Well my friends, here we sit together as the year draws to a close on a strange year for the movies. We’ve seen the big screen blockbusters continue to buckle under pressure from the loom of the streaming behemoths and shaken by the unstoppable corporate fusings, and yet…
We’ve seen some all time greats on the movie screens, with new films from Ryan Coogler, Yorgos Lanthimos, Lynne Ramsay, Bong Joon-ho, Steven Soderbergh, Mike Flanagan, both of The Safdie Brothers, Paul Thomas Anderson and many more. Danny Boyle made a triumphant return 28 Years Later, Guillermo del Toro finally made his monsterpiece, and we had the very welcome return of Spinal Tap courtesy of the much loved, much lamented Rob Reiner.
But there’s no denying it: these are turbulent shifting sands we’re building our picturehouses on. We need to continue celebrating and championing our favourite films and the cinemas we watch them in, more than ever before. We love the movies, and the new voices and visions that each year brings. So, in our own small way, we come to the Truffles – the HeyUGuys Alternative Movie Awards.
In our sixteenth year (click here for a ribald rundown of the last decade and a half at the movies) the HeyUGuys team turn their critical eyes back on the previous cinematic twelvemonth. As always we make up the categories and awards the films we want to highlight in amongst the multitude Top 10s of the year.
We hope you enjoy them, and continue to love film, and all of the assorted pleasures they bring.
On behalf of the whole team, I wish you a wonderful Christmas and a Bill & Ted’s Excellent New Year.
Dave Roper
Most Obvious and Gratuitous Directorial Flex
Awarded to Ryan Coogler for “Sinners”
Think back to 1996’s Multiplicity (the Harold Ramis-directed, Michael Keaton-starring cloning comedy). As the first clone makes its appearance, we get a sequence where Michael Keaton high-fives and then chest bumps himself. It was pretty impressive at the time, but was clearly just a director showing off what he could do.
Fast forward 30-odd years and we get Michael B. Jordan playing twins Smoke & Stack in Coogler’s masterful Sinners and the two of them very (seemingly) simply pass a cigarette back and forth. By all accounts it was quite the practical and VFX handful for Coogler and his team, but also it was very obviously him saying, “look how cool this (and by extension me) looks”. Quite a film. Quite the flex.
Most Thought-provoking Mainstream Film
Wake Up Dead Man
The Knives Out franchise is proving to be “all killer no filler” in a most unexpected way – three films in and it continues to be thoroughly satisfying.
Wake Up Dead Man represents writer-director Rian Johnson trying his hand at the age-old “locked room mystery” which he handles with aplomb whilst also giving us some really nuanced consideration of the place that faith still has in our lives, alongside the snares of cult of personality and self-promotion.
Consider this line from Josh O’Connor’s associate priest Father Jud Duplenticy, when responding to Benoit Blanc’s suggestion that religion is just story-telling with no truth behind it:-
“You’re right. It’s storytelling. The rites and the rituals. Costumes, all of it. It’s storytelling. I guess the question is, do these stories convince us of a lie? Or do they resonate with something deep inside us that’s profoundly true, that we can’t express any other way except storytelling?”
It was thoroughly welcome to encounter a sincere, non-cynical voice offering those kinds of ideas in a mainstream Netflix release. Red One didn’t offer us anything like that this time last year.
Most Welcome Return to Form for a beloved Franchise
Predator: Badlands
Technically this film should not qualify as it came on the heels of 2022’s Prey, which was the real return to form for the Predator franchise, but then Prey never saw the inside of cinemas, so I’ll allow my award to stand…
I shamelessly and unapologetically love this franchise and in fact wrote recently about what each of its entries still has to offer us – https://www.heyuguys.com/predator-franchise-rewatch/
But Disney/Fox has clearly found itself a phenomenal new custodian for this franchise in Dan Trachtenberg. After Prey, Killer of Killers and now Badlands, we have a hand on the tiller with talent, vision, ideas and a real love and “feel” for the character. Badlands managed to turn the franchise antagonist into the protagonist without it feeling like he was losing his sense of threat or menace. Badlands was funny, exciting, violent and gory and also managed to engage our sympathies and empathy despite not one single human character appearing in the film. Loved this film, love this franchise, long may it continue.
