One of 2025’s most anticipated releases is far away the upcoming Disney+ series Daredevil: Born Again, which after much work, and plenty of hype has delivered us our first look at the series with a brand new trailer and star Charlie Cox is mad as hell as Matt Murdock, the Hell’s Kitchen resident vigilante is about to unleash the beast!

Watch the brand new ‘Redemption’ trailer for Daredevil: Born Again below:

Here’s the official synopsis:

In Daredevil: Born Again, Matt Murdock (Charlie Cox), a blind lawyer with heightened abilities, is fighting for justice through his bustling law firm, while former mob boss Wilson Fisk (Vincent D’Onofrio) pursues his own political endeavors in New York. When their past identities begin to emerge, both men find themselves on an inevitable collision course.

This new trailer for Daredevil: Born Again is a fantastic treat for long-time Daredevil fans who have been longing for the return of this fan favourite chracter, and after much back and forth it appears that Disney+ will be keeping the down and gritty atmosphere of the famed Netflix series. There’s a whole lot of ruckus and plenty of ground and pound action, with all of it anchored by one hell of a showdown between Cox’s Murdock and Vincent D’Onofrio’s crime bopss turned would- be politician Wilson Fisk.

This trailer promises an intense and dramatic new season, taking inspiration from the comic book classic, ‘Born Again’ by veteran creators Frank Miller and David, Daredevil: Born Again reunites the original cast of Netflix’s hit Daredevil series including Deborah Ann Woll as Karen Page, Elden Henson as Franklin “Foggy” Nelson and Ayelet Zurer as Vanessa Marianna-Fisk, along with confirming the presence of Wilson Bethel as the psychotic FBI agent turned assassin Benjamin “Dex” Poindexter, and also sees the return of Jon Bernthal as Frank Castle aka The Punisher. And he’s not done with delivery his own brand of heavy metal, belt-fed, full auto justice!

The trailer is loose on plot points, and instead just gives an idea of what fans can expect from the new series, but it’s shaping up to be an epic watch for Dardevil and Punisher fans, and it’s awesome to see them back at home in the MCU, and with the series pushing forward with a HARD-R rating.

Mark your calendars for March 4 and the release of Daredevil: Born Again for the devil’s work is never done.

Image: Disney+

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Set in the 1970s in London during the punk rock movement, the film follows Estella de Vil (Emma Stone), an aspiring fashion designer, and explores the path that will lead her to become a notorious criminal known as Cruella de Vil.

It’s time to go back in time darlings. Back to the punk rock era of the fashionable early 1970s and it’s here that director Craig Gillespie takes us into the formative years of a talented young designer who is destined to become the ultimate Disney villain. And the results are diabolically good in Cruella. Gillespie has made a career of telling compelling and unique stories of misfit characters and the narrative of Cruella makes for plenty of big-screen cinematic fun in his hands. Gillespie understands the motives and aspirations of Cruella perfectly, and he’s all about telling a story of a bad girl who has no desire to be good, and who’ll do whatever it takes to reach the top.

In telling this darkly delicious narrative, Gillespie enlists the talents of Academy Award winner Emma Stone, who is a sheer goddess of the performing arts and who always charms with every role she takes on. With Cruella, Stone gets to sink her teeth into a very meaty character and there’s great layering and revelation in her performance as she brings this grand dame of Disney villainy to life. Stone does something interesting in the duel role of Estella/Cruella de Vil and brings to life a definite Jackyll and Hyde character, and the dual psychology at play in her performance certainly keeps audiences on edge.

As a talented designer, Estella is definitely prone to mischief, and her skills lend a considerable edge to her early exploits as a conwoman. But it’s when she embraces her dark shadow as Cruella where things really get interesting. As Cruella, Stone makes for a dangerous and darkly cunning criminal force who is willing to climb to the top of the fashion world by any means necessary. Stone has a blast in the role and you can tell that she was enjoying the process of completely slipping into such a dangerous and alluring character, and most definitely proves that bad girls have much more fun.

