Synopsis

Adaptation of Helene Tursten’s short story collections An Elderly Lady Is Up to No Good and An Elderly Lady Must Not Be Crossed.

The series follows Maud Oldcastle (Close), a hilariously brusque, cantankerous, ruthless older woman – and those are her nice qualities. She is also a killer.

Determined to break from a lifetime spent caring for her sister (Penelope Wilton), Maud sets out to claim a long-overdue second act, but when a suspicious young detective (Claudia Jessie) investigating a death in Maud’s building starts to believe there is more to her than meets the eye, Maud is forced to reckon with her crimes, present and past.

Coming soon to Channel 4.

Credits

Glenn Close

Maud Oldcastle

Claudia Jessie

Hannah

Gloria Obianyo

Astrid

Anita Dobson

Elsa

Ben Crompton

Barry

Meera Syal

Margaret

Penelope Wilton

Charlotte

Tanya Reynolds

?

Mathew Baynton

?

Iain Glen

?

Raphaël Acloque

?

Nadia Albina

?

Louisa Binder

?

Meg Ballamy

?

Madeleine Mantock

?

Peter Egan

?

Richard E. Grant

?

Director

Lee Haven Jones

Writer

Nina Raine

Writer

Moses Raine

Synopsis

British Sci-Fi Thriller.

Hikers Mia and Erin come across a log cabin deep in the forest, where grizzled, enigmatic veteran Ray has taken a seemingly innocent young girl, Chloe, hostage.

But in attempting to intervene, they realise that there are far bigger events at play, and when they are attacked by a shadowy group of mercenaries, Chloe begins to reveal her true powers.

Credits

Iain Glen

Ray

Jessie Mei Li

Mia

Danielle Galligan

Erin

Katelyn Rose Downey

Chloe

Neil Maskell

Dominic

Conrad Khan

Nathan

Bronson Webb

Bobby

Director

Sam Johnson

Writer

Callum Henderson

Synopsis

Adaptation of Agatha Christie’s novel.

England. 1925. When a playful prank at a country manor leads to murder, an unlikely sleuth Lady Eileen “Bundle” Brent must unravel a dangerous web of secrets.

Streaming on Netflix from 15th January 2026.

Reviews

DAILY MAIL *****
EVENING STANDARD ****
FINANCIAL TIMES ****
DEN OF GEEK ****
CBR 7/10
EMPIRE ***
THE TIMES ***
THE TELEGRAPH ***
METRO ***
IRISH INDEPENDENT ***
SCREEN RANT 6/10

Seven Dials proves itself to be as relevant as Bundle in its outlook, with plenty to say about modernity in how it relates to women and the cost of war. It’s also just a spiffing good yarn, even if it doesn’t match up to some of Agatha Christie’s greatest work.

David Opie, Empire ***

The show is highly bingeable, with a fun setting and location, and allows an unlikely protagonist to drive the narrative and the series’ perspective.

Aramide Tinubu, Variety

Seven Dials is just tremendous fun. The plot is silly, but manages to skirt the edge of absurdity – or at least, it encourages us to dip a toe in, because the water’s actually nice and warm. The costumes are gorgeous, the grand old houses are the ultimate in property porn and the plot romps along at the speed of a good ol’ steam train.

It’s pure escapism, tailor-made for American audiences, and slightly less cynical British ones. How utterly charming.

Vicky Jessop, Evening Standard ****

Anchored by outstanding performances and a no-frills approach to the story, which, on balance, make for a moreish, witty and perfectly cosy murder mystery.

Rebecca Nicholson, Financial Times ****

From the basic building blocks of Christie’s novel, Chibnall fashions an ending that’s as moving as it is surprising. Three hours or not, I’d have gladly sat through more.

Alison Rowat, The Herald (Scotland)

It’s well executed in classic Christie style; awash with aristo porn (mansions, titles, cut-glass accents), rooted in postwar unease and enlivened by a game cast.

Barbara Ellen, The Observer

Agatha Christie’s Seven Dials is a well-paced, traditional Christie adaptation with a fun-to-watch young protagonist at its center, which is rare in the world of the classic mystery novelist’s stories.

Joel Keller, Decider

It’s also a surprisingly contemporary adaptation, reframed in a way that speaks to all-too-timely issues of empire, expansion, and the long-tail impact of trauma, even blatantly paying homage to Christie herself by setting its climactic final confrontation in the aisles of a moving train. These are all characters who have been irreparably shaped by the events of war and conquest, from displaced Cameroonian scientist Dr Cyril Matip (Nyasha Hatendi) to Gerry’s co-workers from the Foreign Office, who all clearly still live with the ghosts of what happened to them abroad.

Lacy Baugher, Den of Geek

There’s something thrillingly modern about the whole affair, and it feels as though you could pluck the plot and drop it in 21st-century England, which I found rather compelling.

Asyia Iftikhar, Metro

Credits

Mia McKenna-Bruce

Lady Eileen “Bundle” Brent

Edward Bluemel

Jimmy Thesiger

Martin Freeman

Superintendent Battle

Helena Bonham Carter

Lady Caterham

Iain Glen

Lord Caterham

Hughie O’Donnell

Bill Eversleigh

Alex Macqueen

George Lomax

Nabhaar Rizwan

Ronnie Devereux

Corey Mylchreest

Gerry Wade

Ella-Rae Smith

Loraine Wade

Mark Lewis Jones

Sir Oswald Coote

Dorothy Atkinson

Lady Maria Coote

Guy Siner

Tredwell

Josef Davies

Alfred

Nyasha Hatendi

Dr. Cyril Matip

Tim Preston

Rupert “Pongo” Bateman

Director

Chris Sweeney

Writer

Chris Chibnall

Writer

Agatha Christie

Synopsis

Biopic. The life of Manuel L. Quezon, a Filipino lawyer and soldier, who became the President of the Commonwealth of the Philippines from 1935 to 1944.

The film is part of TBA Studios’ cinematic “Bayaniverse,” a series of films based on Philippine history.

Quezon premiered in Philippine cinemas on 15th October 2025.

Reviews

The film is strongest when it embraces the political theatre—the sparring of ideals, the jockeying for influence, the tension of men convinced they alone hold the country’s destiny. There are no battlefields here, only rooms thick with rhetoric, smoke and men debating the nation’s fate as if playing chess with history itself. The exchanges between Quezon and Wood, for instance, feel like verbal warfare: civility wielded as a weapon and diplomacy as a duel.

Syrah Vivien Inocencio, Tatler Asia

There are no cavalry charges or heroic deaths here, only the subtle violence of politics. Yet the film never drags. Its pacing is deliberate, its dialogue taut and its moral tension unrelenting. By the end, Quezon becomes more than a portrait of one man but a reflection of an entire system. Tarog draws a clear through-line between Quezon’s shrewd diplomacy—his talent for appeasing both Americans and Filipino elites—and the political culture that still defines us today. In chasing independence “body and soul,” Quezon also perfected the template of patronage and compromise that continues to shape the nation’s fate.

What makes Quezon so haunting is how easily its world mirrors our own. The power plays behind closed doors, the eloquent justifications for corruption, the belief that ends justify means—they all feel painfully familiar. Nearly a century later, the same political theatre plays on, with new actors but the same script.

Syrah Vivien Inocencio, Tatler Asia

Iain Glen’s performance feels nuanced, with genuine emotional resonance.

Stephanie Mayo, Daily Tribune

Rosales’ return to the big screen after a seven-year film hiatus is well worth the wait as the actor gave the script justice. Equally committed to the cause are Glen capturing Wood’s mannerisms, Sarmenta (especially in scenes opposite Rosales), and Jake Macapagal as the loyal Manuel Nieto.

Kristofer Purnell, Philstar

Credits

Jericho Rosales

Manuel L. Quezon

Iain Glen

Governor-General Leonard Wood

Mon Confiado

President Emilio Aguinaldo

Benjamin Alves

Young Manuel L. Quezon

Arron Villaflor

Young Joven Hernando

Cris Villanueva

Joven Hernando

Romnick Sarmenta

Senator Sergio Osmeña

Karylle Yuzon

Doña Aurora Quezon

JC Santos

Senator Manuel Roxas

Jake Macapagal

Manuel Nieto

Bodjie Pascua

Raymundo Melliza

Angeli Bayani

Doña Maria Agoncillo

Jojit Lorenzo

Miguel Laureano

Joross Gamboa

Eduardo Rusca

Therese Malvar

Nadia Hernando

Ana Abad Santos

Carmen Hernando

Ketchup Eusebio

Pedro Janolino

Director

Jerrold Tarog

Synopsis

A story of strength, dreams, and unstoppable courage.

Tanvi Raina, a woman with autism, learns of her deceased Indian Army father’s dream to salute the flag at Siachen Glacier. Despite barriers facing those with autism in military service, she resolves to complete his mission.