Honourable Mention – Jurassic World: Rebirth
The “Damning With Faint Praise” Award for closest thing to a return to form for the MCU
Thunderbolts*
This is not a crowded field. Captain America: Brave New World seemed to immediately debut at the bottom of every updated “MCU films rated – best to worst” list and rightly so. Fantastic Four: First Steps was enjoyable but not great. Thunderbolts* did not do great business at the box office (which continues to seem to be the only thing that matters in the whole wide world) but it did feel like the MCU getting back on track. Whether too much of the previously committed audience for MCU films has now checked out, following the undeniable downturn in quality since Endgame, is a question and an analysis for people more insightful and plugged-in than me.
What is clearly the case is that Thunderbolts* was and is a really good film. The very fact of it handling emotional and mental health at all was something, to say nothing of it being front and centre in the finale of a tentpole release from a major studio. The characters were compelling, the set pieces really strong and (at least compared to the afore-mentioned Brave New World) you didn’t need to have done too much background reading to understand who was who and what their history was. MCU’s casting decisions continue to be A-grade, with Julia Louis-Dreyfus, Florence Pugh and Sebastian Stan continuing to be franchise standouts. Hopefully we’ll get more of this crowd, and this tone.
The Alien: Romulus “uh-uh, no thank you” Award
Wolf Man
I love Alien: Romulus, but the scene when all of the face huggers thaw out of cryo-stasis and then the finale where that creature seems to be breast-feeding from its mother were absolutely not what my eyes would then need to be able to unsee.
Fast-forward to 2025 and we have Wolf Man, a really interesting look at the character and its mythology, alongside considerations of toxic masculinity and us sometimes being more of a threat to than a protector for, our families.
So a really strong film, with much to commend it, but I really am not here for any sequence where there is a person or creature on the loose, someone else is trying to start a car and then they turn on the windscreen wipers to clear a muddy screen. You just know that it is going to go so very wrong. You know you’re going to jump out of your seat and you know that once again, characters in films like this have not seen nearly enough films like this. Don’t do that. Don’t go there. Check behind you, etc. Sigh
The “This Is Why Theatrical Releases Matter” Award
The Roses
Hear me out. The Roses might seem like an odd choice for an end of year award, but this is very much a point worth making.
Theatrical releases matter. A lot. There have been plenty of very good films that have gone straight to streaming, but they are incredibly hard to retain in your memory, compared to seeing them in a darkened room on the big screen. I know that cinema prices are ridiculous – I remember my local cinema in my home town selling tickets with student discount in the mid-90s for £2.50 – but having grown up enjoying so many phenomenal films on the big screen, I just know that we need to retain it as a mainstream (rather than niche) experience.
And this award is in fact nothing to do with blockbusters or big-screen spectacle. It seems to be the case that studios have an understanding that due to smaller budgets and more committed audiences, comedies and horror films continue to make sense for theatrical releases and that tallies experientially too. Jumping out of your seat, screaming and laughing are a lot of fun with fellow audience members, a shared experience to savour.
I saw Drop and Final Destination: Bloodlines with family and reasonably full cinemas this year and both were thoroughly enjoyable and satisfying evenings out.
But the award, as always, has to go to someone. And so it goes to The Roses, for this exchange, as much as anything:-
- Jeffrey: Sometimes Ivy’s mad at me and I can’t even tell.
- Ivy Rose: Sometimes he’s got his cock in me and I can’t even tell!
It absolutely brought the house down (despite being unforgivably given away in the trailer – that’s a rant for another day) and is exactly why films belong on the big screen. We all need to laugh and doing so together is proven to benefit physical and mental health. Studios – please protect theatrical releases!
Stefan Pape
The Most Famous Film I Didn’t Understand Award
A Minecraft Movie
What the fudge was going on here? If you’ve never played Minecraft before, like I have never played Minecraft before, this is a real fever dream (or nightmare?). Why are they in this weird world? How are they building things? What are those sheep doing? WHY IS THE CHICKEN MADE OF LAVA?
The Needle Drop of the Year
Urchin
There’s nothing like a great needle drop in cinema. The perfect pairing of sound and narrative, where the filmmakers carefully select a track that not only dictates the tone of a scene but enriches it. This year it goes to Harris Dickinson for his directorial Urchin. The song? Whole Again by Atomic Kitten. Of course.
The ‘Why We Don’t Need to Make Films About the Pandemic’ Award
Eddington
It’s been almost six years, there is an inevitability that filmmakers would tackle the Covid pandemic. It’s understandable, films reflect the world around them, and this was a period of time that impacted the world in a significant fashion. But you know what – we don’t need to see it in films. I don’t care for your cinematic lockdowns. I never want to think about it ever again. So Ari Aster take note, we don’t care about the pandemic being in films, and Eddington proved why.
