Matt Goddard

The star power of Dame Joan Collins is the main draw for this arch, Christie-aping murder mystery. The nonagenarian acting royal has prioritised indie films in recent decades, but here she takes a step up to the role of producer. Could her latest creation, Francesca Carlisle, the world’s most successful TV journalist, be the start of a new Marple-sshaped chapter of her career? It’s a maybe all round…

The idea of a collaboration between Jim Henson, David Bowie and Terry Jones sounds like a fever dream. In many ways, the film it produced is just that: an oddly idiosyncratic tale of goblins, monsters, and adolescence. It’s an unusual mix, yet Labyrinth remains a cult classic and a beloved property many years later, so much so that for the 40th anniversary it has received the Ultra HD 4K collector’s edition treatment.

Arrow’s superb run of John Woo restorations continues with the criminally underseen Bullet In The Head. Inspired by The Deer Hunter, it sounds like a project that should have been beyond his comfort zone. Instead, the result is one of his most disturbing, thematically ambitious, and emotionally resonant films, and very different from his usual brand of sensational shoot-em-ups.

Mona Lisa is one of several Neil Jordan films enjoying a recent restoration and reappraisal. Often considered a breakthrough for the director and leads, Bob Hoskins and Cathy Tyson, it was subsequently overshadowed in Jordan’s canon, but the new UHD release promises it a new lease of life.

Receiving its world premiere at Raindance, the atmospheric British-Swedish technohorror Modem has almost too many ideas. Like the quarter-of-a-century tech at the centre of its woes, not all of them download satisfactorily, but what does get through offers a disconcerting and creepy bunch of scares.

The interior of a tank trapped in No Man’s Land serves as a claustrophobic setting for most of this tense film, heavily rooted in real events.

Looking back from the legendary actor’s apparent retirement, Jack Nicholson’s leading-man debut doesn’t, at first, feel indicative of the extraordinary career that was to follow.

Few television dramas captured audiences quite like Rivals when it debuted on Disney+ and Hulu in 2024. Adapted from the beloved novel(s) by Jilly Cooper, the series became an instant sensation thanks to its juiciness, illustrious affairs and the backstabbing in Rutshire.

Grief is often portrayed as something to overcome. In Born to Lose, it feels more like something that lingers in the passenger seat, quietly steering every bad decision. Directed by Joseph Zantil, this assured independent drama follows Andy Logan (Dylan Arnold), a young biker struggling in the aftermath of his father’s death. Saddled with debt, haunted by expectation, and drawn towards the same destructive path that consumed the man before him, Andy spends much of the film trying to outrun a legacy that seems determined to catch him.

The first thing that hits you about Speed Racer is colour. It’s an onrushing wall of pigments, a kaleidoscope of tones. It’s sticking your head in a bag of Skittles. It’s an antidote to The Matrix.