In cinemas 18th July 2025.

Reviews

TIMES OF INDIA ****
LIVE HINDUSTAN ****
ABP LIVE ****
E24 ****
NEWS24 ****
FILMIBEAT ****
KOIMOI ****
TV9 HINDI ****
NAVBHARAT LIVE ****
NEWS 9 ****
BHASKAR ENGLISH ****
INDIA TV ****
INDIA NEWS ****
FILMFARE ***
FIRSTPOST ***
HINDUSTAN TIMES ***

Tanvi The Great is a film powered by heartfelt performances and an emotional core rooted in family, resilience, and purpose.

Rishabh Suri, Hindustan Times ***

Anupam Kher returns to direction after more than two decades with a deeply felt drama. ‘Tanvi: The Great’ is a heartfelt film that takes you into the world of a young autistic girl who dares to dream the impossible—to join the Indian Army, like her late father. Kher’s film doesn’t rely on loud drama or larger-than-life characters. Instead, it wins you over with its sincerity, warmth, and ability to touch on an important subject without turning didactic. At its core, this is a film about acceptance—of self, of others, and of the idea that no dream is too big if someone believes in you. It educates without lecturing and moves without manipulating. Kher’s mature direction is backed by an honest script and a cast that delivers across the board.

Abhishek Srivastava, Times of India ****

The film also deserves credit for how it portrays autism. It doesn’t over-explain or dramatize; instead, it invites viewers to observe, understand, and feel.

Abhishek Srivastava, Times of India ****

Ultimately, ‘Tanvi: The Great’ is less about autism or the army and more about human connection—how understanding can grow in silence, how dreams can be nurtured by love, and how change often begins with one person choosing to listen. It’s a rare drama that sidesteps melodrama and chooses subtlety. The emotional moments aren’t loud, but they linger. There’s no high-pitched conflict, no exaggerated breakdowns—just quiet, believable relationships and a girl who dares to hope. It’s a film that may not leave you overwhelmed, but it will leave you moved. And sometimes, that’s enough.

Abhishek Srivastava, Times of India ****

Tanvi The Great explores the inspiring philosophy of achieving one’s goal against all odds, where Anupam Kher masterfully crafts the narrative by infusing it with the emotional elements of kindness, goodness, and compassion.

Ganesh Aaglave, Firstpost ***

The world needs more heroes like Tanvi and cinema needs more stories like Tanvi The Great.

Rachit Gupta, Filmfare ***

A host of veteran actors give solid accounts of themselves. Jackie Shroff, Boman Irani, Arvind Swami and Nassar (in a brief appearance) are in their elements, as is Iain Glen.

Saibal Chatterjee, NDTV

Credits

Iain Glen

Michael Simmons

Anupam Kher

Col. Pratap Raina

Shubhangi Dutt

Tanvi

Boman Irani

Raza Saab

Jackie Shroff

Brig. Joshi

Arvind Swamy

Maj. Srinivasan

Pallavi Joshi

Karan Tacker

Capt. Samar Raina

Vidya Raina

Nasser

Brig. Rao

Director

Anupam Kher

Synopsis

The legendary Alucard, Richter Belmont, and his band of vampire hunters are in a desperate race against time.

Erzsebet Báthory, the Vampire Messiah, who already seems invincible, seeks the full power of the goddess Sekhmet so she can plunge the world into endless darkness and terror

The animated series premiered 16th January 2025 on Netflix.

Reviews

BUT WHY THO? 10/10
DMT 5/5
SCREEN RANT 9.8/10
TELL-TALE TV 4.75/5
COLLIDER 8/10
CBR 8/10
BLOODY DISGUSTING 4/5
READY STEADY CUT 4/5
IGN 6/10

The series premiered in 2023, two years after the fourth and final season of the original Castlevania, and received mostly positive reviews. However, Season 2 is a considerable improvement, upping the ante and offering a satisfying and epic tale of legacy, heroism, and duty that matches the heights reached by the original Castlevania at its peak. With eight episodes and more spectacle than one can handle, Castlevania: Nocturne Season 2 might be the best that Netflix’s adult animation branch has offered thus far.

David Caballero, Collider 8/10

The biggest strength in Castlevania: Nocturne‘s second season is how many storylines it juggles, deftly allowing each one room to breathe and expand.

David Caballero, Collider 8/10

Castlevania: Nocturne Season 2 devotes time to expanding on each of its ensemble characters without missing a beat. Writing this review, it’s astonishing how many characters the single season can build on and explore with so few episodes. It’s a feat rarely accomplished now that the average season of a prestige television series is 6 to 8 episodes.

Kate Sánchez, But Why Tho? 10/10

Castlevania Nocturne Season 2 is a brilliant tapestry of accepting your pain, embracing those you love, and attempting to survive if only to protect what’s more important to you, even if sometimes that means letting them go. But in that focal point, the series also casts a wide net over the idea of heroism: some things are worth dying for, and others are not. Understanding the difference allows you to see what matters in life and embrace the path that needs you the most.

Kate Sánchez, But Why Tho? 10/10

There is weight every time we cut away from the past or learn more about present conflicts. It’s easy for the series to show lip service toward representing different parts of the world and the depth of trauma and emotions around them. It’s even easier to check a box off. But Nocturne doesn’t do that. Instead, it grounds itself in its people as much as its setting or action spectacle. It’s beautiful, allowing every character to become complex and layered.

Kate Sánchez, But Why Tho? 10/10

An astonishing feat, every subsequent season since 2017, the Castlevania property has deepened and become even more beautiful. The animation is breathtaking, the fantasy is more significant, and the lore has developed to the point that it exists separately but is enhanced by the original Konami video game series. Castlevania: Nocturne Season 3 hasn’t been announced yet, but whether it’s a new season, side stories, or anything else, I want to stay with these characters. To sum it up, Castlevania Nocturne Season 2 is utterly perfect storytelling.

Kate Sánchez, But Why Tho? 10/10

Coming to the voice acting in Season 2, everyone deserves all the awards in the world for their work. No points for guessing who is my favorite; it’s Elarica Johnson. I think it’s kind of wild that the girl who played a waitress in Harry Potter and the Half-Blood Prince has gone on to become one of my favorite actresses. I mean, she was amazing in the first season, but she is even better this time around. Edward Bluemel is amazing. His comic timing is so good. Pixie Davis is stupendous. The way she portrays Maria’s descent into darkness is just great. Thuso Mbedu is excellent, especially during the finale. Her chemistry with both Bluemel and James Callis (who plays Alucard) is enjoyable. Speaking of Callis, listening to him talk in that soothing fashion while his character cuts through all kinds of vampires is satisfying. Sydney James Harcourt’s songs are masterful. Nastassja Kinski gets to highlight a different side of Tera, which is awesome. Franka Potente, in the role of Erzsebet, is intimidating and sort of intoxicating at the same time (I don’t know how she does that). Richard Dormer, Iain Glen, Aaron Neil, and the rest of the supporting cast are all aces in my book.

Pramit Chatterjee, DMT, 5/5

Castlevania: Nocturne Season 2 retains the high quality of its predecessor – and the main series – in a more character-focused sophomore outing that nonetheless has its fair share of epic action.

Jonathon Wilson, Ready Steady Cut, 4/5

One of the most effective elements from Castlevania: Nocturne’s first season is how it juxtaposed its many undead atrocities with the French Revolution. This continues to be a rewarding setting that amplifies the season’s central themes of power, agency, equality, and legacy.

Daniel Kurland, Bloody Disgusting, 4/5

Castlevania: Nocturne Season 2 has upped its game massively with strong character-centric arcs, a captivating overarching story, and its awesome, savage fights.

Chris Gallardo, Tell-Tale TV, 4.75/5

A gluttonous serving of arguably the best ongoing video game adaptation of all time.

Isaiah Colbert, io9

Another highlight of Nocturne is how its fantastical narrative seamlessly melds with historical events, coloring the backdrop of its story. While the show is set during the French Revolution, it also adds texture to the global scale of its story by incorporating Egyptian, African, and West African mythologies into the mix. Nocturne also continues the series’ stellar exploration of its Black characters, Annette and Drolta, who are the driving force behind the show’s most intriguing developments.

This isn’t to say Nocturne‘s writing is only excellent when it’s threading how its fictional story coincides with real-world events. The show also flexes its creative muscles, fleshing out characters in its mythos. Key among them are Maria, who is on the precipice of something dark manifesting with her beast-summoning powers following the vampiric turning of her mother, Tera (Nastassja Kinski)—and Juste Belmont (Iain Glen), rekindling the sparks of heroism he thought died long ago.