The Stephen Graham Award for Dad Performance of the Year
Stellan Skarsgård, Sentimental Value
Nobody plays a dad like Stephen Graham, from his recent remarkable turn in Adolescence, to playing Bruce’s dad in Springsteen: Deliver Me From Nowhere (not to mention a weird, brilliant role in Good Boy). But he can’t win the award every year. So this year it’s going to Stellan Skarsgård, in Sentimental Value. Not the best dad per se, but the best performance of one.
The Danny Dyer Christmas Movie of the Year
Tinsel Town
There has been a real dearth of Christmas films this year. In fact, only two spring to mind; Christmas Karma and Tinsel Town, and one thing brings them together: Danny Dyer. Of the two films it simply has to be the latter for the win. It has heart, it has fun – and vitally it doesn’t have Dyer playing a singing taxi driver.
Car Chase of the Year Award
One Battle After Another
Who doesn’t love a great car chase? A staple in cinematic history, and this year saw one of the best in recent history. Of course it was thanks to the master that is Paul Thomas Anderson, in what is his first ever car chase he has shot for screen, and of course nobody is surprised it was this compelling. Those rolling hills…
Cai Ross
The ‘Psycho 98’ Truffle for Intriguing Idea Which Quickly Revealed Itself To Be As Dumb As You Initially Suspected.
THE ALTO KNIGHTS
Robert De Niro joined the likes of Jeremy Irons, Nicolas Cage and Jean Claude Van Damme who have all played opposite themselves as identical twins. Only…De Niro wasn’t playing twins. So why was he playing both Frank Costello and Vito Genovese? The answer as far as I can ascertain is ‘God only knows.’
The list of amazing actors who could have played against De Niro is as long as an especially long arm. Were they all busy? Pacino’s just had a baby. Surely he’d have been DESPERATE to get out of the house and pretend to be a gangster for a few weeks.
Despite the anticipation for a potentially Goodfellas-level classic, Barry Levinson seemed to go out of his way to make the most perfectly enjoyable, instantly forgettable, three-star film of the year, no more so than in the exhaustive time and effort that went into creating a pointless gimmick that made no logical sense whatsoever.
THE FOZZIE TRUFFLE FOR WARMEST BEAR-HUG OF 2025
THE BALLAD OF WALLIS ISLAND
We are living in dark times which only seem to be getting darker. It’s entirely understandable that many of us are often overwhelmed by the ceaseless carousel of awfulness that we are faced with every time we foolishly turn on the news to catch up on current events.
Thank merciful God then for The Ballad of Wallis Island, a hot water bottle of a film. A lonely islander with money to spare (for hilarious reasons) reunites his favourite band for a bespoke concert, despite said band being a now estranged couple who haven’t seen in other since an acrimonious split.
With its perfect blend of sweetness and melancholy, and echoes of Local Hero and I Know Where I’m Going stirred in for good measure, James Griffiths’s comedy is as restorative as a mug of Horlicks. It’s the film we all need right now.
Jack Hawkins’ Most Obscene Misuse of a Household Item of the Year Award for 2025
Before we begin, let’s have a recap, as this award has some history. Terrifier 3‘s fire extinguisher won last year, while in 2023 Evil Dead Rise took home this coveted award for its infamous Cheese Grater. The year before saw Terrifier 2‘s brutal bleach and salt combo handed the award, 2021 had Titane grasp the gong with the gross misuse of a hairpin and a wooden barstool, and in its inaugural offing the 2020 award went to Possessor. This year sees another classic horror franchise take the podium.
Final Destination: Bloodlines
This year’s award undoubtedly goes to Final Destination: Bloodlines, which opens atop a fictionalised version of the Seattle Space Needle. There, a rude little boy’s misuse of a one cent coin becomes by far the most consequential household item misuse to receive this prize, for it causes the deaths of a few dozen people and destroys an entire landmark.
The snotty little shit throws pennies from the observatory, presumably hoping to sting a pedestrian’s head down below. However, the kid gets much more than he bargained for. The coin is sucked into a ventilation shaft and catches in a fan, which snaps and flies into a gas pipe, causing a fiery chain reaction. 
The boy proves utterly selfish and lucky in the ensuing carnage, reaching street level while everyone else burns or splats. Happily, a grand piano falls 400 feet from the crumbling structure and lands squarely on the boy’s person, reducing him to a lumpy skid of meat and viscera.
