladder potentially explodes, and his home has a lot of extra padding around some of the fixtures and fittings. He tends to err towards caution, although that changes when he enjoys a date with a lovely bank colleague, Sherry (Amber Midthunder). That makes it all the more unfortunate when Sherry is taken hostage the next day by dangerous bank robbers. Determined to hunt them down and save the woman he loves, Nate decides to turn his apparent weakness into a bit of a super-power. 

Co-directed by Dan Berk and Robert Olsen, both having shown a nice and consistent improvement throughout their joint filmography, Novocaine is helped a lot by a smart and fun screenplay from Lars Jacobson (who is finally on the right path to getting us all to forget that he co-wrote the screenplay for Day Of The Dead: Bloodline). Once the main premise is set up, you know that everyone involved is just running from one situation to the next with a focus on lots and lots of pain. And that's exactly what happens, with everything escalating from a slight case of the ouchies to a major bit of "oh my god, that's not going to be fixed any time soon".

Berk, Olsen, and Jacobson pace the whole thing perfectly, and the action is enjoyably scrappy and inventive. Our hero isn't particularly skilled, but he knows that he can take plenty of hits without suffering in the same way as others around him. He's not invulnerable, but it seems that way to some of the people he encounters. The 110-minute runtime fairly flies by once the action begins, and even a couple of extra sequences at the end of the film somehow don't make it feel as if it is outstaying its welcome.

Quaid is a very good choice for the lead role, once again relying on his slight awkwardness and charm ahead of any muscles or fighting capability. His character is driven by new love, and Quaid has experience in playing that kind of guy, even (especially) when he has to start questioning his feelings and motivation. Midthunder is also very good, and makes such a strong impression in her early scenes that you can easily understand why Nate becomes so driven to save her. Jacob Batalon is fun as an online friend who may need to finally meet Nate IRL, Betty Gabriel and Matt Walsh are two cops who start to suspect that our hero may be working with the villains, and Ray Nicholson is entertainingly callous and vicious as the nominal head of the criminal gang.

Funny and violent in equal measure, and with just about the right tone maintained throughout, Novocaine manages to feel relatively fresh and unique while reframing the kind of visceral action that we've seen in many different movies over the past few years. It always feels slightly ridiculous, but that helps to take the edge off of some of the more wince-inducing injuries we end up seeing. I highly recommend this to anyone who wants an action thriller with a fun twist on many of the usual tropes. You'll find it a relatively painless viewing experience.

8/10

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Tarot (2024)

I think I need to clarify something at the very start of this review. I didn’t like Tarot. Not only did I dislike it, it is one of those slick and tame horror movies that embodies the worst of modern horror. There’s even a moment that makes use of my favourite trope to laugh at (the train that can quietly sneak up on someone while going along at great speed). But, and this is a big but (because I often like big buts and I cannot lie), there were elements here that I appreciated, and would have loved to see incorporated in a better film.

The plot could be written on the back of a matchbox. Some youngsters find a deck of tarot cards, one reads the fortune for each of the friends, and then they start dying in ways that seem linked to those readings. That is it. There’s then a race against time to figure things out, and figure out a way to prevent any further deaths.

Adapted from a book, “Horrorscope” by Nicholas Adams, this lazy mess was both co-written and co-directed by Spenser Cohen and Anna Halberg, both seemingly unable to do more than the bare minimum for the material. The dialogue is often inane, the plotting doesn’t have enough distractions around a few decent set-pieces, and the screen is often darker than my soul, which is a shame when you actually get a chance to enjoy some of the production design.

The cast are almost all eminently forgettable, this is unlikely to be a big break for any of them, with the only two standouts being Jacob Batalon and Avantika, only because I have been familiar with them in other film roles. If Batalon’s character was played by anyone else then he could have easily been far too annoying, and he comes close as it is. Harriet Slater and Adain Bradley get most of the screentime, compared to everyone else in their core group, but viewers will just want them to get out of the way while they try to get a better view of the tarot card characters.

Those characters are a big plus for the film, with the design of them making up for the poor editing choices and inconsistency of their methodology. It wouldn’t have taken much to turn this into something decent, either showcasing the characters in a better way or, alternatively, hiding them away to make the set-pieces more in line with some Final Destination moments. Cohen and Halberg go for the easiest and laziest options though, and the end result is a missed opportunity that never gives you anything to fully appreciate. 

And yet . . . I STILL preferred this to The First Omen. Which probably says enough to make people completely ignore my opinions on recent horror movies.