Isaiah Colbert, io9

Credits

Edward Bluemel

Richter Belmont

Pixie Davies

Maria Renard

Thuso Mbedu

Annette

Sydney James Harcourt

Edouard

Nastassja Kinski

Tera

Zahn McClarnon

Olrox

Franka Potente

Erzsebet Báthory

James Callis

Alucard

Richard Dormer

The Abbot

Iain Glen

Juste Belmont

Elarica Johnson

Drolta Tzuentes

Aaron Neil

Mizrak

Director

Sam Deats

Director

Adam Deats

Showrunner/Writer

Clive Bradley

Showrunner

Kevin Kolde

Synopsis

Six-part supernatural thriller. Following the devastating tsunami that destroyed the Kinloch Bravo, season two sees the surviving crew airlifted to a new secret offshore facility called the Stac, nestled deep in the extraordinary and deadly landscapes of the Arctic Circle.

At the Stac, the trapped crew deal with the emotional and physical fallout of the tsunami and contend with swirling conspiracies, corporate conflicts, and new threats from the dark depths of the world’s oceans.

This series continues to explore global themes, takes audiences to spectacular new environments and delves into the frontiers of cutting-edge ocean technology, including the controversial world of deep-sea mining.

Streaming 2nd January 2025 on Amazon Prime Video.

Reviews

READY STEADY CUT ***1/2
RADIO TIMES ***
THE UPCOMING ***
CBR 5/10

The Rig season 2 is still well worth the watch. It continues to be visually glorious – perhaps even more so than season 1 – as we’re exposed to the harsh landscapes of the Arctic, the claustrophobic yet sprawling Stac, and the UK dealing with the aftermath of the tsunami.

Louise Griffin, Radio Times ***

It’s also impossible not to be reminded of the importance of the show in terms of its depiction of the climate crisis. Season 2 is perhaps even more relentless in getting this message across – but also not sacrificing entertainment to do so.

It never feels preachy but also doesn’t pull its punches when showing the damage that humanity has done to the planet. However, it also features those much-needed moments of optimism, making it clear that it is still possible to learn more and to do better.

Louise Griffin, Radio Times ***

The show remains visually alluring thanks to the clever use of lighting making even the action away from the seabed feel oppressive with the gravity of the situation.

Janet A Leigh, Digital Spy

The effects felt so real to watch and the relationships between characters built up such spine-tingling tension, it made it a great ride and a brilliant start to the new season.

Skye Donald, Edinburgh Live

Many of the actors are back for The Rig Season 2, including the core trio of Hampshire, Glen and Compston. The show simply wouldn’t work without the three of them, because they provide the humanity when the writing gets too focused on the big picture.

Brittany Frederick, CBR 5/10

Glen is in fine form as cynical leader Magnus, still determined to do right by his crew no matter what.

Brittany Frederick, CBR 5/10

I was impressed by how capably The Rig Season 2 transplants the first season’s ample atmosphere onto a much bigger canvas.

Jonathon Wilson, Ready Steady Cut ***1/2

Those hard-to-define nebulous qualities that made the first season so engaging and persist here; the chilly atmosphere, the clanking set and audio design, that general sense of unease that is fostered by the lingering fear of an encroaching, unstoppable unknown. The scale is much wider now, but that essential feeling of paranoid isolation – whether it comes from literal sources, like being crushed in a tiny vehicle by the enormous pressure of an indifferent ocean, or figurative ones, like being constantly lied to and manipulated by people who pretend to have your interests in mind – remains.

And it looks good – sometimes even remarkable in wide landscape shots that take in the harsh, stark Arctic or the glow of sentience in the gloomy depths.

Jonathon Wilson, Ready Steady Cut ***1/2

Ultimately the story is also in service of a larger point about the havoc we continue to wreak on the environment and the natural order, which is important and well-made though not, crucially, coming at the expense of actual entertainment.

Jonathon Wilson, Ready Steady Cut ***1/2

Credits

Iain Glen

Magnus MacMillan

Martin Compston

Fulmer Hamilton

Emily Hampshire

Rose Mason

Rochenda Sandall

Cat Braithwaite

Owen Teale

Lars Hutton

Mark Addy

Coake

Molly Vevers

Heather Shaw

Abraham Popoola

Easter Ayodeji

Nikhil Parmar

Harish

Stuart McQuarrie

Colin Murchison

Alice Krige

Morgan Lennox

Ross Anderson

Kyle Cameron

Phil McKee

Bremner

Jacob Fortune-Lloyd

Darian York

Johannes Roaldsen Fürst

Askel

Director

John Strickland

Videos

Synopsis

Based on Howey’s New York Times bestselling trilogy “Wool,” “Silo” is the story of the last ten thousand people on earth, their mile-deep home protecting them from the toxic and deadly world outside.

However, no one knows when or why the silo was built and those who try to find out face fatal consequences.

Rebecca Ferguson stars as Juliette, an engineer who seeks answers about a loved one’s murder and tumbles onto a mystery that goes far deeper than she could have ever imagined, leading her to discover that if the lies don’t kill you, the truth will.

New episodes weekly on AppleTV+ from 15th November 2024.

Reviews

PASTE MAGAZINE 9.2/10
SCREENRANT 9/10
FANDOMWIRE 9/10
THE GUARDIAN 4/5
DAILY TELEGRAPH 4/5
TOTAL FILM / GAMESRADAR+ 4/5
EMPIRE 4/5
NME 4/5
THE UPCOMING 4/5
ESPINOF 4/5
COLLIDER 8/10
IGN MOVIES 8/10
CBR 8/10
JOBLO 8/10
NERDSPIN B-

If season 1 was all about searching for the truth, season 2 is showing what happens when the power dynamic shifts after it’s revealed, making space for all of your favorite supporting stars from last year to become even more fleshed out through some truly impressive work.

Nick Staniforth, GamesRadar+ ****

Can you ever have too much Iain Glen being the wounded hero?

Nick Staniforth, GamesRadar+ ****

A consistently commanding performance from Rebecca Ferguson going it alone and supporting stars keeping busy at home makes Silo a dystopian future worth staying in. The window into this world might need more time being cleaned in some areas but season 2 keeps the trend of one of the most engaging shows on Apple TV+.

Nick Staniforth, GamesRadar+ ****

The series has all the essential elements to make it a motivational dystopian drama that scarily resembles real life. It couldn’t be more socially relevant when it’s designed as a metaphor for class oppression, reproductive rights and health stigmas. At the center of these issues is a meaningful debate about who determines the fate of humankind. The message is cliché, but the neat dialogue and immersive performances sell it well. If Silo should be appreciated for anything, it’s how much it trusts viewers to put the pieces together and interpret the message however they see fit.

Katie Doll, CBR (8/10)

Among the many sci-fi shows on streaming, Apple TV+ has firmly established itself as a powerhouse for compelling, mind-bending storytelling. Between its critically acclaimed hits like For All Mankind and Foundation, the service has undoubtedly set a high bar for others, blending ambitious writing with top-tier production that feels cinematic in every frame. Joining the ranks of shows challenging conventions through stunning visuals, nuanced performances, and innovative story is Silo, starring Rebecca Ferguson. With Season 2 set to premiere this month, the stakes are higher as the show continues to prove itself as a standout on the streamlining platform. Deepening its exploration of survival through edge-of-your-seat suspense and penetrating tension, the Graham Yost series remains as grounded and human as it is immersive and striking.

Tania Hussain, Collider (8/10)

With its 10 episodes this season, the Silo world is truly expanding and the supporting performances amplify so much of the stakes.

Tania Hussain, Collider (8/10)

With a combination of strong writing and direction, Silo is elevated beyond the usual sci-fi fare. As a poignant exploration of what it means to seek the truth and connect with others in a fractured world, Yost effectively creates pointed storytelling that pushes the audience to confront uncomfortable questions about whether control at all costs can ever be justified. While Season 2 starts as a harrowing discovery of the fate of other silo members, there is a deep exploration of self-discovery that takes place this season for everyone. It’s this absorbing, ambitious writing direction that delivers a provocative character study that highlights the emotional turmoil of silo life. The inhabitants’ need to break out speaks strongly to our purpose, but it’s the struggle within these lines of truth that intensifies the circumstances for quality storytelling.

Tania Hussain, Collider (8/10)

Each episode challenges both the characters and the audience to consider how much they’re willing to risk uncovering hidden realities, weaving moral complexity into every layer of these characters who rebel against authority. By grounding its Orwellian elements into tense yet relatable human struggles with razor-sharp writing, Silo continues to surpass the genre, asking viewers to question not only the motives of those in power but the strength of their convictions. Emerging as a masterful exploration of isolation and survival, Silo creates a compelling tapestry of tension through Ferguson’s nuanced portrayal of a character wanting to make things right, while powering through some truly dark and eerie mysteries that affirm the show’s greatness.

