Phil de Semlyen

คอหนังสือมีปีที่น่าลิ้มรสเป็นพิเศษรออยู่ ทั้งในโรงภาพยนตร์และบนแพลตฟอร์มสตรีมมิ่ง เพราะนี้ ผลงานของนักเขียนระดับตำนานหลายคนกำลังจะถูกนำมาปัดฝุ่นใหม่ ไม่ว่าจะเป็น Emily Brontë, Margaret Atwood, Enid Blyton, Albert Camus และ Don Winslow แต่ที่น่าตื่นเต้นที่สุดคือมหากาพย์ที่เก่าแก่ที่สุดอย่าง The Odyssey ของ Homer กำลังจะถูกตีความใหม่ในแบบของ Christopher Nolan พร้อมประสบการณ์ IMAX เต็มรูปแบบ ฤดูร้อนนี้ ชาว BookTok เวลาของคุณมาถึงแล้ว

Love is a funny thing. Anyone who’s ever fallen under its spell – whether reciprocal, unrequited or the classic ‘it’s complicated’ – knows the strange ways it can make you feel, and the bizarre thing it’ll make you do. No wonder, then, that romantic comedy persists as one of the most broadly appealing genres in all of film. Although frequently derided and dismissed as ‘chick flicks’, the best romcoms tap into emotional truths everyone can relate to.  But love also takes many forms. And so it goes in romcoms. Some are ridiculous farces, others  are more sophisticated, while others take a colder, cynical viewpoint – because if you’ve ever been in love, chances are you’ve also had your heart shattered. Love contains multitudes, and so do romantic comedies, and we considered it all when putting together this list of the best romcoms of all time. Written by Dave Calhoun, Cath Clarke, Tom Huddleston, Kate Lloyd, Andy Kryza, Phil de Semlyen, Alim Kheraj & Matthew Singer Recommended: 😍 The 100 best romantic films of all-time🤣 The 100 best comedy movies😳 The 101 best sex scenes of all time🔥 The 100 best movies of all-time

Updated for 2026: Whatever you think of Netflix’s theatrical strategy, it continues to produce some of television’s most formally daring works, including Adolescence, a hard-to-watch but impossible to ignore limited series about an unimaginable crime. On the other end of the spectrum, there’s HBO’s hilariously profane The Righteous Gemstones, which stuck the landing in 2025 with its final season. In addition, we have moved Andor into the top 20 after its astounding second and final season.  Television used to be considered one of the lowest forms of entertainment. It was derided as ‘the idiot box’ and ‘the boob tube’. Edward R Murrow referred to it as ‘the opiate of the masses’, and the phrase ‘I don’t even own a TV’ was considered a major bragging right.  A lot has changed. Television is now the dominant medium in basically all of entertainment. The shift in perception is widely credited to the arrival of The Sopranos, which completely reinvented the notion of what a TV show could do. But that doesn’t mean everything that came before is primordial slurry. While this list of the greatest TV shows ever is dominated by 21st century programs, from The Wire to Succession to Adolescence, there are many shows that deserve credit for laying the groundwork for this current golden age.  Chiseling them down to a neat top 100 is difficult, so we elected to leave off talk shows, variety shows and sketch comedy, focusing on scripted, episodic dramas, comedies and miniseries. So don’t touc

Horror has become Hollywood’s most bankable genre, both artistically and at the box office. Last year proved it once again, with movies like Sinners and Weapons becoming cultural phenomenons and franchise entries such as The Conjuring: Last Rites and Final Destination Bloodlines raking in the receipts. At a glance, there doesn’t seem to be another surefire blockbuster on the 2026 slate. Sure, the Insidious juggernaut will likely roll on, there’s yet another Scream sequel incoming, and Zach Cregger is already following up Weapons with a Resident Evil reboot. But is there another wholly original story likely to (ahem) scare up audiences in droves? Hard to say. Then again, that’s the thing with horror: the movies most likely to make us scream the loudest – out of both fear and joy – are those we never see coming. We’ve done our best, however, to identify the upcoming movies all true horror-heads need to have on their watchlist. 26 massive movies you need to see in 2026.15 book-to-movie adaptations to get (very) excited about in 2026.

หลังจากวงการภาพยนต์ผ่านช่วงขึ้นๆ ลงๆ มาหลายปี ปี 2026 นี้กำลังถูกมองว่าเป็นปีชี้ชะตาของอุตสาหกรรมภาพยนต์ ตลอด 12 เดือนที่กำลังจะถึง อัดแน่นไปด้วยผลงานที่พลาดไม่ได้ หรือพูดให้ตรงกว่านั้นคือ หนังที่ค่ายต่างๆ ไม่อยากให้พลาดเลยแม้แต่เรื่องเดียว ตั้งแต่ Toy Story ภาค 5 ไปจนถึงภาคต่อที่แฟนๆ รอคอยของ The Devil Wears Prada รวมถึงผลงานใหม่ของสตีเวน สปีลเบิร์ก และโปรเจกต์ยักษ์จากคริสโตเฟอร์ โนแลน ที่ขนนักแสดงระดับท็อปแทบทั้งฮอลลีวูดไปโลดแล่นในฉากกรีกโบราณ  ไตรภาค Dune จะปิดฉากลง ขณะที่จักรวาลภาพยนต์มาร์เวลเตรียมเรียกความคึกคักกลับมาอีกครั้งด้วยหนังซูเปอร์อีโร่ฟอร์มยักษ์ที่สุดนับตั้งแต่ ‘Endgame’ และยังมีผลงานต่อคิวอีกเพียบ ทั้ง ‘Frankenstein’ เวอร์ชันใหม่ ‘28 Year Later’ ที่หวนคืนจอ รวมถึง ‘Superman’ ที่กลับมาอีกครั้ง (อย่างน้อยก็ในเวอร์ชั่นของ ‘ญาติซูเปอร์แมน’) อย่างที่เราเกริ่นไปแล้วว่า ปีนี้คือปีของหนังฟอร์มยักษ์ก็จริง แต่สำหรับใครที่ไม่ได้อินกับเกมใหญ่ของหนังบล็อกบัสเตอร์ฮอลลีวูดเป็นพิเศษ แค่อยากหาหนังดีๆ ดูสักเรื่อง ก็ยังมีหนังขนาดเล็กถึงกลางอีกมากมายที่น่าตื่นเต้นไม่แพ้กัน และนี่คือ 26 ภาพยนตร์ที่เรารอคอยมากที่สุด

