An afterlife sitcom, an angry penguin, tossed salad and scrambled eggs, and a Corby trouser press … our writers pick the shows they would happily watch on a loop for ever
I love every character and every aspect of Brooklyn Nine-Nine. There isn’t a weak link in the cast and they work together as seamlessly and apparently joyfully as you could wish.
Big names from Leonardo DiCaprio to Timothée Chalamet are aiming for a win at Hollywood’s most important Oscars precursor
Hollywood’s A-list will assemble this weekend for the 83rd Golden Globes ceremony, a night that will reveal where this year’s Oscars race is headed.
Stars including Leonardo DiCaprio, Timothée Chalamet, Jennifer Lawrence, Emma Stone, Michael B Jordan and Ariana Grande are among those nominated for film awards while small-screen nominees include Helen Mirren, Jenna Ortega, Jude Law and Glen Powell.
Emily Henry’s hit book has been adapted into a glossily made yet charmless attempt to resurrect the friends-to-lovers formula
Released just as the weather turns to freezing and we’re all daydreaming of an escape, Netflix’s early January romcom People We Meet on Vacation is at the very least smartly timed. Produced as part of the streamer’s Sony deal, it benefits from some real studio gloss (proper lighting!) and as Polo & Pan’s perfectly balmy Nana plays over a transporting shot of our heroine lounging on a beach (the song was also used in Netflix’s underrated Christmas romcom Let it Snow), I was ready to relax with her. But what a brief escape it turned out to be …
The adaptation of Emily Henry’s much-loved 2021 novel has the superficial trappings all in check (eyes with permanent twinkles, unrealistic main character job in this climate, more easily affordable Taylor Swift song on the soundtrack) but no heart or soul to go with it. There’s simply nothing to root for or care about or grasp on to, just the limp tracing of something we’ve seen many many times before. Its closest comparison would be When Harry Met Sally, a similar journey that turns friends into lovers over a fairly epic time span (the pair even meet in the exact same way, forced to drive home together from college). But what felt lived in and genuinely human back in 1989 now feels shallow and synthetic in 2026, a grim start to the year for a genre I keep hoping and praying for.
There’s a great deal of unpretentious B-movie fun to be had in this brief, brutal and slickly made creature feature
There’s a refreshing lack of subtext and pretension to this week’s gory creature feature Primate, a straight-to-the-point riposte to the glum, trauma-heavy horror films we’ve been enduring of late. Rather than following his genre peers who are busy aiming for the lofty heights of Don’t Look Now and Possession, British director Johannes Roberts is happy to give gen Z their very own Shakma, the goofy 1990 schlocker about a baboon driven wild by an experimental drug.
That film took a while to gain a cult following, ultimately accepted by the same drunk Bad Movie crowd who took in Troll 2, but Primate won’t take anywhere near as long. It’s a far better, slicker movie for one, a surgically well-made crowd-pleaser that swaps out baboon for chimp, cleverly turning him from test subject to domesticated pet. At 89-minutes and paced like a rollercoaster, there’s little room for life lessons, although the film does make for a stern, grisly reminder of why chimps should not be considered part of the family (something many still don’t seem to understand).
Paul Thomas Anderson’s epic thriller and Apple’s comedy series lead nominations for the renamed Sag awards with an impressive showing for Sinners and Adolescence
One Battle After Another and The Studio lead the nominations for this year’s Actor awards.
The Actor awards were previously known as the Screen Actors Guild (Sag) awards but were renamed last year. The name change was to provide “clearer recognition in terms of what the show is about”, according to those involved.
I doubt very much that 2026 will see anything in the Marty Supreme league, but here’s hoping one of the most bizarre side-steps of the decade turns out as interesting as it hopes. Short of Christopher Nolan signing on to the new Mr Men movie, I didn’t think much would throw the industry a loop as when Greta Gerwig decided to follow up bubblegum blockbuster Barbie with …… a Narnia movie. More specifically, Gerwig – previously a skilled purveyor of achingly hip alt-indie comedy with Lady Bird, Frances Ha and Damsels in Distress – is restarting the Narnia series, which had got through three of CS Lewis’s series before Netflix took over the rights. To my mind, though, The Magician’s Nephew, Lewis’s origins/prequel to the Wardrobe/Caspian/Dawn Treader narrative, is the most interesting of the entire Narnia canon, with its Edenic fall, “deplorable word” and mystical apple. We know some of the cast: Emma Mackey is the future White Witch, Carey Mulligan the terminally ill mother of one of the main kids, and Daniel Craigmight be Aslan or mad inventor Uncle Andrew – or both, or neither. All eyes will be naturally be on Gerwig, but I have confidence she will pull it off in style. Andrew Pulver
Star Wars alum gives an impressively modest performance in this slightly smarter-than-average survival tale
Unlike some other less resilient horror subgenres, the zombie movie is, fittingly, never going to really die. Neither will film-makers attempting to add their own twist, understandable given how repetitive the die, wake up, lumber, bite and repeat formula has become. Australian director Zak Hilditch’s attempt, the rather buried We Bury the Dead, is therefore not quite as striking as it might have seemed a decade and change ago. Using words such as “contemplative” and “mournful” to describe a film that includes its fair share of gnarly head-smashing has become something of a cliche, so much so that last month’s meta-comedy Anaconda reboot had its characters joke that these days, even a film about a giant snake needs “intergenerational trauma” to work.
But Hilditch mercifully avoids drowning his film in drab self-seriousness. Yes, it’s a zombie survival thriller that’s also about grief – but it’s also just a zombie survival thriller, albeit one with less carnage than some might expect. Those gearing up for gore would be forgiven for expecting such given the film’s cursed 2 January release date, typically handed over to the silliest of studio horror, from One Missed Call to Texas Chainsaw 3D to Season of the Witch (they’ll likely be satiated by next week’s killer chimp schlocker Primate instead). We Bury the Dead, which was partly funded by the Adelaide film festival before premiering at SXSW, is less focused on death toll and more on the toll left on those who’ve lost someone, in this iteration as the result of a US government blunder.
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