4/10

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Netflix And Chill: Lift (2024)

I don't dismiss every movie that debuts on a major streaming service. I believe, at least most of the time, that people keep trying to do their best to make a proper movie, and if their budget for it comes from a major streaming service then so be it. But there are some times when the films feel much more like "content" than actual movies. Lift is content, and it feels as if it has been worked on to cover every possible main demographic quadrant that Netflix wants to lure in.

Kevin Hart stars as Cyrus, a master thief leading a team of talented, but good-hearted (of course), criminals. Cyrus is so good that he is always three steps ahead of everyone, never getting caught with his fingers in the cookie jar, until he's caught with his fingers in the cookie jar. And he's caught just in time to be forced to conduct a major robbery on behalf of a government agency looking to screw up a deal being brokered by a dangerous criminal named Jorgensen (Jean Reno). Looking to get some extra insurance for his team, Cyrus agrees to take on the job as long as they are also joined by Abby (Gugu Mbatha-Raw), an Interpol agent he has some history with. And blah de blah de blah blah blahhhh.

The second film written by Daniel Kunka, who started his film career with the screenplay for the mediocre 12 Rounds (although maybe I will be more favourable to that film if I revisit it one day when in a better mood), this is flat and predictable throughout. Every time some obstacle cropped up to throw off the plan, I was able to figure out how it had already been considered, and incorporated, by our lead, because this is the kind of film in which the main character is always the smartest person in the room and the best person to be beside when the journey gets turbulent AKA the kind of role that Vin Diesel loves to play.

Although slightly better than the awful Heart Of Stone, the fact that F. Gary Gray is the director means that I should warn people that this is even worse than The Italian Job remake from 2023 (a film I know many people actively dislike, although I don't mind it). The action isn't staged well, the massive implausibility of each main sequence is glossed over with the standard editing techniques you'd expect and moments of the characters being cool, and a lot of the comedy falls flat.

Hart can be a lot of fun in movies, but it all depends on who he spends most of his screentime with. Put him alongside Dwayne Johnson and you get some great blockbuster entertainment. Put him in the midst of this motley crew and . . . not so much. Mbatha-Raw is a welcome presence, but saddled with the thankless role of being the authority figure who has a love/hate relationship with our lead. The other women (Úrsula Corberó and Yunjee Kim) are also slightly underused, with better moments written for the likes of Vincent D'Onofrio, Billy Magnussen, and David Proud. Jacob Batalon also does well, thanks more to his sheer force of personality than anything in the screenplay, but Sam Worthington, Jean Reno, Burn Gorman, and Paul Anderson all seem to be present to do nothing more than mess up the robbery in ways that Hart's character has already accounted for.

I'm sure that this will be an easy viewing choice for people who are browsing their many options and looking for something simple, fairly inoffensive, and entertaining. It's certainly simple, but I would argue that it's offensive in how it treats the viewer, and it's sadly not that entertaining. But I'll be generous with my rating, taking into consideration how much I enjoyed some of the smaller moments for the supporting cast members.

4/10

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Spider-Man: No Way Home (2021)

If you have made it this long without having Spider-Man: No Way Home spoiled for you then I congratulate you. I'll also try not to spoil anything here, although that makes this review a little bit trickier. I AM going to work on the assumption that most people saw one or two of the trailers, revealing some familiar villains coming back to our screens.

The basic plot concerns Peter Parker/Spiderman (Tom Holland) having quite a miserable time of things, all because of the repercussions from his battle with Mysterio. Everyone knows who he is, and everyone has a view on his actions. Some of them believe the lie fabricated by Mysterio. Some don't. What's worse is that it's not just affecting Peter, but also the ones closest to him. His friend Ned (Jacob Batalon) and his girlfriend, MJ (Zendaya), are guilty by association, which leads to them being unable to get into the colleges they have applied for. Desperate for things to go back to how they were, Peter heads to Dr. Strange (Benedict Cumberbatch) and asks him to cast a spell that will make people forget who he is. The spell goes just a bit wrong, resulting in our universe being invaded by characters who have met other incarnations of Spiderman in other universes.

Director Jon Watts and writers Chris McKenna and Erik Sommers may not have been the only people shepherding this Spiderman through his latest cinematic trilogy, but they have certainly been there for each instalment, helping to maintain the balance of light fun and major peril that our friendly neighbourhood Spiderman has dealt with over the past few years. This is the darkest of the new Spidey films yet, but it still allows plenty of time for humour, and it still incorporates a bright, solid, colour palette for the majority of the runtime. It helps enormously that Holland has a brightness to him that lights the screen further whenever he's not being beaten down by overwhelming odds.

