Is This Thing On? (2025) - A Guest Review by Chad Dixon

This film is loosely inspired by the life of British Comedian John Bishop, who is also one of the producers. It is a cinema release that is set in a contemporary New York City.

Working in finance but never actually seen in his place of work, Alex Novak (Will Arnett), is currently separated from his Wife, Tess (Laura Dern). Sharing custody of their two 10 year old sons, Alex lives separately from the family home in a spartan one bed apartment in the city. One evening, when he is feeling particularly sorry for himself, he finds himself at a club in town that lets patrons duck the $15 cover charge if they put themselves down for a short stand-up set. He signs his name and very soon it's his turn in the spotlight.

Talking off the top of his head about his recent marriage break up during the set, amazingly, his stream of consciousness goes down well with the small crowd - and afterwards, when talking to the other more regular stand up performers, he feels some sort of kinship. Reflecting on it later it seems like it was quite a cathartic experience and he definitely would like to do it again.

Meanwhile Tess is getting on with single life the best she can. Dutifully looking after her musically talented boys but still feeling like the peek of her life up till this point was her participation in the 1984 USA Olympic Volleyball Team. She now hopes to get into women's volleyball coaching as the next Games hosted in Los Angeles in 2028 is just around the corner.

Alex and Tess have a small group of mutual friends who are equally supportive of them. Most notable is Alex's old college buddy and best friend Arnie (Bradley Cooper), who is also this film's director. He's an insecure, struggling actor whose life and relationship to Christine (Andra Day) seems to be mirroring Novak's as they both separately tell Alex that they are not happy in their marriage.

The Novak grandparents, Dad (Ciarán Hinds) and Mum (Amy Sedaris), also supply emotional and practical support - which in a couple scenes in particular, proves very moving. His fellow stand-ups even become a sort of surrogate family that Alex leans more on, as the narratives of his subsequent performances reflect the ups and downs of his life.

Regarding the chosen cinematography, this irked me a lot - as whenever the main two characters are on screen, which is a lot of the 2 hour 4 minute runtime, the camera is right in their face - to the point that nothing else is visible in the frame. I had to move back a couple of rows in the multiplex cinema to compensate for this slightly nauseating technique.

Otherwise this story was told straightforwardly and there are solid performances from the ensemble cast, although I must say Bradley Cooper's character was a quite annoying. Not to mention his many facial hair changes (which apparently was for the different acting roles he was involved in). Nothing else really bugged me, but possibly this may be a much easier watch at home when it finally gets onto streaming platforms.

Night of the Hunted (2023)

This is one of those relatively low-budget thrillers that Shudder does so well - their bread and butter, perhaps. It’s not going to win any awards, but it’s entertaining, well-produced, well-shot and capably acted by the leads, The 90 minutes fly by nicely.

We join the film in an American motel bedroom as Alice, a marketing executive for a major pharmaceutical company away from home on business, is clearly sleeping with a colleague. They get up very early in the morning to head home after their conference the day before. Unknown to them at this stage, there is a leak in their petrol tank. Confused, they pull into a petrol station to fill up. While her colleague is doing so, she heads into the shop for a few bits and pieces.

The petrol station is deserted, however - not even a cashier is present - so Alice leaves her money on the counter and prepares to leave. As she turns away, a sniper takes a shot from somewhere outside with a long-range rifle and hits her in the arm. Shocked, she takes cover behind various shelves as the sniper continues to take pot-shots at her, resulting in several near-misses.

Her colleague finishes filling the car and, wondering where Alice has got to, goes inside to investigate. As he does so, the sniper shoots him dead. Alice then discovers the body of the assistant behind the till. That is essentially the bones of the setup - we spend the rest of the film with Alice as she tries to work out how to survive and escape. The sniper has placed a two-way radio unit on the counter and invites Alice to enter into a conversation with him, which she sees as an opportunity to negotiate her way out of the mess.

