Tom Jolliffe

The gothic horror film The Baby in the Basket, directed by Nathan Shepka and Andy Crane and written by Tom Jolliffe, is set in 1944 at a convent on a remote Scottish island. After a mysterious figure leaves a baby with the nuns, increasingly disturbing events lead Sister Agnes to suspect that the child is demonic, prompting the sisters to question their faith and sanity. The film has secured worldwide streaming, digital, physical-media and theatrical distribution, including releases on Shudder, AMC+, Tubi, Prime Video and other platforms, alongside a successful UK DVD run and theatrical distribution in the Philippines.

Ridley Scott’s adaptation of Peter Heller’s novel follows Hig, a grieving pilot living with his dog and former Marine Bangley in a post-apocalyptic Colorado, as he searches for signs of life beyond their fortified airport. The review finds the film derivative, clichéd, under-explained, and burdened by right-wing survivalist messaging. Although the relationship between Hig and Cima offers some emotional promise and several action sequences are effective, the increasingly spectacle-driven third act sacrifices character development and turns the story into an overstuffed generic action film.

McFarlane Toys has unveiled a $49.99 DC Multiverse Collector Edition 2-pack featuring Batman and Robin modeled on Adam West and Burt Ward’s appearances in the classic 1960s Batman television series. The 7-inch figures include extensive articulation, alternate Batman accessories, extra hands, a bust, radio, art cards, and display bases, and are available for pre-order.

Professional wrestling films are presented as powerful emotional dramas because the staged nature of wrestling provides a framework for exploring authentic human struggles. The Wrestler portrays Randy “The Ram” Robinson’s inability to separate his identity from performance, addiction and fading fame, culminating in a tragic final leap rather than conventional redemption. The Iron Claw examines the Von Erich family’s inherited expectations, conditional paternal approval, grief and destructive notions of masculinity. Both films use the ring as a metaphor for identity, family, sacrifice and the consequences of allowing performance to become an entire life.

Mattel has revealed a Monster High Skullector Buffy and Angel doll 2-pack inspired by Sarah Michelle Gellar and David Boreanaz’s characters in Buffy the Vampire Slayer. The dolls wear 1990s-inspired outfits and include series-related details such as Buffy’s stake, crossbow and Slayer handbook purse, along with Angel’s sword necklace. The set includes premium window-box packaging and a certificate of authenticity, goes on sale September 4, and is priced at $98 or £89.

The review strongly praises Coyote vs. Acme as a lively and emotionally resonant live-action/animated legal comedy. It applauds the premise of Wile E. Coyote suing Acme over decades of defective products, the seamless interaction between humans and cartoon characters, the performances of Will Forte and John Cena, and the film’s energetic visual humor. The movie is also commended for recontextualizing the Coyote–Road Runner rivalry and delivering pointed commentary on corporate greed, discrimination, and unethical business practices. Despite some implausible world-building and a shift toward more adult-oriented commentary in the third act, the reviewer considers it ingenious, heartwarming, hilarious, and the strongest live-action/animation Looney Tunes film to date.

Matthew Shepherd proposes ten villains for Tom Holland’s next Spider-Man film, including Kingpin, Black Cat, Hobgoblin, Mister Negative, the symbiote, Chameleon, Morlun, Kraven, Hammerhead and Prowler. The article favors a grounded, street-level story following Peter Parker’s isolation after Spider-Man: No Way Home, identifying Kingpin as the strongest choice because Peter cannot defeat his political and criminal power through force alone. It suggests reserving the symbiote arc for a potential sixth film and using Prowler to begin a gradual Miles Morales transition.

Super7 has unveiled the second wave of its Back to the Future ReAction+ figures, depicting Marty McFly and Dr. Emmett Brown in their 2015-era appearances from Back to the Future Part II. Both 4-inch figures feature 12 points of articulation; Marty includes a hot pink hoverboard, while Doc Brown comes with a full-color newspaper accessory. The figures are available for pre-order.

Tom Jolliffe recommends ten action films and franchises distinguished by imaginative, hyperreal world-building. The selection ranges from James Bond’s adaptable spy mythology and Mad Max’s dystopian wastelands to the philosophical science fiction of The Matrix, the stunt-driven Mission: Impossible films, and the ritualized underworld of John Wick. Other choices, including Charlie’s Angels, The Fast and the Furious, Demolition Man, The Warriors and Desperado, are praised for distinctive visual identities, heightened physics, satire or mythic storytelling. The piece is highly enthusiastic overall but criticizes weaker sequels, reboots and increasingly excessive franchise entries.

Yeon Sang-ho’s South Korean science-fiction horror film follows a biotech-conference catastrophe in which a rapidly mutating virus turns people into a collectively controlled, zombie-like colony. The review praises the film’s high-octane action, inventive combat scenarios, stunt work, and striking climax, particularly the intelligent coordination of the infected. However, it criticizes the familiar Resident Evil-style premise, excessive number of characters, delayed identification of the protagonist, weak emotional moments, and nonsensical plotting. The villain’s exaggerated performance and the film’s energetic chaos provide its main strengths, earning it three out of five stars.

The comparison argues that both Liam Neeson and Jason Statham built late-career identities around prolific, formulaic action films. Neeson's transition from respected dramatic and character roles into the Taken-driven “Neeson-verse” brought gravitas and emotional weight, but also produced a long run of interchangeable titles and increasingly uneven results. Statham's action persona grew from The Transporter and combines minimalistic delivery, physical credibility and a willingness to parody himself, while his appearances in The Expendables and Fast & Furious expanded his profile. Although Neeson may offer greater dramatic depth and has the advantage of age and career range, Statham is judged the King of generic action because of his superior on-screen physicality, consistency within the genre and ability to command ensemble blockbusters.