When someone close to her is killed by unknown assassins, Treasury Agent Marybeth Medina (Cynthia Addai-Robinson) is forced to contact Christian Wolff (Ben Affleck) to solve the murder. With the help of his estranged but highly lethal brother Braxton (Jon Bernthal), Chris applies his brilliant mind and less-than-legal methods to piece together the unsolved puzzle. As they get closer to the truth, the trio draw the attention of some of the most ruthless killers alive — all intent on putting a stop to their search.

The Accountant was an incredibly fresh watch within the action-thriller genre, and director Gavin O’Connor and screenwriter Bill Dubuque really pushed the genre into new places with their original approach to both narrative and action, and this film made a real impact on audiences who were looking for something different. The creativity and innovation on behalf of both O’Connor and Dubuque (who also happens to have created the critically acclaimed Ozark) were off the charts, and now they’re back to bring the second chapter of Christian Wolff’s dangerous service to the big screen in The Accountant 2. And it’s one hell of a ride.  With The Accountant 2 they’re turning the dial even higher, mixing identity crises, broken family ties, high-stakes human trafficking conspiracies, ruthless cartels, and deadly rogue assassins into one adrenaline-spiked cocktail. It’s fierce, it’s relentless, and it goes off like a stick of dynamite.

Ben Affleck steps back into the shadows as Christian Wolff, the high-functioning autistic math savant turned underground accountant-for-hire and deadly hitman, and man does he own this role. Affleck’s performance digs even deeper this time around, delivering a character that is just as lethal but now fighting an internal war for some semblance of normalcy. O’Connor lets him peel back the layers of Christian’s mind—showing the aching desire for connection and love beneath all that precision and violence. It’s unexpectedly moving, and it makes Christian Wolff an even more fascinating, heartbreaking figure. Affleck nails it with a performance that’s both stone-cold badass and surprisingly soulful. You will not see this side of him coming.

What happens when you put a sibling with autism, the other with ADHD, add machine guns and set the dial to 11? You get The Accountant 2 and its fucking crazy good. And a very key part to the excitement and fun of this sequel chapter arrives in the form of Jon Bernthal, and he has an absolute blast in the role of Braxton Wolff, an unhinged and brutal assassin/mercenary for hire to the highest bidder, whose moto is ‘have gun, will travel’ and who is combination of impulse, flashiness, abrasiveness, and just raw unfiltered action. Bernthal’s portrayal makes for an arresting watch, coming from the fact that he’s a hitman with ‘impulse control’ issues, and he’s constantly playing the devil on his brother’s shoulders, saying ‘DO IT!”. Bernthal is electric here; one minute cracking jokes, the next cracking skulls, and he injects an outrageous amount of fun into the mix. His chemistry with Affleck is absolutely dynamite, and together, they form the most chaotic, hilarious, and dangerous brotherly duo you’ll see on screen this year.

One of the coolest things about The Accountant 2 is how it keeps you on your toes. Sure, it’s a tight, intense thriller in spirit, but O’Connor also folds in this brilliant family drama and rogue buddy-cop energy that constantly surprises you. You never really know if Christian and Braxton are gonna hug it out or blow something (or someone) up—and that tension, that unpredictability, is what makes the movie so much damn fun. Every scene crackles with the possibility of violence or tenderness (or both), and you just hang on for dear life.

Oh, and let’s talk about THAT scene. Yes, THAT scene. Picture this: Christian and Braxton, cowboy hats on, line-dancing to “Copperhead Road” in a neon-lit honky-tonk after a night of absolute carnage. It’s the bro’s night out you NEVER knew you needed, and it’s freaking glorious. Wild, weird, hilarious — it’s the kind of moment that cements The Accountant 2 as not just an action film, but a movie with huge personality.

Action and suspense pack out The Accountant 2, and director Gavin O’Connor zeroes in on the violence of the film with perfect detail, and it’s utterly lethal to witness. This is some of the best full-auto Spec Ops action we’ve seen on screen in a long time. O’Connor knows what he’s doing as an action, and Affleck and Bernthal have both been trained to perfection and their utter nail drivers as the Wolff brothers who go down range – AND HARD! Every bullet sings, every impact hurts, and when the Wolff brothers unleash hell in the film’s final third-act showdown — well, you’re gonna want to be strapped into your seat because it is ballistic mayhem. On a VMAX screen with full surround sound, the bangs, the crashes, the explosions: you feel EVERY SINGLE ONE. This is straight-up tactical chaos in the best way imaginable. And for everyone out there wondering what it would be like if Batman and the Punisher teamed up with a small arsenal, look no further — because Affleck and Bernthal bring that exact level of savagery here.

