And… we’re back!
Following the Christmas and New Year break, It’s A Stampede! returns with a new batch of film reviews, as well as a whole new review format. As you’re about to see, you’re not just getting one new review, you’re getting a bunch of ‘em all in one place!
Each week, for the next 50 weeks It’s A Stampede! will present a round-up of all the latest releases and more via dedicated film post, Movie Reviews 2025. If you want to know what is good, bad, or indifferent at the cinema, on home video, or on streaming, this is the place to find out.
From winter warmers and summer blockbusters, to anniversary re-releases and franchise favourites, Movie Reviews 2025 will keep you up to date with the world of film. Whether you watch the odd movie here or there, or you’re a complete cinephile, Movie Reviews 2025 caters accordingly.
To kick things off, in this week’s bumper edition there are reviews for Wallace & Gromit: Vengeance Most Fowl, Nosferatu, Seven, We Live in Time, White Bird: A Wonder Story, Bank of Dave 2: The Loan Ranger, and Babygirl! But before we get to any of those, let’s dive into the British music bio-pic, Better Man.
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In cinemas…
Better Man (2024)
Released in UK and US cinemas over the Christmas holidays, and featuring a cast which includes Jonno Davies, Steve Pemberton, Kate Mulvany, and Alison Steadman, Better Man is a biographical musical-drama from director and co-writer Michael Gracey (The Greatest Showman). The film centres its story around the career of British pop star, Robbie Williams, charting the highs and lows of his life, including his time as a member of hugely successful ‘90s boyband, Take That.
Starting with his early days living in Stoke-on-Trent, the film follows Williams as his talents develop, he lands a spot in Take That, and he finds himself thrust into the spotlight. From here Williams is on top of the world, becoming a heartthrob to many and a huge star.
However, things soon go south when he struggles with fame, is dismissed from the band, and battles with addiction. Williams also fights inner demons as he attempts to forge a solo career, and is continuously dogged by his complicated relationship with his father.
Now, if you happen to live in the UK, you’ll pretty much know the outcome of Williams’ journey. The singer is a household name over here, with a string of hits including ‘She’s the One’, ‘Let Me Entertain You’, and signature tune, ‘Angels’ (all of which feature in the film).
But… if you live outside the UK, specifically in the US, you may not be familiar with Williams at all. The singer never made it big in the States, and you may not be aware of ‘Angels’ or any of Williams’ hits.
So, at this point you may be asking the question: Do I need to watch Better Man? UK audiences know Williams’ life inside out (or at least they think they do), and US audiences don’t know the singer and probably don’t care.
Well, the simple answer is ‘yes’. This film is fantastic.
It is absolutely fabulous. Plus unlike other music bio-pics Better Man has a unique selling point: All throughout the film, the lead character is depicted as a chimpanzee.
Yep, you read that correctly, Williams is a chimp. In the film, his on-screen persona is that of a CGI primate, with Jonno Davies providing the motion capture work and Williams himself providing the voice.
Sounds crazy, doesn’t it? Well, it might do, yet oddly it works and even more surprisingly, the monkey aspect is never questioned nor does it seem weird.
By simply replacing Williams with a chimp, it gives Better Man the hook it needs to kick things off. And then, from this point on, the film becomes a thoroughly entertaining, all-singing all-dancing, dazzling, humorous, emotional, and completely brilliant picture.
Most important of all, Better Man finds a way to freshen up the tried-and-tested bio-pic format, adds plenty of warmth and depth to Williams’ story, and is quite frankly mesmerising. If you’re a Robbie Williams fan you’ll love it, and if you’re not, expect to become a convert!
Highlights of Better Man include a rip-roaring rendition of ‘Rock DJ’ performed in Piccadilly Circus; a delightful duet of ‘She’s the One’ on a boat; and a heart-breaking take on ‘Angels’ which completely alters the meaning of the track. In addition, there are scenes of Take That attempting to make their mark on Manchester’s gay scene, and there is an energetic performance at Knebworth.
And if all that wasn’t enough, Better Man boasts some fantastic performances from the cast. Steve Pemberton (Inside No. 9) and Alison Steadman (Gavin & Stacey) are superb as Williams’ dad and nan respectively, while Jonno Davies is outstanding as the monkey-man Williams.
Davies doesn’t just bring Robbie to life, he captures his mannerisms to a ‘T’. His performance is so strong, it’s easy to forget the movie is being lead by a chimp and not the real pop star himself.