Tania Hussain, Collider (8/10)

A suspenseful, layered masterwork, Silo presents world-building at its finest.

M.N., FandomWire (9/10)

The second season of Silo is the type of mainstream science fiction that network television used to do best. This brutal, gritty, post-apocalyptic populist series that they don’t make anymore. Fans of Snowpiecer and The Matrix will love Silo because of the authentic use of themes such as control, free will, identity, self-discovery, and rebellion are told with a fresh perspective and in a new way where you have no idea where the story may be going next.

M.N., FandomWire (9/10)

The world they occupy is still hugely impressive, too. The immersive environments from production designer Gavin Bocquet are just as stunning as they were last season, filled with astonishing detail and craft, and the newly added second silo seems to feature even more practical elements and moving pieces. This, combined with a deeper dive into the silos’ compelling mythology, a welcome glimpse into the history of another community, and some fascinating flashbacks, all makes for another atmospheric, tense trip underground.

Nicola Austin, Empire (4/5)

Packed with great turns from Rebecca Ferguson, Tim Robbins, Common, and the entire cast, this sophomore season of Silo is a solid continuation.

Alex Maidy, JoBlo (8/10)

From a technical standpoint, season 2 is just as impressive as the first. Apple TV+ always delivers stunning visuals for its sci-fi series, and Silo is a testament to that. Be it through the imposing size of the silos or the barren wasteland that Juliette finds on the world’s surface, every new location feels real and a distinctive part of the story. With pitch-perfect VFX, the world of the show is immersive. Silo season 2 somehow manages to be even better than the first season, and fans are not ready for some of its shocking twists.

Felipe Rangel, ScreenRant (9/10)

Silo once again proves itself to be one of the most mature and thoughtful science fiction shows of recent years.

Amelia Harvey, Nerdspin (B-)

Best of all, Silo season two doesn’t attempt anything too outlandish, fully aware that its enigma is what keeps us coming back. The mix of paranoia and politics makes for intriguing seasoning over a sci-fi show that plays into our fears of the post-apocalyptic wilderness. And with Ferguson again in resolute form, building on her stellar work in the first season, Silo is a tantalising prospect, simply begging you to wrestle with its mysteries. It’s more than worth it.

James Mottram, NME (4/5)

It’s a season about narratives and who controls them. It’s also about how the way rebellion grows through kernels of truth. In the last season finale, Holland told his lackeys, “What you have just seen, you will unsee.” Of course, he learns that is impossible, but the writing is even richer than that in that it digs into the idea that even what we see, leading us to what we think we know, can be wrong. It’s not so much about what’s true and false as how those beliefs can be used to control people and shape society. It’s an incredibly rich, smart show.

Brian Tellerico, RogerEbert.com

If the first season felt like an allegory for how we all wanted to escape the nightmare of the pandemic, the second asks an even scarier question that we will all have to answer with more urgency in the coming months: What now?

Brian Tellerico, RogerEbert.com

Overall, Silo continues to be must-watch television. Even with limited time and an enormous dystopian world and story to build, the series succeeds where many others fail in our new world of streaming: Character and relationship development. In both the writing and the performances, there is such thoughtfulness put into every character and every interaction between characters, and every facet of Silo excels because of it. Many other shows put the plot before the characters, making it difficult to become invested, while Silo actively uses the characters as our lens into this world and this exceptional story.

Jay Snow, Paste Magazine (9.2/10)

A programme in which the choices of individuals can lead to the demise of the collective may not make for the most comforting watch. But Silo’s meta-commentary on how bad ideas can tear through a population like a deadly virus adds a fascinating layer to an already inventive sci-fi. And at least, in our increasingly dystopian world, we can still go outside, take a deep breath – then return home to watch some riveting TV.

Leila Latif, The Guardian (4/5)

What helps elevate Silo beyond a simple mystery or dystopian drama is also its emotional core. The series is packed with nuanced relationships—romantic, familial, and platonic—that ground its sci-fi environment and plot into something more relatable and digestible. Juliette’s strained relationship with her father (played by Game of Thrones’ Iain Glen) is a standout. The two must wrap their heads and navigate the minefield of past grievances and regrets as they’re forced to work together. Their journey is one of the emotional backbones of the series, providing moments of both tenderness and heartbreak.

Jayant, FandomWire

Credits

Rebecca Ferguson

Juliette

Common

Robert Sims

Steve Zahn

Solo

Tim Robbins

Bernard Holland

Iain Glen

Dr Pete Nichols

Harriet Walter

Martha Walker

Chinaza Uche

Billings

Avi Nash

Lukas

Alexandria Riley

Camille Sims

Shane McRae

Knox

Remmie Milner

Shirley

Clare Perkins

Carla

Billy Postlethwaite

Hank

Rick Gomez

Patrick Kennedy

Caitlin Zoz

Kathleen Billings

Tanya Moodie

Judge Meadows

Writer

Hugh Howey (novel)

Writer

Graham Yost

Synopsis

An eight-part dramedy series set in 1979 Western Australia, when Perth was at the centre of the world’s headlines.

A power strike threatens to plunge the region into darkness, while the city hosts the iconic Miss Universe pageant and the US space station, Skylab, crashes just beyond the city’s suburbs.

Against this backdrop of international cultural and political shifts, three families in a tight-knit coastal community find their marriages, friendships and futures put to the test.

Streaming on Disney+ (Australia & New Zealand) and Hulu (USA) from 2nd October 2024.

Reviews

AV CLUB – B
SCREENHUB – 3.5/5

The show’s standout performance belongs to Judy’s dad Bob Foden (Game Of Thrones‘ Iain Glen), who’s quick to reassure his daughter while relentlessly judging her husband. He provides a connective tissue to the show’s sprawling ensemble, having a fling with Eileen that’s kept secret because she fears the wrath of her fierce Aboriginal activist daughter. Bob provides plenty of comic relief, too, like when he responds to the news that his granddaughter stole a car by having his beach trailer dragged to his daughter’s front door and then puncturing its tires like Caesar burning his boats.

Samantha Nelson, AV Club (B)

A show that’s simultaneously nostalgic while also clear eyed about the inequities of the past that are still relevant today.

Samantha Nelson, AV Club (B)

Awards

• AACTA 2025: Nominated for Best Miniseries

Credits

Radha Mitchell

Judy Bissett

Jesse Spencer

Tony Bissett

Deborah Mailman

Eileen Wilberforce

Iain Glen

Bob Foden

Linh-Dan Pham

Sandy Bui

Thomas Weatherall

Bilya Wilberforce

George Mason

Mick Bissett

Ines English

Svetlana Kulkova

Mackenzie Mazur

Tilly Bissett

Emily Grant

Mia Bissett

Ana Maria Belo

Rosemary Giliberto

Vico Thai

Lam

Jacek Koman

Yvgeny

Director

Bharat Nalluri

Writer/Creator

David Chidlow

Writer

Alice Addison

Writer

Dot West

Writer

Jeremy Nguyen

Writer

Alan Nguyen

Synopsis

As the world goes to war, a broken man takes a stand.

Set in Belgium during World War I, a grieving widower turns hero, leading villagers to safety while evading a relentless enemy driven by vengeance.

Reviews

THE MERCURY NEWS 3/4
MOVIEWEB ***

Glen is so likable and so believable as a decent man pushed too far

Matt Zoller Seitz, RogerEbert.com

The cinematography by Xavier Van D’huynslager puts the widescreen format to excellent use in presenting information and blocking large numbers of people, something too many contemporary filmmakers no longer seem to know how to do. The action sequences are lean and clean; you know what’s happening, what’s at stake, and why things turned out as they did. Frederik Van de Moortel’s score is fundamentally honest in that it’s more “’80s action thriller” than “Oh, the humanity!” It’s superb at escalating tension in the lead-up to violence, and there’s a brilliant moment in the second half where he introduces what sounds like distorted and truncated feedback loops, as if to suggest that the character the scene is focused on is losing his grip on reality.

Matt Zoller Seitz, RogerEbert.com

Intense, visually striking.

Randy Myers, The Mercury News (3/4)

Iain Glen is serviceable wherever The Last Front takes him in its bleakness. He is soulful and vulnerable, also rising to the occasion when it’s time to fight back and even deliver a rousing one-liner before the climactic battle begins. In the final moments, there is also a fitting brutality to the violence, fitting for how personal the situation has become.

Robert Kojder, Flickering Myth

A sturdy, engrossing drama.

Dennis Harvey, Variety

An effective action climax, with nocturnal imagery that highlights Xavier Van D’huynslager’s handsome widescreen cinematography.

Dennis Harvey, Variety

A powerfully emotional experience.

Julian Roman, MovieWeb ***

Glen, a venerated actor brimming with screen gravitas, elevates Hayet-Kerknawi’s script with gripping body language. You see him physically transformed from petrified fear to deadly purpose.

