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Fallen Angel of the Highway hits UK cinemas on 12 June 2026, delivering a turbo‑charged mystery that pits Conan’s kid‑sized sleuthing against a black superbike terrorising a Yokohama freeway. The review balances praise for the film’s kinetic set‑pieces with criticism of its story‑telling choices.Opening the Throttle: The Film’s Premise and SettingThe movie opens with a phantom, headless biker followed by three more choppers tearing up a highway, echoing the kinetic opening of Akira. Conan and his friends are en route to a motorcycle convention where elite bike cop Chihaya (voiced by Miyuki Sawashiro) pursues a gang of felons, while a mysterious black superbike menaces other riders. The plot intertwines a conspiracy about automated vehicles and big‑data surveillance with personal trauma, notably Chihaya’s brother, a bomb‑disposal expert.Numbers on the Road: Position in the Conan Franchise29th cinema outing for the long‑running Detective Conan series.Released in the UK on 12 June 2026.No box‑office figures are provided in the source, but the film’s placement as the latest installment underscores the franchise’s sustained commercial viability.Why the Ride Matters: Visuals, Action, and Genre FusionDirector Takahiro Hasui delivers “high‑class visuals” with deep‑focus cityscapes and idiosyncratic character work. Chase sequences, while not reaching the hallucinatory intensity of Akira, possess a “coursing, scything dynamism” that elevates the action. However, the narrative relies on “retroactively explanatory info‑dumps,” preventing characters—especially Conan and Chihaya—from resonating fully.Looking Ahead: What This Means for Future Conan InstallmentsIf audiences can tolerate a “story revometer constantly cranked up high,” the film’s energetic style suggests future entries may continue blending high‑speed spectacle with mystery. Yet the critique of exposition hints that upcoming movies will need tighter storytelling to keep the franchise’s core appeal intact.

Quick Take: A Darkly Comic Look at Mortality in Chinese CinemaBeing Towards Death opens in UK cinemas on 5 June, offering a chaotic first half‑hour before settling into a bittersweet ensemble piece about a hospital’s “Ward 10 Fearless Squad.” Director Chen Sicheng trades his blockbuster Detective Chinatown formula for a meditation on entropy, using humor to explore how patients confront the end of life.How Chen Sicheng Marries Hospital Humor with Existential QuestionsThe plot follows caregiver Xiaobing (Jiang Long), who teeters on a rooftop after a failed robot‑care scheme, only to be recruited by the hospital director into a mental‑health study for terminal cancer patients. He joins a motley crew – property mogul Mau (Cai Ming), obedient first‑born Bowen (Huang Yi), and the scheming poppet Little Bing (Ye Quanxi) – and convinces aspiring director Dao (Wang Zichuan) to document their lives. The film’s self‑referential moments, including Dao’s constant quoting of Chen and a cameo by sixth‑generation auteur Jia Zhangke, underscore its meta‑commentary on Chinese filmmaking.Box‑Office Prospects and Release WindowWith a limited UK release beginning 5 June, the film targets both art‑house audiences and fans of Chen’s earlier commercial work. No official budget or opening‑week figures have been disclosed, but the combination of a recognizable director and a timely, socially conscious premise positions it for modest box‑office returns and potential festival circulation.Why the Film Signals a Shift in Mainland Comedy‑DramaBy placing comedy inside a hospice, the movie challenges the genre’s traditional escapism, reflecting a growing appetite for stories that blend levity with serious social issues. Its focus on mental‑health interventions and the humanization of terminal patients may encourage other Chinese creators to tackle health‑related narratives, expanding the thematic range of mainstream cinema.What to Expect from the Film’s Journey Beyond ChinaIf domestic audiences respond positively, Being Towards Death could secure wider Asian distribution and possibly a streaming deal, amplifying its discussion of mortality to a global viewership. Critics will likely continue to compare Chen’s tonal shift with the work of auteurs like Jia Zhangke, watching to see whether the film’s “bittersweet” ambition matures into a new sub‑genre of Chinese hospital comedy‑drama.