There’s a reason Martin Scorsese has dedicated part of his life to championing Italian movies – and it’s not just to keep his nonna happy. It’s the national cinema that gave us Fellini, Visconti, Rossellini, Pasolini, and De Sica – where one minute you can corpse to the slapstick silliness of Commedia all'Italiana capers and the next, have your heart smashed into tiny pieces by a human drama about an old man and his dog. Where dodgy politics spawns angry thrillers and seismic historical events are tackled in sweeping epics. And where Clint Eastwood chewed on a cheroot while dispatching bad guys, and Argento and Bava gave us the lurid shocks of giallo. It’s flamboyant, glamorous, jaded, shocking and sexy – sometimes all at once.  And it’s not just sexy people standing in fountains, either. Rome’s famous old Cinecittà Studios powers on, the Venice Biennale is the world’s coolest film festival (sorry, Cannes), and modern-day moviemakers like Alice Rohrwacher, Matteo Garrone, Paolo Sorrentino and Gianfranco Rosi keep offering up fresh slices of la dolce vita (or its darker sides). And with a ‘Cinema Made in Italy’ season running at London’s BFI Southbank in March and Open Roads: New Italian Cinema taking contemporary Italian work to American audiences, there’s plenty of Italian cinema to sample out there. Allow us to add 50 more to the list – the best of the lot. RECOMMENDED:📽️ The 50 best foreign-language films ever made.🇫🇷 The greatest French movies of all time.🇰🇷 The best

Updated for 2026: A year ago, hardly anyone would imagine a Paul Thomas Anderson movie making this list. Now, it’s undeniable: One Battle After Another is absolutely elite, exhilarating filmmaking that slams on the gas and never lets up for close to three hours. Action movies get a bad rap. Not necessarily from the general public, of course. Audiences love ’em, for the most part. But for hardcore cinephiles, action is too often regarded as cinematic junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. Sure, you can enjoy one every now and then, but a steady diet of loud noises, death-defying stunts and one-liners? That’s for the normies. Here’s the thing, though: if the main point of any film is to make you feel something, what produces more visceral feeling than a good action flick? Anyone who’s ever had their senses rattled by a truly great action movie knows that there are few moviegoing experiences that can compare. Another thing: not all action movies are loud and dumb. Some are nearly operatic in scope and balletic in their grace – and sometimes, you might even actually care about the person dodging bullets and delivering throat chops. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. Recommended: 🔥 The 100 best movies of all-time💥 The 18 greatest stunts in cinema (as picked by the greatest stunt people)🥋 The 25 best martial arts movies of all-time🌊 The 33 be

After a few up and down years, 2026 is shaping up to be the Big One in terms of measuring the true health of the movie industry. This is 12 months loaded with can’t-miss hits – or rather, better-not-miss hits. That includes everything from a fifth Toy Story movie to a long-awaited Devil Wears Prada sequel, another close encounter from Steven Spielberg and Christopher Nolan bringing damn near every A-lister to ancient Greece. The Dune trilogy will end, while the Marvel Cinematic Universe attempts to reinvigorate itself with the biggest superhero movie since Endgame. Plus: more Frankenstein, more 28 Years Later, and more Superman (or at least, Superman’s cousin).  Like we said: it’s big. But if you don’t have much investment in the future of the Hollywood blockbuster and just want to see some good cinema, there’s plenty of small-to-medium-sized films worth getting excited about, too. Here are the 26 movies we’re anticipating the most.📕 15 book-to-movie adaptations to get excited about in 2026🔥 The 40 best movies of 2025

Unlike many of its monsters, vampires and virus-y Alphas, the horror genre is alive and well. It is, you might even say, well-endowed. Because anyone who loves that shivery sensation of being spooked witless in a cinema is being a lot better served than anyone searching for big laughs. The biggest stories in horror this year – Robert Eggers’ Nosferatu, Ryan Coogler’s Sinners, Zach Cregger’s Weapons – have packed in audiences and birthed a million memes along the way, but don’t sleep on the following flicks either.Best horrors of 2025 at a glance: 📍 28 Years Later – Netflix (US); also on Prime Video/Apple TV+📍 Nosferatu - US: streaming on Prime Video; US & UK: rent/buy on PVOD📍 Sinners – US: streaming on Max; UK: rent/buy on PVOD📍 Weapons – Rent/buy now on Prime Video/Apple TV (PVOD); still in some cinemas📍 Final Destination: Bloodlines – Max (US); US & UK: rent/buy on PVOD

January 2026: Take advantage of the big post-Christmas lull to beat the crowds and explore London’s museums this January. The capital’s iconic institutions will be blissfully quiet as you catch up with last year's biggest openings, from Wes Anderson at the Design Museum to Marie Antoinette Style at the V&A. Don't miss the final weeks of the Barbican's iconoclastic fashion show Dirty Looks, or neglect to navigate your way to British Library's intriguing Secret Maps exhibition, both of which close this month. Or find out more great things to see this year with our pick of 2026's cultural highlights. Museums are one of the things that London does best. This city boasts grand institutions housing ancient treasures, modern monoliths packed with intriguing exhibits, and tiny rooms containing deeply niche collections – and lots of them are totally free to anyone who wants to come in and take a gander. And with more than 170 London museums to choose from, there's bound to be one to pique your interest, whatever you're in to.  Want to explore the history of TfL? We’ve got a museum for that. Rather learn about advertising? We’ve got a museum for that too. History? Check. Science? Check. 1940s cinema memorabilia, grotesque eighteenth-century surgical instruments, or perhaps a wall of 4,000 mouse skeletons? Check, check and check! Being the cultured metropolitans that we are, Time Out’s editors love nothing more than a wholesome afternoon spent gawping at Churchill’s baby rattle or some

