By Jack Shanley

Stanley Kubrick’s 1980 masterpiece, The Shining, has long been a benchmark for psychological horror, with its suffocating visuals evoking a sense of unrelenting dread. Now, over four decades after its initial release, the film makes its debut on IMAX screens, resulting in a spectacle that is both deeply unsettling and gloriously intense.

The IMAX format is not just a matter of bigger screens; it’s an amplification of the film’s already potent atmosphere. From the iconic opening shot, where a yellow Volkswagen winds its way up a deserted mountain road, the scope is immediately immersive, drawing the viewer in. The vast expanse of the Colorado landscape, typically a symbol of freedom, instead conveys a sense of absolute isolation, inescapable and overwhelming.

The true power of the IMAX presentation lies within the Overlook Hotel. Kubrick and cinematographer John Alcott’s pioneering use of the Steadicam created those signature, smooth tracking shots that now, on the massive IMAX scale, feel almost like a physical presence, haunting the viewer as they glide through the endless, geometric corridors. The checkerboard carpet, where Danny rides his tricycle, transforms into a dizzying, three-dimensional maze.

Jack Nicholson’s portrayal of Jack Torrance’s descent into madness is magnified to devastating effect. His frantic, desperate face, often centered in the frame due to Kubrick’s meticulous symmetry, takes on a monstrous, intimate quality. Every twitch of his eyebrow and every terrifying grin fills the viewer’s peripheral vision, making his breakdown feel far more visceral and unnerving. Meanwhile, Shelley Duvall’s performance as the increasingly hysterical Wendy, though initially controversial, is now heartbreakingly realized as a portrait of sheer terror.

The IMAX sound system pairs perfectly with the film’s discordant score and oppressive sound design, transforming the Overlook into a sensory prison. The eerie silence, the ominous low-end rumble, and the legendary elevator blood-flood scene, which rushes toward the audience, all combine to create a moment of overwhelming cinematic shock.

Although The Shining was not originally shot with IMAX in mind, the newly remastered digital presentation remains true to Kubrick’s meticulous craft. The fact that scaling up the film only serves to amplify its terror is a testament to its timeless, layered artistry, making this an essential experience for both cinephiles and horror fans. As the Overlook Hotel comes alive on the IMAX screen, viewers won’t just watch the film – they will feel trapped inside.

I’d recommend checking out ‘The Shining’ in IMAX and see what you think of it; I shall give it a score of Five Stars. You can go check it out at Cineworld. Director Stanley Kubrick – Rating: 16 – Genre: Horror/Mystery – Run Time: 2h 23m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

Edgar Wright’s take on The Running Man is less of a remake of the campy Arnold Schwarzenegger film and more of a gritty, modern adaptation of the original Stephen King novel. Starring Glen Powell as Ben Richards, the blue-collar man desperate enough to volunteer for a lethal, televised hunt, the film is a non-stop, kinetic thriller that often feels uncomfortably timely.

From the first frame, Wright brings his signature visual energy. The pace is absolutely frantic, rarely giving you a moment to catch your breath as Richards is chased across a dystopian, corporately-controlled America. This isn’t just a staged arena game; it’s a cross-country chase broadcast as prime-time entertainment, complete with high-tech surveillance and a bloodthirsty viewing public. The action sequences are inventive and sharp, and the movie is powered entirely by Glen Powell’s performance.
Powell plays Richards not as a wisecracking action star, but as a man consumed by justifiable, seething anger. He’s running to get medicine for his sick daughter and railing against a system of extreme wealth inequality and broken healthcare. This is where the film feels strongest: its dystopian 2025 is less sci-fi fantasy and more “uncomfortably familiar” social commentary. It’s a world where propaganda and “FreeVee” reality shows are used to placate a miserable working class, and the film does a solid job of highlighting this critique.

However, the sheer speed of the film is also its biggest flaw. The constant movement leaves many of the supporting characters Richards encounters feeling underdeveloped or quickly forgotten. They’re colorful plot devices rather than fully fleshed-out people, which dilutes some of the emotional weight.
The biggest stumbling block is the final act. After establishing such a tight, brutal, and cynical world, the ending feels strangely Hollywood-ized. It’s too neat and lacks the dark, uncompromising bite that Stephen King’s novel delivered. It struggles to commit fully to either being a purely biting satire or an all-out action flick, landing somewhere in the middle.