And credit where it’s due: the action isn’t just empty spectacle. O’Connor keeps the stakes personal. Every firefight matters because you’re invested in Christian and Braxton — whether they’re arguing about childhood trauma or just trying to survive the night, the emotional core is always there. It’s smart filmmaking, wrapped up in a badass, bullet-riddled package. In short? The Accountant 2 delivers. Big time. It’s everything you want from a sequel: bigger, crazier, more emotional, and packed to the rafters with action. Affleck and Bernthal absolutely crush it, Gavin O’Connor’s direction is razor-sharp, and the story actually goes somewhere, deepening the mythology around Christian Wolff while keeping the thrills rolling at a breathless pace.

Whether you’re here for the brotherly banter, the bloody showdowns, or just the pure joy of seeing two elite operators unleash hell, The Accountant 2 is pure cinema adrenaline—and it’s an absolute MUST-WATCH on the biggest, loudest screen you can find.

Image: Warner Brothers Pictures

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In 1984, Oregon-based Nike, Inc. is on the verge of bankruptcy due to low footwear sales. In response to this, chairman Rob Strasser (Jason Bateman), along with co-founder Phil Knight (Ben Affleck), hires fellow salesman and basketball scouting expert Sonny Vaccaro (Matt Damon) to come up with a new pitch for a shoeline based on current American sports.

Two-time Academy Award-winning filmmaker Ben Affleck steps behind the lens as director for Air and winds back the clock to the early 1980s. We’re talking about the era of Ronald Regan, Wheaties Ads, Jane Fonda workouts and raw Americana and Affleck and his team do an amazing job of setting the stage for this true underdog story. Smack in the middle of all of this is upstart running shoe company Nike, which has recently gone public and is now facing bankruptcy due to falling sales and a faltering basketball division. But one innovative decision could turn their fortunes and it soon becomes a race against time to save the brand.

Affleck sets up Air as the ultimate underdog story and presents this as a true-life Rocky narrative. He’s got all the players and plays for this one: the maverick scout turned salesman, the concerned manager, the money-focused CEO, the sharp-mouthed agent, the eccentric designer, the search for innovation, the battle between risk and reward and the pursuit of excellence. And all of it shines through in the film. Air is a film that moves at a brisk pace and you feel the clock burning as this group of creative, yet desperate executives do everything in their power to win over a future star player and there’s an equal measure of excitement and white knuckle tension throughout. Affleck brings the era of the 1980s to life in Air and the presence of acclaimed cinematographer Robert Richardson only adds to the acclaim and detail of this picture.

Standing front and centre in the picture is Matt Damon as maverick basketball scout turned Nike salesman Sonny Vaccaro and he’s having a blast with an intriguing character and thoroughly enjoys the challenge set by his lifelong best friend turned director. Damon makes a turn from his normal Hollywood self and slips into the role of the out-of-shape, gambling-addicted sports scout who is facing massive pressures and is searching for something to turn the tables for a failing Nike basketball decision. With limited funds and few options, Sonny places all of his bets on soon-to-be rookie NBA player Michael Jordan. And it’s a choice no one backs. With few options, and a good dose of heart and courage, Damon makes his pitch as Sonny, and he brings true care and heart to this long-shot character and audiences will be readily impressed.

Playing opposite Damon is Affleck who alongside his directing duties takes on the role of Nike CEO Phil Knight. As the head of a newly appointed public company, Knight is facing some tough choices and his focus is squarely placed on the bottom line. It’s a radical change of character for Affleck to take on and his presentation of Knight’s inflated ego sees him sparring plenty with Damon’s Sonny when it comes to the creation of the Jordan One. Then facing down the pair of Damon and Affleck is Chris Messina as David Falk, Jordan’s agent whose prone to fits of raging outbursts and whose severe anger management issues and caustic wit lead to plenty of humour on screen.

Chris Tucker makes an incredible return to form as Nike executive Howard White, who acts as Sonny’s direct report and who has a lot on the line with this deal. It’s a complete turnaround part for Tucker and he steals absolutely every scene that he’s in. Then there’s Jason Bateman as Nike Marketing VP Rob Strasser who is less than pleased with Sonny’s plan, but who in the end became a reluctant ally and friend, and whose sarcastic wit leads to plenty of laughs. Spinning the magic of Air together is Matthew Maher as Peter Moore, the design genius whose quirky antics marks him out as a real oddball, but who has the wisdom and ability to dream up the Jordan One, the most iconic sports shoe of all time.