Add to all of this various famous figures from the world of showbiz pop up in the story, including versions of Tom Jones, Michael Parkinson, and Gary Barlow. Plus, the movie includes clips of The Two Ronnies AND a rendition of Frank Sinatra’s ‘My Way’, which should make it a must-watch in anyone’s book, right?
Because Better Man was released during the final few days of 2024 some will have overlooked it, and it will be missing from many people’s lists of ‘best films of the year’ (it was certainly absent from mine). However, had the film been released a little earlier in the year I can say with absolute certainty it would have been on my list.
What I can tell you is the film will definitely appear on my list at the end of 2025. I have nothing bad to say about Better Man. Nothing bad at all.
The film depicts the ups and downs of Robbie Williams’ life; demonstrates his journey from cheeky chappie, to arrogant knob head, and then to humble and very likeable star; and it brings a great deal of charm and emotion to the screen. Plus, it is highly entertaining, which is what you want from a biopic.
I am aware the film is struggling at the box office at present, and I understand this is largely due to disinterest from US audiences who have no clue who Robbie Williams is. Fair enough, but if you’re a Brit, do give this one a go. You won’t be disappointed.
Better Man is marvellous. Simply marvellous.
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Now streaming…
Wallace & Gromit: Vengeance Most Fowl (2024)
Up next, in Wallace & Gromit: Vengeance Most Fowl, many years have passed since Wallace and Gromit put an abrupt end to Feathers McGraw’s crime spree. Within this time, the pair have had plenty of great adventures, and Wallace has continued to invent various new contraptions… even if they haven’t helped pay the bills.
At present, Wallace’s latest invention is a voice-activated garden gnome named Norbot. He believes Norbot could be the answer to all their financial troubles by becoming the face of a new gardening business.
Due to the unique nature of Norbot, the local news station catches wind of the gnome and soon Wallace finds himself on television. This news report is seen far and wide, including at the local zoo, where convicted criminal, Feathers McGraw is serving time.
Upon seeing Norbot in action, Feathers McGraw knows now is the time to strike. Despite his imprisonment, he has plans to continue his career as a master criminal, and believes reprogramming Norbot and getting revenge against Wallace and Gromit is key to achieving his goal.
Directed by Nick Park and Merlin Crossingham, and featuring the voice talents of Ben Whitehead, Peter Kay, Reece Shearsmith, Lauren Patel, and Diane Morgan, Wallace & Gromit: Vengeance Most Fowl is a British stop-motion animated movie, produced by Aardman Animations and the BBC, in association with Netflix. The movie is the sixth entry in the Wallace & Gromit film series, and acts as a direct sequel to 1993’s short film, The Wrong Trousers.
However, unlike the aforementioned film, which clocked in at just under 30 minutes, Vengeance Most Fowl is a feature-length affair, running to approximately 80 minutes. As such, with the increased runtime this sequel has more scope and scale; offers up more characters (similar to 2005’s more expansive The Curse of the Were-Rabbit); and is loaded with action.
So, bigger, yes, but still quintessentially the same Wallace & Gromit romp fans have come to adore. While the involvement of Netflix might suggest the characters could be watered down (and less British) to appeal to international audiences, this simply isn’t the case.
All of the eccentricities, idiosyncrasies, and general tomfoolery of the characters and the series remain in check. This is classic Wallace & Gromit, it is incredibly funny, and whether you’re an old hand to this or a complete newcomer, you’ll most certainly want this movie on your tele-box (or tablet if you’re that way inclined).
The story is fairly simple and revolves around Feathers McGraw taking control of multiple Norbots to do his evil bidding. Along the way, Wallace & Gromit get falsely accused of committing a crime, Gromit becomes wise to the situation, and Wallace is fairly oblivious to it all.
OK, so there’s not a great deal of depth to the narrative, and it follows a similar pattern to previous films, but as with all Wallace & Gromit adventures this is never a problem. There are so many jokes and sight gags in the film it is simply a joy to watch, and it all moves along effortlessly with a balance of mirth and merriment.
The film also boasts a number of marvellous set pieces, including one of the slowest chase sequences ever committed to film. The scene involves two narrow boats (one of which is named the Accrington Queen); it is utterly bonkers; and it is filled with rib-tickling spectacle.