Of course, this being Final Destination, the boy is not strictly at fault. Instead, he is a mere vessel for Death, a malevolent force that stalks the cursed Reyes family, grossly misusing a variety of items in the process, household and otherwise.
You’ll have a lot of fun with Bloodlines. It is a playful romp that ratchets tension and horror with scattered glass, errant power tools and careless bin men. Yet the cause and effect of obscene household item misuse is never clearer than with the boy and his coin.
Ben Robins
The “Mom’s Spaghetti” Award for Movie That Most Made Your Palms Sweaty, Knees Weak AND Arms Heavy
If I Had Legs I’d Kick You
We’re in a bit of a golden age of anxiety-inducing, stressy-as-fuck thrillers right now. And Mary Bronstein’s If I Had Legs I’d Kick You (also winner of my favourite title of 2025) is among the very best of them; easily one of the clammiest dramas on record, shot super close by breakout DOP Christopher Messina and cut like one long horrific nightmare by Ari Aster’s regular editor Lucian Johnston. But one with a very delicately strung character at its centre.
Rose Byrne perfectly pitches her mother-on-the-edge, a hard-drinking therapist who’s also in therapy herself (with a wonderfully annoying, nameless Conan O’Brien no less) while trying to single-handedly balance caring for her chronically ill daughter, and the giant gaping hole in her apartment’s ceiling.
It’ll come as no surprise that Bronstein is part of the same New York-based group that birthed everyone from Greta Gerwig to the Safdie Brothers (her husband and producer Ronald remains the Safdie’s live-in editor and co-writer). And while incredibly personal in her storytelling, it’s the technicals that really shine here; If I Had Legs is heart-breaking yes, but also a deeply uncomfortable and unforgettable experience.
The “I Wish I Could’ve Seen This In A Cinema” Award for Straight-to-Streaming Majesty
Code 3
15 years ago, Christopher Leone’s stylish, raucous and emotionally clever debut Code 3 would’ve landed like Zombieland. Full of fourth-wall breaks, big, ridiculous laughs and a surprising amount of heart, it’s exactly the sort of mid-budget (or at least mid-looking), hard-hitting mainline comedy, built for the big screen, that just doesn’t seem to exist anymore.
Rainn Wilson, Lil Rel Howery and Aimee Carrero star as a deftly cast rag-tag team of paramedics on a particularly wild 24-hour shift on the streets of LA, as Wilson’s blue-light veteran Randy weighs up whether or not he’s even built for this kind of madness anymore. It’s darker than you’d think, funnier than you’d think, and almost guaranteed to make you cry; a perfect calling card for Leone, who’s proven he can do a lot with very little.
The “Send Them To Space” Award for Coolest Movie Concept
Tornado
Scottish musician-turned-filmmaker John Maclean finally returned with another solid gold post-modern western in 2025, a whole decade after his breakout Fassbender-starrer Slow West. And while even fewer people seemed to see Tornado than Maclean’s debut, it has maybe the most fascinating one-line pitch of anything that hit the virtual VOD shelves this year:
A samurai revenge western filmed across the Scottish Highlands, with Tim Roth, Jack Lowden, Rory McCann and young Japanese breakout star Kōki. Yes there’s sword fighting, yes there’s missing gold, yes there’s an 18th-century circus community, and yes, there is Tim Roth in a big coat being a horrible, horrible man. It’s a real fun time.
The “Thanksgiving” Award for Hokey Slasher Movies That Have No Place Being Anywhere Near As Good As They Are
Heart Eyes / Clown in a Cornfield
Easily two of the year’s funnest and most tonally perfect releases, both Heart Eyes and Clown in a Cornfield have the sort of set-ups that would make any non-horror fan roll their eyes and giggle. A leather-clad killer with hearts for eyes targeting happy couples on Valentine’s Day, and a literal killer clown loose in a cornfield (told you).
But what directors Josh Ruben and Eli Craig both nail right from the off is that delicate knowing smirk too many slashers take for granted these days. Post-Scream, it’s par for the course to tell the audience you’re in on the joke – it’s a stuntman in a mask, we know how silly we’re being (and while we’re at it, here’s a bunch of lame meta humour to prove we know). Ruben and Craig are smart enough to balance that with actually just making kick-ass slasher movies too, packed to the brim with fun characters, brutal kills and genuinely clever twists that always put the audience first. If only everyone got the memo.
