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The connection between boxing and cinema dates back to the early days of film, with the first sports film being a 1894 short of a six-round match between Mike Leonard and Jack Cushing. Since then, boxing has been a staple of the big screen, captivating audiences with its high-stakes emotion, physical intensity, and personal turbulence.The British Film Institute's new season, The Cinematic Life of Boxing, curated by Clive Chijioke Nwonka, an amateur boxer since his childhood in London, explores this symbiotic relationship. Nwonka believes that an uncompromising hunt for realism is central to the relationship between the sport and artform, with films that interact with human experience, poverty, struggle, triumph, and boxing as a way of life.Boxing films often capture a political zeitgeist, as seen in the 1974 'Rumble in the Jungle' heavyweight championship match between Muhammad Ali and George Foreman, which was not just a fight but a referendum on ideology during the civil rights era. This fight was documented in the 1996 film When We Were Kings, described by Nwonka as 'probably the greatest sports documentary of all time'.The Rocky franchise, which has spanned six films and a spin-off series, Creed, under the direction of Ryan Coogler, is a barometer for all the films captured in its wake. The first film remains the hallmark of sporting cinema, successfully capturing the habitual experience of the sport outside its more glamorous moments.Despite the genre's popularity, boxing films are not immune to clichés, with many relying on stock characters and familiar arcs. However, the best film-makers are able to return to the core of these films: the stakes of signing up for a fight, and the physical, psychological, and real monetary costs of endurance.

Baz Luhrmann's Romeo+Juliet has stood the test of time, remaining a vibrant and captivating film thirty years after its release. This modern retelling of Shakespeare's timeless tragedy, set in a fictional Verona Beach with Mexico City as its backdrop, was a critical and commercial success upon its debut.The film's irreverent and questioning approach to the classic tale resonated with audiences, offering a fresh take on the star-crossed lovers' story. Luhrmann's vision, co-scripted with Craig Pearce, preserved the original text while infusing it with a sunburst of energy and a unique blend of style and substance.The cast, including Leonardo DiCaprio as Romeo and Claire Danes as Juliet, delivered memorable performances that brought depth and nuance to their characters. The supporting cast, featuring Harold Perrineau as Mercutio and Paul Rudd as Paris, added to the film's richness and complexity.Luhrmann's direction and the film's lurid 90s crime-chic design have aged remarkably well, with the movie's themes of love, transgression, and tragedy remaining as relevant today as they were upon its initial release. Romeo+Juliet is a testament to the enduring power of Shakespeare's work and Luhrmann's innovative vision.The film's re-release in UK cinemas on March 27 offers a new generation of audiences the opportunity to experience this joyful tragedy on the big screen, and it is sure to continue to captivate and inspire viewers for years to come.

The film 'DJ Ahmet' tells the story of a 15-year-old boy from an isolated farming community in North Macedonia who becomes an unlikely star on TikTok after a video of him chasing his sheep through an illegal rave goes viral. The movie, directed by Georgi M Unkovski, is a charming coming-of-age tale that tackles serious issues with kindness and a sunny worldview.The protagonist, Ahmet, played by Arif Jakup, is a teenager who had to quit school to care for his sheep. His life is tough, but he finds solace in music and becomes a DJ to impress his neighbor, Aya, played by Dora Akan Zlatanova. The film's cast, including non-professional actors, deliver natural and lovely performances.The movie explores themes of patriarchal oppression and the challenges faced by young people in conservative communities. However, it approaches these issues with generosity and sensitivity, offering a hopeful and uplifting message. The film's tone is warm and moving, with a standout moment featuring the imam at the local mosque.'DJ Ahmet' is set to release in UK and Irish cinemas from March 27, and is a must-watch for fans of coming-of-age stories and charming, feel-good cinema.

Rob Petit's documentary Underland, inspired by Robert Macfarlane's bestselling book, delves into the mysterious world beneath the Earth's surface. The film features Mexican archaeologist Fátima Tec Pool exploring cenotes on the Yucatan peninsula, theoretical physicist Mariangela Lisanti studying dark matter in an ultra-clean facility in Canada, and urban explorer Bradley Garrett navigating storm-drain tunnels in Las Vegas.The documentary intertwines these experiences with Sandra Hüller reading poetic prose about the 'nether' in a faintly Americanised accent. While the film raises intriguing ideas, it sometimes struggles to reconcile natural underground spaces with human-made ones. The most striking scenes showcase Lisanti's work searching for dark matter, highlighting the vastness of deep time and the potentially fruitless pursuit of scientific discovery.The film is set to release in UK and Irish cinemas on 27 March, offering viewers a chance to explore the hidden world beneath their feet.