2026 has officially landed. An entire year of adventure awaits, with Britain set for a deluge of thrilling new things to see and do. Beyond the individual openings, however – the new bars and restaurants, museums and attractions – where should be on your radar for places to visit in the UK?  If you’re up for being inspired here at Time Out, as always, we’ve got you covered. We’ve scoured the listings of all that’s happening in Britain in 2026 and consulted our nationwide network of writers and editors, harnessing all that info to put together a guide to the places that should be on your radar over the next 12 months.  Destinations made it onto Time Out’s list for a vast range of reasons. Some have swaggered onto the scene with a quickfire burst of thrilling new attractions. Others have built their cred slower and reached a point of quiet brilliance, while others still are established spots that simply remain very much worth their rep. Several places will be made even more tempting by those aforementioned 2026 openings, whether that be delicious places to eat and drink, game-changing new transport options or unmissable cultural events.  From trendy seaside towns to revived industries cities, medieval forts to ‘the new Berlin’: here are the UK’s 14 top places to visit in 2026. RECOMMENDED: 🇬🇧 The best new things to do in the UK in 2026.📍 The 26 best stuff to see and do in London in 2026. 

War is hell but it does make for some great movies. There are few real-world events that present such natural conduits for drama, suspense, horror and heroism, and filmmakers have taken advantage from nearly the beginning of cinema: Lewis Milestone’s adaptation of All Quiet on the Western Front won one of the first Oscars for Best Picture, in 1930. More recently, Alex Garland plunged us into the maelstrom of Iraq with Warfare. The best war movies aren’t just historical reenactments, though. They use combat as the basis for exploring a slew of existential questions. Why do we fight? Why do people enlist? What happens afterwards? Is war ever justified? Rarely is there a clear answer, but simply broaching those subjects can produce compelling cinema. For this list, we’ve compiled films that span the historical and fictional gamut, from both world wars, to Vietnam, to the so-called ‘War on Terror’, to imaginary interplanetary conflict. It’s impossible to really convey the horror of war if you haven’t been there – done right, though, movies can provide some small window into what those who’ve fought have seen, experienced and felt. These 50 films come closest. Written by David Fear, Keith Uhlich, Joshua Rothkopf, Andy Kryza, Phil de Semlyen and Matthew Singer Recommended: 🎖️ The best World War I movies💥 The 50 best World War II movies🪖 The 20 best Vietnam War movies – as ranked by a military historian🔥 The 100 best movies of all-time

Finally, someone has returned to The Damned United’s cunning formula for a good football movie: don’t show any football.  Happily for co-directors Lisa Barros D’sa and Glenn Leyburn’s (Good Vibrations) sports flick, a psychological drama full of quirky touches and dry wit, not much of the Republic of Ireland’s pre-2002 World Cup prep on the Pacific island of Saipan made it as far as the pitch. As still-traumatised Irish fans will tell you, the reward for seeing their team qualify for the tournament in Japan and South Korea was to witness their star player and manager fall out in spectacular fashion. The two antagonists were Manchester United’s superstar midfielder Roy Keane (Éanna Hardwicke) – these days the furious face of dog walking and TV punditry; back then Ireland’s greatest player – and the team’s wry, Yorkshire-born manager Mick McCarthy (Steve Coogan).  Already minded to stay home, and nursing grievances against McCarthy, whom he considers a ‘plastic Paddy’, Keane is ready to explode when the squad touches down at its training base. Throw in a crappy hotel, rubbery cheese sandwiches, a bumpy training pitch and no practice balls and a full atomic meltdown is ensured. ‘Some people are unmanageable, aren’t they?’ McCarthy notes sanguinely to Mrs Mick (Alice Lowe), before the full horror unfolds. It’s a prophetic remark.  Normal People’s Hardwicke is striking as the fierce, brooding and ultra-competitive Keane. Coogan’s McCarthy, 50 percent proper football man, 50 percen

Trains and heroin. There are moments when you have to remind yourself that it’s Nia DaCosta (director) and Alex Garland (screenwriter) behind this quick-fire 28 Years Later sequel and not Danny Boyle and John Hodge reimagining that heady slice of ’90s pop-culture in a bled-out Britain. Here, though, it’s the English who are blissed-out on junk and the Scots who are the wankers. The trains are a bit more overgrown, too. The zombies are thinner on the ground in this instalment, presumably biding their time for Danny Boyle’s threequel, and that’s okay. There’s still some hyper-kinetic action – DaCosta (Candyman) and cinematographer Sean Bobbitt mix visceral GoPro sequences with stately long shots to deliver the best-looking film in the franchise – but most of the horror plays out with sticky intimacy here as the focus switches to two humans and an Alpha.  A fabulously malevolent Jack O’Connell is Sir Lord Jimmy Crystal, introduced by 28 Years Later as a Scottish preacher’s son narrowly surviving the zombie apocalypse and as a Jimmy Savile-styled cult leader in its jarring epilogue. He roams the land with a gang of wig-and-tracksuit-wearing acolytes, executing Satanic violence on anyone they come across in the name of ‘Old Nick’. The infected aren’t the source of the greatest cruelty here. Like Christopher Ecclestone’s soldiers in 28 Days Later, humanity has reclaimed that crown.  On the side of the angels (or perhaps the only one left), Ralph Fiennes returns as GP-turned-surviva

Movie monsters come in all shapes and sizes, but they’re rarely as diminutive and deceptively cuddly as the pet chimp-turned-brainy-hell​-beast in this endearingly daft B-movie​ horror. Because for a portion of its runtime, Primate feels a bit like Jaws if instead of a great white shark, Steven Spielberg and co had plumped for a peckish sea bass – or Samuel L Jackson had starred in ‘Snake on a Plane’. Can one modestly sized ape really rain down gory terror on a group of grown-up humans, and do for chimps what Stephen King’s Cujo did for mountain rescue dogs?  Well, kinda. With cleverly claustrophobic staging in a walled clifftop house, director and co-writer Johannes Roberts (47 Metres Down) smartly mines the premise for thrills. Though rarely scary, Primate is tense, unpretentious fun. Its antagonist (played by movement specialist Miguel Torres Umba and augmented with VFX) is menacing enough to make you see why a group of swimsuited teens would feel outmatched – especially after a spliff or two. Beneath that fur, after all, this little ape is as hench as peak Stallone. The mayhem unfolds at the Hawaiian home of Coda Oscar winner Troy Kotsur’s crime novelist, Adam. The pet chimp, Ben, has been inherited from his late wife, a linguistics professor who’d been teaching it to communicate with humans. When Adam is called away on a book tour, his daughters Erin (Gia Hunter) and Lucy (Johnny Sequoyah), and a few vacationing pals, are left to hold the fort. You could do worse than sp