Best Dick Joke of the Year
Splitsville
Don’t get me wrong, Michael Angelo Covino and Kyle Marvin’s surprisingly huge screwball romp Splitsville is so much more than it’s opening dick joke. An incredibly stylish and visually exciting rom-com on crack, it’s maybe the funniest film of 2025. The way the duo pair the plot’s sexy secrets with non-stop, gorgeously choreographed physical comedy is frankly a modern-day miracle. There are at least five standout sequences in this 100 minute film alone.
But that opening dick joke. A genius cold-open that finds sweet-natured Carey (Marvin) and his unhappy wife Ashley (Adria Arjona) trying to feel their way through some marital issues while on the open road. Only for a sneaky handjob to result in a several car pile-up and a sensationally silly, guffaw-inducing punchline that’s head-and-shoulders (dick AND balls) better than any other you’ll see for quite some time. I’m still laughing about it now, and you will be too.
Alex Clement
The One Where Anticipation Beat Reality
Wake Up Dead Man
Few films this year carried as much hype as Wake Up Dead Man. After the phenomenal success of the first two instalments, expectations were sky-high, and rightly so. The countdown to December 12 felt endless. Finally, the day arrived, and with a stellar cast and a runtime promising an epic experience, it seemed impossible to go wrong.
But 2½ hours later, I found myself asking: Was this worth it? Honestly, not quite. Don’t get me wrong, it’s a good film with some fantastic performances. Yet, it leaned far more into religious themes than expected and dragged on at least 45 minutes too long.
It’s not a bad movie by any means, but when anticipation hits fever pitch, anything short of perfection feels like a letdown. Will there be another one? Probably. Will I watch it? Absolutely. But next time, I’ll keep my expectations in check.
The Jonathan Bailey Can Do No Wrong Truffle
Jurassic World: Rebirth
One random cinema trip turned into a pleasant surprise. I wasn’t planning to see Jurassic World: Rebirth but honestly, I thought the franchise had run its course. I loved Chris Pratt and Bryce Dallas Howard’s dynamic, so the idea of a new direction didn’t excite me.
But curiosity won, and within five minutes, I was hooked. So much so that I considered watching it again. After the disappointment of Dominion, I was sceptical about this new path, but Jonathan Bailey and Scarlett Johansson smashed it. Their chemistry and energy breathe fresh life into the series, proving there’s still room for dinosaurs on the big screen.
Jo-Ann Titmarsh
National Treasure Award 2025
Josh O’Connor
This is going to be controversial, I know, but I am going out on a limb to say that I think Josh O’Connor is fabulous. Joking aside, 2025 is his year. Not only is he a consummate actor with a slew of great performances this year alone (Mastermind, Wake Up Dead Man – Knives Out 3, The History of Sound), he also appears to be an adorable and entertaining interviewee, he’s a bit of an eccentric and – as we saw when he hosted SNL – he has comedy chops and is happy poking fun of himself. Move over, Paddington. Britain has its new national treasure.
Making Sex Great Again Award 2025
Pillion
Well, not great exactly, but I guess that all depends on your proclivities. However, there has been a bit of a dearth of explicit sex lately and Pillion bravely puts sex back on the table (specifically the picnic table, or kitchen floor, or back alley…I could go on). I doubt that many had Harry Melling playing Alexander Skarsgård’s ‘love’ interest on their bingo card at the beginning of 2025, but that’s what we were treated to in one of 2025’s standout films.
Pillion is naughty, graphic, funny, sexy and intelligent. It is also ultimately a feel-good movie about sexual awakening and personal growth. The two leads are exceptional and the film is a treat. If anyone gets me for their Secret Santa, a 2026 calendar of Skarsgård in his biker leathers or a selection of his red-carpet outfits would be a welcome gift, thanks.
Brazil Back on the Map Award 2025
The Secret Agent
Brazil has gifted us some absolutely brilliant films over the years, but it’s been a while since we’ve seen a consistent output of excellence. Last year’s I Am Still Here was rightly nominated internationally in the best actress and best film categories. And it seems that this was no anomaly. Just like London buses, after waiting an age for a great film, along come two.
Hot on the heels (or wheels in this metaphor) of I Am Still Here comes The Secret Agent, an intelligent, gripping film about a dark and terrifying period of recent Brazilian history. With a sympathetic central performance by Wagner Moura that holds the sprawling action together, Kleber Mendonça Filho’s film was one of the highlights in Cannes and should be sweeping up some awards after its international release.