Bringing together the heart and emotion of Air is none other than Academy Award winner Viola Davis as Michael Jordan’s mother Deloris. As a Triple Crown-winning actress, Davis has time and time again proven that she’s one of the all-time greats and her performance as Deloris Jordan gives Air its soul. Deeply concerned for her son’s well-being and future, she’s a tough, capable woman who can readily see through a slick salesman’s presentation and who will do everything in her power to see that her son gets a fair deal. Davis’ conviction and performance completely holds the attention of the audience and her role as Deloris Jordan is one of the best performances she’s ever given.

Air is an incredibly fun, enjoyable and uplifting cinematic watch and proves that with hard work and conviction the underdog can win in the end. It’s a story that shows us what is possible, using Nike’s slogan and creed along the way. An epic biopic of a legendary business deal with high stakes and million-dollar rewards, Air shows what can be achieved when you Just Do It!

Image: Prime Video

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A married couple, Vic and Melinda Van Allen (Ben Affleck, Ana de Armas), who have fallen out of love with each other begin playing deadly mind games against one another that begin seeing those around them dying.

The concept of love has long been celebrated in the works of cinema and every week we find a new tale of two people who are effortlessly drawn together by a deep passion and desire to be with one another completely and totally. Deep Water is not that film. This is a dark, twisted and psychologically intense cinematic experience of a very perverse and warped love story and director Adrian Lyne, who is regarded as the master of the erotic thriller, crafts an incredibly compelling and invasive story that draws you inwards to its dark narrative. Best described as a psychological character study, Deep Water focuses in on the highly unusual relationship that is shared between married couple Vic and Melina Van Allen, here portrayed by Ben Affleck and Ana de Armas, whose open relationship takes on a heightened level of abnormality and macabre jealousy, and when passions start to heat up the body count begins to rise.

For Ben Affleck, who has long been regarded for his portrayal of quintessential stoic American characters, Deep Water is a real 360 performance from the actor. As self-made millionaire Vic Van Allen, he’s seemingly a man with everything. A beautiful wife, a gorgeous house and a doting daughter, yet there’s something incredibly off about Vic and this is where Affleck’s performance excels. Best described as a buttoned-down psycho, Vic is living a shell of a life with his wife Melinda, who frequently partakes in extra-marital affairs, all under her husband’s allowance as part of their severe open marriage. But it’s becoming clear that Vic’s a bit over being a cuckold for his wife’s desires and her lovers, or ‘friends’ as she calls them, have a habit of turning up dead. Affleck’s quiet performance is particularly chilling and his disquiet actions hide a fit of dangerous morbid jealousy that is beginning to spill over. Affleck keeps audiences on the edge of a razor thanks to his performance as Vic and the strange threat of his performance is sure to get under your skin.

Playing off of Affleck is Ana de Armas as his openly flirtatious, sexy and loud wife Melinda and like Affleck, this is a role that she’s never played before. Severely unhappy in her relationship with her husband, Melinda is allowed to openly take other lovers and flaunts her sexuality whenever she can. Not bogged down by any type of morality, Melinda is not afraid to bring younger men into her bed and is more than happy to flaunt this type of behaviour directly at her husband. But it has a very dark effect. Armas’ performance is shaped by a definite style of love/hate for Affleck’s Vic and their interactions together are at one moment extremely affectionate before the next turning intensely bitter and violent. Her performance as Melinda is extremely raw and she gives Affleck a run for his money for the audience’s attention thanks to her flirty outbursts.

Deep Water is very original and different type of psychological thriller as it’s almost a character study of Vic’s jealousies and the dark undercurrent that exists in open marriages. With its back and forth game of cat and mouse intensity played between its two characters, Deep Water keeps you on edge the whole time and you never know quite what is going to happen next as its narrative unfolds. Lyne also raises the erotic nature of the film’s subject matter, and Deep Water is a very seductive and brazenly sexual film. There’s a hell of a lot of flesh shown here and Ana de Armas is a pure sex kitten as Melinda and the flaunting of her sexuality is a key part of the narrative’s structure and its dangerous consequences. This combination of steamy sex and disquieting characters makes for a thriller that hooks you in and there are some very grim moments that are brought to the screen in Deep Water.