Facing off against Stone’s Cruella is two-time Academy Award winner Emma Thompson as Baroness von Hellman, a fashion icon and Cruella’s mortal enemy…and these two women don’t like each other one bit. As the Baroness, Thompson makes for a chilling Ice Queen who could cause even Miranda Priestly to cry and she really plays into a high level of psychopathy that gives Cruella a challenge and marks her out as a serious threat. Like Stone, Thompson revels in her chance to be villainous and she brings out plenty of surprises in the role that audiences certainly won’t expect.

Along with the Emma’s, praise also needs to be lavished on the supporting duo of Joel Fry and Paul Walter Hauser as Jasper and Horace, Estella’s best friends growing up and a pair of enterprising conmen who are always seeking a new score. Both Fry and Hauser make for superb supporting players in this villainous tale and no villain can get ahead without a little help…which these two are too willing to provide. This misfit family is made complete by animal companions Buddy and Wink, who play an important part in this gang’s grifts and these cuddly companions steal every scene in which they appear…especially the cute, but feisty Wink.

In terms of the cinematic experience, Cruella is a decadent feast for the eyes and Gillespie alongside costume designers Jenny Beavan and Tom Davies, and hair and make-up artist Guy Common, have completely gone to town with this one and the result is haute couture at its most stunning! Artistically lavish and incredibly bold, the costumes and looks that Cruella and the Baroness engage in are utterly glamourous in their presentation and serve an important role in taking audiences further inside the film’s narrative and Cruella’s rise to power. These bold haute couture pieces also serve to expand the transformation that Estella takes in her journey to becoming Cruella and the results will have audiences transfixed on the action that unfolds on screen.

Assisting the lavish visuals that are on display is one of the coolest cinematic soundtracks to be released in a very long time. Taking a trip back in time, Gillespie pulls together a range of amazing tracks from the likes of The Doors, Nancy Sintra, Electric Light Orchestra, Blondie, The Clash, Supertramp and The Stooges and this soundtrack supercharges this film with that anarchistic edge of the late 1970s. Added to this are Florence and the Machine’s title track, “Call Me Cruella”, and it makes for a perfect companion track for the complete and full appearance of one very diabolical villainess.

It must also be said that Gillespie and his team do a fabulous job of weaving in the past history of 101 Dalmations into Cruella and there are great callbacks to Dodie Smith’s original work, alongside the original 1961 animated classic and the 1996 live-action films that were a major part of my childhood. I was very impressed with how all of this material, alongside this new original narrative, came to create the Cruella that we all know and love and audiences will be in for some very neat surprises.

It’s been some time since we last had the pleasure of the spectacle of a Disney film up on the big screen and the arrival of Cruella is definitely to be celebrated. From its lavish visuals to the intense narrative, gripping performances and rocking soundtrack, Cruella has it all and is a guaranteed good night out for all those who are looking for plenty of diabolically good fun.

Image: Walt Disney Pictures

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Longtime Marvel Studios director Peyton Reed (Ant-Man, Ant-Man and the Wasp) drops by this time to the director’s chair and has a lot of fun with ‘The Passenger’, which finds him charting a great monster of the week style of episode, while also focusing moe into the parent themes of The Mandalorian. Here in ‘The Passenger’ we find Djarin ferrying The Frog Lady to the moon of Trask, so she can start a family with her husband….but because of the fragility of her eggs they have o travel at sub-light speeds and this leads them to hot-heated chase and a rendevous with some freaky and dangerous space spider monsters.

What was appealing about this new episode of The Mandalorian was that we get to see some growth of family duty of behalf of the Mandalorian, along with a different side to the Child. While for the past nine episodes we’ve all oohed and awwed at the Child’s cuteness, it’s mischievous nature leads the Mandalorian and his charge into danger here, and we see that the Mandalorian will have to lay down some discipline in order to keep it safe. Whether it’s the Child’s surreptitiously behaviour of eating of the Frog Lady’s eggs, or it’s rapid curiosity, we see the Mandalorian disciplining ‘his child’, and warning it of its behaviour in what is a very real-world reflection of actual parenting.