Denis Lavant delivers a captivating performance in 'Redoubt', a Swedish film directed by John Skoog. Lavant plays Karl-Göran Persson, a farmhand from rural Sweden who becomes fixated on transforming his humble shack into a public shelter, dubbed a 'redoubt', in preparation for a potential nuclear catastrophe.The film, shot in stunning monochrome, chronicles Persson's journey as he scours the countryside for materials to fortify his shelter. His obsession is sparked by an official pamphlet warning citizens of the impending threat of nuclear war. As Persson works tirelessly on his project, he faces a mix of curiosity and hostility from the local community.Lavant's portrayal of Persson is both intriguing and vulnerable, evoking comparisons to iconic characters like Quasimodo and Nosferatu. The actor also showcases his musical talents on the accordion and even appears to hypnotize a chicken. Despite the film's static nature, which may leave viewers questioning its direction, Lavant's performance is unforgettable.'Redoubt' is a thought-provoking exploration of loneliness, fear, and community. While the film's conclusion may seem ambiguous, it ultimately presents a poignant reflection on the human condition. With its unique blend of drama and social commentary, 'Redoubt' is set to leave a lasting impression on audiences when it hits UK cinemas on March 27.

The concept of a uniform consumer experience, once a hallmark of American equality, is rapidly eroding. Andy Warhol's 1975 observation that the richest and poorest consumers could buy the same products is no longer true. Today, many everyday experiences and products are being segmented into multiple tiers, often with significant price differences.The airline industry is a prime example of this trend. What was once a standard experience, including free checked bags and snacks, is now often subject to additional fees. This model is spreading to other sectors, such as cinemas, where AMC Theatres is introducing tiered seating with priority access for loyalty program members.The trend doesn't stop there. Ski resorts and Disney World are also implementing paid 'fast-track' options to skip lines, while the healthcare sector is seeing a rise in 'concierge medicine' with membership fees as high as $50,000 a year. These developments are widening the gap between those who can afford premium experiences and those who cannot.The author, Arwa Mahdawi, argues that this trend is part of a broader shift where corporate greed is making everyday life more expensive and less accessible to the masses. As a result, people are opting to stay home rather than pay high prices for experiences that were once affordable.This shift towards premiumization raises questions about the impact on society and the economy. While it may benefit corporations and shareholders, it risks exacerbating existing inequalities and reducing social mobility.

The Belfast-set true-crime thriller 'No Ordinary Heist' is based on real-life events from 2004, but the film feels underpowered and apologetic, clumsily assembled and blandly directed by Colin McIvor. The two main male headliners, Eddie Marsan and Éanna Hardwicke, deliver fine performances, although Marsan's casting raises questions.Marsan does a good job nailing the Belfast accent, but his presence is recessive, making him an odd choice for the role of Richard Murray, an uptight bank manager. The bank robbers are fairly undifferentiated, apart from a skeevy character played by JB Moore. The film touches on the tension between past and future Northern Ireland, but this rich seam is not thoroughly mined.The film also explores a subplot about Murray being pressured by the bank's owners to make half the staff redundant, which is of particular interest to security chief Mags (Michelle Fairley). However, this strand is left hanging, wasting Fairley's talent. Ultimately, the film feels like the makers had neither the budget nor the vision to make the material sing, resulting in a most ordinary work.No Ordinary Heist is set to release in UK and Irish cinemas from 27 March.

The film 'Empire of Lies' starts with a promising premise for a low-budget psychological thriller, set entirely in a field in Gloucestershire. The story revolves around Dave, a middle-aged man played by Joseph Millson, who lives in a caravan and keeps a gun in his kitchen cupboard. His life takes a dramatic turn when a young woman, claiming to be a YouTuber, enters his field with a camera.The woman, played by Natalie Spence, uncovers a dark past, revealing that Dave's climate-activist daughter has been murdered, with Dave as the prime suspect. The police lack evidence to charge him, but the media has vilified him. As the story unfolds, it becomes clear that Dave is a far-right conspiracist with extreme views on various topics, including Covid and dinosaurs.The film's tension builds as Dave shares his side of the story with the YouTuber, who initially appears earnest in her pursuit of truth. However, the script and direction struggle to maintain the high-wire act, making the twist ending feel somewhat unsatisfying. Despite solid performances from the actors, the film fails to generate enough genuine emotion or intrigue to keep viewers engaged.'Empire of Lies' is set to release in UK cinemas on March 27 and on digital platforms on April 13.

The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.