Deep Water is a very original movie-going experience and its narrative and characters have a deep effect on the audience. From beginning to end you never know where the narrative is going to lead you and the shocking final moments will have you in disbelief because as far as thrillers go they normally don’t end like this. Forget about good and evil, these concepts don’t apply here, there’s far more grey space on show in this picture and the results and ending are extremely fitting with the story at large. Deep Water is different from any other psychological thriller I can remember seeing and it’s twisted characters and even more warped narrative is sure to have you gripped from beginning to end.

Deep Water is a psychological thriller like no other. With its darkly original characters and hyper-seaxual narrative, you’ll be hooked from beginning to end and if your seeking a movie that will get under your skin with some complex scares then this one is the movie for you.

Image: Prime Video

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In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the shocking true historical event that rocked the French nobility of the 14th century to its core and which was documented in-depth in Eric Jager’s best selling book, The Last Duel is an epic medieval tale of power, perspective and the truth, and offers director Ridley Scott an incredible new world to bring to life on the canvas of the big screen. Here he resurrects to the exact detail of what the 14th century was like. From the cold and open woodlands of Normandy to the highly ornate castles of Paris to the open battlefield of the 100 Years War, Scott resurrects the Middle Ages up on screen and audiences will be spellbound with the visuals that he crafts. Equal parts beautifully ornate and stunningly raw, Scott is able to craft a fully fleshed out feudal system for audiences and every detail, from costuming to housing, vehicles and weaponry, is handled with exquisite care.

In this world, he introduces audiences to three incredible characters who include Matt Damon as Sir Jean de Carrouges, Adam Driver as Jacques Le Gris and Jodie Comer as Lady Marguerite de Carrouges. And all three are stunning in their roles. Adapting a screenplay written by Nicole Holofcener, Ben Affleck and Matt Damon, Scott utilizes a unique three-person perspective to reveal the story of this shocking and powerful narrative. Reminiscent of Kurosawa’s Rashomon, The Last Duel reveals the detail of its story in three chapters which showcase the brutal assault of Marguerite de Carrouges and the summary trial that leads to the famed duel. A duel that would be fought to the death and whose results would change the medical world forever. This structure and setting allow Scott to go to work and together with this terrific calibre of performers he crafts an engaging and thoroughly intense story that doesn’t let up for a moment.

Scott is truly at the top of his game with his work on The Last Duel and chapter by chapter, layer by layer, the complicated story of The Last Duel is revealed and you never know what’s going to happen next. The use of the characters three unique perspectives allows audiences to experience the story from different points of view and gives the performers a wonderful range in which to play and interpret the actions of the story. This narrative device of showcasing the plot from three different perspectives is incredibly clever on Scott’s behalf and allows him to draw out the tension of the film’s heated story.

Standing front and centre in The Last Duel is Hollywood superstar Matt Damon, and this is a performance and character, unlike anything we’ve ever seen him portray before. As French knight Sir Jean de Carrouges, Damon cuts a dark and intimidating figure. Best described as a warrior through and through, Carrouges is a brute of a man who is prone to a stern sense of self-righteousness and self-aggrandising behaviour. Obsessed with his standing as a knight and demanding of the respect that his title bestows upon him, he is a man who is quick to temper and who does not dwell on ideas of compassion. Damon’s performance and actions are incredibly blunt within the film and he portrays Carrouges as a man who shares a very direct relationship with his wife and whose actions are not those of a lover, but rather those of a scarred and battle-tested warrior.

On the other side of Damon as the villain of the piece is Adam Driver as Jacques Le Gris, a one time friend to Carrouges who finds himself in service and favour to their liege lord ahead of his friend, and who quickly becomes a thorn in his side. An ardent womanizer and cad, Le Gris has a taste for the finer things in life and his ‘man of the world’ vitality mark him out as a man apart in these times. Like Carrouges he’s a battle-tested warrior and soon his sights turn to his former friend’s pretty young wife, whom he desires to covet above all else. Driver gives an incredibly complex performance as Le Gris and his status as a monster is revealed gradually and he certainly presents a sinister and scary figure.