Another great part of ‘The Passenger’ is that we see director Peyton Reed and series creator Jon Favreau exploring ideas of the classic ‘monster of the week’ TV trope, and which has been a big part of the Star Wars mythos. ‘The Passenger’s’ freakishly scarring ice spiders bring up memories of the horrors of the carnivorous Wampa from The Empire Strikes Back, and there are plenty of nail-biting moments that will have you on edge. Reed brings a great use of over-whelming horror and tightly wound suspense to keep you on edge in ‘The Passenger’ and this last’s all the way to end of the episode.

‘The Passenger’ was packed full of surprises and offered up some different thrills for dedicated audiences of The Mandalorian, along with a nice commentary on parenting values. It’s a great second step for Season Two and points us in an interesting direction as we continue further down this series.

The Mandalorian streams every Friday on Disney+

Image: Walt Disney Pictures

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Woody (Tom Hanks) has always been confident about his place in the world, and that his priority is taking care of his owner, whether that is Andy or Bonnie. So when Bonnie’s beloved new craft-project-turned-toy, Forky (Tony Hale), declares himself as “trash” and not a toy, Woody takes it upon himself to show Forky why he should embrace being a toy. But when Bonnie takes the whole gang on her family’s road trip excursion, Woody ends up on an unexpected detour that includes a reunion with his long-lost girlfriend Bo Peep (Annie Potts). After years of being on her own, Bo’s adventurous spirit and life on the road belie her delicate porcelain exterior. As Woody and Bo realize they are worlds apart when it comes to life as a toy, they soon come to find that it is the least of their worries.

Director Josh Cooley takes us on a bold new direction with Toy Story 4 and it’s road trip time as Woody, Buzz and the rest of the gang find themselves on a cross country journey that leads to plenty of drama and life-affirming moments. Foremost amongst them is Woody’s new responsibility to safeguard Bonnie’s new favourite toy, Forky, a plastic spork who has come to life through the magic of play time and who gives Woody a real run for his money. Voicing Forky is comedian Tony Hale and his performance is nothing short of genius with his incredibly dry sense of humour that really brings out the laughs here, especially when combined with Tom Hanks classic performance as Woody, who for the most part just can’t fathom that the world is moving on around him, and he’s yet to adapt.

Right at the heart of Toy Story 4 is Hanks’ Woody who has lived his life trying to make the joys of children come to life, but here in a brand new location, he’s offered the first chance at his own kind of happiness. That occurs with a chance encounter with one-time love interest Bo Peep, played by Annie Potts, who is definitely not the toy that Woody remembered and together these two go on an action-packed adventure to reunite Forky with Bonnie. Cooley brings out the chemistry between Woody and Bo here and the sparks really fly up on screen, as do plenty of daring stunts and there are moments in Toy Story 4 that will definitely leave your eyes wide open. This time around there’s also considerable character development for Hanks’ Woody and it’s fun to see him evolve and mature as a character throughout the film’s narrative.

But if there’s one character who absolutely steals the show here then it most definitely Keanu Reeves as Canada’s greatest ever motorcycle champion Duke Caboom! From the minute he rolls onto the screen, Reeves is just a hoot as Caboom, a one-time daredevil stunt toy who failed in his trick, and who now suffers from an over-the-top ego and a frightening case of toy-like PTSD. All of this leads to plenty of outlandish moments on the case of Caboom and Reeves revels in the part. The veteran actor was a great find for the film, and it’s fun to watch him poke fun at both his Canadian heritage, along with his passion for motorcycles, and his involvement in Toy Story 4 leads to plenty of big jump moments and a whole lot of laughs.