As the conversation progresses, it becomes clear that the sniper has a catalogue of grievances against society. He rambles on about anti-vax theories, moral compromises and anti-corporate sentiments - holding Alice, because of her job, responsible for the 'evil' done to people. It is not entirely clear if this was a targeted setup - whether he deliberately punctured the petrol tank so it would run dry at that exact spot - or if it was a random situation and Alice’s profession simply became a convenient excuse for his rage. So don't overthink it!

As the night goes on, various other people pull up for fuel and a few more characters are drawn into the siege. One of them is a young child, which tests the actions of both the sniper and Alice, adding plenty of suspense and tension. I won’t spoil the ending, but the film does leave the sniper’s identity somewhat ambiguous. There is a hint that Alice’s husband might be involved (though the sniper is not him) and that he had found out about her affair.

Ultimately, there is plenty of atmosphere and creepiness in this claustrophobic scenario. Camille Rowe, as Alice, is in almost every scene and her decent performance carries the film. She portrays a character who is flawed and morally compromised, yet gritty and fiercely determined to survive. There is a bit of gore from injuries here and there, but nothing truly horrific. Well worth a look if you can find it on streaming.

We Bury the Dead (2024)

This Australian survival thriller stars our very own Brit darling Daisy Ridley, whom I have watched with much enjoyment in Sometimes I Think About Dying (2023), reviewed on my blog, Magpie (2024), which we spoke about in glowing terms on our Projector Room Podcast - and whom others will no doubt know from the Star Wars films.

Director Zak Hilditch here crafts a story that is more of a grief-based drama than a traditional zombie movie. The film explores loving relationships that can go wrong against the backdrop of a military disaster off the coast of Australia - namely Tasmania - and introduces a more intelligent than average supernatural twist.

The Americans have accidentally detonated an experimental electromagnetic pulse weapon off the Tasmanian coast. The blast instantly kills most of the island's population by causing total neural failure. The Australian authorities are welcoming volunteers to collect bodies, assisting the military with a gruesome clean-up. The twist here though, is that some - just a small percentage - of the dead are coming back to life, or at least a baseline, reanimated form of living. So yes, technically it's a zombie film! The longer they are left in that state, the more likely they are to become aggressive. Up to now, the military 'finishes them off' while they are still slow-moving, whenever one is found by the teams.

Ridley plays Ava, an American physiotherapist who joins this body retrieval unit. Her true motive, however, is to find her husband, Mitch, who was at a resort in the restricted blast zone when the weapon went off. She eventually teams up with Clay (Brenton Thwaites), a local man running from his own past, and the two go rogue, stealing a motorcycle to head south into the dangerous quarantined territory where Mitch was last known to be.

The 're-living' are characterised by a chilling, haunting, rhythmic grinding of their teeth as they become aggressive and launch attacks on the living, given the chance. We're not really sure what these creatures do if they catch someone because, throughout the film, it doesn't actually happen. Presumably, they are hungry and might try to eat them, but as I say, we don't have to deal with the specifics of that.

Midway through their journey, Ava and Clay meet Riley (Mark Coles Smith), a soldier who has spiralled into madness regarding lost memories and his wife, who was pregnant at the time of the incident. Some dubious, creepy happenings take place at his house and outbuildings - half of which resemble a shrine - while he offers to help them reach their destination. I shall say no more on that!

Clay disappears during this time, so Ava continues alone. We travel with her as she encounters various members of the living dead and watch how she deals with each thrilling situation. The film's only annoying part is the reliance on too many flashbacks to paint a picture of Ava and Mitch's background - but to be fair, it does all come together and make sense in the end. It is a satisfying conclusion, though it contains one element that was a bit of a stretch!

The blood, guts, and gore are constrained here. The emphasis is certainly more on spook, chill, atmosphere and shadowy figures lurking in-frame to raise tension - and it does this well. Daisy Ridley is worth the ticket price alone, as she plays her part beautifully, and the rest of the cast are not far behind. The music is also lovely, with moving scenes set to classical pieces that fit perfectly as the cinematography takes in broad land and seascapes.

