James Hanton

1 month ago | filmhounds.co.uk | James Hanton

Disney's Thunderbolts* has opened at the top of the UK box office, earning £5 million across its debut weekend. The 36th film in the Marvel Cinematic Universe (MCU) stars Florence Pugh, Sebastian Stan, and Wyatt Russell as part of a team of anti-heroes and criminals who need to join forces against a sinister threat. Lewis Pullman, David Harbour, and Hannah John-Kamen also feature.

2 months ago | filmhounds.co.uk | James Hanton

Snow White remains at the top of the UK box office for a second week, ahead of A Working Man which has opened in second place. Disney's latest live-action reimagining, starring Rachel Zegler and Gal Gadot, is now up to £6.8 million following its second week in cinemas. Screen Daily reports that this is down on the £16.2 million recorded by The Little Mermaid (2023) at the same stage. It is, however, ahead of the £4.5 million grossed by the Emma Stone-starring Cruella (2021) after two weeks.

2 months ago | filmhounds.co.uk | James Hanton

Lionsgate has confirmed that a fifth entry in the main John Wick franchise is in development, with Keanu Reeves set to return as the eponymous, legendary hitman. Lionsgate chair Adam Fogelson announced the news at CinemaCon. Fogelson also confirmed that long-time franchise director Chad Stahelski is returning for the new film. Thunder Road producers Basil Iwanyk and Erica Lee are also involved, having produced all four previous films.

2 months ago | filmhounds.co.uk | James Hanton

Arrow Video has announced that they will be releasing Mary Dauterman's comedy-horror Booger on Blu-ray and digital next month, following its limited theatrical release last year. Arrow's official synopsis of Booger reads “Anna, a young New Yorker, is consumed with overwhelming grief after the sudden death of her best friend and roommate, Izzy. Struggling to cope, Anna becomes fixated on finding Booger, the stray cat she and Izzy took in together.

Mar 27, 2025 | filmhounds.co.uk | James Hanton

Throughout the history of cinema, the male body has always been linked to the relentless grind of capitalism and the cruel whims of its enactors. Think of the toiling workers and their menial tasks in Fritz Lang's Metropolis (1927), or Charlie Chaplin in Modern Times (1936). Since the advent of science fiction, movies have found even more imaginative ways to explore and dissect the idea that the performative, exploited, and spectacularised male body is an essential cog in the economic machine.