If you’re looking for laughs with Toy Story 4, well, you’ve come to the right place because this movie is packed out with them. Key to the laughs alongside Reeves, is the presence of Jordan Peele and Keegan-Michael Key as Bunny and Ducky, a pair of sideshow plush toys who have a run in with Buzz Lightyear and who continually spout off one hilarious anecdote after another. These two will seriously have you laughing your head off, and they definitely add a whole lot to this bold new animated film. But if there’s one laugh that really got me going then it has to go to the ever dependable Buzz Lightyear (Tim Allen) whose by-the-book approach to managing Forky left me howling with laughter.

But along with the bigger than life spectacle and outlandish laughter, Toy Story 4 also has a strong message about what it means to grow and evolve as an individual and for Woody this holds a lot of sway in the film. While his responsibility has always been to save guard the lives of the children he cares for, such as Andy and Bonnie, Woody has to come to terms with the fact that life changes and that sometimes even toys have to grow up. It’s an extremely heartfelt narrative on the part of Cooley and it really brings everything together.

Audiences, both young and old, will have a fantastic time out with Toy Story 4 and with its’ combination of laughs and love demands to be seen on the big screen.

Image: Walt Disney Pictures

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A kind-hearted, thieving street urchin, Aladdin, is in love with Jasmine, the princess of Agrabah. To win her love, Aladdin is ordered by Jafar, the Grand Vizier to bring him a magical lamp, which wields the powerful Genie. Now it is upon Aladdin and Genie to stop Jafar and his evil intentions and marry the love of his life.

Beloved by many, Aladdin is a vital chapter of the Disney Renaissance and now director Guy Ritchie re-imagines it’s bold storytelling for the big screen in a magical and exotic fairy tale that really entertains. Known for his incredibly masculine sense of direction, Ritchie’s talents and narrative interests serve Aladdin well here, as he takes the story of a street kid named Aladdin and injects the film with his hard-charging sense of action cinema. This, mixed in with the fairy tale, fable magic that audiences expect from Disney, makes for a very thrilling adaptation. Aladdin represents both the familiar and the new for Ritchie, and he really invests himself in the project. As a father of five children himself you feel that he was making this film out of a desire to just entertain his kids, and in doing so the greater audience get a very fun treat.

Taking on the role of Aladdin is Canadian-Egyptian newcomer Mena Massoud, and this young actor really shines as the young street kid who wants to be more than he is. There’s an instant likeability to Massoud’s Aladdin, and he’s able to handle himself in the wide ranging role which stretches him in as a performer. Whether that’s as the happy-go-lucky street kid, daring parkour runner, smitten romantic or just being a straight up klutz after assuming his Prince Ali get up, Massoud has a great sense of himself as the character and you really buy into his journey as a good person who just wants to be more than he is  and who wants a shot at some kind of greater sense of happiness.

Standing next to Massoud is Naomi Scott as Princess Jasmine and the young actress does a terrific job of channeling one of Disney’s most beloved princesses to the big screen. As Jasmine she is a very modern woman in a fairy tale world who is trying to find her place, just as Aladdin is, and navigate the stringent and complicated rules of her life. Caring and compassionate, Scott’s Jasmine is invested in the lives of the people of Agrabah, and desires for a way to help them from the high palace that she finds herself locked away in. Scott also has a great chemistry that she shares with Massoud, and as their romance grows together, you can feel the love in the air. She also unleashes a phenomenal voice as Jasmine and her musical performances hold the attention of the audience in awe.

But if Aladdin does have a scene stealer than it is quintessentially Will Smith as the one and only Genie of the Lamp. Strutting over the cinema canvas with plenty of fly style and exuberant confidence, Smith’s Genie is the ringmaster of this exotic fairy tale and he has a ball with the role. Spinning with rap-music energy, Smith really brings his animated personality to the role and his life as a performer really helps inform himself as the character. But alongside this joyful self is also a deeper analysis of the Genie and what he ultimately would wish for himself: freedom. And it’s this desire, and Smith’s expression of it that gives the character real depth and significance.