It's a smart little thriller which has just arrived on streaming services in the UK and is well worth a look. It won't blow your socks off, but for me, the 90-minute investment paid off well.

28 Years Later: The Bone Temple (2026) - A Guest Review by Chad Dixon

This is a direct sequel to last year's 28 Years Later (and was shot back-to-back). It is still set in a post-apocalyptic Britain where many mindless, "infected", cannibalistic humans roam ferally, usually led by one giant Alpha individual.

The story follows directly on from the final scene of the previous film where, after losing his whole family to illness and to "the infected", Spike (Alfie Williams) runs into a band of violent fanatics who all dress like Jimmy Savile with blonde flowing wigs and gold chains worn over different coloured tracksuits. He is addressed by their apparent leader who introduces himself as Satanist "Sir Lord" Jimmy Crystal (Jack O'Connell), adorned with the most chains and a prominent inverted crucifix.

Spike is a virtual prisoner within this cult which, including the leader, numbers seven disciples known as his "Fingers", all called Jimmy "something". In what looks like an initiation ceremony in the empty pool of a long-abandoned water park, Spike is forced into a knife fight with Jimmy Shite (Connor Newell). The young, diminutive newcomer is totally terrified, but the gang member's cockiness leads him to let his guard down, allowing Spike to fatally cut his leg artery. Over the still-warm corpse, Crystal promotes Spike to become the replacement "Finger" and immediately gives him his new name: "Jimmy".

Meanwhile, Dr Ian Kelson (Ralph Fiennes), still living alone, is continuing the dutiful guardianship of the "Bone Temple", a hilltop memorial of piled-up, bleached human remains he has found over the years. However, he now seems to be fascinated with a nearby 6'7" Alpha male he has christened Samson (Chi Lewis-Parry), whom, during their latest encounter, he has skilfully sedated with a blowpipe. In his dream-like state, Samson seems to be showing signs of some sentient brain activity. Could this be a sign that the terrible infection that has devastated the land for a generation could be cured?

The main core of the plot here, however, follows the path of the "Jimmy" cult and their fanatic leader, the self-proclaimed son of "Old Nick". He leads his "disciples" in a reign of terror across the land; they are actually more of a threat to any "uninfected" humans just trying to survive the best they can. Spike is obviously the thread that runs through both of these films, and as he seems to get closer to one of the young females in the cult, Jimmy Ink (Erin Kellyman), things take a surprising turn. The countryside again looks fabulously unmanicured and can definitely be seen as another character in this nightmarish world.

The "18" certificate is definitely warranted here, as this is much more gory than the previous film in the series. It includes graphic scenes of disembowelment, mutilation and overt cannibalistic behaviour. It can be a tough watch, but thankfully it's not relentless. There is some respite in the scenes where Ralph Fiennes has a much bigger part and shows us some quite animated exuberance. Indeed, his involvement in the third act is quite a feast for the eyes and ears! The runtime of 1 hour and 50 minutes flies by, and there is another end scene that links to the third film in the trilogy, where we are met with a familiar face from the original 2002 film.

Bring Her Back (2025)

Following the apparent success of Talk to Me (2022) which I have yet to see, the Philippou brothers have returned with this Australian horror. It is not an easy watch and certainly not for the faint-hearted. It is an intense, shocking horror with blood-chilling scenes and a dark, sinister atmosphere that leaves the viewer wide-eyed!

Sally Hawkins plays a foster mother, Laura. She's scary and weird in the role - a horribly manipulative woman becoming a mentally unwell one as the film goes on because of the grief she is suffering. She claims that an 'angel' visited her, promising the return of her drowned daughter, Cathy, who had a visually impairment. In reality, she has invited a nasty supernatural 'demon' into her house - so none of that is hallucinatory, the story tells us that it's actually a thing!