Outside of the above, Vengeance Most Fowl benefits from a great voice cast, most of whom will be familiar to British audiences, with the stand-out star being Ben Whitehead as Wallace. Although Whitehead has voiced the part in various games and commercials since 2008 (taking over the role from the late Peter Sallis), this is his first feature-length performance as Wallace and he nails every line.
The actor is that good, it’s doubtful anyone will notice it’s not Sallis, and this alone demonstrates his skill at replicating his predecessor. Whitehead certainly hits all the right notes and nuances, ensuring the character has a long future ahead.
Which is grand, because it’s always lovely to see a new Wallace & Gromit film. And if creator Nick Park has anything to do with it, we’ll be seeing another film in the not-too distant future.
Anyway, for now enjoy this one. If you live in the UK, Wallace & Gromit: Vengeance Most Fowl is available on the BBC iPlayer, while intentional audiences can catch it on Netflix.
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In cinemas…
We Live in Time (2024)
Now playing in UK cinemas is the touching British romantic drama, We Live in Time. Directed by John Crowley and starring Andrew Garfield and Florence Pugh, the film follows the story of Tobias and Almut – a young couple navigating their way through life, as well as the difficulties of Almut’s cancer diagnosis.
In the movie, Tobias works for Weetabix, while Almut is an experienced chef. The couple have a daughter, a nice house, and a dog, and appear to be living an idyllic existence.
But when Almut is diagnosed with stage 3 ovarian cancer for the second time, they face an uncertain future, as well as a tough decision. Almut doesn’t believe she can endure treatment once again, if her quality of life will be reduced, and this could limit the time they share together.
Built around a nonlinear structure, with the story constantly jumping around the timeline to focus on different aspects of Tobias and Almut’s relationship (their courtship, their pregnancy, cancer diagnosis, etc), We Live in Time is a captivating, insightful, and occasionally humorous look at a lifetime of love in just a few short years. The film zeroes in on the two central characters as they go through various hurdles, while demonstrating the love they have for each other against a very worrying backdrop.
The cancer diagnosis plays a significant role in their tale and it becomes an inescapable shadow in their lives. From conversations with the doctor, to various pains and symptoms associated with the disease, it is an ever-present part of the film.
However, despite all this, We Live in Time is a surprisingly bright movie, with director John Crowley keen to celebrate life and love in all its many ways. The unusual meeting between Tobias and Almut; the unorthodox birth of their daughter; and a surprise revelation about Almut’s past, all factor into the film making it more than just a couple of hours of doom and gloom.
Of course, at times We Live in Time is emotional stuff, so do proceed with caution if cancer has impacted your life, but go into this film knowing that some of the sting of the disease is taken out. This is achieved through the way in which the story is presented, moving from good times to bad (and back again), and through two excellent lead performances from Garfield and Pugh.
Both actors are always dependable and they don’t put a foot wrong here. They understand the material inside and out, and along with director Crowley, as well as writer Nick Payne, they deliver a beautiful and cathartic picture.
We Live in Time offers a fresh take on a relatable human story and is very effective in its approach. Should you wish to embrace it, you’ll not be disappointed.
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In cinemas…
Nosferatu (2024)
In Nosferatu, the year is 1838 and in Wisborg, Germany, recently married couple, Thomas and Ellen Hutter are finding their way in the world. Thomas works as an estate agent, but he is yet to really make his mark at the company and is keen to be more financially stable for himself and his wife.
One day, Thomas is given an opportunity to prove himself at work, by securing the sale of a decrepit stately home. The house has an interested buyer from overseas, and Thomas’ employer is keen for him to sell the property.
However, there is one important stipulation: Thomas must travel to the home of the buyer to deliver the deed. The interested party is the reclusive Count Orlok, who lives in a castle in Transylvania.
Although Thomas is reluctant to embark on what will be a six-week trip to meet the Count, he feels compelled to go. But Ellen is far from keen on sending her husband off to sea, as she believes death lies in his future and a black cloud is soon set to descend upon her peaceful town.
Now playing in UK and US cinemas, Nosferatu is a gothic horror starring Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Willem Dafoe, and Ralph Ineson. Written and directed by Robert Eggers, the film is a remake of the 1922 silent movie of the same name, which in itself was based on Bram Stoker’s Dracula, and is a dark chiller with plenty of bite.
A perfect chiller? No, and it may be divisive among general audiences (as Eggers films often are), but if you enjoy horror which delves into the macabre and isn’t afraid to showcase the gruesome, then Nosferatu is perhaps for you.
