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The film 'Fuze' is a London heist thriller that promises to deliver a wild ride with its intricate plot and high-stakes action. Written by screenwriter Ben Hopkins and directed by David Mackenzie, the movie boasts a talented cast, including Theo James and Aaron Taylor-Johnson.Aaron Taylor-Johnson plays Major Will Tranter, a bomb disposal officer who becomes embroiled in a daring heist. The plot thickens when a crew of bank robbers, led by Theo James and Sam Worthington, use a giant unexploded WWII device as a diversion to tunnel into a safe-deposit vault.The film's tense moments include a three-second bank transfer of millions of illicit dollars, which can be monitored on a smartphone in real-time. The reviewer notes that the movie's chutzpah and athletic plot contortions help to make up for its innate silliness.The movie features a star-studded cast, including Gugu Mbatha-Raw as the Met's chief superintendent. With its action-packed plot and high-stakes heist, 'Fuze' is set to thrill audiences when it hits cinemas on April 3 in the UK, April 16 in Australia, and April 24 in the US.

Johannes Radebe, also known as Jojo from Strictly, is a natural performer who shines brightly as Lola in the musical Kinky Boots. His stage presence is magnetic, and his dancing is mesmerizing. Radebe's portrayal of the drag queen Lola is captivating, with impressive entrances and a strong performance.The musical, based on the 2005 film, tells the story of a Northampton shoe factory that switches to making boots for drag queens. The show features a riot of colors and sparkle, with impressive costumes designed by Robert Jones and Tom Rogers. The story follows Charlie Price, who returns to his hometown to take over the family business and, along with Lola and her friends, devises a plan to save the factory.Radebe's performance is supported by a talented cast, including Courtney Bowman as Lauren and Scott Paige as George. While Radebe's singing voice may not be as strong as his dancing, he brings a unique energy to the role. The show's direction by Nikolai Foster ensures that the cast delivers the right tone, but the musical may lack depth in its storytelling.Overall, Kinky Boots offers an enjoyable night out, with a blend of music, dance, and comedy. The show runs at the London Coliseum until July 11.

James McAvoy, a renowned British actor, has spoken out about the challenges of being typecast due to his Scottish accent. In an interview, McAvoy discussed his directorial debut, 'California Schemin', a film based on the true story of two Scottish men who posed as Los Angeles rappers.McAvoy emphasized the importance of authenticity in storytelling, particularly when it comes to regional accents and cultural representation. He shared his own experiences of being reduced to a "noise" due to his accent, highlighting the need for more nuanced portrayals of Scottish characters in film.The film, which stars Séamus McLean Ross and Samuel Bottomley as the two Scottish protagonists, explores themes of friendship, circumstance, and the limits of authenticity. McAvoy expressed his desire to make films that showcase working-class Scottish stories, saying, "I don’t think we make enough to satisfy the cultural needs of the 6 million people that live in this country."McAvoy also touched on the issue of limited opportunities for Scottish actors, citing the lack of greenlit projects and the dominance of a few established stars. He praised Screen Scotland for its efforts to boost the country's film industry, which aims to be worth £1 billion within five years.'California Schemin'' is set to release in UK and Irish cinemas on April 10, offering a fresh perspective on Scottish storytelling and the complexities of cultural identity.

Ethiopian women's rights activists are facing a rising tide of digital violence, including online threats, doxing, and deepfake abuse, forcing some to flee the country. Yordanos Bezabih, an Ethiopian women's rights activist, had faced online threats for years, including acid attacks, gang-rape, and death. However, in 2025, the threats became more menacing, with an anonymous Telegram group organizing an effort to track down her location.The group shared deepfakes of her – nude images and videos. A stranger started filming her in the streets, calling her by her social media handle. Thieves broke into her house and stole her laptop. Soon after, her Telegram account was hacked, and her private photos and messages were circulated on social media. The perpetrators later circulated her address, demanding she be found and “executed”.In August, Bezabih left Ethiopia on a fellowship for human rights defenders. She has not returned since; it is too dangerous. “I have been forced to remain outside the country in order to protect my safety and continue my work,” she says.Bezabih is one of a small but growing number of feminists and women’s rights defenders who have left Ethiopia over the past two years, as online violence has become all-pervasive and uncontrolled. Three years after Facebook was accused of allowing hate speech to spread unchecked in Ethiopia, amid genocidal violence against ethnic Tigrayans during the civil war – claims rejected by Meta – social media inciters in Ethiopia have found a new target: women online.Research by the Centre for Information Resilience (CIR) bears out the scale of online gendered abuse in Ethiopia. Its 2024 report, Silence, Shamed and Threatened, found that technology-facilitated gender-based violence (TFGBV) has become “normalized to the point of invisibility” and is a daily occurrence with severe offline impacts, including psychological harm, physical assault, and arrests.Activists say the government and social media platforms are not doing enough to protect them. “I don’t think the government is much concerned about online harassment. It is barely a government agenda,” says Befekadu Hailu, an Ethiopian civil society leader and former director of Ethiopia’s Centre for the Advancement of Rights and Democracy.Bezabih says the online platforms that enable the violence also do little about it. “Even though they claim to have all these community guidelines, tech platforms never respond to reports, claims or even appeals.”

Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

The UK government is faced with a critical decision on whether to adopt a new law that would require online pornography providers to verify the consent of participants in their content. This move is aimed at curbing the rampant abuse and exploitation prevalent in the industry. The need for such a law has become increasingly evident following several high-profile cases, including a New York Times investigation into Pornhub, which found that the platform hosted videos featuring underaged and sex-trafficked subjects. Similarly, the trial of Dominique Pelicot exposed the horrific abuse of a woman who was raped while unconscious, with the perpetrator sharing videos of the assault online. The proposed legislation, championed by Conservative peer Gabby Bertin, would compel digital pornography businesses to verify the identities of all those featured and confirm that their consent has been obtained. This measure has garnered support from senior Labour figures and influential peers, including Beeban Kidron and Helena Kennedy. The UK's online safety act, introduced last year, brought in age verification for sites hosting user-generated content and gave the regulator, Ofcom, powers to fine or block businesses. However, concerns about consent in relation to professionally produced pornography remain. The Labour MP Diana Johnson was the first to propose consent verification and a new right for performers to withdraw it. The government now faces a choice: accept the bill as amended and make the UK a pioneer in online pornography regulation, or strip the new clause out. The outcome is far from guaranteed, but the pressure from Bertin and her allies has already led ministers to agree to outlaw strangulation imagery and scenes purporting to show incest. Campaigners argue that the regulation is crucial in tackling online misogyny and the soaring rate of child sexual abuse in the UK. The National Crime Agency has blamed online image-sharing and chatrooms for the increase in child sexual abuse, with livestreams featuring children available for as little as £20. The proposed law would also address the issue of deepfake pornographic images, which were outlawed last year thanks to the courage of survivors and a group of women in parliament. As the bill returns to the Commons, the government should throw its weight behind a new, stronger model of consent, ensuring that those who agree to be filmed having sex have the right to withdraw permission for others to watch.

The Drama, directed by Norwegian filmmaker Kristoffer Borgli, is a jeu d'esprit of outrage, a psychological meltdown that is more astutely articulated than in many another more solemnly intended film.The film centers around Charlie, played by Robert Pattinson, a young British art historian based in the US, and Emma, played by Zendaya, a beautiful and charming young woman who is deaf in one ear. Their whirlwind romance leads to a wedding, but their relationship is put to the test when Emma reveals a dark secret from her past: at 14, she planned a high school shooting but was thwarted when another shooting occurred at a local mall, killing a friend.The film's tone is a delicate balance of satire and thriller, leaving viewers questioning whether it's a black-comedic absurdity or a serious commentary on the darker aspects of human nature. The film's ingenuity lies in its generic ambiguity, making it difficult to categorize as solely a romantic comedy or a thriller.The Drama has sparked controversy and debate, with some critics praising its bold and insouciantly offensive approach, while others have expressed discomfort with its handling of sensitive topics like gun violence and mental health.Despite some critics arguing that the film slightly falls down in its portrayal of the aftermath of Emma's non-crime, it offers a thought-provoking exploration of the human psyche and the complexities of relationships.The Drama is set to release in Australia on April 2, and in the UK and US on April 3.

The latest film from Chloé Robichaud, 'Two Women', is a remake of the 1970 French-Canadian sex comedy of the same name. Unfortunately, it hasn't aged well, coming across as silly, clumsy, and dated in its modern retelling.The story follows two unsatisfied women, Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf), who live next door to each other in a suburban condo development. Both are unhappy in their marriages – Violette's husband Benoît (Félix Moati) is often away, supposedly on business, but actually having affairs, while Florence has a bland, sexless relationship with David (Mani Soleymanlou). The two women form a friendship and, without explicitly planning it, begin having sex with men they invite into their homes for repairs or odd jobs while their partners are away.The film's sex scenes feel both cynical and naive, lacking the eroticism of softcore erotica and the plausibility of drama. The movie attempts to draw comparisons to the 'Confessions of a Window Cleaner' series but falls short. One notable moment includes a discussion on how Tinder promotes addiction rather than love, but such insightful moments are few and far between.Overall, 'Two Women' is a tiring and mediocre film that fails to deliver on its promise of a modern take on female desire and infidelity. It is set to release in UK cinemas from 3 April.

The Japanese action-comedy film 'Ghost Killer' presents a unique blend of supernatural elements and high-octane action. Akari Takaishi stars as Fumika, a college student and part-time waitress who, after picking up a bullet casing, becomes connected to the ghost of Kudo, a recently murdered hired assassin.Kudo's ghost inhabits Fumika's body, allowing him to use her as a karate-chopping, gun-slinging martial arts vessel to right wrongs and avenge his own murder. This setup enables the film to deliver thrilling action sequences, showcasing fisticuffs and fancy fight choreography.Director Kensuke Sonomura, who previously worked on the successful 'Baby Assassins' franchise, brings his expertise in action direction to the film. Takaishi, who collaborated with Sonomura on 'Baby Assassins,' demonstrates her charisma and impressive range as Fumika, convincingly portraying both her vulnerability and deadly efficiency when possessed by Kudo.The film's script, written by Yugo Sakamoto, balances action with meaningful themes, including women's rights and the fight against male aggression. Notably, Fumika's character is presented in a practical and empowering way, often wearing tracksuit trousers, a puffer coat, and a knitted beanie, avoiding objectification.'Ghost Killer' is set to release on digital platforms from April 6, offering a fresh take on the action-comedy genre with its blend of supernatural intrigue and martial arts excitement.