Julian Roman, MovieWeb ***

The Last Front nails the devastation of war and correctly indicts those who revel in its savagery.

Julian Roman, MovieWeb ***

This character-driven war drama resonates with genuine emotion, thanks primarily to a deeply felt performance from Scottish character actor Iain Glen

Todd Jorgenson, Cinemalogue

Iain Glen is the film’s heavyweight, bringing a muscular presence to the role of the farmer, Leonard Lambert.

Cath Clarke, The Guardian

The Last Front is a timely lesson about the fragility of life and why we shouldn’t take things for granted. Everything can change in an instant. Hayet-Kerknawi’s direction brings the viewer on a riveting journey about the bonds of family and the lengths we go to protect them.

Ricky Archuleta, Film Threat

Iain Glen gives a commanding performance as Leonard, a grief-stricken father who must persevere against the evil that threatens everything he holds dear. Joe Anderson’s portrayal of Lt. Laurentz is menacing and disturbing, showing a terrifying disregard for humanity and a deep thirst for violence. The Last Front is a painful depiction of the destruction of war that will leave you haunted long after the credits stop rolling. Highly recommended and worth every minute.

Ricky Archuleta, Film Threat

Credits

Iain Glen

Leonard Lambert

Sasha Luss

Louise

Joe Anderson

Laurentz

David Calder

Father Michael

James Downie

Adrien

Julian Kostov

Thomas Bosmans

Koen De Bouw

Dr. Janssen

Philippe Brenninkmeyer

Maximilian Von Rauch

Mathijs Scheepers

Corporal Weber

Joren Seldeslachts

Enzo

Trine Thielen

Elise

Anna Ballantine

Camille Maes

Leander Vyvey

Peer Schultz

Emma Moortgat

Maria

Caroline Stas

Brigitte

Kevin Murphy

Fergal

Sam Rintoul

Henri Maes

Emma Dupont

Johanna

Steve Armand

Nicolas

Director

Julien Hayet-Kerknawi

Synopsis

Eight-part series. The Secrets Lie Beneath.

Kim Engelbrecht and Iain Glen reprise their roles as Reyka Gama and Angus Speelman for the second season of Reyka, with the action taking place against the backdrop of the Durban Harbour, the largest port in Africa.

Season 2 premiered on M-Net in South Africa at 8pm on 11th January 2024,

The series is available in the UK as The Cane Field Killings on Channel 4, from 13th December 2024.

It can be streamed in the US on BritBox from 4th January 2024.

Reviews

Iain Glen is downright chilling.

Screen Anarchy, Peter Martin

Reyka is a gritty offering that meanders into a world that’s dark and dangerous. The story arcs may be unsettling but it is handled with commendable sensitivity and raw honesty.

IOL, Debashine Thangevelo

The acting from the cast is top notch, Engelbrecht probably has a career highlight role.

The Citizen

Awards

• SAFTA win for Best TV Drama

Credits

Kim Engelbrecht

Reyka Gama

Iain Glen

Angus Speelman

Samkelo Ndlovu

Ayanda Jali

Pallance Dladla

Zwelethu

Frank Rautenbach

Captain Leon Lombard

Lemogang Tsipa

Tokkie

Gerald Steyn

Detective Nick “Bison” Tanner

Sello Maake Ncube

Tama

Joey Rasdien

Zain

Zane Meas

Francke

Tamara Skye

Jodie

Kira Wilkinson

Bianca

Wayne van Rooyen

Dr. Lawrence

Deon Lotz

Dr. Rudd

Trudy van Rooy

Zoe

Nicky Rebelo

Master

Synopsis

As revolution sweeps France, Richter Belmont fights to uphold his family’s legacy and prevent the rise of a ruthless, power-hungry vampire ruler.

France, 1792 – the height of the French Revolution. In a remote part of western France, the counter-revolutionary aristocracy has forged an alliance with a terrifying Vampire Messiah, who promises to ‘eat the sun’ and unleash an army of vampires and nightcreatures to crush the revolution and enslave humanity. Annette, a sorceress from the Caribbean, seeks out Richter Belmont, last descendant of the long-fabled family of vampire hunters, to lead the resistance.

The 8 episode animated series premiered 28th September 2023 on Netflix.

Reviews

IGN MOVIES 9/10
PASTE MAGAZINE 8.9/10
READY STEADY CUT 4/5
STARBURST 4/5
ESPINOF 4/5
SAN JOSE MERCURY NEWS 3/4
COMICBOOK.COM 3.5/5
TOTAL FILM 3/5

Nocturne still has all the things that made the original Castlevania adaptation a hit across its eight episodes: brutal, bloody action; compelling, charming characters; and a keen love of the source material that knows just when to geek out and when to twist expectations and do its own thing with the decades of worldbuilding Konami’s iconic action series is built on.

James Whitbrook, io9.com

Castlevania channels violence and sensuality into something a little more sensitive than its gory, sexy vampire action would first suggest. When it manages that balance, before sparking the always electrifying spectacle of its action sequences, it’s euphoric.

Kambole Campbell, The Daily Beast

Come for the vampires and spectacular fights, stay for the characters and conversations that truly stick in your head.

Belen Edwards, Mashable

An exemplary way to take a popular game series and turn it into one of the most exciting animated adaptations yet.

Brittany Vincent, Decider

Castlevania: Nocturne, a spinoff set during the French Revolution, not only meets the lineage of its predecessor but surpasses it. While it’s just as profanity-laden, gore-soaked, and full of vampiric foes as what came before, it also offers a surprisingly thoughtful take on this subject matter. Through its complex cast and scorching cuts of animation, it delivers an affecting story about exercising the monsters of the past to fight for a brighter future.

Elijah Gonzalez, Paste Magazine, 8.9/10

With its three-dimensional characters, knotty themes of class disparity and religious corruption, kinetic battles, and macabre horrors, Castlevania: Nocturne is a can’t-miss show for fans of the previous series.

Jonathon Wilson, Ready Steady Cut, 4/5

Nocturne fleshes out detailed and contrasting characters whose complexity exceeds expectations, uprooting your expectations about where the story will go next.

James Hanton, Starburst, 4/5

Credits

Edward Bluemel

Richter Belmont

Pixie Davies

Maria Renard

Thuso Mbedu

Annette

Richard Dormer

The Abbot

Nastassja Kinski

Tera

Zahn McClarnon

Olrox

Elarica Johnson

Drolta Tzuentes

Aaron Neil

Mizrak

Sydney James Harcourt

Edouard

Franka Potente

Erzsebet Báthory

Sharon D. Clarke

Cécile Fatiman

Iain Glen

Juste Belmont

Sophie Skelton

Julia Belmont

Director

Sam Deats

Director

Adam Deats

Showrunner/Writer

Clive Bradley

Showrunner

Kevin Kolde

Synopsis

Thrilling adventure based on the best-selling novel by Arnaldur Indriðason.

A modern-day lawyer is sucked into an international conspiracy after being accused of a murder she didn’t commit. Her only chance of freedom lies in uncovering the secret of an old German WWII aeroplane, long buried deep beneath the ice, before the CIA.

Available on digital platforms in the UK.

Credits

Iain Glen

William Carr

Vivian Ólafsdóttir

Kristín

Jack Fox

Steve Rush

Annette Badland

Sarah Steinkamp

Ólafur Darri Ólafsson

Einar

Wot­an Wil­ke Möhring

Simon

Nanna Krist­ín Magnús­dótt­ir

Rósa

Ades­uwa Oni

Julie Ratoff

Þröst­ur Leó Gunn­ars­son

Jóhannes

Hjört­ur Jó­hann Jóns­son

Runólfur

Atli Óskar Fjalars­son

Elías

Kathleen Renish

Ambassador Russell

Director

Óskar Thór Axelsson

Writer

Arnaldur Indriðason (novel)

Writer

Marteinn Thorisson

Synopsis

In a ruined and toxic future, a community exists in a giant underground silo that plunges hundreds of stories deep.

There, men and women live in a society full of regulations they believe are meant to protect them.

Streaming on AppleTV+

Reviews

INEWS *****
THE MERCURY NEWS 4/4
EMPIRE ****
THE GUARDIAN ****
THE AGE (AUSTRALIA) ****
JOBLO 8/10
IGN MOVIES 8/10
COLLIDER B+
THE PLAYLIST B+
SAN FRANCISCO CHRONICLE 3/4
EVENING STANDARD ***
YAHOO ***

Ambitiously staged, with a central mystery that only grows more absorbing as it continues, Silo is another Apple-calyptic hit.

Tim Robbins is especially brilliant here, playing a dry IT autocrat with a nice line in cold stares, and the show is bolstered by a wealth of veteran British thesps, too (Harriet Walter, Geraldine James and Iain Glen all put in memorable turns).

