Cult writer/director Larry Cohen’s tale of a sinister ambulance snatching victims off the streets of New York arrives on Blu-ray for the first time in the UK from Eureka Entertainment. Iain MacLeod reviews the fun B-movie that also boasts a fun loud-mouthed performance from Eric Roberts.

THE PUSHER TRILOGY - Nicolas Winding Refn’s hard hitting trilogy examining the Danish underworld finally gains an upgraded home release from Second Sight Films. Iain MacLeod reviews this set of films that are every bit as gripping and darkly entertaining as they were over two decades ago in one of the year's most essential 4K releases.

ROW - A small boat covered in bloodstains with a sole survivor washing ashore in the North of Scotland provides the mystery at the heart of ROW. Iain MacLeod reviews the psychological thriller from debut director Matthew Losasso.

All Nicolas Cage wants to do is surf on the beach of his idyllic childhood. But a sinister local gang have other ideas, triggering a psychotic, violent and stylish trip into madness, reminiscent of the best Ozploitation cinema. Iain MacLeod reviews Lorcan Finnegan’s latest, and best, film that just played at Glasgow Film Festival.

TORNADO - A samurai’s daughter is pursued across the Highlands by a bloodthirsty gang of thieves led by the embittered father and son duo of Tim Roth and Jack Lowden. Iain MacLeod reviews John Maclean's long awaited second feature that received its world premiere as the opening film of Glasgow Film Festival 2025.

Osgood Perkins follows the smash success of LONGLEGS with something completely different; a horror comedy involving a toy monkey. Laughs and gore collide in spectacular fashion in one of the darkest comedies in a long time.

Blood is spilled on Valentine’s Day once more as a mismatched couple find love and fight for their lives as a masked slasher hunts them across town in bloody fashion. Read Iain MacLeod’s review to see if he was won over or left cold by Josh Ruben’s slasher/rom-com mix-up.

COMPANION - Get ready for your new favourite anti-rom-com/sci-fi  as Sophie Thatcher faces some uncomfortable truths about her seemingly perfect relationship with Jack Quaid. Iain MacLeod reviews Drew Hancock’s directorial debut that expertly exposes harsh truths in entertaining and bloody fashion.

Sony’s failed attempt to make a series of Spider-Man Universe films without Spider-Man himself draws to a merciful close with KRAVEN THE HUNTER.

Mark Duplass’s cheery serial killer gets the Special Edition treatment from Second Sight.

Now that we can all breathe a sigh of relief that James Watkins UK based remake was a lot better than expected, we can once more submit ourselves to the foreboding and nihilistic pleasures of the original Danish film.

JOKER: FOLIE À DEUX is a daring sequel that delves into Arthur Fleck's trial, and questions the cult of celebrity while defying the usual blockbuster formula. Despite its striking musical numbers and bleak, thought-provoking narrative, the film has been divisive, receiving harsh criticism while standing out as a bold, unconventional follow-up.

Rutger Hauer’s finest hour finally arrives on 4K in the most essential release of the year. 

Riddick returns with this ambitious, yet much maligned sequel re-released by Arrow Video in a stacked 4K edition.

It all begins with an idea.

It all begins with an idea.

Although credited to screenwriters Chad Law and Shane Dax Taylor, you could be forgiven for thinking TIL DEATH DO US PART might be an A.I.-generated hybrid designed to merge all our favourite moments and characters from JOHN WICK, TRUE ROMANCE, READY OR NOT and KILL BILL. If this is the case, The Machines have failed to carry over the wit, excitement, invention, and humanity. Early on, a poor rip-off of Hans Zimmer’s glorious “You’re So Cool” theme from TRUE ROMANCE (itself an adaptation of a Carl Orff piece already appropriated by BADLANDS) makes you realise just how tediously third hand all of this is.

The otherwise familiar sight of American cityscapes is marred by plumes of black smoke pouring upwards into the sky. On the streets below, tanks sit stationary at the traffic lights, the highways are choked with abandoned cars, the shells of burnt-out helicopters lie in the middle of the JC Penney’s parking lot and the Wi-Fi keeps dropping out. Welcome to Alex Garland’s vision of a war-torn America where what once was a fantastical conceit seems disturbingly plausible through the writer/directors’ English lens, with his tale of a band of journalists and photographers travelling across a war torn dis-united states.

One of the more surprising pieces of film news in recent months was that actor Dev Patel had made his directorial debut with an Indian martial arts movie for Netflix, only for the streaming service to drop it, supposedly for fear that the films portrayal of right-wing government figures could offend an Indian audience. Enter Jordan Peele, who, impressed after a viewing, uses his own production company Monkeypaw Productions with the help of Universal to bring the film to a cinema audience.