Quick Synopsis: A Pandemic‑Era Road Trip to CornwallBonnie & Clive follows three twenty‑somethings who set off from south London for a grandparents’ house in Cornwall at the start of a Covid lockdown. Eleanor May Blackburn plays Bonnie, who bumps into homeless busker Clive (Michael Kodi Farrow) and a hitchhiking anthropology student Wilco (James Jip) as they cruise in a retro 1990s camper van.Low‑Budget Charm or Over‑Played Quirk?The film leans heavily on whimsical ukulele‑accompanied songs and deliberately “naff” humor, but the novelty wears off within minutes. Performances feel exaggerated, reminiscent of children’s TV, and the comedic beats—such as a dead body in a wheelchair at the Eden Project—feel forced rather than funny.Box‑Office Outlook and Release TimingDistributed in UK cinemas from 3 June 2026, the movie’s modest budget and niche premise limit its mainstream appeal. Without strong word‑of‑mouth or critical buzz, opening weekend revenues are likely to be modest.What This Means for British Indie ComedyShows the challenge of balancing low‑budget creativity with audience expectations.Highlights the risk of relying on pandemic‑themed nostalgia.May push indie makers to seek sharper scripts over gimmicky charm.Looking Ahead: Potential Cult Following?Despite its flaws, the film’s earnestness and quirky set‑pieces could endear it to a small cult audience, especially among viewers who appreciate off‑beat British humor.

The Lead Callum Scott Howells takes center stage as Henry Paget, 5th Marquess of Anglesey, a flamboyant aristocrat in the high-spirited period drama 'Madfabulous'. This film, from screenwriter Lisa Baker and director Celyn Jones, shines a light on a forgotten chapter in queer Victorian history. The Event Details Howells plays Paget, a delicate consumptive and aesthete who, in the late 19th century, blew his vast inheritance on colossal private theatricals, wild parties, and jaw-dropping performances. He caused scandal with his behavior and apparently unconsummated marriage to first cousin Lily (Ruby Stokes). The Performance Analysis Rupert Everett is excellent in the fictionalized role of the kindly butler Gelert. His performance reminds the viewer of his outstanding turn as Oscar Wilde in 'The Happy Prince'. Paget's defiant public career was conducted while the disgraced Wilde was still in prison; like Wilde, his life ended in French exile. The Impact Analysis The film imagines Paget wanting his theatricals to raise money for a supposed orphanage; the real reason may have been more narcissistic than that. Nevertheless, a strong turn from Howells as Paget, a Wildean in everything but talent. The Prediction 'Madfabulous' is set to hit UK cinemas from June 5, 2026. With its good-humored drama and strong performances, it is expected to attract audiences interested in period dramas and queer history.

The Masterpiece of John Woo The title of this 1990 John Woo extravaganza might lead the uninitiated to expect a chillingly focused, targeted assassination. Actually, there are innumerable bullets and innumerable heads in this over-the-top gonzo spectacle. It is a crime thriller, a wartime action film set in Vietnam, but it offers something other than the usual Hollywood perspective; it is a parable of greed comparable to The Treasure of the Sierra Madre, and even a kind of romantic melodrama. The Symbolic Bullet There is, however, one key bullet in a head, a literal bullet lodged in the skull of someone who achieves a macabre zombie-like semi-survival, the bullet being symbolic of the way violence takes root in the brain, dehumanising its victim. The final “boardroom” scene disclosing this image is toweringly mad and strange. Yet in this movie, as in so many other Woo films, we can see how the director counterintuitively uses sad music – harmonica, woodwind – over grisly, brutal action sequences, as if what he wants us to register is not the violence or the shock but just how poignantly futile and pathetic it all is. The Plot Unfolds The setting is – initially – late 60s Hong Kong; Tony Leung plays Ben, a young guy getting married to his sweetheart Jane (Fennie Yuen), and on hand are his buddies Frank (Jacky Cheung) and Paul (Waise Lee). This trio are involved in a gang war with a rival mob who corner Frank when he has gone to get cash from the local moneylender to pay for the wedding. The confrontation ends in violence and, simply to get away and avoid the heat – Woo has a cameo as a police inspector – the three guys accept a crooked job from a local gang boss smuggling contraband pharmaceuticals in Vietnam. The Climax In Saigon, all their plans explode in pure anarchy; they are at first arrested under suspicion of working for the Vietcong, then upgrade their strategy to cynical arms smuggling for the North Vietnamese, and stealing the gold belonging to the local wiseguy who was supposed to be distributing their drugs. They make contact with a worldly fixer called Luke (Simon Yam), who has a Catherine Deneuve poster in his apartment, and also gallantly undertake to rescue a Hong Kong singer Sally (Yolinda Yam), who has been trafficked to Vietnam to sell sex. They end up on the spectacular field of battle itself (with helicopters, explosions, burning villages), where Paul, increasingly obsessed with the gold, finds himself at a key moment at mortal risk of detection if he cannot keep the wounded Frank quiet, whose cries of pain might alert the enemy to their position. The Legacy It’s an extraordinary, uninhibited barnstormer from Woo, who takes us from regular, domestic crime to military chaos with confidence and sweep. One moment, in which someone stands in front of a tank, even appears to echo the Tiananmen Square protests. No one else could have made it. The Release Bullet in the Head is in UK cinemas from 1 June, and on 4K UHD and Blu-ray from 22 June.