If you’re feeling a touch downbeat about the state of the world, Eugene Jarecki’s (Why We Fight) searching but sympathetic doc about Wikileaks founder Julian Assange will not lift your spirits. With fly-on-the-wall footage, some extraordinary talking-head interviews, unexpected cameos (Lady Gaga, Pamela Anderson) and a sense of moral outrage, the American filmmaker takes on – and down – a global system of power that should worry the hell out of us all. Jarecki’s film, a conspiracy thriller in documentary clothing, provides a corrective to the public image of this deeply polarising figure, showing Assange as a warrior for transparency whose intelligence leaks embarrassed powerful national interests and who paid a terrible price for it.  We see Wikileaks growing from a small team led by the determined, spiky Australian as it broke through in 2007 by releasing US military footage of an Apache gunship gunning down unarmed civilians and Reuters journalists in Iraq. The viral video, dubbed ‘Collateral Murder’, turned the organisation into a name that everyone had heard of, even if they couldn’t quite pinpoint its exact aims. Ambiguity grew, fuelled when Assange was charged with rape in Sweden and hid out in the Ecuadorian embassy in London. The women he was accused of assaulting appear incognito here, revealing that the Swedish authorities pressed charges against the wills of the victims.  But the Wikileaks of The Six Billion Dollar Man is a more considered and journalistic enterpr

Aside from an overlong film, there’s little more dull than hearing some overprivileged critic whining about film length. After all, an extra helping of 3D-enhanced escapism measured in hundreds of millions of dollars in bleeding-edge effects: what’s not to love? With James Cameron serving it up, it’s like complaining about a Michelin-starred chef adding four courses onto their degustation menu, no extra charge.  Forgive me, then, for being that critic but if ever a movie could give your eyeballs gout, Avatar: Fire and Air is that film. At three hours and 17 sometimes spectacular, occasionally stultifying minutes (two more than Schindler’s List), your mind will struggle not to wander as human-turned-Na’vi Jake Sully (Sam Worthington) and his blue clanspeople tackle new-yet-entirely-similar threats in a straining sequel that again zeroes in on Pandoran whale juice as its McGuffin. You will try to make it through this movie without needing a pee. You will not succeed.  Unlike the first two Avatars, which even haters would concede were epic journeys of discovery, with Cameron as an attentive guide to a dazzling alien universe, a sense of familiarity kicks in from the opening 3D shots of a guilt-ridden Lo’ak (Britain Dalton) soaring through the floating Hallelujah Mountains on a banshee. The death of his brother Neteyam (Jamie Flatters) in Avatar: The Way of Water will send him off on his own redemption arc, one of a few half-hearted story progressions in a movie that’s largely co

American cinema’s fake-it-til-you-make-it brigade – Catch Me If You Can’s Frank Abagnale Jr, Moses Pray in Paper Moon, Rizzo in Midnight Cowboy, Uncut Gems’ Howard Ratner, Barry Lyndon and all those other hustling antiheroes – has a dazzling new addition. But, with his skittish chutzpah and pathological lack of self-doubt, Timothée Chalamet’s ever-calculating ping pong player Marty Mauser has something most of those others lack: real talent to back up the front.  In Josh Safdie’s sports movie-cum-crime caper, Marty is a gifted but impoverished ping-pong player who’s only an inch or two from conquering all. By the terms of his own cutthroat world, he’s a loser who lives within touching distance of glory. One more push could make all the difference. Or get him killed.  Safdie, who co-writes with Uncut Gems’ Ronald Bronstein, spins this sorta-kinda true story into a mile-a-minute affair with a twinkle in its eye. (Marty is based on late ’40s table tennis champion Marty Reisman, whose nickname, ‘the Needle’, spoke to his jabbing wit as much as his wiry frame.)  And what a confederate Safdie has in Chalamet. The Dune star has been immodestly talking up his performance on the film’s press tour and, to borrow from Tropic Thunder, it seems a lot like a case of not dropping character until the DVD commentary. And let’s pray there is one because there’s a lot to unpack in this puckish figure whose pioneering outlook is articulated by Daniel Lopatin’s synth score and some ’80s bangers –

A blunt-speaking matriarch’s rapid decline in palliative care over a series of December days may not sound like the last word in festive viewing, but that is where this debut directorial effort from Kate Winslet takes us with almost indecent jolliness. It’s an advent calendar with a dose of morphine and a forced smile behind every window, a stark-yet-saccharine affair that sells out its own attempts at pathos with thin characters and jokes about goose-ducken. Only a cast of elite thesps keeps it from sinking into ignominy.  With the Lee actress directing from a screenplay written by her 21-year-old son Joe Anders, the Winslet family is clearly a lot more in tune with its emotions than the film’s angsty Gloucester clan. Helen Mirren is June, the vinegary but loving mum to three wildly different daughters: buttoned-up success story Julia (Winslet); stressed-out mum Molly (Andrea Riseborough), whose dotty husband (Stephen Merchant) is driving her to the brink; and New Age whirlwind Helen (Toni Collette). Even closer to home are distracted husband Bernie (Timothy Spall), avoidant in the face of this looming and seismic loss, and heavy-laden son Connor (Johnny Flynn), who finds both panic and purpose in his mother’s latest, and possibly final, collapse.The waxen June and her family decamp to an empty fairy-tale hospital given a romcom glow by cinematographer Alwin H Küchler (Steve Jobs) to arrange care rotas and relitigate old grudges, while the boisterous grandkids prep the mise