The film also looks absolutely stunning, with some superb cinematography from Jarin Blaschke. There is one scene in particular, which sees Thomas stood in the midst of a secluded highway, waiting for a carriage, which looks as if it belongs in an art gallery.
In fact, it’s not just the cinematography that looks the bees knees, everything from the costumes, make-up, and lighting, to the sets, scenery, and music are on fine form. Eggers delivers a picture which is a treat for the senses, isn’t difficult to become drawn into, and is incredibly atmospheric.
Where Nosferatu stumbles is largely in the story. While the movie starts off strong, it soon loses steam, particularly when Thomas is off-screen for an extended period.
Around the midpoint of the film, the pace is all over the place too, and unfortunately this is something which remains until the finale. It doesn’t ruin the picture, but it does result in a bit of a bumpy ride and this is where it may lose some audiences.
However, those who find themselves fully invested will be rewarded by all of the successful elements listed above (lighting, scenery, etc), as well as a strong cast. Hoult, Depp, Dafoe, and Ineson are all top value, while Skarsgård is suitably impressive in the role of Count Orlok.
The actor’s transformation into the titular nosferatu is incredible. Hidden under prosthetics, and kept to the shadows, he is completely unrecognisable and possibly the film’s trump card.
Even if the script could do with a bit more work, there’s no doubt everyone involved is pulling in the right direction. The story is the weak link, but the film is beautiful to look at and the cast are clearly dedicated to the picture.
While Nosferatu isn’t Eggers best film – that little accolade is a toss-up between The Witch (2015) and The Lighthouse (2019) – it is his most ambitious film to date. Nosferatu is arguably his most mainstream film too, so should win over those who are less familiar with his work (or who showed up for 2022’s The Northman and were disappointed).
If you are after a film steeped in gothic sensibilities, enveloped in darkness, and keen to drag its audience into a nightmarish world, Nosferatu is one to watch. It may not grab everyone, but those who dig it will find it most agreeable.
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On disc… and in cinemas…
Seven (1995)
New to 4K Ultra HD disc this week AND back in cinemas is the dark ’90s thriller, Seven. Directed by David Fincher and starring Brad Pitt and Morgan Freeman, Seven is being given a fancy-pants 4K disc release, as well as a theatrical re-release, to coincide with the movie’s 30th anniversary, which yep, you guessed it, is this year!
Now, for those not familiar with Seven, the film follows the story of soon-to-be-retired Detective Lieutenant William Somerset and his partner, homicide detective David Mills. In the film Somerset and Mills are on the trail of serial killer, John Doe, who is responsible for a collection of truly gruesome deaths.
Doe’s modus operandi is to bump off his victims according to the seven deadly sins (greed, gluttony, lust – you get the picture). This results in some grisly crime scenes, as well as one truly shocking climax, and it all makes for an intriguing thriller.
And not just intriguing, but immersive too. Thanks to its grim, rain soaked streets, its dark dank dwellings, and its generally grubby aesthetic, Seven has a way of pulling its audience into the drama and refusing to let go – even once the credits roll.
Produced on a budget of around $34 million, Seven was a sizeable box office hit when it was originally released back in 1995, going on to take over $327 million and becoming the seventh highest grossing film of the year. Not bad going for an adult-oriented thriller released at a time when Toy Story, Batman Forever, Apollo 13, GoldenEye, Die Hard with a Vengeance, and Pocahontas were competition.
But Seven wasn’t just a success in cinemas, the film continued to perform well on home video via rental and sell-thru, and audiences and critics found themselves hooked by its compelling story and notable staging and design. This fascination with the film continues to this day, with Seven remaining one of the go-to thrillers of the ‘90s.
Director David Fincher (Alien3, Fight Club, Panic Room, etc) has a unique, creative style, which is evident throughout Seven and it makes this film stand out from the crowd. There have been many imitators but few can compare.
Should you wish to pick up Seven on 4K disc, the film is available as a ‘digipak’ edition priced around £24.99, or as a limited edition steelbook priced at £29.99. The disc includes various extras ranging from deleted scenes and an alternate ending to four audio commentaries and more.
Meanwhile, should you wish to catch Seven on the big screen, the film is now playing in UK and US cinemas. But be quick, these screenings are for a limited time, which is around a week.