The Lead 'Fairyland' offers a glorious wallow in nostalgia for those familiar with the Bay Area in the 1970s and 80s, with grainy archive footage of San Francisco Gay Freedom parades and sushi at a book launch. But at its core, the film tells the story of a new kind of family. Queer Parenting in 1970s San Francisco The film centers around Steve (Scoot McNairy), a gay father raising his young daughter Alysia (Nessa Dougherty, then Coda's Emilia Jones as a teen) in San Francisco. After his wife, Alysia's mother, is killed in a car accident, Steve is faced with the challenge of parenting alone. He turns down an offer from his ultra-straight mother-in-law (Geena Davis) to raise the little girl. Parenting Techniques and Resilience Steve's parenting techniques are sometimes selfish and neglectful, but he loves Alysia deeply. He encourages her independence, teaching her to navigate the city and take care of herself. The film draws comparisons to Marielle Heller's adaptation of The Diary of a Teenage Girl, but Alysia turns out to be more resilient and independent. The Impact of the AIDS Epidemic The film's second half covers the later 80s, as the AIDS epidemic takes a devastating toll on the community. The cast, including McNairy and Jones, deliver excellent performances. Writer-director Andrew Durham adapts Alysia Abbott's memoir with sensitivity and discretion. The Future of Queer Representation 'Fairyland' is a significant contribution to queer representation in film. With its release in UK cinemas on May 29, it promises to resonate with audiences and spark important conversations about family, love, and identity.

The Return of a Horror LegendHammer Films' iconic 1958 horror masterpiece Dracula is set to return to UK cinemas this October in a groundbreaking 4K restoration that includes footage lost for over six decades. The long-lost scenes, deemed too gruesome for original audiences, were discovered in a Warner Bros warehouse and will be making their UK and US debut for the first time.Rediscovered Horror TreasuresThe restoration process has reinstated footage that was previously seen only by audiences at the film's original Japanese theatrical release in 1958. According to Hammer Films' chief executive John Gore, this represents "the recovery of a piece of British film history that audiences believed had been lost for ever."The recovered material was discovered in a Warner Bros warehouse near Los Angeles, where the director's cut of the original 1958 Dracula was found among countless other film treasures. Gore explained that censors and distributors had cut the footage after audiences fainted during screenings when Lee's vampire lunged at the neck of his victims, with his fangs dripping with blood.The Legacy of Hammer's Horror VisionDracula (1958) fundamentally changed the landscape of horror cinema, introducing Christopher Lee's iconic portrayal of Count Dracula that redefined the on-screen vampire for generations. The film features Lee's now-famous bloodshot eyes, predatory fangs, and visceral physicality, while Peter Cushing delivers what is widely regarded as the definitive screen portrayal of Van Helsing, the fearless vampire hunter."Think of every Halloween and you see all those fangs – that's a Hammer and Christopher Lee invention," Gore noted. "It all started when Christopher Lee said 'I want more teeth with this', so they came up with something that had some bite."Cultural Impact and Restoration SignificanceThe restoration of Dracula represents more than just a cinematic re-release; it marks a significant moment in film preservation history. The fact that this footage remained unseen for over 60 years highlights how cultural sensitivities and censorship practices have evolved over time.The film was the second on-screen pairing of Lee and Cushing after they starred in the 1957 film The Curse of Frankenstein, going on to become one of the most celebrated rivalries in cinema history. The announcement of the restoration was made on World Dracula Day, May 26, coinciding with what would have been Peter Cushing's birthday.The Future of Classic Horror RestorationsThis restoration sets a precedent for other classic films that may have lost footage or altered versions due to past censorship practices. As Gore noted, Hammer's business was historically "based on the censor," with getting an X-rated certificate crucial to marketing, but limited by what censors would allow.The rerelease of Dracula with its complete footage not only honors Hammer's horror legacy but also provides contemporary audiences with the opportunity to experience the film as its creators originally intended. The restored version will also be made available on home entertainment platforms, ensuring wider accessibility for horror enthusiasts worldwide.