There have been better animated sequels and more epic ones, but has there ever been a fluffier follow-up than this bouncy, buoyant caper starring at least half the nature world? To Zootropolis’s bickering duo of frenemies-turned-partners, idealistic bunny cop Judy Hopps (voiced by Ginnifer Goodwin) and sly street fox Nick Wilde (Jason Bateman), part 2 throws in a venomous pit viper called Gary De’Snake (Ke Huy Quan) for slithering but cute sidekick antics and a message of prejudice-busting teamwork.  Gary’s gentle nature is wildly at odds with the lethal neurotoxins that course through his fangs, a neat central tension. The well-meaning serpent just wants a hug but stands to accidentally kill anyone who gets too close. Bateman and Goodwin are perfect as the snarky-and-sweet central duo, and Everything Everywhere All at Once star Ke ups the loveability levels in a voice cast that packs in cameos from Ed Sheeran, Dwayne Johnson and even Disney CEO Bob Iger (voicing weatherman Bob Tiger and presumably immediately ready to green light Zootropolis 3). Shakira returns too, to bash out a song as a pop star gazelle. The plot doesn’t measure up to the first Zootropolis’s ingenious Chinatown stylings, and younger viewers may need a grounding in noir storytelling to follow the action. But the quest for a McGuffin that will reunite Gary De’Snake and his ostracised viper brethren with their territorial birthright opens up a new map book to this colourfully imaginative world. The reptile k

F Scott Fitzgerald famously wrote that there are no second acts in American lives. The novelist might have changed his tune if he’d happened across a young model called Lee Miller back in the New York of the late 1920s.Even back then, in her pixie-cropped fashionista era, the New Yorker must have exuded an unquenchable thirst for discovery and reinvention. Fast forward 30 or so years and she’d been a muse for Man Ray and the Surrealist movement, starred in films, become a famous photographer, decamped to Paris, Cairo and London, traversed war-torn Europe as a daredevil journalist and finally, haunted by the conflict, holed in a cosy corner of Sussex to host arty parties and pioneer avant garde recipes like ‘onion upside down cake’ and ‘marshmallow Coca-Cola ice cream’. She died fêted as a celebrity chef. Second act? She had a folio’s worth.  All of those eras are up on the Tate Britain’s walls for the duration of the gallery’s blockbuster exhibition. Dividing Miller’s extraordinary career chronologically, it’s a time-travelling experience as well as a showcase of her technical and compositional skills. ‘Before the Camera’, shows her as a beautiful young model in NYC in 1926, the daughter of a keen amateur photographer. Walk through a dozen or so rooms and there she is, in Hitler’s bathtub, world-famous and hollowed out, returning to self-portraiture to capture a shattered continent in one image.   If the shimmery black-and-white portraits she took – from a playful Charlie Cha

Wicked stans, musical theatre diehards and anyone tempted to drop the word ‘goosify’ into conversation should add about 12 more stars to the above rating, skip my thoughts and settle in for another two-and-a-half more of Elphaba and Glinda belting out anthems of empowerment while Jonathan Bailey’s army officer Fiyero suffers a crisis of conscience in the background.  Still here? Well, whisper it but the concluding part of John M Chu’s musical epic will be a disappointment for anyone who hasn’t sipped the green and pink Kool-Aid. Rather than an elegant dash for the finish line, Wicked: For Good magnifies the shortcomings of the stage musical’s underpowered second half with sluggish pacing, awkward scenes and storytelling that packs all the visceral punch of Glinda’s bubble machine. Where the first movie had urgency and a sense of peril to propel it forward – not to mention a host of bona-fide bangers – part two is more of a wheelspin downhill. Once again, Wicked’s kingdom of Oz is a luridly over-designed world (were we too harsh on Oz: The Great and Powerful?) where human fondant fancy Glinda the Good (Ariane Grande) is torn between loyalty to the Wizard (Jeff Goldblum) and love for old pal Elphaba (Cynthia Erivo, a powerhouse again).   The witch, having broomsticked away at the end of Wicked, is deep into her Ewok era, living in the trees of Oz to hide from Wizard’s troops and flying monkeys. Goldblum is his usual cheerily mercurial self, but the Wizard cuts a detached figure

It’s weird, in the year 2025, that it seems necessary to point out that the Nazis were bad. But Nuremberg, an old-fashioned and satisfyingly complex morality tale in the guise of a courtroom drama and spy thriller, does that job in impressive style. Supercharged by James Vanderbilt’s smart script and snappy direction, and with an on-form cast, it plots a course through the immediate aftermath of World War II and into the legal nightmare of holding its German perpetrators to account.  If Russell Crowe seemed a cartoonish choice to play avuncular Nazi second-in-command Hermann Göring, he delivers his best performance since The Nice Guys a full decade ago, paradoxically dialling things back to prove that he’s not a faded force. Rami Malek returns to something like Bohemian Rhapsody form as the American psychologist, Douglas Kelley, sent to the Allies’ high security Nuremberg prison to evaluate him and his fellow Nazis.  Appearances are deceptive throughout this psychologically acute and entertaining dramatisation of the Nuremberg war trials of 1945. Göring seems jovial and harmless; Kelley seems in control of their sessions in the Nazi’s small cell. Straight-arrow American prosecutor Robert H Jackson (Michael Shannon) and his gin-sipping British counterpart (Richard E Grant) seem to have a copper-bottomed plan to send Göring and his fellow war criminals (including the deeply odious Robert Ley and Julius Streicher) to the gallows. ‘Eisenhower is not for hanging anyone without a t

What happened to the fun? Along with co-writer Simon Pegg, Edgar Wright burst onto the scene as the brains behind Spaced, Shaun of the Dead and Hot Fuzz, all zip and fizz and crash zooms and witty edits, soundtracks that might have taken years to pull together, and fan-thrilling Easter eggs and cameos.  Unexpectedly, his sci-fi action film could have been made by any number of less gifted filmmakers. There’s little sign of that tightly calibrated, cinephile-fuelled pop-art house style that made his name in this update of Stephen King’s The Running Man (published under his pseudonym Richard Bachman to critique early Reagan-era saturation TV).It’s a movie that got up on the wrong side of the bed and compensated with four quadruple espressos. Like Arnie’s spandex-and-sass 1987 version (not to mention The Hunger Games, The Squid Game, The Long Walk and any number of other variants on the theme,) it’s a parable of a near-future underclass giving blood to entertain the masses and hopefully win big in the process. But unlike Schwarzenegger’s version, Wright isn’t playing much of this for laughs. His lead, Hit Man’s Glen Powell’s Ben Richards, may be the most pissed-off protagonist since Mel Gibson’s thunderous heyday. It’s a movie that got up on the wrong side of the bed and compensated with four quadruple espressos Unable to provide for his wife Sheila (Jayme Lawson) and their sick bubba, and fired from a series of (literally) toxic jobs, he signs up for a deadly reality TV show r