Smith also gets to put his rap game to amazing use with plenty of incredible musical performances including the likes of ‘Friend Like Me’ and ‘Prince Ali’ (which just happened to be my favourite), and his 90s flair as the Fresh Prince definitely shines through. Ultimately, Smith makes the Genie his own, while also honouring the late, great Robin Williams at the same time, and I think Robin would be smiling with what we get here.

In terms of it’s location and cinematic style, Aladdin is a picture filled with exotic colours and rich textures and Ritchie and his team make this Middle Eastern world come to life in such a believable way that you feel like you could run your hands through the sands. Taking influences from a broad range of Middle Eastern cultures, production designer Gemma Jackson, who was responsible for the world building of Game of Thrones, brings to life the amazing locales of Agrabah. Her focus is on building an environment that is bright, foreign and incredibly inviting and magical. And she absolutely succeeds with what the audience sees on screen.

Ritchie’s fantastical cinematography captures all of it here, and again he’s able to focus in on some amazing compositions of colour and energy. This is particularly true for the film’s buoyant musical numbers, while the film’s action set pieces really get amped up thanks to his directorial eye. Incorporating advanced parkour free-running see’s Aladdin and Jasmine traversing the city of Agrabah with vibrant energy and the Cave of Wonders provides an incredible mystical environment, which with the aid of Ritchie’s kinetic style, realises the epicness of the Arabian Nights.

Like it’s 1992 forebear, music and sound play a massive part in the realisation of Aladdin, and the grand score and fantastical songs of Alan Menken and Howard Ashman are joined by new music composed by the whizz-kid combination of the noted Pasek & Paul, and the resulting soundtrack is a wish truly granted. Again, the score uses a strong Middle Eastern and culturally diverse range of sounds and musical structure to bring this fairy tale to life, and with the addition of Will Smith’s hip hop stylings you get something very different and unique for Disney audiences. The songs here are vibrant and packed full of passion and you’ll definitely be grooving in your seat.

From beginning to end Aladdin is a joy to watch and it’s mix of love, action, music and acceptance will appeal to audiences of all ages. It’s the perfect family watch, and you’ll be truly transported to a far away fantastical adventure that is everything you could wish for and more.

Image: Walt Disney Pictures

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Holt Farrier (Colin Farrell), a former circus star, finds his life turned upside-down when he returns home after the end of the First World War scarred and broken. Finding himself employed by circus owner Max Medici (Danny DeVito) who enlists him to care for a newborn elephant, named Dumbo, whose oversized ears make him a laughing stock in an already struggling circus. But when Holt’s children, Milly and Joe, discover that Dumbo can fly, persuasive entrepreneur V. A. Vandemere (Michael Keaton) and aerial artist Colette Marchant (Eva Green) swoop in to make the peculiar pachyderm a star.

Tim Burton remains one of my favourite directors of all time, and every time I hear that he’s taking up a new project I’m excited for what this visionary director will deliver. And in Dumbo he really gives us a treat with a story that is very close to his heart and touches on many of the themes that he has explored throughout his life. With its narrative and central themes, Dumbo is tailor-made for Burton with his explorations of ideas related to outsider characters, society’s fringes and individual expression. Many characters in Burton’s films are made out to be freaks or monsters and excluded from society and that, of course, happens to the baby elephant known as Dumbo who is vilified and mocked for his large ears. But unbeknownst to the world, Dumbo’s physical extremes actually give him the power of flight and this elephant does soar to amazing heights.

Burton makes the film incredibly personal, and he really takes audiences inside the mind of Dumbo and presents the elephant’s point-of-view to the world. We feel Dumbo’s feelings and his journey to be reunited with his mother once again, and Burton’s reverence for this journey is incredibly impactful and heartfelt. Along with investing your emotions in Dumbo’s journey to find his mother, he also brings you into the life of the film’s other characters including former rodeo star Holt Farrier (Colin Farrell), gifted trapeze artist Colette Marchant (Eva Green) and circus owner and ringmaster Max Medici (Danny DeVito).