Piper and Andy come to stay on placement for 3 months as their dad/step-dad had recently died, collapsing in the shower and they're not old enough to go it alone. They don't want to be there, but have no choice. Sora Wong is fabulous as Piper, also visually impaired, and pretty much steals the show from the equally convincing Hawkins. But it's close! Piper is young and easily navigates life despite her impairment, throwing off the need for, for example, using a white stick.

Andy is her step-brother and played beautifully by Billy Barratt. His dad, who just died, it comes out, used to beat him. But he never talked to Piper about it, rather presenting the world to her as rosily as he could. It is clear from (especially) the early scenes that the caring/loving bond between them is incredibly strong. When they get there and meet Laura, there's also another little boy there, a self-destructive one who doesn't speak, in her care, called Ollie. Jonah Wren Phillips plays this part and does so amazingly well too. In fact, all the players are top-notch.

We become aware that there is a white line around the house, which is tied up with some footage which Laura often watches on old VHS tapes depicting some kind or 'rituals' looking like there are 'rules' for stuff that happens inside the lines which are different to outside. Some sort of voodoo-type 'spiritual' barrier, it would seem. On the tapes we also see acts of violence between people, blood, guts and gore as people are ritualistically abused by others. Turns out that Laura is trying to find some way of bringing back her much-loved Cathy through supernatural means.

We get stuck into some gruesome scenes of body-horror violence, particularly relating to young Ollie. There's no jump-scare horror here but certainly one scene which involved the young boy had me taking a sharp intake of breath and turning my head from the screen! Brilliantly filmed and horrifically, shockingly presented. Watch out!

All this leads to a breathtaking finale where the threads of the story and characters are drawn together, making for a somewhat shocking conclusion in and around the swimming pool where Cathy had drowned. This really is good stuff! The photography has real impact as we spend a lot of time in the dour, grey house and when outside, usually in the rain. The sounds are recorded so very well too, accompanying the terror step-in-step. As you can tell by now, I was bowled over by this film - not a thing I often say - so very highly recommended.

PodHubUK Podcasts for the Month of January 2026

  

...a roundup of our month of podcasting. Links to the team, communities and podcast homes on the net at the foot, so scroll down!

The Phones Show Chat Podcast

Episode 878 - PSC 2025 Awards

Monday 5th January

Joe and I are joined by Jeremy Harpham this week as we natter about what stuff he's been using since he was last on the show, last year, and his app suggestions amongst other stuff. We all three declare our phones of the year for 2025, based on differing criteria, we natter about batteries, pub meets, far-east, near-west(!), wobbly zoom rings and Steve pops in to give us his take on the new Clicks products. Available now from the usual places, so do get stuck in!

Whatever Works

Episode 236 - Astronomia Man Flu!
Wednesday 7th January

Aidan and I return with another show packed with stuff that works - and doesn't! We're shaving spokes but not chins, Looming around Fruit, slicing apples in hot spa tubs, burning lights with Midnight Oil from Dusk to Dawn and even have time to plug Aidan's new website. So do join us for the January offering and blow a raspberry with us to brats who spread colds!

Projector Room

Episode 201 - Curious Plur1bus
Wednesday 7th January

Gareth and I are here for the first time without Allan, but the show must go on, eh! Our 2026 shows start out with a couple of new sections, so do let us know what your think. News and Fandom Focus. Other than that, it's business as usual as we say Goodbye June during an Amber Alert, Wake Up Dead having been Sleepless in Seattle, wonder why King Kong seems to have Eyes Without a Face - and Dick Van Dyke scores 100, Plur1bus 100%. Plenty more as always, so do enjoy.

The Phones Show Chat Podcast

Episode 879 - Beyond the Slab

Monday 12th January

Joe and I are joined again by Jim Fowl as promised with this sneaky extra show to focus on all things QWERTY, BigMe, E-Ink, Titan, Clicks, Keyboards, TCL NxtPaper and oodles more besides! So grab a Grolsch and tag along!