This year’s Oscar nominations have been announced and, as expected, it was one nomination after another for Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. Coogler’s blues-and-vampires epic scored a record-breaking 16 nominations, including Best Picture, Best Director, Best Actor for Michael B Jordan, Best Supporting Actor for Delroy Lindo, and Best Supporting Actress for Wunmi Mosaku. One Battle After Another is in hot pursuit with a total of 13 noms, including Best Picture, Best Actor for Leonardo DiCaprio, Best Supporting Actor shouts for Benicio del Toro and Sean Penn, Best Support Actress for Teyana Taylor, and Best Director for Anderson himself. Joachim Trier’s family drama Sentimental Value earned itself a stunning nine nominations, including acting nods for Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas and Elle Fanning.Announced by Danielle Brooks and Lewis Pullman, the nominations didn’t throw up too many fresh surprises in what’s looking like the most predictable Oscar race in recent times – although the scale of love for Sinners may just tip the Best Picture race back in its favour. Lindo, Ethan Hawke (Best Actor for Blue Moon) and Kate Hudson (Best Actress for Neil Diamond-y dramedy Song Sung Blue) weren’t on everyone’s bingo cards, and like Brad Pitt’s racing driver, F1 has made a late bid for glory. It’s up for four Oscars, including Best Picture and picked up an always significant Best Editing nod. Here’s the nominees i

Se han anunciado las nominaciones a los Oscar de este año y, tal como se esperaba, ha sido un goteo constante para Una batalla tras otra, de Paul Thomas Anderson, y Los pecadores, de Ryan Coogler. El filme de vampiros y blues de Coogler ha logrado la cifra récord de 16 nominaciones, incluyendo Mejor Película, Mejor Dirección, Mejor Actor para Michael B. Jordan, Mejor Actor de Reparto para Delroy Lindo y Mejor Actriz de Reparto para Wunmi Mosaku. Una batalla tras otra la sigue de cerca con un total de 13 nominaciones, como Mejor Película, Mejor Actor para Leonardo DiCaprio, menciones como Mejor Actor de Reparto para Benicio del Toro y Sean Penn, Mejor Actriz de Reparto para Teyana Taylor y Mejor Dirección para el propio Anderson. El drama familiar de Joachim Trier, Valor sentimental, ha obtenido nueve sorprendentes candidaturas, con las nominaciones interpretativas para Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas y Elle Fanning. Anunciadas por Danielle Brooks y Lewis Pullman, las nominaciones no han dejado demasiadas sorpresas frescas en la que parece la carrera de los Oscar más predecible de los últimos tiempos, aunque la ola de entusiasmo por Los pecadores podría volver a decantar la balanza de la Mejor Película a su favor. Por su parte, la coproducción catalana Sirât, dirigida por Oliver Laxe y protagonizada por Sergi López, ha conseguido una doble nominación a los Oscar a mejor película internacional y mejor sonido. Mejor Película Una batalla tras otra Los p

S’han anunciat les nominacions als Oscar d’aquest any i, tal com s’esperava, ha estat un degoteig constant per a Una batalla tras otra, de Paul Thomas Anderson, i Los pecadores, de Ryan Coogler. El film de vampirs i blues de Coogler ha aconseguit la xifra record de 16 nominacions, incloent-hi Millor Pel·lícula, Millor Direcció, Millor Actor per a Michael B. Jordan, Millor Actor de Repartiment per a Delroy Lindo i Millor Actriu de Repartiment per a Wunmi Mosaku. Una batalla tras otra la segueix de prop amb un total de 13 nominacions, com ara Millor Pel·lícula, Millor Actor per a Leonardo DiCaprio, mencions com a Millor Actor de Repartiment per a Benicio del Toro i Sean Penn, Millor Actriu de Repartiment per a Teyana Taylor i Millor Direcció per al mateix Anderson. El drama familiar de Joachim Trier, Valor sentimental, n'ha obtingut nou de sorprenents, amb les candidatures interpretatives per a Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas i Elle Fanning. Anunciades per Danielle Brooks i Lewis Pullman, les nominacions no han deixat gaires sorpreses fresques en la que sembla la cursa dels Oscar més predictible dels últims temps, tot i que l’onada d’entusiasme per Los pecadores podria tornar a decantar la balança de la Millor Pel·lícula al seu favor. Per la seva banda, la coproducció catalana Sirât, dirigida per Oliver Laxe i protagonitzada per Sergi López, ha aconseguit una doble nominació als Oscar a millor pel·lícula internacional i millor so. Millor Pel·lícula

One of Agatha Christie’s favourite old seaside haunts is a step closer to reopening. Devon’s Paignton Picture House, the crime author’s favourite cinema on the south coast, has been awarded a Historic England grant of £675,246. The money will fund restoration and engineering work being undertaken to restore the Grade II* listed picture palace to its former glories, reports the BBC. The newly renovation cinema is scheduled to reopen in September, with the new funding enabling the cinema to restore its mosaic floor, original ticket offices and art deco lighting. ‘[This is] a very significant grant which will further enable us to restore and repair this historic building,’ Paignton Picture House trustee Julian Carnell tells the BBC.According to Historic England’s regional director Rebecca Barrett, the grant represents ‘another big step towards its future as a thriving cultural hub’.   Photograph: Paignton PicturehousePaignton Picture House Paignton Picture House first opened in 1914 as an art nouveau 450-seat cinema. Christie once had her own balcony there, and is believed to have used it as the inspiration for a fictional cinema in her crime novels. It’s been closed since 1999, but thanks to this grant and £3 million in funding in 2022, the new restoration will see it reopen as a film, arts and community hub later this year. The 50 best cinemas in the UK and Ireland. 26 massive movies you need to see in 2026.

