Joe Bloggs About Films
Season 1
Supergirl
Toy Story 5
Disclosure Day
Backrooms
Obsession
The Mandalorian and Grogu
The Punisher: One Last Kill
Michael
The Devil Wears Prada 2
The Amazing Spider-Man 2
1 of 33
by Joe Hobson
'Supergirl' is the second entry in the all-new DCU, and unfortunately, it leaves a lot to be desired. Coming away from it, I just wasn't a fan. After being thoroughly impressed by James Gunn's 'Superman' last year, I was completely on board with this new era for DC. There's still plenty of time for the universe to find its footing, but sadly, 'Supergirl' does very little to build excitement for what's next. Instead, it falls into many of the same traps that have plagued the superhero genre in recent years. Anyone already suffering from superhero fatigue will likely feel a strong sense of déjà vu. Almost everything that gives modern superhero films a bad reputation is present here: a clunky script, underdeveloped character arcs, painfully awkward dialogue, forgettable villains, and action sequences so overloaded with CGI and green screen that they become little more than visual noise. There are flashes where Milly Alcock gets the chance to shine. As a fan of hers, it's disappointing to see her given so little to work with, because she clearly has the screen presence to make this role her own. With a stronger script and a more compelling story, there's every reason to believe she could become an excellent Supergirl. This isn't the follow up James Gunn and co will have wanted. In fact, it often feels like a film that would have been more at home in the now disbanded DCEU. than as the next chapter of a fresh cinematic universe. Perhaps the muted and largely negative reaction will encourage the studio to course correct and strengthen future projects. For the sake of the DCU, let's hope so. Full thoughts in this review.
The toys are back in town, and this time they're facing their biggest challenge yet: technology. As screens begin to take over, 'Toy Story 5' explores the idea in a surprisingly thoughtful and entertaining way. There will always be debate over whether any more 'Toy Story' films should have been made. Afterall, the original trilogy delivered what felt like the perfect ending. Yet, against the odds, this fifth instalment finds enough fresh ground to justify its existence. While the threat of technology looms large throughout the story, the film's message is far more nuanced than a simple 'technology is bad' argument. Instead, it presents a balanced conversation about its role in children's lives, exploring both the benefits and drawbacks of an increasingly screen driven world. The film also gives Jessie a well deserved central role, grounding the story in the themes that made the franchise so beloved in the first place: growing up, finding your place, and navigating change. Not every idea lands, and the reduced presence of Woody and Buzz is certainly felt, but 'Toy Story 5' remains a charming and worthwhile addition to the series that delivers plenty of heart and entertainment throughout. Full thoughts in this quick review.
'Disclosure Day' was high on my most anticipated list. Another summer blockbuster from the cinematic genius that is Steven Spielberg - what could possibly go wrong?.... Oh boy. This is easily the biggest disappointment I've felt towards a film in quite some time. The premise is undeniably fascinating, but it's handled in a surprisingly dull and lifeless way. The film spends so much time hiding inside its mystery box that it forgets to actually entertain. Building a story around the revelation that aliens exist opens up countless narrative possibilities, which makes it all the more deflating to watch the film settle for something so uninspired. What's perhaps most surprising is how absent Spielberg's usual sense of magic, awe, and wonder feels. Instead, we're left with bland characters, ineffective villains, and a story that never fully capitalises on its enormous potential. When you have Spielberg directing and a cast featuring Emily Blunt, Colin Firth, Josh O'Connor, and Colman Domingo, expectations are naturally high, yet 'Disclosure Day' (or more appropriately, 'Disappointment Day') falls well short of them. Full thoughts in this review.
'Backrooms' has been on everyone's lips since its release. Partly because it's helmed by 20 year old Kane Parsons, the youngest director ever to take on a project of this scale, but also because of the enduring legacy of the Backrooms phenomenon and its unlikely journey from internet folklore to the big screen. Full disclosure, I wasn't familiar with the online discourse or mythology that grew out of the infamous image, nor had I seen any of the YouTube shorts that expanded its universe. Still, the trailer was enough to pique my interest. Coming away from it, I'm conflicted. There are elements here that are genuinely superb: the lead performances are strong, it's beautifully shot, the sound design is outstanding, and at times it's deeply unnerving. Yet it's also something of a slog. There were stretches where my attention drifted and, frankly, I found myself bored. The film has little interest in providing answers, which will undoubtedly appeal to some viewers, but it ultimately frustrated me. It's at its strongest when it fully embraces the endless, disorienting nightmare of the Backrooms themselves. By contrast, its attempts to unravel the protagonists' personal stories feel underdeveloped and lacking in emotional weight. 'Backrooms' is unsettling and atmospheric, but it demands patience from its audience. Whether that investment pays off will largely depend on how much you're willing to embrace the mystery. Full thoughts in this review.
'Obsession' hit cinemas just a couple of weeks ago and has already made a huge impact, breaking box office records while earning widespread acclaim from both critics and audiences - and it's easy to see why. Director Curry Barker has crafted an unsettling yet thoroughly entertaining film that explores themes of control, identity, and the terrifying consequences of losing both. The premise, a wish granted with devastating repercussions, is far from new, but it's the film's execution, atmosphere, and mounting sense of dread that elevate 'Obsession' above familiar genre territory. A major reason for the film's success is Inde Navarrette's outstanding central performance. She delivers an impressive emotional range, balancing vulnerability and menace in a way that is as compelling as it is unnerving. Combined with a sharp, polished script and a consistently effective tone, 'Obsession' lingers in the mind long after the credits roll. Disturbing, captivating, and expertly crafted, 'Obsession' is one of the standout films of 2026 Full thoughts in this review.