The Camera Creations Podcast

Episode 14 - Why we Moved from Phone to Camera

Thursday 15th January

Joe, Ian and Charlie join me this time as we ponder on this big question - and come up with some interesting pros/cons for both and examples to demo. Time also to take a look at plenty of other photos from the team and even a snippet of (expensive-looking) news! Available now in the usual places, so do join us.

The Phones Show Chat Podcast

Episode 880 - Intelligence for Nothing!

Monday 19th January

Joe and I welcome Mark Mochan back to the show and find out what devices he's been using since he was last on - and what he's been doing with them! We take a dive into Gemini Personal Intelligence, chat about pros/cons of cameras in phones and catch the latest news. Joe has hands-on with one of those flippin' Motos and I've extended my love/hate from Samsung to Nothing! Available now in the usual places, so do join us!

Projector Room

Episode 202 - Predators and Dragons
Wednesday 21st January

Gareth and I are here again with our thoughts (and yours) on stuff we've all been recently watching in film, cinema and TV. We go headlong into Predator assisted by Chad Dixon, learn How to Train Your Dragon and other Dangerous Animals, focus on Ray Liotta - and I Swear there's even time to go Downrange with Marty Supreme in Hunting Season! Available now in the usual places, so join us!

The Camera Creations Podcast

Episode 15 - Fame in the Frame

Thursday 29th January

The gang takes a slightly different approach this time as we mostly focus on famous photographers, past and present, dead and alive, who have wow'd and inspired us in our approach. There will be loads of links to those in your podcatcher, so be sure to use one if you want them! Some brief news, rumours and catchup with the panel too, so do enjoy!

The Podcasts (PodHubUK)

Phones Show Chat (PSC) - Whatever Works - Chewing Gum for the Ears - Projector Room - Tech Addicts - Camera Creations

The MeWe Community Groups (follow the links to join up)
Phones Show Chat (PSC) - Whatever Works - Chewing Gum for the Ears - Projector Room - PSC Photos - PSC Videos - PSC Classifieds - PSC Health - Coffee Time - Camera Creations - Tech Addicts

The Team
Ted Salmon - Steve Litchfield - Aidan Bell - Gareth Myles - Joe Hickey - Chris Clayton - Ian Bundey - Charlie Winston

H is for Hawk (2025) - A Guest Review by Chad Dixon

This is a cinema released drama based on the memoir of the same name by Naturalist Helen Macdonald. It is directed by Philippa Lowthorpe, who also co-wrote the screenplay with Emma Donoghue. Starting in the autumn of 2007, Claire Foy plays in the lead role as a fellow of Jesus College, Cambridge, teaching the history and philosophy of science.

She has a good relationship with her immediate family, however it's apparent she is much closer to her photojournalist father, Alistair Macdonald (Brendan Gleeson), who through her life has taught her all she knows about the natural world.

At home one evening with her visiting good friend and fellow academic, Christina (Denise Gough), Helen receives a devastating phone call from her mother saying that her dad has collapsed on a work trip to London. The loss she feels is instantly profound and even though she has a good relationship with both her Mother (Lindsay Duncan) and Brother (Josh Dylan), who both live close by, she finds it hard to accept this big change in her life.

One evening, looking a old photos of her taken by her father, she remembers her fascination for small birds of prey. She then decides in the desperate need to fill the chasm left by her father and with the help of an old family friend, Stuart (Sam Spruell), who is a falconer, she makes the big decision to acquire a fully-grown but inexperienced goshawk. However, in embracing the training of this hunting bird, it leads to her becoming withdrawn from her work, friends and even family.

Mabel is the name given to her goshawk and from the moment we first see this magnificent bird of prey, it becomes the real star of the film - as we see her on Helen's arm walking through the dreamy spires of Cambridge, then eventually flying in the beautifully-filmed golden hours of the English countryside. All the humans are fairly solid, however Foy gives a consistently superb performance of a previously-organised woman whose life changes out of all proportion as she tries to deal with the abject grief that can come with the loss of a parent. The runtime of 1 hour 55 minutes felt about right for this straightforwardly-told adaptation.