Holland does his best work yet here (in these movies, I'm not talking about his entire career), moving from lighter moments to moments that are all the more heartbreaking because of his vulnerability, and it's hard to imagine what the bigwigs will plan next for the character. They clearly have to keep making the most of having Holland in the role, but this feels like a tough one to top. And yet, somewhat paradoxically, it's far from the best Spiderman movie. It's overlong, it's overstuffed, it's all just a bit overdone, and the third act has to ensure that every single character gets at least one satisfying moment. And the CGI is equally overdone, even if it is generally at a very high standard.

As well as Holland, both Zendaya and Batalon are as good as they have been in the previous movies. Cumberbatch has fun, playing a strong supporting role. And there’s pure joy in seeing the return of characters played by Alfred Molina, Willem Dafoe, Jamie Foxx, Thomas Haden Church, and Rhys Ifans, with each actor appearing to relish the opportunity to give their character a better resolution. Marisa Tomei remains an excellent Aunt May, doing her best to help and protect her nephew as danger crowds around them. And there are at least three other cameos/supporting turns that will have fans enthralled and delighted while the screen is loaded up with one treat upon another.

It’s clear that this has been made with the aim of really pleasing fans of the web-slinger, especially those who have enjoyed every one of his modern cinematic outings. Pretty much every big rumour you already heard about is true, but that doesn’t lessen the impact of every wonderful moment, whether big or small. It’s just a shame that it feels like a bit too much, this is a film that would have worked better split into two. It’s stimulation overload, just barely allowing the quieter, more sombre, moments time to breathe. That doesn’t mean that it’s not great, it just also feels slightly exhausting as you move towards the inevitably super-busy third act.

With great film-making tools comes great responsibility. The people putting this extravaganza together have been very careful to treat the characters with care. They just weren’t quite so careful with the pacing and the excess of visual effects.

8/10

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Netflix And Chill: Let It Snow (2019)

Three people wrote the book that this screenplay, written by another three people, was based on. That's six people altogether. Okay, the book is three thematically-linked stories, but it still seems like six is an awful lot of people to come up with a film that feels very much like something John Hughes should have come up with over twenty years ago. Just with much better representation.

Anyway, let's rattle through some of the storylines. It's snowing. On Christmas Eve. Julie (Isabela Merced) bumps into Stuart (Shameik Moore) on a train that then grinds to a halt. Stuart is a famous singer trying to enjoy some time not being recognised. He and Julie end up heading to a nearby waffle house. Also at that same waffle house is Keon (Jacob Batalon), hoping to get his shift done and then throw a great party for anyone who decides to stick around. Dorrie (Liv Hewson) works at the waffle house, and is upset when she has to serve a girl (Kerry, played by Anna Akana) that she had an amazing date with, only to find that her attitude seems completely different while she is surrounded by her friends. Dorrie is also infuriated by her friend, Addie (Odeya Rush), who is having her standard relationship issues that seem to stem from her own insecurities. And Tobin (Mitchell Hope) hangs out with Angie (Kiernan Shipka) without being able to tell her how he really feels, which becomes harder for him as she enjoys the company of JP (Matthew Noszka). They are also eventually heading towards the waffle house. 

Director Luke Snellin has a number of credits to his name already, all of them being shorts or TV show episodes. This may not be the most sophisticated material for a feature debut, but he knows how to handle it, and how easy it is to forgive the more cheesy moments when everything is so well put together.

The script is chock full of teen angst about very teen issues, but that doesn't mean they're all light and easy to dismiss. The characters with the less painful situations (wanting to throw a great party, wanting to spend some time out of the spotlight) are played by actors who help them remain just as appealing as those dealing with more serious issues (unrequited love, an ill parent, struggles with people who may resent their sexual orientation). Which isn't to say that the latter characters are portrayed by any lesser players, it just highlights the great casting all around.

Moore is someone I have enjoyed since seeing him in the excellent Dope, and he gives a winning turn here, working well with Merced (who I last saw in the enjoyable Dora The Explorer movie . . . yes, it IS enjoyable). Hewson shines in her role, and Hope and Shipka have you rooting for their friendship to turn into something more, while Batalon continues to be a fun and enjoyable onscreen presence. Rush and Akana are a little bit hampered by how their characters act for most of the runtime, but that's just how the script treats them until the expected changes in the finale. You also get an enjoyable supporting turn from Joan Cusack, as a woman who drives a tow truck while wearing a lot of tin foil (she's actually credited as Tin Foil Woman).

This is not a film for cynics, and not a film for those who cannot remember how painful it can be to not be spending time with the love of your life as a teenager (because you're obviously going to have a romance that lasts forever). It's a light and lovely comedy drama that serves as an enjoyable seasonal distraction, despite not focusing on the Christmas trimmings we normally get in a movie set at that time of year.

7/10

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