John Nugent, Empire ****

There is no denying that Silo benefits from having a passionate team of creatives behind it, while the presence Hugh Howey as an executive producer brings its own kind of kudos. Not only ensuring that this world is authentically replicated on screen, but that any story within its walls benefits as a result.

Martin Carr, Yahoo ***

There’s also [Juliette’s] emotional side as her relationship with her estranged father, Dr. Pete Nichols (Iain Glen). Juliette didn’t start her life in mechanical engineering, and how her history with her father unfolds is one of her most captivating story arcs.

Right from the start, “Silo” was in good hands. Showrunner Graham Yost has created a thrilling science-fiction mystery from the pages of Howey’s novel series. The first few episodes were directed by Morten Tyldum and quickly set the tone of this cerebral drama. Each episode delivers plenty of action and questions, emphasizing killer cliffhangers.

If a hard science-fiction mystery show is what you’ve been looking for, then “Silo” more than fits the bill. Ferguson’s Juliette is the full package, a hard-hitting hero with plenty of range to carry the dramatic parts with equal power. Not to be outdone is a fantastic supporting cast that makes even the briefest of appearances memorable. “Silo” is a riveting and equally start-studded series whose next season can’t come soon enough.

Max Covill, The Playlist B+

Tim Robbins and Common are great as the faces of the Silo’s bureaucracy, but by far the highlight is the ensemble playing the Silo populous, including Shane McRae, Iain Glen, and Harriet Walter.

Dais Johnston, Inverse

The production design is stunning, the cast – which includes David Oyelowo, Tim Robbins, Harriet Walter, Iain Glen and Sophie Thompson – is terrific and an intriguing opening sequence is likely to hook viewers even before the opening titles roll.

Neil Armstrong, BBC

It’s an elegant, immersive puzzle, but also an exploration of the mutual obligations that hold every society together.

Craig Mathieson, The Age (Australia) ****

And performances from Chinaza Uche, Tim Robbins, Harriet Walter, Geraldine James, Ferdinand Kingsley, Iain Glen, and the rest of the ensemble cast sharpen the show.

Nicole Gallucci, Decider

An instant dystopian classic. Apple TV+’s new drama sneaks in commentary on social division, authoritarianism and the way in which ignorance is fertile ground for conspiracy theories.

Neil Armstrong, iNews *****

…it also has its own confident voice, a complex storytelling tone more reminiscent of literature than traditional streaming dramas. One of the many things I love about this show is that it embraces episodic structure—a lost art in the era of “my season is more like a chopped-up movie”—and these episodes play out like chapters in a book. The stunning premiere—one of my favorite first episodes in a long time—sets the stage in a way that doesn’t even center on the eventual protagonist of this show. “Silo” trusts its viewers with complex themes, multiple arcs, and a shifting narrative that forces us to trust the creators too. It’s great stuff.

Guided by the brilliant Graham Yost and directed by Morten Tyldum to start, “Silo” is a remarkably confident show that refuses to hold your hand. In many ways, we are as lost and confused as the characters. We are dropped into the Silo with them, unpacking its purpose, history, regulations, and impact. Yost and his team absolutely nail this complex writing. It’s thrilling to see something this confidently plotted, always a step ahead of the viewer but not far enough down the narrative path that we don’t want to see what’s around the next corner.

Inspired by the writing and involvement of Yost, “Silo” attracted a great cast that includes a few familiar faces I haven’t even mentioned, like Iain Glen, Harriet Walter, and Will Patton—all excellent.

Brian Tallerico, rogerebert.com

Silo can be read as a lot of things. It works as a critique of the class system […] and as a study in erasure and who gets to write, and rewrite, history. It’s also about the cross-competing advantages and disadvantages of truth and of living in denial for the individual and for the collective. But before all of that, it is a fantastically made story that embraces classic tropes and cliffhanger endings as enthusiastically as it does delicate characterisations and deferred gratifications. Dig in.

Lucy Mangan, The Guardian ****

It’s definitely not a show to skip. It has a first-rate cast including Harriet Walter, Iain Glen, David Oyelowo, Tim Robbins and the former rapper Common, and lots of money and effort has clearly gone into the world-building – the look and feel, the direction, the score, and so on. It oozes class rather than early Doctor Who and you do get emotionally invested in the whole Silo concept and in the big question of what really is happening in the world outside.

James Delingpole, The Spectator

Silo is more than another dystopian drama, and the effortless transition between a post-apocalyptic thriller, a murder mystery, and a conspiracy with flashes of horror adds to its potency. Its debut season is riveting from top to bottom – and all the many floors in between.

Emma Fraser, IGN Movies 8/10

Credits

Rebecca Ferguson

Juliette

David Oyelowo

Holston

Common

Robert Sims

Rashida Jones

Allison

Tim Robbins

Bernard Holland

Iain Glen

Dr Pete Nichols

Harriet Walter

Martha Walker

Geraldine James

Mayor Jahns

Will Patton

Deputy Marnes

Chinaza Uche

Billings

Avi Nash

Lukas

Ferdinand Kingsley

George Wilkins

Alexandria Riley

Camille Sims

Shane McRae

Knox

Remmie Milner

Shirley

Clare Perkins

Carla

Billy Postlethwaite

Hank

Caitlin Zoz

Kathleen Billings

Tanya Moodie

Judge Meadows

Matt Gomez Hidaka

Cooper

Rick Gomez

Patrick Kennedy

Lee Drage

Franky Brown

Henry Garrett

Douglas Trumbull

Will Merrick

Danny

Paul Herzberg

Kilroy

Director

Morten Tyldum

Writer

Hugh Howey (novel)

Writer

Graham Yost

Synopsis

Six-part supernatural thriller. When a mysterious and all-encompassing fog prevents the crew of a North Sea oil rig from returning to the mainland, they must endeavour to discover the cause.

But all is not as it seems. Cut off from the outside world, and with the situation going from bad to worse, the crew begin to question who they can really trust.

Streaming on Amazon Prime Video.

Reviews

THE TELEGRAPH ****
DAILY MAIL ****
NATIONAL WORLD *****
PASTE MAGAZINE ****
THE AGE (AUSTRALIA) ***1/2
THE GUARDIAN ***
EVENING STANDARD ***
RADIO TIMES ***
METRO ***
INEWS ***

It is, of course, high-purity binge nirvana. You should, and will, gobble The Rig up like a tin of Quality Street.” […] “the direction is terrific, the editing superb and the performances top notch. The Rig is a six-hour long, Seventies-style disaster movie where the cause of the disaster is both a mind-boggling mystery and yet instantly explainable – no spoilers here but it’s humans destroying their own planet.

Daily Telegraph, Benji Wilson (4/5)

Iain Glen and Martin Compston deliver top-notch performances.

Daily Telegraph, Benji Wilson (4/5)

It does benefit from an accomplished cast, headlined by Iain Glen and Martin Compston, who provide a sense of authenticity and breaking point duress to the workers’ increasingly fearful struggle with inexplicable forces.

The Age (Australia), Craig Mathieson

It’s a true ensemble, with everyone pulling their weight and no-one hogging the spotlight. Particular stand-outs include Glen as the crew’s boss Magnus, Bonnar as deck foreman Alwyn and Rochenda Sandall as medic Cat, but there’s not a weak link amongst the rest, which is impressive given the enormous cohort of central players.

Radio Times, James Hibbs (3/5)

The casting is excellent, John Strickland does exactly what he needs to do as director, and there’s real suspense and real agony within the narrative.

Paste Magazine, Shane Ryan (7.9/10)

What’s immediately striking about The Rig is how well-directed it is, as evocative in its horror stylings as it is claustrophobic in moments of tension. It’s an impressive effort from Line of Duty’s John Strickland, who helms the first three episodes; there’s a real sense of scale to The Rig, from the vastness of the ocean to the complexity of the drilling station itself, and the power of outside forces both natural and unnatural stood at on their doorstep. Writer David Macpherson, meanwhile, refers back to myth and legend often (“Every major religion has its own flood story. Maybe we’re due one”), again emphasising that scale and grandeur, those unknowable forces stirring in the deep tracing back to something impossibly old.
Another testament to the scale of The Rig – albeit in a different sense – is its ensemble cast, which features more or less every acclaimed Scottish actor working. Macpherson is quick to sketch out the dynamic between the characters, what unites them and what divides them, which the cast then run with: impressively for a cast of its size (around 14 major speaking parts in the first episode alone), there’s never a danger of anyone being crowded out particularly or feeling short-changed by the series. Iain Glen, Martin Compston, and Mark Bonnar are welcome presences, as always, and Molly Vevers is a standout amongst the younger cast – around them, the group dynamic is strong, effectively tailored to the demands of the show.