Providing a key level of support within The Last Duel and hastening the actions of the lead characters is Ben Affleck as Count Pierre d’Alençon, the liege lord to whom Carrouges and Le Gris must swear their allegiance to and he’s a deviantly despicable character. Possessing absolute power in the province of Normandy, Affleck’s Count Pierre is a wholly debauched narcissist who only exists to serve his basest desires and his playboy existence of women and wine make him a wholly scandalous character. As Count Pierre, Affleck steals every scene in which he appears and there’s a good dose of bawdy comedy thanks to his extremely over-the-top performance which gives The Last Duel a sense of levity and produces some unintentional laughs from the audience.

Bringing everything together in The Last Duel is the film’s primary female protagonist and heroine of the story Lady Marguerite de Carrouge who is portrayed in an incredible performance by the immensely talented Jodie Comer. Let it be heard that Comer is just flawless in her role in The Last Duel and her commitment to the character and her actions pay a grand sense of tribute to the true historical character of Marguerite and the courage she faced in the horrific ordeal that she had to overcome. Comer gives an incredibly complex and shifting performance as Marguerite due to the film’s unique sense of perspective storytelling and it isn’t until the final act where we see her come into her own within the story and it’s here that Comer excels in the part and completely takes control of the film.

Comer gives an incredibly layered performance as Marguerite and we get to see many different sides to her character. A dutiful wife who wants to become a doting mother, Comer is an exquisitely beautiful creature and perfectly compliments the gorgeous costumes that she is clothed in by Academy Award-winning costume designer Janty Yates. Comer is true to the historical character of Marguerite and portrays her as an educated, well-read and thoughtful woman who is dutiful and clever in the running of her estates and she makes a profound mark on the audience with her performance. The Last Duel is truly Jodie Comer’s movie and she is nothing short of exceptional, presenting the true story of a woman who survived a terrorifying event and who fought tooth and nail to claim back her respect and see justice done.

The Last Duel is a film that does not sugarcoat its raw story and Scott produces a picture that is not some fantasy of the Middle Ages but is instead a true representation of the gritty and dangerous reality of what life would have been like in the period. While modern audiences may have their own ideas of the concept of chivalry here it is merely an idea that is spoken, but certainly not practised and the reality of life is far harsher and colder. This is a time when power was exerted by the blade of a sword and Scott builds out a complex and interesting narrative shaped by political intrigue and an archaic legal process. Themes of justice and the truth do prevail within the story, but they are not delivered until The Last Duel’s shocking third act and are very much in keeping with the time period.

Alongside its rousing sense of historical drama, The Last Duel also brings to the screen the sheer brutality of medieval warfare. And Scott holds nothing back as the carnage reaches the silver screen. There is nothing pretty or stylized about the combat of The Last Duel, instead, there is just the hard-hitting ferocity of bladed combat in full force. Think of two rugby scrums smashing into one another with each man holding a five-foot razor blade in their hands while they savagely have at one another. This is The Last Duel in action and the final fight between Damon and Driver as Carrouge and Le Gris is of two animals going at each other with the choke chains pulled off. It’s bloody and dirty as they slam into each other and the idea of knightly honour is completely left off this battlefield. It’s a raw spectacle to watch and your heart will be in your throat the whole time as you clamber to see who comes out on top and what fate awaits for Marguerite de Carrouge.

The Last Duel is an exceptional piece of cinema built by a master craftsman at the top of his game. Colossal in scope, this is a film that honours the true history of its narrative and presents the truth of an incredibly courageous woman who shook a country to its knees in her quest for absolute justice. The Last Duel is a cinematic feat of pure amazement and should be seen on the big screen for maximum impact.

Image: 20th Century Studios

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Check out the brand new behind-the-scenes featurette below:

Taking audiences inside the making of The Last Duel, this featurette contains never before seen behind the scenes footage, numerous b-roll, on-set photography and Scott’s on personal hand-drawn storyboards and you truly get a taste of the scale and scope that awaits audiences in The Last Duel.

Of his process as a filmmaker, Scott commented saying, “for me every scene has to have a stake. Large or small. The message is simple, what do I want the audience to walk away knowing.”

This insight into Scott’s process as a filmmaker and the attention to detail that he brings to the craft is sure to intrigue fans, and it’s incredible to see such a wealth of footage play out before us.

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

The Last Duel will arrive in cinemas on October 21.

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While appearing on The Tonight Show with Jimmy Fallon to promote his new drama Stillwater, Damon opened up about what it was like to re-team with childhood best friend Ben Affleck to pen the script for The Last Duel. The first film they’ve written since their 1997 Oscar-winning feature Good Will Hunting.