I’d recommend checking out ‘The Running Man’ and see what you think of it; I shall give it a score of 3 and ½ stars, after my first watch. You can watch it at your local cinema today: Director: Edgar Wright– Rating: 15A – Genre: Sci-fi/Adventure – Run Time: 2h 13m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

Paul Thomas Anderson’s newest sprawling epic, One Battle After Another, is less a film and more a sensory assault. An adaptation of Thomas Pynchon’s Vineland, this action-thriller, masquerading as a deeply melancholic character study, sees the director operating at his most anarchic and kinetic. The film follows Bob Ferguson (Leonardo DiCaprio), a paranoid former revolutionary living off-grid with his daughter Willa (Chase Infiniti), until his past—embodied by the grotesque and obsessive Col. Steven Lockjaw (a career-best Sean Penn)—forces them into a dizzying, nationwide chase.

Anderson’s technical prowess is immediately evident, shooting in the ultra-high-resolution VistaVision, which paradoxically lends a beautiful, painterly quality to scenes of utter desperation and chaos. The film rarely lets up, fueled by Jonny Greenwood’s jangling, nerve-shredding score, which acts like a constant, anxiety-inducing heartbeat. DiCaprio channels a man whose revolutionary fire has curdled into exhaustion, creating a portrayal of paranoia that is at once hilarious and heartbreaking. Penn, meanwhile, is a strange monster, a physical caricature of immense power obsessed with eradicating not just the rebels, but the very idea of dissent. The overall story of the film is interesting, along with some great cinematography and simple but brilliant costume design, but it’s the performances that make the film as great as it is.

The reason this film stuck with me, weeks after viewing it in a stunning IMAX screening, wasn’t just the spectacular car chases or the political fury; it was the quiet emotional devastation at its core. I felt somewhat unsettled by the film’s central question: when you sacrifice everything for a cause, what do you owe the generation you bring into that unstable world? Willa, played with striking clarity by Chase Infiniti, is the conscience of the movie. Seeing her forced to navigate her father’s crumbling idealism felt like a true gut-punch.

‘One Battle After Another’ is a top-class piece of filmmaking, with PTA showing us once again how much of an incredible filmmaker he truly is. Overall, it’s a messy, essential masterpiece, and for me potentially the best film of the year.

I’d recommend checking out ‘One Battle After Another’ and see what you think of it; I shall give it a score of Five stars, after my first watch. You can watch it at your local cinema today: Director: Paul Thomas Anderson – Rating: 15A – Genre: Comedy/Drama – Run Time: 2h 50m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

The Long Walk (2025) is a masterful adaptation of Stephen King’s chilling novel, and director Francis Lawrence has delivered a film that is as relentless and hypnotic as its source material. This isn’t a blockbuster filled with explosive action; instead, it’s a profound, character-driven psychological thriller that explores themes of endurance and conformity.

Set in a dystopian America, the film follows Ray Garaty, a 16-year-old boy who has entered the “Long Walk,” an annual televised event where 100 teenage boys walk non-stop until only one remains. If they drop below a certain pace, they receive a warning; three warnings and they’re “ticketed,” a euphemistic term for being shot dead by the military escort. The film captures the gruelling, almost meditative monotony of the walk, focusing on the subtle shifts in the boys’ mental and physical states. It’s a testament to the powerful performances from its young cast, who perfectly embody the mix of youthful naivete, and hardened resolve required to survive.

Lawrence’s direction is a triumph of atmosphere and restraint. He understands that the horror isn’t in the blood and guts, but in the slow, inevitable psychological toll. The camera often lingers on the boys’ faces, capturing the exhaustion, fear, and even moments of strange camaraderie. The sound design is a key player, with the constant, rhythmic thud of feet on asphalt serving as a metronome of impending doom. As a big fan of film scores, the lack of a traditional score in many scenes enhances the stark reality of their situation, making the silence and the sound of breathing even more potent.

The film’s most powerful moments are not in the deaths but in the quiet, poignant interactions between the walkers. The fleeting friendships, the shared jokes, and the desperate attempts to maintain a semblance of humanity in an inhuman contest are what truly resonate. The Long Walk is a thought-provoking, and at times, gut-wrenching experience. It serves as a stark metaphor for the relentless pressures of modern life, and the lengths people will go to for a fleeting chance at glory. It’s a powerful cinematic achievement that will linger in your mind long after the credits have rolled.