After seven years, audiences finally return to a galaxy far, far away with 'The Mandalorian and Grogu', bringing everyone’s favourite bounty hunter, and his little green friend, to the big screen in a fun, albeit slightly bumpy, adventure. I personally had a great time with this one. While there are elements that didn’t fully work for me, particularly the pacing and parts of the second half, the film absolutely captures the spirit that made the series such a success in the first place - and that’s a huge win. There are some genuinely terrific action sequences and several crowd pleasing moments that will leave fans grinning from ear to ear (especially Mando’s reintroduction). The dynamic too between Din and Grogu remains as charming and engaging as ever, continuing to be the emotional heart of the story. Although the film loses some momentum midway through and struggles to maintain the energy of its opening act, there’s still more than enough here to make the journey worthwhile. At its core, 'The Mandalorian and Grogu' feels like one big live-action Saturday morning cartoon - and honestly, that’s not a bad thing at all. Full thoughts in this review.
It’s been a week since Disney released the Special Presentation 'The Punisher: One Last Kill', and I’ve definitely got some thoughts on it. Without question, this is the most brutal project Disney has ever released - fully embracing the ferocity, trauma, and rage that define Frank Castle as he fights his way out of yet another personal hell. At times, the special retreads familiar ground with the character, but once it gets going, it never lets up… and when it kicks off, it really kicks off. There are moments where the violence feels a little excessive for the sake of shock value - particularly one early scene that strays into unnecessarily nasty territory - but overall, it’s incredibly effective. Watching Frank blast and batter his way through an apartment building delivers some genuinely exhilarating action, with set pieces that feel heavily inspired by films like The Raid and Dredd. The whole thing is intense, claustrophobic, and relentlessly high-octane. What’s especially interesting is where 'One Last Kill' leaves Frank by the end. For perhaps the first time in a long while, he seems to emerge with a renewed sense of purpose, hinting at an intriguing direction for the character moving forward. And if there was ever any doubt left, this special proves once again that Jon Bernthal was born to play The Punisher. Full thoughts in this review.
It’s quite surprising that a biopic about the King of Pop has taken this long to arrive, but in 2026, Antoine Fuqua finally brings us Michael - a dazzling, if not entirely flawless, portrait of the music icon. There’s no denying the talent on display throughout the film. Jaafar Jackson steps into the role of his uncle with astonishing confidence. At times, its like he's possessed with MJ's ghost, he's THAT good. Colman Domingo is equally exceptional as Joseph Jackson, delivering a performance that makes you recoil whenever he’s on screen. That central conflict, good versus evil, control versus freedom, becomes the film’s emotional backbone. And, naturally, the soundtrack and visuals ooze style and energy. Where Michael stumbles, however, is in its structure. The narrative jumps through time so abruptly that it can feel like channel surfing, which undercuts many of the film’s emotional beats and momentum. The final act, while entertaining, feels strangely incomplete - almost as though an entire section of the story has been cut away in the editing process... Which we know, it was. Still, as far as biopics go, I had a genuinely good time with this one. It’s light, engaging, and consistently entertaining, with enough flair and musical spectacle to keep your feet tapping throughout, as MJ’s greatest hits light up the big screen. Full thoughts in this review.
Icons return in 'The Devil Wears Prada 2'. While the original wasn’t the defining film of my upbringing, its status as a cultural touchstone is undeniable. Revisiting it in later years only deepened my appreciation, and importantly, heightened my anticipation for this long-awaited sequel. The follow-up certainly delivers where it counts: dazzling fashion, striking locations, and a magnetic ensemble that slips effortlessly back into rhythm. Yet, it never quite reaches the heights of its predecessor - and honestly, that’s perfectly fine. The original set an exceptionally high bar. What this sequel does achieve is carving out a narrative that justifies its return, making it a worthy continuation rather than a hollow revisit. There are moments that slightly deflate its momentum, and a few elements that didn’t fully land for me. Still, it’s hard to ignore how naturally Hathaway, Streep, Blunt, and Tucci reinhabit their roles, bringing a familiar sharpness and charm that anchors the film throughout. Full thoughts in this review.
Sony’s original vision for its Spider-Man universe came to an abrupt halt with the release of 'The Amazing Spider-Man 2'... and it’s not hard to see why. Behind the scenes issues and the now-infamous email leaks certainly didn’t help, but the film’s reception fell well short of expectations. Rather than standing confidently on its own, the sequel feels overly preoccupied with setting up future installments and spin-offs, which ultimately makes for a frustrating viewing experience. That’s not to say it’s without its strengths. Spider-Man’s suit is arguably the best we’ve seen in live-action, the web-swinging sequences are dynamic and immersive, and Andrew Garfield delivers a standout performance in the lead role. Unfortunately, these highlights are weighed down by an overstuffed narrative, an excess of new characters, and a number of creative decisions that simply don’t land. The result is an underwhelming and very disappointing entry in the Spider-Man franchise. There’s a better film buried somewhere within it, but this sequel feels like a turning point for Sony, and not in a good way. Just look at the studio’s subsequent Spider-Man spin-offs to see how uncertain their direction became. Still, least we got to see Garfield back again with 2021's 'No Way Home', but its a real shame his journey came to an end just as it was beginning. Full thoughts in this review.