“It’s the first film we’ve written in like twenty-five years or something. We wrote it with another great writer called Nicole Nicole Holofcener. It’s gonna come out later in the year but it’s about, it’s about the last sanctioned duel in medieval France between these two knights, one of whom accused the other of raping his wife, and they fought to the death and it’s all based on this history book that we read. So we adapted that, but we saw it as a story of perspective, and so Ben and I wrote the male perspective and Nicole wrote the female perspective. And we’re really excited about it, Ridley Scott is directed it,” said Damon.

Adapted from the best selling book The Last Duel: A True Story of Trial by Combat in Medieval France by Eric Jager, The Last Duel is a gripping tale of passionate love, a shocking crime, a hard-fought path to justice and a brutal vengeance. In short, it’s an absolutely epic story of true historical fiction, and from what we’ve seen from the first trailer we can tell you that we’re well excited to see Ridley Scott’s vision for this project brought to the big screen.

The first trailer made for an epic watch and Damon’s enthusiasm for the project is very clear and we can’t wait to see more from the film.

Watch the full clip below:

The Last Duel will arrive in cinemas on October 14.

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Watch the full trailer for The Last Duel below:

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the true historical combat that occurred in Paris, France on 29 December 1386, The Last Duel, which is adapted from the gripping true story by Eric Jager, and which was adapted to the big screen by Matt Damon, Ben Affleck and Nicole Holofcener makes for a compelling and epic story, and audiences are sure to thrilled and ensnared by this ultimate tale of medieval combat.

Scott, who is revered as a master cinematic world builder, and who has entertained with fantastical films that include Alien, Gladiator, Kingdom of Heaven and All The Money In The World has crafted something utterly superb in The Last Duel, and the scale, scope and detail of this project is sure to entrance audiences.

Matt Damon and Jodie Comer star as Jean de Carrouges and his wife Marguerite in the film and the pair absolutely stun with their performances in this first trailer, and their chemistry together is sure to keep audiences enthralled and enchanted. Added to that is the dark energy of Adam Driver as Jacques Le Gris, Carrouges’ squire and court favourite, who commits a terrible crime and who almost gets away with it until Carrouges demanded a battle to the death to ensure God’s true justice. Finally, Ben Affleck brings the story together as Count Pierre d’Alençon, Carrouges and Le Gris overlord who adjudicates the first arguments between these two knights and sets in motion the events for a bloody showdown.

The Last Duel is a film of ultimate cinematic quality that needs to be seen on the big screen and is also a full-circle moment for Scott as it brings him back to his very first film with The Duellists which was released in 1977. It’s an utterly epic work and I cannot wait to see this arrive on the big screen.

The Last Duel is a film that I can barely contain my excitement for and I cannot wait to see the action of this new project unfold when it arrives on the big screen on October 14. Prepare thyself for the ultimate tale of love, honour and revenge with this one.

Images: 20th Century Fox

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Following the death of Superman in Batman v Superman: Dawn of Justice, Batman and Wonder Woman recruit the Flash, Aquaman, and Cyborg to form the Justice League and protect the world from Steppenwolf and his army of Parademons, who seek the three Mother Boxes.

As a director, Zack Snyder is one of the most polarizing figures to step behind-the-camera. Right from the beginning, he has done things his way, and he’s always worked to make movies that carry his own unique artistic expression. And this is a director who will not compromise on his artistic vision. But through no-fault of his own and a deeply personal tragedy, he had to walk away from 2017’s Justice League and so could not bring his ultimate vision to life. But through a commitment and desire from the fans, who held a burning desire to see Snyder’s true vision for this movie come to life, we now have Zack Snyder’s Justice League…and it has been well worth the wait.

If you are a Zack Snyder fan you’re going to love this movie. With the presentation of Zack Snyder’s Justice League, our director gets to show-off his unique visual presence, and all of his trademark calling cards are present here. From his unique grim dark setting to the exploration of mythic archetypes, to the frequent use of slow-motion action sequences and impressive, grand visual effects, all of it is present in Zack Snyder’s Justice League, and Snyder dials it all the way up. While audiences may have seen this film before, Snyder’s new presentation presents the film in a far different light, and we get to go much deeper into the story he is telling and are able to gleam new insights, narrative points and character developments because of the new cut.