If you’ve read and loved Maggie O’Farrell’s 2020 novel, Hamnet will be high on your new year’s viewing list. And Chloé Zhao’s lyrical, heart-rending and beautifully acted adaptation will absolutely live up to those high hopes.  Helping Zhao craft Hamnet’s Tudor England, a lived-in world of Stratford townhouses, Warwickshire farms and London’s Globe Theatre, was Aussie production designer Fiona Crombie. Oscar nominated for her work on Yorgos Lanthimos’ 18th century comedy The Favourite, she was charged with recreating early 1600s England to backdrop the deep love and tragic family life of William Shakespeare (Paul Mescal) and Agnes Hathaway (Jessie Buckley).  The result is an extraordinary, handcrafted evocation of Elizabethan England – right down to period-specific herbs and lumpy apples. ‘We talked about using green screen, but [we wanted] this movie to look as close to the real thing as it could be,’ Crombie tells Time Out. Here’s how – and where – it was done. Photograph: Universal Pictures 1. William Shakespeare’s Stratford house was built at Elstree Studios Along with the Globe Theatre itself, the movie’s key location is William Shakespeare’s Henley Street birthplace in Stratford-upon-Avon. It’s where the great playwright-to-be lives with his parents, the quietly compassionate Mary (Emily Watson) and bullying glove maker John (David Wilmot) – and where Agnes Hathaway comes to live when she conceives their first child, Susanna (Bodhi Rae Breathnach). It’s here that twin

Kukapa olisi arvannut, että pingiksestä syntyy yksi vuoden elokuvatapauksista? Hollywood-elokuvien bluffaa tiesi huipulle -genre on saanut häikäisevän uuden tulokkaan elokuvien Ota kiinni jos saat ja Uncut Gems rinnalle. Mutta Timothée Chalametin esittämällä, alati laskelmoivalla pingistaituri Marty Mauserilla on jotain, mitä monelta muulta valkokankaan veijarilta on puuttunut: todellista lahjakkuutta suurien puheiden ja hämmästyttävän pokan tueksi. Hänen pitäisi vain keksiä, miten kierteet ja smashit saisi käännetty setelitukoiksi 1940-luvun New Yorkissa. Lähes patologinen itsekriittisyyden puute kääntyy voimavaraksi. Josh Safdien ohjaamassa urheilu- ja rikoselokuvassa Marty on lahjakas mutta tyhjätasku pingispelaaja, joka on alati lähellä läpimurtoa, mutta aina piirun verran siitä sivussa. Oman armottoman maailmansa mittapuulla hän on häviäjä, mutta menestys on aivan kosketusetäisyydellä. Niinpä hän kurottaa aina vähän pidemmälle ja venyttää rajojaan vielä vähän kireämmelle. Hän ajatuu yhä syvemmälle rahasta pelaamisen, vedonlyönnin ja pikkurikosten maailmaan. Lopulta hän on tilanteessa, jossa viimeinen lisäponnistus voi muuttaa kaiken hyväksi – tai viedä häneltä hengen. Martyn hahmo perustuu 1940-luvun lopun pöytätennismestari Marty Reismaniin, jonka lempinimi Neula viittasi yhtä lailla tämän pistävään älyyn kuin langanlaihaan vartaloon. Safdie on käsikirjoittanut elokuvan yhdessä Uncut Gemsin Ronald Bronsteinin kanssa ja pyörittää tätä “melkein tositarinaa” pilke si

Derbyshire’s finest, Jack O’Connell is having what’s officially known in the business as a ‘bloody massive moment’. Hot off the back of his magnetic, Irish-dancing vampire Remmick in Sinners, he’s back with another slice of charismatic malevolence in 28 Years Later: The Bone Temple. In a sequel of rare ferocity and emotional depth, the Brit brings ultra-dark new energy as Sir Lord Jimmy Crystal, a vicious cult leader who makes post-apocalyptic Britain’s infected hordes look like a bundle of kittens. But cast an eye back over his IMDb page and it’s hard to find a period when the 35-year-old wasn’t having a moment. From his eye-catching breakthrough roles in This Is England, Skins and Harry Brown – the latter earning him the tag ‘star of the future’ from Michael Caine – to arresting lead turns in visceral British indies like ’71 and Starred Up, and big budget Hollywood fare like Angelina Jolie’s Unbroken, not to mention his scene-stealing bad boyfriend in Amy Winehouse drama Back to Black, O’Connell’s become one of those actors you just can’t take your eyes off. We asked the man himself to talk through eight of the key films and TV shows on his CV to chart his journey so far. Photograph: Sony PicturesWith director Nia DaCosta on the set of ‘28 Years Later: The Bone Temple’ Sir Lord Jimmy Crystal in 28 Years Later: The Bone Temple In the new 28 Years Later sequel, O’Connell shines as a psychopath gang leader styled, after a fashion, on Jimmy Savile, whose line in violent Satan

Tras unos años de altibajos, 2026 se perfila como el "momento de la verdad" para medir la salud real de la industria del cine. Nos esperan 12 meses cargados de éxitos obligatorios (o, mejor dicho, de películas que más vale que no fracasen). La lista incluye de todo: desde la quinta entrega de Toy Story hasta la esperadísima secuela de El diablo viste de Prada, pasando por un nuevo encuentro cercano de Steven Spielberg y un Christopher Nolan que se lleva a casi todo el A-list de Hollywood a la antigua Grecia. La trilogía de Dune llegará a su fin, mientras el Universo Cinematográfico de Marvel intenta reinventarse con la mayor película de superhéroes desde Endgame. Además: más Frankenstein, más 28 años después y más Superman (o, al menos, su prima). Como decíamos: va a ser un año grande. Pero si el futuro de los blockbusters de Hollywood no te quita el sueño y solo buscas buen cine, también hay un montón de películas pequeñas y medianas por las que vale la pena ilusionarse. Aquí tienes las 26 películas épicas que más ansiamos ver.  1. 28 años después: El templo de los huesos  Terror Prepárate para la rápida continuación de la trilogía de Danny Boyle que nos dejó a todos boquiabiertos con aquella escena final que presentaba al líder de la secta interpretado por Jack O’Connell (un personaje al estilo Jimmy Savile). Boyle cede el testigo a Nia DaCosta (Candyman) y será fascinante ver cómo maneja ese tono mordaz y descubrir qué aporta una cineasta estadounidense a una franquicia q