The Film Nobody Wants to See, but Everybody Should See Award 2025
The Voice of Hind Rajab
Unfortunately, this film goes to The Voice of Hind Rajab, Kaouther Ben Hania’s almost unbearable film about a young girl (Hind Rajab) who is trapped in a car with her dead family as she awaits rescue. The film uses actual recordings of Hind as she stays on the line with the emergency services, who are desperately trying to save her. What in normal circumstances should be a ten-minute ambulance ride, is instead an hours-long crawl through red tape and enemy fire – a literal and figurative minefield.
The action, such as it is, is painfully slow and desperately sad. There’s no happy ending here and the anguished voice of that young child will stay with you long after you’ve left the cinema. Hats off to the Venice Film Festival, which also screened Kathryn Bigelow’s A House of Dynamite, and Laura Poitras and Mark Obenhaus’s Cover-Up – alongside The Voice of Hind Rajab, they form a trio of female-helmed films that that were brave, powerful, anger-inducing and thought-provoking.
Good Old-fashioned Fun Award 2025
The Naked Gun/Splitsville
2025 has hardly been the year of laughter and joy. Turning your phone on in the morning has become a challenging experience as fresh horrors abound. So thank God for some good old-fashioned fun at the cinema. Naked Gun was back, with the added bonus of a possible love story between the two leads Pamela Anderson and Liam Neeson. Though the romance was short lived, it was a moment of solace for us all.
On the big screen, audiences were treated to Splitsville, Michael Angelo Covino’s hilarious comedy about love, marriage, friendship and the complexity of relationships in 2025. The four leads – Covino, Dakota Johnson (and what a year she’s having), Adria Arjona and Kyle Marvin – are a joy as the two couples whose complicated relationships are the source of all kinds of nonsense that we frankly need to see a lot more of – think The Philadelphia Story for the 2020s. Sexy, clever, ridiculous and with a strong dollop of slapstick, Splitsville is just the tonic to get us through to the end of 2025.
Jon Lyus
To close I have my regular round up of the standout interviews we’ve conducted this year. We have an amazing team, who always ask the most interesting questions and elicit the most meaningful answers from the actors, writers and directors we have the privilege to interview. Here are the ones among the many (many…) hundreds we’ve published this year.
We made Sigourney Weaver cry. Not on purpose, but it was a genuine emotional moment in the midst of film-pushing promotion, and it was a privilege to see.
Tom Hiddleston was a mainstay for us this year, both on the junket circuit and the red carpets. Each time we were reminded of his charm, grace and thoughtfulness that truly sets him apart as one of our most treasured actors.
How could we not highlight this one? Not our first time with the (NOW OSCAR-WINNING) Goonie, but his delight on seeing us on the red carpet for Zootopia 2 was a personal and professional joy. Bring on Goonies 2!
No man should be allowed to be this attractive. Seriously. Just look at this thumbnail…
Likewise – Gillian Anderson (also wearing leather – that was a red carpet theme this year).
Domhnall Gleeson telling Scott that he F****d up his wedding was one of our favourite interview moments this year.
Scott rebounded though and had a lovely chat with these two (again) annoyingly handsome people who clearly love working together (pun not intended). We hope they stick together for a long time. The pun was intended that time.
Ade on the red carpet! Bit of a moment for this Young Ones/Bottom fan. Seeing him turn up in Alien Earth was a highlight, not least because of the many youngers fans who are now diving through his back catalogue.
Ralph Ineson is a legend. And the MCU’s Fantastic Four was a good time at the flicks – not least because of Mr. Ineson’s dulcet booming tones.
He did it. Following up his Trainspotting sequel, the Boylester and Alex Garland made one of the strongest films of the year with 28 Years Later, and next January’s The Bone Temple from Nia DaCosta looks like doing even better. Makes you long for a Shallow Grave 2…
Colin got a great reaction from Ana de Armas on the red carpet for her John Wick spin-off Ballerina. Fight like a Girl indeed…
We move now to legends. Tony Gilroy and his team turned a so-so idea of diving into the backstory of a Rogue One character into the best TV of this year, and one of the best shows ever made. We got the chance to thank him.
These two. THESE TWO.
AND THIS ONE!
And then, to close – our chat with a titan of British cinema, and one of the most important voices in the industry. It was an insurmountable pleasure to take time with Mike Leigh. Long may his films light up our cinemas and our lives.
Merry Christmas once again, see you next year!