I’d recommend checking out ‘The Long Walk’ and see what you think of it; I shall give it a score of Three stars, after my first watch. You can watch it at your local cinema today: Director: Francis Lawrence – Rating: 16 – Genre: Horror/Sci-fi – Run Time: 1h 48m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

Joseph Kosinski’s F1, delivers a visceral journey steeped in adrenaline, emotion, and cinematic grandeur. With a screenplay by Ehren Kruger and a soaring score co-composed by Hans Zimmer, the film revs up into one of the most ambitious crossovers between Hollywood and the hyper-technical world of Formula 1 racing. ‘F1’ is not just a movie about a sport; it’s an immersive sprint through the adrenaline-soaked nerves of modern racing. This film understands that Formula 1 is as much about psychology, strategy, and sibling-like rivalries as it is about horsepower.

At its core, ‘F1’ is a familiar yet effective underdog story, a legendary driver returns from a decades long absence to save a struggling fictional team, APXGP, and find redemption behind the wheel. While the storyline has been pretty much done before, Pitt and Idris bring a strong chemistry and emotional dept that keep the journey engaging, even if it’s somewhat predictable at times.

Visually, the film is fantastic. Filmed during actual Grand Prix weekends with real-world teams, drivers, and circuits, the racing sequences strike a rare balance between spectacle and realism. The cinematography immerses you in every gear shift and tire squeal, while Hans Zimmer’s hybrid orchestral-electronic score underscores both the human drama and the mechanical fury of ‘F1’. It’s a real striking piece of modern sport filmmaking, that even without being an ‘F1’ fan or having any knowledge of the sport, you’ll still be vastly entertained.

That said, the film isn’t without its flaws. Some may argue that certain race moments bend realism, with unrealistic manoeuvres and overly convenient engineering breakthroughs. While general audiences often find it exhilarating, the plot’s sentimen-tality and paralleled character arcs may feel monotonous. ‘F1’ compensates with a rejuvenated sense of optimism: a belief that teamwork can outpace ego. Still, the reaction has been overwhelmingly positive, with the film breaking box office records for Apple Studios.
I’d recommend checking out ‘F1’ and see what you think of it; I shall give it a score of THREE stars. You can watch it at your local cinema today: Director: Joseph Kosinski– Rating: PG – Genre: Sport/Action – Run Time: 2h 35m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

“From the World of John Wick: Ballerina” carves out a compelling, if at times familiar, corner within the revered John Wick universe. Starring Ana de Armas as Eve Macarro, a vengeance-driven assassin, the film embraces the franchise’s signature blend of hyper-stylized action and intricate underworld lore, while attempting to forge its own identity.

The narrative centres on Eve, a ballerina trained in the deadly traditions of the Ruska Roma, as she hunts down those responsible for her father’s murder. The film opens with a brutal flashback, immediately establishing Eve’s profound grief and the genesis of her relentless pursuit of retribution. This personal stake lends emotional weight to the otherwise gloriously chaotic action sequences. De Armas delivers a committed performance, channelling a simmering rage that fuels her character’s every move. The film smartly intercuts gruelling ballet practice with combat drills, visually linking the artistry of dance to the brutal precision of assassination.

Fans of the John Wick saga will find much to appreciate. The familiar neon-drenched aesthetics, the subtle hints at the vast network of assassins, and the strict adherence to the High Table’s rules are all present, enriching the world without overshadowing Eve’s journey. Keanu Reeves also makes a welcome, albeit brief, cameo, effectively passing the torch while maintaining the narrative’s focus on Eve.

Where “Ballerina” truly shines is in its inventive action choreography. From flamethrower duels to ice-skate bayonets, the film consistently delivers fresh and dynamic fight sequences. There’s a particular standout moment where Eve navigates a nightclub, leaving a trail of destruction that forces the audience to “reverse engineer” the unseen carnage. This clever subversion of expectations, coupled with her resourceful use of everyday objects as lethal weapons, keeps the adrenaline flowing.