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Now streaming…
White Bird: A Wonder Story (2024)
Recently added to Amazon Prime Video in the UK (it popped up on Prime over the Christmas holidays), and therefore available to stream at your leisure, is the war-time drama, White Bird: A Wonder Story. Directed by Marc Forster, the movie is a loose spin-off from 2017’s Wonder, and stars Helen Mirren, Gillian Anderson, Bryce Gheisar, Ariella Glaser, and Orlando Schwerdt.
The film picks up shortly after the events of Wonder, with former bully Julian Albans attending a new school having left Beecher Prep. As the new student, Julian largely keeps himself to himself, and certainly makes no attempts to cause trouble.
At the end of his first week, Julian returns home to be greeted by his French grandmother, Sara, who joins Julian for dinner before engaging with him in conversation. During this conversation, Sara asks Julian how he is getting on – reminding her grandson he was expelled from Beecher Prep for being cruel to another boy.
Julian tells his grandmother everything is going fine because this time around he is doing his best to act ‘normal’, rather than to stand out by picking on anyone who is different. This response disappoints Sara, who believes her grandson has learned the wrong lesson from his past, and he needs to be taught a lesson in kindness.
Keen to ensure Julian learns compassion and humility, she begins to tell him a tale about her childhood. This tale focuses on her experiences as a Jewish girl living in Nazi-occupied France, during the days of World War II when compassion was in limited supply.
Based on a graphic novel of the same name by R. J. Palacio, and largely set during 1942, White Bird is a captivating and emotive little movie which looks at division and hatred during one of the darkest periods of human history. The film centres its story around Sara and her experiences in World War II, and how increasing hatred and hostility towards the Jewish community impacted her outlook on life.
In the movie, Sara is a ‘normal’ school girl until the Nazis start pushing their anti Jewish rhetoric in France and everything changes. From this moment on, she becomes an outcast, her life is threatened, and nothing is ever the same.
But Sara is not alone – her journey for survival is aided by fellow classmate, Julien Beaumier. Throughout the film, Beaumier and his family help to keep Sara hidden from Nazi soldiers and he becomes a key element of her story, as well as the wider narrative which is being told.
Beaumier has difficulties walking due to polio, this is something many of Sara’s peers make fun of, and Sara often turns a blind eye to it, in order to fit in. However, when Sara’s life is upended and Beaumier shows her compassion, she learns a valuable lesson in kindness and about sticking up for those who are different.
And herein lies the message of White Bird: Don’t allow hatred to go unchallenged and always be kind. It is a simple message, but one which is handled rather effectively by the film and helps to ensure a certain timelessness to this war-time tale.
Beautifully shot and superbly acted, with particularly strong turns from Ariella Glaser as Sara and Orlando Schwerdt as Julien Beaumier, White Bird tells a fairly straightforward story, but it does so with meticulous detail, complete conviction, and a gut-wrenching finale. This is a film which knows exactly what it wants to do from the get-go, and director Marc Forster steers it deftly from start to finish.
Do you need to have watched Wonder to understand or appreciate White Bird? No, not at all. For the most part, this is a stand-alone spinoff/sequel, so just jump in and take it for what it is.
The important thing is to not let White Bird pass you by. The film has not had the fanfare it deserves, in large part due to being shifted around the release schedule, so catch it now it is available on streaming.
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On streaming…
Bank of Dave 2: The Loan Ranger (2025)
Following the success of 2023’s British comedy, Bank of Dave, Netflix has returned to the town of Burnley for a sequel, appropriately titled Bank of Dave 2: The Loan Ranger. The movie – directed by Chris Foggin – stars Rory Kinnear, Jo Hartley, Chrissy Metz, and Amit Shah, and sees local hero, Dave Fishwick, take on another parasite blighting the country – namely, payday lenders!
In the movie, two years have passed since Dave set up his own bank. Within this time he has become a bit of a celebrity and has appeared on television and radio.
On a recent media tour, Dave becomes aware of the problem members of the public are having with payday loans. Believing something needs to be done to help people, he teams up with an American journalist and a local Citizens Advice Bureau representative to fight back!
Similar to its predecessor, which proved to be an easy watch, as well as a likeable movie, Bank of Dave 2 offers pretty much more of the same. Bank of Dave 2 is an underdog story, about helping the little guy, and if you were a fan the first time around you’ll probably like this one too.
This second instalment lacks some of the freshness of the original, and the story also doesn’t have quite the same spark, but it’s perfectly fine stuff. Rory Kinnear remains a solid lead as Dave Fishwick, and the film serves up a couple of heart-warming moments as Dave works his magic.