Fight Like a Girl is a raw, under‑dog boxing drama set in the Democratic Republic of the Congo, spotlighting the harrowing reality of sexual violence while celebrating the resilience of its female protagonists.The Film’s Core Narrative and Authentic SettingThe story follows Safi (played by Ama Qamata), a teenage survivor of mineral‑mine exploitation who discovers a path to empowerment through boxing under the mentorship of former child‑soldier coach Balezi “Kibimango” Bagunda (portrayed by Hakeem Kae‑Kazim). The film’s gritty street‑level visuals were captured on location in Goma, lending a documentary‑like immediacy.Directed by Matthew LeutwylerFeatures real‑life boxer Clarck Ntambwe as inspiration for the star fighter AishaPost‑credits note reveals the real Kibimango was killed in 2025 while evacuating children from an orphanageRelease Timing and Distribution FactsUK theatrical release begins 22 May 2026Screened in UK cinemas as reported by The GuardianBroader Cultural Impact of a DRC‑Centric Female Boxing DramaBy foregrounding the DRC’s conflict‑driven gender violence and pairing it with a sports‑drama framework, the film expands global awareness of the region’s humanitarian crisis and challenges the traditionally male‑dominated boxing‑movie genre.What Lies Ahead for “Fight Like a Girl” and Similar StoriesGiven its authentic storytelling and timely release, the film is poised to attract festival circuits, spark discussions on gender‑based violence, and inspire further productions that blend social realism with genre conventions.

Gen Z's Cinema Comeback People born between 1997 and 2012 are now more frequent cinemagoers than some older age groups, with 87% having seen at least one film in a cinema in the last 12 months compared with 58% of baby boomers. This shift in cinema attendance patterns is reshaping the film industry and challenging assumptions about younger generations' entertainment preferences. The Digital Escape to Big Screens Many young people cite the cinema as a rare distraction-free zone in an increasingly digital world. "It's a distraction-free zone," says Emma Balfour, 19, from Kirkcaldy in Scotland. "It helps me stay off my phone, since it's something I want to stop using so much. There's a lot more social stigma around being on your phone when a film's playing on a cinema screen versus your own home, and the complete darkness means I can fully immerse myself." Alex McAleer, 22, living in Berkeley, California, agrees. "The ability to block out two hours and have that time be your own is so rare in a world where you're constantly accessible, aware of the news cycle and aware of the potential for your phone to alert you." Communal Experience in a Fragmented Media Landscape Cinema provides a rare communal experience that appeals to younger generations. "You don't get a lot of opportunities any more to really watch things with people in a group," says Jae, 23, from Swansea. "There are moments when everyone in the cinema laughs in unison, or you can see people crying or gasping in shock. It's the kind of setting where there's absolutely no commitment to chat, but you are still spending time with people." This communal aspect has become particularly valuable as media consumption becomes increasingly fragmented. Cinema provides the few "water cooler moments" that Jae's generation has left, with films released universally allowing for shared cultural touchstones. Social Media's Influence on Cinema Culture Ironically, while many young people seek to escape their phones at the cinema, social media platforms are driving cinema's popularity with this demographic. "The cinema is romanticised on TikTok," Kate, 26, from Cambridge, explains. "Film TikTokers do films to look out for, and there are normal people showing their Letterboxd or their experience of going to the cinema. You put anything to nice music and make it a montage, and that content does very well on social media." Letterboxd, an app for cinephiles to log films and publish reviews, has over 26 million users and is most popular among those aged between 18 and 35. "I've used Letterboxd for probably four years now," says Kate, who has 850 films logged. "I'm on it more than probably anything else and that's my main way of tracking what might be worth going to see." The Future of Cinema in a Digital Age Despite the enthusiasm from Gen Z, the future of cinemas remains uncertain. Many young cinemagoers are conscious that theaters could be under threat as attendance declines. Cineworld closed 11 UK cinemas in 2024, and a 2025 survey showed almost a third of UK independent cinemas are at risk. Cost is also a significant factor, with many young people favoring more affordable options. "If my only option was to go to Cineworld or something which is at least £15, I think I would struggle to want to go as much," says Cesca, 26, from London. "But my local cinema is Peckhamplex and they do £6.99 tickets, so that's more reasonable." Despite these challenges, Gen Z's enthusiasm for cinema offers hope for the industry's future. "The cinema is really valuable," says Alex McAleer. "I try to encourage as many of my friends to go as possible."