However, the film isn’t without its minor missteps. The plot, while offering some unexpected turns in its latter half, occasionally veers into the familiar “revenge story” tropes. Some supporting characters, particularly the main antagonist Gabriel Byrne’s Chancellor, feel somewhat underutilized given the talent involved. Despite these small criticisms, I’d recommend checking out “Ballerina” and see what you think of it; I shall give it a score of FOUR stars. You can watch it at your local cinema today. Director: Len Wiseman – Rating: 15A – Genre: Action/Thriller – Run Time: 2h 5m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

After a string of increasingly convoluted cosmic sagas, ‘Thunderbolts’ offers a refreshing change of pace for the MCU. Director Jake Schreier smartly grounds this tale of reluctant anti-heroes in a gritty, espionage-tinged reality, delivering a film that’s as emotionally resonant as it is action-packed.
The narrative centres on a group assembled by Valentina Allegra de Fontaine (Julia Louis-Dreyfus), a shadowy figure with her own agenda. Each character is a volatile mix of personalities and skill sets. They also carry their own baggage, making them far more complex and compelling than the average superhero.

The strength of Thunderbolts lies in its character work. Each member of this unlikely team is given ample screen time to develop, showcasing their individual traumas and reluctant camaraderie. The dynamic between Yelena and Bucky, in particular, crackles with a fascinating mix of suspicion and begrudging respect. Harbour’s Red Guardian steals several scenes with his boisterous charm and surprisingly poignant moments of vulnerability.
While the action sequences are well-choreographed and impactful, they serve the narrative rather than overshadowing it. The film wisely avoids large-scale CGI battles for a more intimate and grounded approach to conflict. The plot, while straightforward, keeps the audience engaged with unexpected twists and turns, exploring themes of redemption, trust, and the blurry lines between good and evil.

However, the film isn’t without its flaws. At times, the sheer number of characters can feel slightly overwhelming, and some subplots could have been explored in more depth. Nevertheless, Thunderbolts ultimately succeeds in delivering a compelling and surprisingly mature entry into the MCU. It proves that superhero stories don’t always need world-ending stakes to be engaging; sometimes, the most captivating battles are fought within. This is a welcome return to form and a promising direction for the future of the franchise.

I’d recommend checking out “Thunderbolts” and see what you think of it; I shall give it a score of 3 and a ½ stars. You can watch it at your local cinema today. Director: Jake Schreier – Rating: 12A – Genre: Action/Sci-fi – Run Time: 2h 6m Language: English. For more film content please follow @movies4fanatics on Instagram.

Novocaine (2025) delivers a potent mix of dark comedy and hyper-violent action, a film that embraces its outrageous premise with enthusiasm. Directed by Dan Berk and Robert Olsen, and starring Jack Quaid, the movie centers on a man who can’t feel pain.

Quaid plays Nathan Caine, a bank employee with Congenital Insensitivity to Pain with Anhidrosis (CIPA). His condition, usually a serious detriment, becomes the film’s core when his love interest, Sherry (Amber Midthunder), is kidnapped during a bank heist. Nathan, driven by his pain-free state, embarks on a rescue mission, evolving from a cautious individual into a surprisingly resilient, if somewhat inept, action hero.
The film’s strength lies in its commitment to this outlandish premise.

The directors don’t shy away from the graphic implications of Nathan’s condition. He withstands a series of increasingly gruesome injuries – impaling’s, shootings, and bone-crunching impacts – reacting with a mixture of bewilderment and mild annoyance. This comparison of extreme violence and Nathan’s nonchalant reactions creates a unique and darkly, humorous tone.

Quaid delivers a performance that balances Nathan’s initial timidity with his later, pain-fueled tenacity. He’s both relatable and ridiculous, making the audience root for this unlikely hero. Midthunder, while somewhat seen as a damsel-in-distress role, brings a quiet strength to Sherry.