Renown for his unique and quirky cinema aesthetic, Dumbo is very much a Disney movie interpreted through the vision of Tim Burton. While it doesn’t hold his typical gothic sensibilities, Burton does manage to place his own unique and thoroughly quirky design elements into the film and puts his own stamp on the material and its characters. His love for German Expressionism also helps inform the design of this early 1900s set film, and the use of practical sets, ornate costuming and wide-framed imagery really help you pull you in deeper to the experience of Dumbo.

For me what made this film so enjoyable was we were seeing Burton get to play with colour and light, and really bringing a sense of warmth to his work. It was engaging to see him get away from the shadows and instead focus on a film where light plays such an important role and his tonal palettes and cinematography borrow a lot from the look at feel of that classic cell-shaded Disney Animation.

Along with telling the story of the film’s titular baby elephant, Burton frames his story around the members of the travelling Medici Brothers circus. Chief among these characters is WWI veteran and former rodeo star Holt Farrier (Colin Farrell), who returns from the war a broken man, having lost his left arm in the trenches, and his wife to Spanish Influenza. Desperately looking for a way to rebuild his life, and support his children, Holt is charged to look after Dumbo, and together these two outsider characters help each other soar again.

The role of Holt was something different for Farrell, who really pulls away from his heart-throb status and falls into the role of the film’s everyman. It’s a performance that he really invests himself into and here we find him searching for the idea of hope again, which he is able to find thanks to the belief of his children and his belief in a certain baby elephant.

Joining Farrell in the film is Eva Green as the fantastical and elegant trapeze artist Colette Marchant and the actress makes the greatest change in terms of narrative arc throughout the story. Beginning as a flamboyant opportunist, Colette soon warms to both Dumbo and Holt and reveals her true persona that she wears under the mask of her circus life. Determined to do the right thing, she invests in Holt’s mission to see Dumbo reunited with his mother, and the inevitable spark that develops between the characters is spot on within the film. Green’s portrayal really borrows from the likes of Hedy Lamarr for the role, and she has this bold presence that one equates with actresses of that classic cinema era within her role as Colette.

Lending the film it’s antagonistic side is Michael Keaton as V. A. Vandevere, who makes a long-awaited return to working with Burton again and the actor again proves why he is in such demand these days. With the flair and parlance of a big-time showman, this seedy entrepreneur is one to hide behind the big lights in order to make a profit, and he sees Dumbo as his winning ticket. Keaton revels in his chance to be a villain here, and he really goes for it with his cruel business acumen. The actor makes for a great villain and he really provides the film’s central characters with plenty of obstacles to set Dumbo free.

Finally, Burton regular and cinema icon Danny DeVito graces the screen with plenty of charisma and a whole lot of comedy as the owner and ringmaster of the Medici Brothers Circus, Max Medici. The minute you see him on-screen DeVito has the whole audience laughing as this charlatan-type promoter who is looking for any way to make a quick buck and whose mounting problems are causing him plenty of stress. But while he does inevitably get his shot at the big time, he soon learns that its cost is too big to bear and that his love for his troop, who in reality are his family, drives him to do the right thing in the end. In my viewing of Dumbo, I’d say that it’s both baby Dumbo and Max who make up the heart and soul of this film and that the two of them are the ones who truly bring everything together.

But if there is one character who absolutely steals the show then it is above all else the character of Dumbo. This doe-eyed baby elephant is the very embodiment of the word cute, and the minute he arrives on the scene you’ll be sure to smile. Dumbo is above all else the epitome of love, and he’s the one hopeful thing that can bring together so many desperately broken people back together. Whether it be Holt, Colette, Max or the entire Medici troop, Dumbo is the one thing that helps to give them a purpose in their lives and to see the brightness and the hope in all things. This baby also goes on his own unique journey and has his courage tested at every turn, but through all of these unique challenges, and the faith that others have in him he does indeed soar high.