At just over four hours long, Snyder really takes his time in crafting this cut of Justice League, and it’s an entirely different watch. Snyder is able to pace out the gigantic presentation through the use of an innovative chapter system, and this gives the film a rhythm and energy that keeps the film moving forward. While I won’t go into any type of strong specifics around the narrative, I will say that he places his attention of capturing the mythic quality of the Justice League and the characters that make up the DCEU. Superman, Batman and Wonder Woman have always been presented as iconic, archetypal characters, and Snyder presents them so in this way in this cut. And the appearance of these characters, as they are truly meant to be, makes for a far more engaging viewing experience as an audience member.

Along with presenting a new side to this story, Snyder also presents it in a whole new way thanks to his use of the 1.33:1 aspect ratio, which leads to a much fuller image. Snyder has long been a fan of this aspect ratio and it takes the scale and scope of Zack Snyder’s Justice League to a whole new level. The images are fuller, with more detail being captured, and the result is a far grander presentation of an epic blockbuster cinematic event. Snyder’s focus on capturing these iconic characters in this new format creates an experience that I can relate back to the grand vision of David Lean and cinematographer Freddie Young, and their ability to inspire epic cinematic moments, and that’s exactly what Snyder has done here in his new cut of Justice League.

One of the most exciting parts about witnessing Zack Snyder’s Justice League is the new presentation of the core six members of the Justice League. Batman (Ben Affleck), Superman (Henry Cavill), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller) and Cyborg (Ray Fisher) are all presented in a bold new light, and these new narratives and character developments are very fun to watch. But it’s the villains that keep things interesting in this one. Not only do we see a far more aggressive and demonic presentation of Ciaran Hinds Steppenwolf, who mercilessly hunts for the Mother Boxes, but we also get a deeper look into the sinister character of DeSaad and the world of Apokolips, and Jack Kirby fans will be pleased with what’s on offer. But it’s Ray Porter as intergalactic tyrant Darkseid who really steals the show and let it be known that Darkseid Is.

Zack Snyder’s Justice League also delivers heavily on the spectacle and action fans will be very pleased with the result. Snyder dials everything up, and the outcome is a bigger, meaner action push that is sure to give you a rush. Plus there’s also the helpful addition of a coveted R-rating, and this gives the film’s fight scenes some serious edge. Snyder doesn’t over-do his R-rating, and he’s certainly not aggressive with it, but like everything else present in this film, an R-rating is beneficial to Snyder in that it allows him to go into greater depth within this narrative and push it further. Snyder presents previous action scenes from the 2017 film in a completely brand new light and this again leads to a far more engaging and complete experience for audiences.

While I won’t go into any specific points on actual scenes from the film or dispel any serious plot points I will say one of my favourite parts of the film was a brand new ‘Knightmare’ sequence. Following in the footsteps of the Knightmare sequence from Batman v Superman: Dawn of Justice, this Knightmare sequence features a meeting between two legendary characters, and it’s utterly epic. This scene, and in fact the whole film are a tribute to Zack Snyder’s immense creativity and desire to push the envelope with the possibilities of the narrative of Justice League and the result is a very exciting watch for long time DC Comics fans and for those who want to see these characters portrayed as the icons that they were created as.

But ultimately, Zack Snyder’s Justice League is a gift from a father to his daughter. It was during the production that Zack Snyder lost his adoptive daughter Autumn to the tragedy of suicide and it was a shocking event that rocked the production to its core and had an immense impact on Snyder’s family in the most devastating way possible. But through a strong sense of resilience, determination and love, Snyder was able to complete his vision for this epic film, and the final result is a way for the filmmaker to honour his daughter. It’s this ultimate act that makes this film so compelling and heroic and you can’t help but be moved by the director’s actions to honour his daughter this way.

Zack Snyder’s Justice League is a massive film of breathtaking scale and epicness and is the result of a filmmaker’s grand vision brought to life. It’s an utter masterwork, and fans will be extremely pleased by the final product and the experience of seeing these icons re-envisioned in all their heroic glory. It’s simply awesome.

Catch Zack Snyder’s Justice League on NEON and SKY GO on Thursday 18 May.

Image: SKY TV

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And the official trailer has now arrived. Check it out below:

Here’ the official synopsis:

Following the death of Superman in Batman v Superman: Dawn of Justice, Batman and Wonder Woman recruit the Flash, Aquaman, and Cyborg to form the Justice League and protect the world from Steppenwolf and his army of Parademons, who seek the three Mother Boxes.