Novocaine (2025) has flaws. The plot, while functional, is straightforward, and the film sometimes favors extreme set pieces over narrative coherence. Some humor may miss the mark, and the intense violence might be off-putting to some. However, for those who enjoy the absurd and can stomach gore, Novocaine 2025 offers a wild and entertaining ride. It’s a film that embraces silliness, delivering a blend of action and comedy that is both shocking and surprisingly fun. I’d recommend checking out ‘Novacaine’ and see what you think of it; I shall give it a score of three stars. You can watch it at your local Cinema today. Director: Dan Berk; Robert Olsen – Rating: 16– Genre: Action/Thriller – Run Time: 1h 50m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

With Adrian Maben’s 1972 film, “Pink Floyd at Pompeii,” returning to cinemas in stunning IMAX from April 24th, its only right to review this classic. The film is less a concert film and more a hypnotic, surrealist document of a band at their creative zenith. Filmed over four days in the eerily silent ruins of Pompeii’s ancient amphitheatre, it captures Pink Floyd performing without an audience, stripped bare of spectacle, and bathed in the stark, natural light of the Italian sun.

The absence of an audience transforms the performance into a ritualistic exploration of sound and space. The band, young and intense, play with a raw energy that contrasts sharply with their later, more polished stadium shows. Visually, the film is a masterstroke. Maben’s use of long, sweeping shots, close-ups of the band members’ intense concentration, and the stark, sun-drenched ruins create a powerful sense of isolation and timelessness. The lack of stage lighting or special effects focuses the viewer’s attention on the music itself, allowing the viewer to truly appreciate the band’s artistry. The intercut footage of the band in the studio, working on the “Dark Side of the Moon” sessions, provides a fascinating glimpse into their creative process, hinting at the masterpiece that was to come.

The upcoming IMAX release promises to elevate this experience to a whole new level. The sheer scale and clarity of the IMAX format will undoubtedly enhance the film’s visual and incredible sound. Imagine the vastness of the amphitheatre, the intricate details of the ruins, and the raw power of the band’s performance, all rendered in stunning detail on a giant screen.

The panoramic shots of Pompeii will be breathtaking on the IMAX screen, immersing you in the film’s unique atmosphere. This IMAX release is not just a remaster; it’s a reimagining of a classic film, a chance to experience the magic of “Pink Floyd at Pompeii” in a way that has never been possible before.
I’d recommend checking out “Pink Floyd at Pompeii,” and see what you think of it; I shall give it a score of FIVE stars. You can watch it at Odean or the Lighthouse Cinema. Director: Adrian Maben– Rating: 12A – Genre: Documentary/Musical – Run Time: 1h 32m Language: English. For more film content please follow @movies4fanatics on Instagram.

By Jack Shanley

In a world where technology seamlessly integrates with daily life “Companion” (2025) explores the complex relationship between humans and A.I. The film follows Iris, a young woman who discovers she is a companion android designed for human companionship. As Iris grapples with her identity and the limitations of her programmed existence, the line between human and machine blurs, raising questions about autonomy, control, and the very nature of love.

Sophie Thatcher delivers a captivating performance as Iris, portraying her vulnerability and strength with nuance. Jack Quaid shines as Josh, the man who initially appears to be Iris’s loving companion but whose true motives become increasingly ambiguous. The supporting cast, including Lukas Gage as the enigmatic Patrick, adds depth to the narrative, each character embodying a different facet of the human-AI dynamic.
The cinematography captures the beauty and unease of Iris’s world, while the soundtrack amplifies the film’s emotional core. The script is thought-provoking, exploring themes of identity, free will, and a view of advanced technology.

“Companion” is not without its flaws. Some plot developments may strain credulity, and the film occasionally relies on familiar tropes of the sci-fi genre. However, its strengths may far outweigh its weaknesses. The film’s exploration of complex themes, combined with its strong performances and compelling visuals, make it a decent watch for fans of science fiction and thought-provoking cinema.
Ultimately, “Companion” is a cautionary tale about the potential dangers of unchecked technological advancement. It somewhat of a scary view of the future and with the film being told from an A.I perspective, I naturally felt a bit uneasy. I also understood that the humans were at fault., but It all goes back to Kubrick’s great 2001: A Space Odyssey (1968) in which he views it as humans becoming far too comfortable with technology that it would eventually consume us empower A.I and take over. Its with ‘Companion’ that you can kind of feel the same energy.

In all truth I’d recommend checking out ‘Companion’ and see what you think of it; I shall give it a score of three stars. You can watch it at your local cinema today. Director: Drew Hancock– Rating: 16 – Genre: Horror/Sci-fi – Run Time: 1h 37m Language: English. For more film content please follow @movies4fanatics on Instagram.