Through the vision of Tim Burton, Dumbo makes for a bold and beautiful piece of cinema that holds true to the core of the power of narrative storytelling and the unique attributes of classic Disney animation. It’s a film that truly enchants its audience and champions the ideas of individuality, family and above all else hope, and you’ll leave the cinema feeling that you can fly.

Image: Walt Disney Pictures

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Watch the all-new trailer below:

Here’s the full synopsis:

When noble Agrabahan street thief Aladdin (Mena Massoud) stumbles upon a magic lamp and the Genie (Will Smith) who lives inside of it he suddenly finds himself swept up into the adventure of a lifetime.

Director Guy Ritchie (Snatch, Sherlock Holmes) has crafted something extraordinary here, and that sparkling Disney magic is alive and well in a film that will really entertain. Will Smith completely goes for all it with his full-on star power charisma and he really makes the Genie his own, while also throwing in his own tribute to the spirit of the late great Robin Williams.

Wrapped up with magnificent visuals, plenty of wonder and jiving music, including our first taste of reinterpreted classic songs including Never Had A Friend Like Me and A Whole New World, it’s very clear that this blockbuster take on Aladdin is going to be one incredible ride. Young stars Mena Massoud and Naomi Scott also have plenty of great chemistry as Aladdin and Princess Jasmine and their shared carpet ride is filled with that spot on Disney romance.

It doesn’t get much better than this all new trailer for Aladdin and brace yourselves for one fantastical cinematic experience when it arrives in cinemas on May 23.

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Focusing in on broken war veteran Holt Farrier (Colin Farrell), and his children Milly (Nico Parker) and Joe (Finley Hobbins), Dumbo brings audiences into an absolutely enchanting environment of the early 1920s, and the birth of a baby elephant with very big ears called Dumbo.

Tim Burton is one of my all-time favourite directors and here he gives us a film that is truly enchanting with plenty of bright colours, and a strong resonance of hope and dreams. Known for his ability to focus his narratives around outsider characters, the story of Dumbo seems like a perfect fit for Burton’s talents and frequent Burton collaborator Eva Green agrees, “Tim Burton is directing, he understands outsiders, people who don’t fit in, vulnerable souls like Dumbo.”

Not only has Burton worked his creative genius into the project, but this film is also a reunion piece for the director with the likes of Michael Keaton, Eva Green and Danny DeVito lending their talents to the whimsical story. All of the performers seem to have been blown away by the size and scope of the project, and of it’s relevance as a narrative Danny DeVito, who portrays circus owner Max Medici, summed it up best by saying ‘we need this movie right now.”

Get ready for your heart to soar a little higher when Dumbo arrives in cinemas on March 28.

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That’s the focus of the enchanting new trailer for Finding Dory, which follows the happy go lucky if slightly forgetful Dory (Ellen DeGeneres), as she attempts to find out what happened to her parents.

In her journey Dory ends up at the prestigious Marine Life Institute, where she meets and befriends Hank (Ed O’Neal), a cantankerous Octopus, Bailey (Ty Burrell), a Beluga Whale whose echolocation skills are on the fritz, and Destiny (Kaitlin Olson), a nearsighted whale shark. With her new friends, as well as the help and support of Nemo (Hayden Rolence) and Marlin (Albert Brooks), Dory learns some vital lessons, and might finally have discovered the willpower she needs to find her family.

Director Andrew Stanton returned to helm this magical follow up, which is once again sure to enchant both children and adults everywhere, as well as possessing more of the brilliant animation from those geniuses at Disney-Pixar.

Prepare for another dip under the sea when Finding Dory makes its ways into cinemas on June 17 in the US, June 23 in New Zealand and Australia and on July 29 in the UK.

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