National World, Alex Moreland (4/5)

It certainly helps that the show’s ensemble cast doesn’t have a single weak link — every actor here is cast perfectly for their respective character.

Cultured Vultures

Spectacular thriller series.

Heat

Tense, eerie and claustrophobic. Utterly gripping.

The Mirror, Sara Wallis

Addictive.

Daily Mail

Credits

Iain Glen

Magnus MacMillan

Emily Hampshire

Rose Mason

Martin Compston

Fulmer Hamilton

Rochenda Sandall

Cat Braithwaite

Owen Teale

Lars Hutton

Richard Pepple

Grant Dunlin

Mark Bonnar

Alwyn Evans

Calvin Demba

Baz Roberts

Emun Elliott

Leck Longman

Abraham Popoola

Easter Ayodeji

Stuart McQuarrie

Colin Murchison

Molly Vevers

Heather Shaw

Cameron Fulton

James Garrow

Director

John Strickland

Synopsis

Eight-part series. A flawed but brilliant criminal profiler, Reyka Gama (Kim Engelbrecht), investigates a string of brutal murders committed by a serial killer in the sugar cane fields of Kwazulu-Natal.

Having been abducted as a child by a farmer named Angus Speelman (Iain Glen), Reyka is traumatised by the experience but this also helps her enter the minds of Africa’s most notorious criminals and turn them inside out.

Reyka premiered on M-Net in South Africa on 25th July 2021. All 8 episodes are currently available on demand.

The series aired on Channel 4 in the UK as The Cane Field Killings from 10th April 2022. All episodes are available on demand.

Reviews

“Reyka” is a gritty offering that meanders into a world that’s dark and dangerous. The story arcs may be unsettling but it is handled with commendable sensitivity and raw honesty.

IOL, Debashine Thangevelo

The acting from the cast is top notch, Engelbrecht probably has a career highlight role.

The Citizen

Reyka is not for the faint-hearted. Directors Zee Ntuli and Catharine Cooke don’t shy away from extended, sometimes gruesome close-ups, but lovers of dark crime fiction will find their appetites for the grim and grisly well satiated with this compelling South African Noir.

SBS, Beth Hadfield

We debuted the first trailer last week, which reminded me that I enjoy watching complex mysteries that unfold in environments that I have not experienced before.

Now that I’ve seen the first three episodes, I can say that the trailer only hints at what is unveiled. Kim Engelbrecht is very good as Reyka, a police investigator in South Africa who moved to the UK in her youth and has only returned to her native land for a few months.

Iain Glen is downright chilling as the monster responsible for her trauma; he’s a soft-spoken man who kidnapped Reyka when she was just 12 years old, kept her under lock and key, and groomed her to love him and his female companion. Reyka now has a 12-year-old daughter of her own, and her current case involves more than one woman who has been murdered. Who is doing the killing and why?

I love the atmosphere, which looks like an overcrowded hothouse, as well as the multiple languages spoken, which is strikingly different (for me) from a cultural perspective. In addition, the storytelling method by creator and writer Rohan Dickson is quite good, in that it drops morsels of revealing information as it goes, allowing the viewer to piece things together.

Screen Anarchy, Peter Martin

Beautifully filmed in stunning verdant landscapes and endless skies, The Cane Field Killings is a drama that sears itself into your consciousness. It does without the occasional element of bleak ironic humour to break the tensions, of the kind you get in British or American crime series. It’s remorseless and unceasing, just like a serial killer in fact.

The Independent, Sean O’Grady

Awards

• Won Best Actress in a TV Drama (Kim Engelbrecht), Best Achievement in Scriptwriting – TV Drama (Rohan Dickson), Best Achievement in Directing – TV Drama (Catharine Cooke, Zwelesizwe Ntuli), Best Achievement in Cinematography – TV Drama (Tom Marais)
• Nominated for Best TV Drama, Best Actor in a TV Drama (Hamilton Dlamini), Best Achievement in Editing – TV Drama (Lucian Barnard), Best Achievement in Make-up and Hairstyling – TV Drama (Theola Booyens)
• International Emmy Awards 2022: Nominated for Best Drama Series, Best Actress (Kim Engelbrecht)

Credits

Kim Engelbrecht

Reyka Gama

Iain Glen

Angus Speelman

Anna-Mart van der Merwe

Elsa Gama

Hamilton Dhlamini

Hector Zwane

Thando Thabethe

Nandi Cele

Desmond Dube

Pastor Zik

Nokuthula Ledwaba

Portia Speelman

Mavuso Simelane

Samuel Zwane

Leeanda Reddy

Alia Sewsunker

Khayalethu Anthony

Soda

Gerald Steyn

Nick Tanner

Rashaan Stackling

Thuli Gama

Gabrielle de Gama

Young Reyka

Synopsis

When Earth becomes uninhabitable for humans, the ruling elite settle on planet Kepler 209. But its atmosphere makes the new inhabitants sterile.

Two generations later the Ulysses programme is set up to determine whether life is possible on Earth again. Mission Ulysses II is launched to confirm it one way or the other. The space capsule loses control when it hits Earth’s atmosphere. Blake (Nora Arnezeder) is the only astronaut to survive the landing – but she finds out that she is not alone on Earth. A fight for survival begins and Blake has to make decisions that will determine the fate of humanity.

The film was released as The Colony in the USA on 27th August 2021.

Reviews

The impressive, atmospheric second feature from Tim Fehlbaum balances hope for the future of mankind against the grim realities of a neo-colonial dystopia.

Screen International, Wendy Ide

…an interesting, impressive-looking film that is well worth a watch for fans of desolate, but optimistic post-apocalyptic sci-fi.

Starburst, Ben Bradley

Atmospheric sci-fi anchored by an engaging performance from Nora Arnezeder.

Little White Lies, Josh Slater-Williams

It’s strikingly well shot, creating a vivid atmosphere as a grim drama about humanity unfolds in deliberately drab settings.

Shadows on the Wall, Rich Cline

Set on a post-apocalyptic Earth half-way between Mad Max and Waterworld comes a nifty sc-fi adventure that gives fresh visual polish to some well-worn ideas about rebuilding society from the ashes of the wasteland.

Jim Schembri

Performance Worth Watching: Iain Glen. […] The supporting turns from Glen and Roche are strong. […] The Colony offers a hodgepodge of themes, but achieves physical scale for its sci-fi premise with moody cinematography and a probing screenplay.

Decider, Johnny Loftus

This film succeeds in crafting both a bleak, watery, post-apocalyptic Earth and a warm, involving human story about relationships.

Common Sense Media, Jennifer Green

Awards

Bavarian Film Awards 2021:

• Best Direction – Tim Fehlbaum
• Best Cinematography – Markus Förderer

Credits

Nora Arnezeder

Louise Blake

Iain Glen

Gibson

Sarah-Sofie Boussnina

Narvik

Sope Dirisu

Tucker

Sebastian Roché

Blake’s Father

Joel Basman

Paling

Kotti Yun

Munay

Bella Bading

Maila

Chloé Heinrich

Young Blake

Eden Gough

Neil

Director

Tim Fehlbaum

Synopsis

The action moves to the heart of Gotham City, where the Titans reunite with old friends and face new foes.

Season 3 is available to stream on HBO Max in America, and will premiere on Netflix UK on 8th December 2021.

Season 2 is available on HBO Max (US) and Netflix (UK).

Photos: Ben Mark Holzberg/HBO Max

Reviews

The show is a lot of fun, and the action scenes are smooth and brutal. The music choices are still absolutely on point, and the Jason-centric fifth episode is genuinely a good piece of storytelling, due in large part to its tight focus on the character. That episode in particular has some incredibly strong moments between Walters’ Jason and Iain Glen’s Bruce Wayne that prove the show works best when it’s not leaning into shock and awe.

Strong performances and character moments make it the best entry yet in the HBO Max series.

CBR, Liam Nolan

Titans Season 3 takes everything you’ve loved about the series thus far, refines it, and grounds the larger-than-life concepts with poignant moments that convey how difficult and heartbreaking this superhero life can be, and it’s a roller coaster ride well worth taking.

The News Motion, Paul Jackson

Speaking of exceptional, the show produces one of the most intense hours of television you’ll see all year and, in all honesty, it’s probably the single-greatest hour of Titans ever. A bold statement to make, but mind-blowing would be a generic understatement. And it almost feels wrong of me to say such a thing because I don’t want to undermine the other episodes of the season because each one offers up its own strengths in this intricately-plotted story.

Rating: A. Titans finds its footing with its best selection of episodes yet, offering up a compelling adaptation of one of the greatest DC stories ever told. If it can keep this high standard up throughout the remainder of the season, it’s destined to reach the highs we’ve been waiting for it to obtain for some time.

