British writer and film critic; Guardian’s chief film critic since 1999
Olivia Wilde’s The Invite has sparked a broader conversation about modern relationships. The film, directed by Wilde and starring her opposite Seth Rogen, centers on a couple whose marriage unravels during a dinner with liberated neighbours. The conversation touches on identity, societal expectations, and the purification of self within intimate life.
The live-action Moana remake has drawn sharp criticism from Independent and Guardian reviewers who label it cynical and copy‑paste. Johnson’s return as Maui is described as stiff, with debate over whether the film adds anything new beyond the animated original.
Disney’s live-action Moana opens to a global $95 million, underperforming the $60 million U.S. target and facing scathing critics who call it a “shot-for-shot” redo. Audiences are warmer, with a CinemaScore A- and a largely female 66% share, while competition from new releases looms.
The Odyssey has launched, with Matt Damon in the title role. Reports highlight Devyn Dalton as the standout stunt performer whose arms impressed Damon during a Laestrygonians sequence, prompting discussions about stuntwomen’s visibility. Interviews with cast members reveal training regimens, diet changes, and commitment behind the film’s physical demands.
Christopher Nolan’s Odyssey has opened strongly, with critics praising its visual scale and memory-driven focus. The film, shot in IMAX across six countries, reframes Homer’s tale around Odysseus’ determination and the cost of action. Box office and critical reception signal a sharp convergence of cinema and classical myth in a modern spectacle.
Zendaya and Tom Holland have reportedly married in a private ceremony. The couple, who have kept their relationship largely out of the spotlight, confirm the wedding through limited statements and social media hints. The event marks a long-awaited milestone in their public life, while their professional commitments continue.
Spider-Man: Brand New Day has opened with a record domestic debut, while The Odyssey leads the global box office, underscoring a year of mega releases. The industry is buoyed by premium formats and high ticket prices, even as overall audiences lag behind pre-pandemic levels.
David Robert Mitchell has released The End of Oak Street, a 1982‑set sci‑fi horror that transports a suburban neighbourhood into a dinosaur‑infested prehistoric landscape. Critics have praised Anne Hathaway’s performance and the film’s technical craft, but they have criticised its uneven tone, derivative Spielberg pastiche and an undercutting finale. Reviews started publishing 12 August 2026.
A rogues’ gallery of action stars delivers a breezy chase comedy set in 1987 Europe. Ryan Reynolds and Kenneth Branagh play an unlikely duo on a mission that zips from a snowy forest to Moscow, balancing slick stunts with blunt humor. The film earns beeps of heart and a smile, even as it revels in outright cartoonish spectacle.
Venice Film Festival winners have spotlighted gender disparity in cinema. May el-Toukhy’s Woman Unknown has won Golden Lion; Lee Chang-dong’s Possible Love takes Silver Lion; Ilya Khrzhanovsky’s DAU wins best director. Gaza documentary NAZA earns a special jury prize. The festival continues to face questions about female representation in major competitions.
A new Oasis documentary charts their 2025 reunion tour, showing Liam and Noel Gallagher reconciling and delivering a stadium-scale return. Directors Will Lovelace and Dylan Southern capture rehearsals, the Cardiff comeback, and fan ecstasy, while exploring why the music endures across generations.
A stage adaptation of Letter to Brezhnev at Royal Court, Liverpool, and a double-play from Manchester and Lancaster showcase intimate, strong performances. Ellie Clayton and Angela Simms anchor a lively, tender production with Mark Fisher’s direction and Rob Green’s musicality enriching a story that hovers between nostalgia and escape.