This new trailer is nothing short of epic and presents a completely new vision on behalf of Snyder. Not only do we finally get to get Henry Cavill’s Superman in the Black Suit, but we also get to see a newly designed Steppenwolf (Ciaran Hinds), alongside the appearance of Darkseid, and audiences also get their first look at a confrontation between Ben Affleck’s Batman and Jared Leto’s Joker in a hellish new landscape.

hile the basic framework of the story is the same, dozens of additional scenes, backstories, mythos, worldbuilding elements, new characters, and teases for upcoming films are present in Snyder’s version but not the theatrical release. This includes new scenes with characters including Iris West (Kiersey Clemons), the love interest to Barry Allen/The Flash, alongside Slade Wilson/Deathstroke (Joe Manganiello), who will be given new material to work with by Snyder.

This first glimpse of Zack Snyder’s Justice League is incredible to behold, and Snyder has also confirmed that the film will be presented as a one-shot event movie, instead of the four-part series that was initially rumoured.

Zack Snyder’s Justice League will arrive on HBO Max on March 18.

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Former High School basketball phenom Jack Cunningham (Ben Affleck), struggling with alcoholism, is offered a coaching job at his alma mater. As the team starts to win, he may have a reason to confront his old demons. But will it be enough to set him on the road to redemption?

When it comes to delivering dramatics that hit home director Gavin O’Conner is always a terrific filmmaker to turn to. Throughout his career, O’Conner has delivered a wide variety of extremely memorable and poignant films such as Miracle, Pride & Glory and Warrior and has crafted a reputation for producing extremely moving cinema. But his work on The Way Back takes this to a whole new level, and in my own opinion, O’Conner delivers not only the best film of his career but also one of the most moving pieces of cinema you’ll witness all year. The Way Back is a film that pulls no punches with its subject matter of addiction and the personal abyss of one man, and O’Conner grounds the film in a contemporary blue-collar relevance that many people will find familiar, and this focus on reality is what makes it so poignant.

O’Conner analyses some major themes in The Way Back such as addiction, guilt, depression and redemption and he doesn’t sugarcoat the self-harm or the consequences that affect Ben Affleck’s, Jack Cunningham. Jack’s severely unhealthy addiction to alcohol has left him as a man who is hanging out just above the bottom, and O’Conner and Affleck do not shy away from the depths of despair that alcohol can cause to both the dependent and those who are around them. The Way Back is a film that is completely sobering to the core and O’Conner’s upfront focus on the dangers of addiction is a real gut punch for audiences.

The Way Back is completely Ben Affleck’s movie and the actor bears his own cross in this film with a performance that is full-on and comprehensive and in my mind is likely his best performance to date. It’s common knowledge that Affleck suffered through a bitter divorce and multiple bouts of alcoholism, and he places all of this pain and anguish into protagonist Jack Cunningham. In relation to the character, Jack is a complete has-been as the washed-out former basketball player who turns to a life of drinking to dull the pain and whom is haunted a secret tragedy that destroyed his life. When he’s suddenly thrust into the responsibility of coaching his former team he’s got to get his act together and quickly. Both in Jack and Affleck you see a man who is fighting to overcome his demons and who knows that this is his last chance to do it right. It’s all on the line here and he can’t afford to stuff it up.

The concept of the sports movie and the game of basketball are also of extreme importance to the success and relevance of The Way Back, and it’s here where O’Conner and Affleck get creative. O’Conner has an understanding of the sports movie, and he uses the genre to his advantage with the film’s narrative and the emotions of the audience. This particularly works its way into the film’s third act, which I won’t go into for possible spoilers, but which completely changes up the narrative in a very interesting, and completely unexpected way and gives this film even more punch. This third act change is the work of a director who is in full control of his film and who wants to craft something with impact, and with this narrative shift, he certainly does just that.

Alongside both the direction of O’Conner and Affleck, praise must also be lauded upon cinematographer Eduard Grau. Grau is the genius behind works such as A Single Man (which in my opinion is the most beautiful film ever shot) and Buried and he brings his talented eye to bear on this significant story, which he captures with an almost documentary style and a colour palette of earthy tones that focuses in on the film’s blue-collar nature and makes it that much more accessible and relatable. The score of composer Rob Simonsen also helps to build out the emotional weight of this film, and it’s a score that hits its audience with an equal mix of heavy lows and hopeful highs that promise a path to redemption.

The Way Back is an incredibly powerful piece of cinema and it’s a most excellent return to form for Ben Affleck. He completely bears his soul with this performance and this redemptive story is a fitting reflection of his own road to recovery.

Image: Roadshow Films

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