Fansided, Michael Patterson

**** This barnstorming third season really puts Titans on the map.

We Got This Covered, Martin Carr

Iain Glen’s take on the character of Bruce Wayne is surprisingly memorable in its vulnerability and introspection.

Ready Steady Cut

There is no role with greater expectations in the DC universe, and that’s including Superman, than that of Bruce Wayne AKA Batman. There is a tragic dichotomy to the character (sophisticated yet brutal, successful yet tortured, imposing yet vulnerable) which Iain Glen embodies with stoic ambivalence. His Wayne is at times world-weary and exhausted, but also strong and confident–the viewer gets the feeling that even though he’s past his prime, his fearsome reputation is still much deserved.

Glen does a spectacular job of playing two versions of the character: the borderline abusive, tough love father figure in Dick Grayson’s subconscious and the actual Bruce Wayne, a man of guarded magnanimity and an inability to express his feelings to those he loves.

Screenrant, Eric Gee

Credits

Brenton Thwaites

Dick Grayson/Nightwing

Anna Diop

Kory Anders/Starfire

Teagan Croft

Rachel Roth/Raven

Ryan Potter

Garfield “Gar” Logan/Beast Boy

Alan Ritchson

Hank Hall/Hawk

Minka Kelly

Dawn Granger/Dove

Curran Walters

Jason Todd

Conor Leslie

Donna Troy/Wonder girl

Joshua Orpin

Conner Kent/Superboy

Chelsea Zhang

Rose Wilson/Ravager

Damaris Lewis

Blackfire

Iain Glen

Bruce Wayne

Savannah Welch

Barbara Gordon

Jay Lycurgo

Tim Drake

Vincent Kartheiser

Jonathan Crane

Synopsis

In this modern day reimagining of Anna Sewell’s timeless classic, we follow Black Beauty, a wild horse born free in the American west.

Rounded up and taken away from her family, Beauty is brought to Birtwick Stables where she meets a spirited teenage girl, Jo Green. Beauty and Jo forge an unbreakable bond that carries Beauty through the different chapters, challenges, and adventures of her life.

Currently available to stream on Disney+.

Reviews

As the wild horse and the heart-broken girl slowly bond, “Black Beauty” transforms into a heart-warming tale of the power of love.

IndieWire, Kate Erbland

This updated version of Black Beauty is well-done and touches upon some important points about being connected to animals, nature, and learning to care for others.

Film Threat, Sabina Dana Plasse

For more than a century, every generation has had its cinematic adaptation of “Black Beauty,” and while the new Disney+ version switches the genders of the magnificent horse as well as the young protagonist and moves the locale from the English countryside of the late 19th century to the American West of today, it’s thematically and spiritually faithful to Anna Sewell’s timeless classic, from the horse serving as narrator to the episodic nature of the storyline to the powerful and still-relevant message about humane treatment of animals — and the undeniably healing and lasting dynamic between human and creature.
I loved this movie. Yes, it’s an unapologetically sentimental, anthropomorphic, family-friendly, sugar-sweet story aimed squarely at the younger members of your brood — and stop me if you think there’s anything wrong with that. This is a beautifully uplifting film at a time we can all use a dose of old-fashioned, cynicism-free storytelling. Writer-director Ashley Avis and her production team have created a gorgeous, sweeping epic (please watch this on the biggest screen available in your house), with Kate Winslet voicing Black Beauty’s thoughts and feelings to heart-melting effect, the wonderfully talented Mackenzie Foy delivering a sublime performance as the girl who finds a kindred spirit in Black Beauty, and Iain Glen from “Game of Thrones” and “Downton Abbey” playing the most dashing and empathetic horse whisperer this side of Robert Redford.
“Black Beauty” isn’t one of those photorealistic movies with animals literally talking, e.g., the most recent versions of “The Lion King” and “Doctor Dolittle.” From the moment we meet the energetic and adventure-seeking mustang foal who will be named Black Beauty, roaming free in the wild with her mother and extended family, her thoughts and emotions are expressed through Winslet’s warm and comforting voice-over.
The 2020 edition of “Black Beauty” is among the best versions I’ve ever seen.

Chicago Sun, Richard Roeper

Credits

Mackenzie Foy

Jo Green

Kate Winslet (voice)

Black Beauty

Iain Glen

John Manly

Claire Forlani

Mrs Winthorp

Patrick Lyster

Mr Winthorp

Fern Deacon

Georgina Winthorp

Calam Lynch

George Winthorp

Hakeem Kae-Kazim

Terry

Matt Rippy

Henry Gordon

David Sherwood

Mr York

Deon Lotz

Tom

Max Raphael

James

David Dukas

Jennifer’s Father

Luke Tyler

Grant

Greg Parvess

Jerry

Sienna Wallace

Dolly

Alex Jeaven

Jasmine

Sascha Nastasi

Jennifer

Mark Elderkin

Starter

Annica Liljeblad

Dr Woods

Bjorn Steinbach

Mario

Hanni Heinrich

Mrs Gordon

Director

Ashley Avis

Synopsis

Summer 1998. The opening stages of Le Tour De France are relocated to Ireland.

Belgian rider Dom Chabol (late 30s) has been one of the best “Domestiques” (support riders) on the Tour for the last 20 years. It’s a sacrificial role – setting pace, blocking wind, and providing support to enable the team’s sprinter to victory – winning is not an option. But Dom secretly harbours a desire to wear the yellow jersey just once before his career is over.

At the start of what will likely be his last Tour, Dom is unceremoniously dropped from the Team he has dedicated his life to. His best mate Sonny, the team masseur, fails to reassure him about his future. But a chance liaison with Lynn, a young Irish doctor, softens the blow, and Dom starts to accept – and even enjoy – the idea of civilian life. But as he gears up to go home and to face his estranged sister, a massive doping error knocks another teammate off the Tour and Dom is thrown back in the saddle…

Reviews

I thoroughly enjoyed The Racer, the mix of the excellent cinematography, a nicely done heart beating soundtrack with the racing scenes and cast that work well together on the screen, The Racer is a film that takes us on a journey of a riders ambition and determination.

Blazing Minds

An ingeniously intimate sports drama.

Midwest Film Journal, Evan Dossey

The Racer is an affecting character study and a refreshingly low-key look at a topic that has repeatedly been sensationalized.

Film Racket, Josh Bell

Cycling films don’t come along very often, and fictional cycling films don’t tend to come along at all, so The Racer is a real treat.
The film centres around team Austrange’s veteran leadout man Dom Chabol (Louis Talpe), and his personal struggles in the role of a 39-year-old domestique with his contract finishing and the team focussing on its egotistical Italian team leader Tartare (Matteo Simoni). Chabol’s ally in it all is soigneur Sonny (the legendary Iain Glen), a loud Scottish former pro who runs the team’s doping programme and helps add some good comedy value.

The Cyclist

The latest film from Kieron J Walsh, nearly a veteran of Irish TV and film, has a lot to say about the gruesome politics of professional cycling.
Were the film released in 1998, casual viewers might have been shocked at the promiscuous levels of doping, but, following revelations about Lance Armstrong (whose run of seven wins began a year after the events depicted), we now fully expect the hotel rooms to be decorated with bags of blood and the fridges packed with mysterious phials.
Nothing about this world is attractive. It is the sort of hyper-male world where “Hello, ladies!” is still seen as a satisfactorily hilarious opening to a team meeting. The new boy has to endure tedious practical jokes. If the riders aren’t being pumped full of Erythropoietin, they are being fed mounds of plain pasta while their trainer scoffs cheeseburgers.
The Racer is not accusatory in its tone. There is a sense that the culture is now irrevocably established and, like fish swimming in the only available water, the riders see no easy escape. Dom’s frustration is apparent, but not until the closing moments does he make a proper attempt to break the conventions. It is a strong, stoic performance from Talpe in a film that doesn’t allow its secondary characters much nuance. This fellow is volatile. This chap is susceptible.
Those outer inadequacies are, however, easy to forget when James Mather’s camera is scooting in and out of the hurtling peloton. With so much of the action confined to a mid-market hotel, it comes as an exhilarating release to zip furiously down rural roads and across closed-off urban thoroughfares. Those second-hand thrills don’t come close to justifying the pharmaceutical and psychological pressures put on the cyclists, but we do, at least, get some sense why someone would sign on in the first place. A gruelling treatment of compromised glamour.

The Irish Times, Donald Clarke

Credits

Louis Talpe

Dominique Chabol

Matteo Simoni

Lupo ‘Tartare’ Marino

Tara Lee

Dr. Lynn Brennan

Iain Glen

‘Sonny’ McElhone

Ward Kerremans

Lionel Dardonne

Timo Wagner

Stefano Drago

Sarah Carroll

Stewardess

Karel Roden

Viking

Director

Kieron J. Walsh