Després d'uns anys d'altibaixos, el 2026 es perfila com el "moment de la veritat" per mesurar la salut real de la indústria del cinema. Ens esperen 12 mesos carregats d'èxits obligatoris (o, millor dit, de pel·lícules que més val que no fracassin). La llista inclou de tot: des de la cinquena entrega de Toy Story fins a l'esperadíssima seqüela d' El diable es vesteix de Prada, passant per una nova trobada a la tercera fase de Steven Spielberg i un Christopher Nolan que s'emporta gairebé tot l' "A-list" de Hollywood a l'antiga Grècia. La trilogia de Dune arribarà al seu fi, mentre l'Univers Cinematogràfic de Marvel intenta reinventar-se amb la pel·lícula de superherois més gran des d' Endgame. A més: més Frankenstein, més 28 anys després i més Superman (o, almenys, la seva cosina). Com dèiem: serà un any gran. Però si el futur dels blockbusters de Hollywood no et treu la son i només busques bon cinema, també hi ha un munt de pel·lícules petites i mitjanes per les quals val la pena il·lusionar-se. Aquí tens les 26 pel·lícules èpiques que més delirem per veure. 1. 28 años después: El templo de los huesos  Terror Prepara't per a la ràpida continuació de la trilogia de Danny Boyle que ens va deixar a tots bocabadats amb aquella escena final que presentava el líder de la secta interpretat per Jack O’Connell (un personatge a l'estil Jimmy Savile). Boyle cedeix el testimoni a Nia DaCosta (Candyman) i serà fascinant veure com gestiona aquest to mordaç i descobrir què aporta una cineas

The great murder-mystery revival is continuing with Agatha Christie’s 1929 novel The Seven Dials Mystery bringing its twisty, knotty thrills to a new three-part adaptation on Netflix. Expect dark conspiracies, secret societies, espionage and political intrigue as a group of Edwardian bright young things are torn apart by murder and foul play.   Step aside The Thursday Murder Club, Knives Out and co. It’s time to yield the stage to the OG of the genre.  Adapted by Broadchurch writer-creator Chris Chibnall, The Seven Dials Mystery is set in 1920s where aristocrats are recovering from the Great War and London’s now-well-heeled Seven Dials is a slum in which shady goings-on impact national security. Once a TV film starring John Gielgud and Harry Andrews in 1981, Netflix’s three-part adaptation paints on a more widescreen canvas with southern Spain and western England lending sun-kissed settings, Edwardian elegance and stately grandeur to all the bloodshed. We asked location managers Dee Gregson and Enrique Martin Guadamuro to talk through how and where the sweeping new crime mystery came together.  Photograph: Simon Ridgway/NetflixHelena Bonham Carter as Lady Caterham What is Agatha Christie’s Seven Dials about? How To Have Sex’s Mia McKenna-Bruce is Lady Eileen ‘Bundle’ Brent, a sparky young aristocrat thrust into the reluctant role of amateur investigator when her dead brother’s bestie Gerry Wade (My Oxford Year’s Corey Mylchreest) is found dead in mysterious circumstances.

Adapted from Maggie O’Farrell’s bestselling novel, Oscar-tipped period drama Hamnet is dazzling cinemagoers – and now, thanks to the National Trust, fans can book into stay at one of its key locations. The movie’s Hathaway farm, a Grade II-listed Jacobean farmhouse, will be available to rent from March.Cwmmau Farmhouse is found in a scenic corner of Hertfordshire, about 70 miles west of the real Hathaway Cottage in Stratford-upon-Avon.   In Hamnet, it’s at this location that Jessie Buckley’s Agnes Hathaway first meets William Shakespeare (Paul Mescal).  Photograph: Agata Grzybowska / © 2025 FOCUS FEATURES LLCJoe Alwyn as Bartholomew Hathaway Director Chloé Zhao and her cast filmed there in the summer of 2024, with the nearby village of Weobley doubling for Stratford itself.  ‘Cwmmau Farmhouse, with its stone base, timber framing and leaded windows, is one of those rare places where the past feels close at hand,’ says National Trust cultural heritage curator, Lucy Armstrong-Blair. ‘The production team were so thoughtful and careful with this house, director Chloé Zhao, Production Designer Fiona Crombie, everything they did amped up what was already here.’ ‘It’s an amazing Tudor house,’ Hamnet production designer Fiona Crombie tells Time Out. ‘We painted, we did heaps of work there: interior, exterior, we planted all the gardens, we re-fenced, we built barn structures. We were there for weeks prepping.’ Photograph: ©National Trust Images/Tim StephensThe exterior of Cwmmau F

One of the UK’s biggest celebrations of international films, Kinoteka Film Festival is back with another two months of carefully curated Polish cinema. Headline news from this year’s newly announced line-up is a special retrospect for Polish great Andrzej Wajda, as well as new movies from contemporary filmmakers like Corpus Christi director Jan Komasa and Agnieszka Holland, who returns with Franz Kafka biopic Franz. Komasa has two films at the festival: Good Boy, a black comedy with Stephen Graham and Andrea Riseborough; and political thriller Anniversary, starring Diane Lane, Kyle Chandler, Phoebe Dynevor and Dylan O’Brien. Alongside screenings of Andrzej Wadja’s work at BFI Southbank, ICA and Ciné Lumière, look out for a 35mm presentation of Ashes and Diamonds – his classic 1958 war film will open the festival at BFI Southbank on February 4. Look out, too, for a double bill screening of Wadja’s Man of Iron alongside Andrzej Żuławski’s legendary 1981 horror movie Possession starring Isabelle Adjani and Sam Neill. Photograph: BFI STILLS POSTERS & DESIGNS‘Ashes and Diamonds’ It’s part of a Ciné Lumière double bill series which juxtaposes the work of Wadja and his filmmaking rival Żuławski. The festival’s closing gala on March 29 is Maciej Sobieszczański’s powerful coming-of-age drama Brother.  The festival runs from February 4 to March 29 at venues across London and the UK.  Outside of London, UK venues include Filmhouse Edinburgh, Tyneside Cinema in Newcastle and Oxford’s