Should you wish to watch Bank of Dave 2: The Loan Ranger, the movie is now streaming on Netflix.
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In cinemas…
Babygirl (2024)
And finally… new to UK cinemas and still playing in the US is the erotic thriller, Babygirl. Written and directed by Halina Reijn, the movie stars Nicole Kidman, Harris Dickinson, and Antonio Banderas, and follows the story of a businesswoman who embarks on an affair with an intern.
In the movie, Romy Mathis is a CEO of a New York-based tech company. She’s married, has two young daughters, and a successful career, but is dissatisfied with her sex life.
One day, while on her way into work, she witnesses one of the company interns, a young man named Samuel, diffuse a situation involving a seemingly out of control dog. Later that day, Romy and Samuel cross paths again.
Over the next few weeks the pair continue to bump into each other, with Samuel repeatedly orchestrating the meetings. Before long, these brief encounters turn into an affair… with significant ramifications.
As erotic thrillers go, Babygirl has its moments and at times it hits the spot rather well. The central cast are the key element which makes it work, but its story about an older businesswoman and a young man getting together allows for some interesting power dynamics.
Power dynamics which upend the traditional narrative. This isn’t a story about Nicole Kidman’s Romy pursuing Harris Dickinson’s Samuel, it’s very much the other way around.
As such, there is something here to grab your attention, and at times Babygirl works rather nicely. However, it’s a game of two halves, with the latter half of the movie being considerably stronger than what comes before; so while it is decent, it’s not as amazing as some critics have claimed.
For all its discussions about power play and dynamics, the film is essentially a story about a work place affair. This in itself is fine, but it has been done countless times before, and I’m not entirely convinced it brings much of anything new to the table.
Arguably the film’s biggest selling point is watching the characters and actors at work. He’s cute but controlling, she’s Nicole Kidman and therefore super-hot etc, and this is where the film is at its strongest.
As for everything else? Yeah, it’s fine.
Ultimately, Babygirl is decent, with two strong central performances from Kidman and Dickinson, and this counts for a great deal. It’s not astounding, nor is it particularly original, but at times it does border good stuff and if you want to see the actors go at it (so to speak), then you can certainly see this in Babygirl.
In essence the film leans into that age-old metaphor about playing with matches and getting burned. The question is, do you need to watch the film to see this metaphor in action?
I’ll let you decide that one. Either way, head to the big screen if you want to give Babygirl a whirl.
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Movie of the Week
So, that’s all the reviews for this week, and as week’s go, this is a very strong one for film, with some excellent offerings at the cinema (We Live in Time), on streaming (Vengeance Most Fowl), and on disc (Seven). However, the title of ‘Movie of the Week’ simply has to go to Michael Gracey’s Better Man.
The film adds a new and unexpected twist to the standard music bio-pic, plus it is so well written and executed. Better Man highlights both the talents and limitations of Robbie Williams; shows why he became such a huge star in the UK; and proves it is possible to be shot into the pop stratosphere and come back down to Earth.
So, yep, Better Man is my pick for movie of the week. And if you catch a screening of the film (which you should) and you enjoy it (which you will), you may also like:
- The Greatest Showman (2017) – Director Michael Gracey’s show-stopping story about entertainer, P. T. Barnum.
- Greatest Days (2023) – A humorous, heartfelt, and under appreciated musical comedy which uses the songs of Take That as its soundtrack.
- Robbie Williams: What We Did Last Summer – Live at Knebworth (2003) – Robbie Williams’ monumental live concert from the early ‘00s.
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Forthcoming attractions
And that’s it for week one!
Coming soon Cameron Diaz steps out of retirement for Back in Action; Timothée Chalamet transforms into Bob Dylan for A Complete Unknown; and a classic Universal monster gets rebooted in Wolfman. Plus, Sam Raimi’s The Quick and the Dead gets a 4K release, and Amy Adams becomes the Nightbitch!
Meanwhile, looking further into the future, movies popping up in the next couple of months include Bridget Jones: Mad About the Boy, The Monkey, and Final Destination: Bloodlines. Oh, and Netflix is serving up Demon City, a live-action adaptation of the Manga, Oni Goroshi; while Marvel will be delivering Captain America: Brave New World.
All this and much, much more will be winging its way to you before you know it. So until next time, happy viewing and if you’re off to the flicks, don’t forget the popcorn!
Alex
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