Set in a fantasy world, following janitor Winston Gooze, who, after a freak accident, transforms into a mutant vigilante known as Toxie. Armed with his mop, the unlikely hero battles freaks, gangsters and corrupt CEOs while trying to save his relationship with his son.

Troma Entertainment has been proudly peddling schlock cinema since 1974, with Lloyd Kaufman’s madcap vision paving the way for generations of demented filmmakers. From The Toxic Avenger (1984) onwards, Troma became synonymous with low-budget excess and gleefully tasteless grindhouse energy. With Macon Blair in the director’s chair, The Toxic Avenger Unrated marks a bold leap—translating Troma’s unfiltered chaos into a big-screen, big-budget spectacle without losing any of its gonzo DNA. The result? A gloriously deranged black comedy splatterfest that makes the original proud.

At the centre of the madness is Peter Dinklage, who brings a surprising amount of pathos to Winston Gooze. Dinklage is magnetic, balancing heartache, physical comedy, and grotesque body horror with ease. His Toxie is both a tragic monster and a heartwarming underdog, and Dinklage imbues him with genuine soul. Amidst the mop-wielding carnage and absurd violence, you actually care about him—and that’s no small feat.

Then there’s Kevin Bacon, who goes full ham as the villainous Bob Garbinger, the egomaniacal CEO of a corrupted pharmaceutical business. Bacon is vile, repugnant, and utterly hilarious as a Bryan Johnson-style tech-bro supervillain. He struts through the film with manic glee, spewing venomous one-liners and leaning into every ounce of cartoonish villainy. It’s one of his most gloriously unhinged performances, and he’s clearly having the time of his life.

But the real wild card here is Elijah Wood as Fritz, Garbinger’s twisted right-hand man. Sporting grotesque deformities, a Monstercore band/hit-squad at his disposal, and a gleefully psychotic edge, Wood embraces pure exploitation energy. It’s a bizarre, freakish performance that proves once again why he’s one of Hollywood’s most fearless actors when it comes to diving headfirst into the weird and the depraved.

And let’s be clear: The Toxic Avenger Unrated is not for the faint of heart. Blair embraces every ounce of the Troma aesthetic—offbeat humour, over-the-top violence, and enough gore to flood a stadium. Heads roll, guts spill, and mop handles are shoved in places mop handles should never go. It’s as gross, gory, and gleeful as exploitation cinema gets. There will be blood. And lots of it.

For the uninitiated, this film will likely be too much. But for the grindhouse faithful, The Toxic Avenger Unrated is pure goretastic nirvana. It’s loud, it’s messed up, it’s metal as hell—and at its core, it’s still a story about a mutant dad trying to be a hero for his son. That’s the Troma way: beneath all the slime and gore, there’s still heart.

If you’re a metalhead maniac with a love for over-the-top WTF cinema, this is your jam. Macon Blair, Peter Dinklage, Kevin Bacon, and Elijah Wood have conjured up a delirious, blood-soaked romp that’s destined for cult status.

Image: Umbrella

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This musical adaptation of Edmond Rostand’s classic play tells the story of Cyrano de Bergerac (Peter Dinklage) as he pines for the affections of the beautiful Roxanne (Haley Bennett), who has fallen in love with another man named Christian de Neuvillette (Kelvin Harrison Jr.). Though Cyrano understands that his social status and physical appearance will forever keep him apart from his love, he offers his skills as a gifted poet to Christian in an effort to bring him and Roxanne together once and for all.

When it comes to the annuals of literary history one work is lofted high above all else. Edmond Rostand’s 1897 play Cyrano de Bergerac is regarded as one of the greatest ever achievements in literary circles and its central character, a libertine rogue by the name of Cyrano de Bergerac, one of the most well-rounded literary characters ever conceived. It is now with grand timing, and a considerable level of panache that director Joe Wright, a filmmaker who is well regarded for the visual splendour of his cinema, brings Cyrano’s tale to the silver screen and the completed piece is nothing short of a work of art. Taking audiences back to the rough and tumble France of the 17th century, Cyrano brings music, dance and a grand choir of voices to this incredible character and it is an utterly marvellous spectacle to witness.

Balancing character, narrative and marvellous visuals, Wright takes audiences on a galivanting adventure of romance, passion and desire as he re-introduces a modern audience to France’s greatest ever Renassasiance Man. Through the combination of the musical with the historical, Wright crafts a radically different kind of musical experience. It’s very rare that audiences are treated to a film this intricate in its detail and it’s an entirely unique experience. Wright draws upon a vast array of inspirations to bring Cyrano’s tale to life and looks to ideas of Broadway and opera, ballet and hip-hop, historical action and sweet romance and the resulting images will have your eyes wide with awe. Through his commitment to characterization and narrative, he crafts a story that is both historical and modern all at the same time and offers up a treatise on the very notions of romance and love.

From the visual standpoint, Cyrano is an absolute treat for the eyes, and audiences who are lucky to witness it will be transported to another time and place of absolute luxury and decadence. Dripping with baroque lavishness and rococo detailing, Cyrano takes audiences to the palatial villas and opulent salons of Paris and Wright paints the canvas with a collection of soft pinks, oranges, peaches, blues and whites, and this detail, intricately photographed by cinematographer Seamus McGarvey whose eye for natural light leaves the film feel natural and real. Lavish costumes, such as the beautiful flowing gowns worn by Hayley Bennett’s Roxanne and designed by Jacqueline Durran and period-correct hairstyling and make-up only add to the spectacle and almost ethereal-fairytale quality of Wright’s story and this incredible production has all the detailings of a Fragonard painting.

Cast as the lead character is multi-award-winning actor Peter Dinklage and he is utterly perfect in the role. Known for his ability to slip into characters and balance heavy emotions with the language of drama, Dinklage makes for a superb Cyrano, and his’ is a performance that rings true to the character of this now legendary man. A poet, raconteur, quarrelsome troublemaker, romantic and the greatest swordsman in all of France, Dinklage leans heavily into the romantic leanings of the character and his one true motivation in life, his love and passion for the unrequited love of his dear Roxanne. While his talent as a poet might speak to her, and there’s is a relationship formed of friendship and longing, the underlying romance is lost on him to her and in this work we see Cyrano facilitating a way to live through another so that his love might be quenched. Dinklage produces a keen interest in the audience of Cyrano’s journey throughout the film and this is a character who will truly move you as an audience member.

As the subject of our title character’s long-held affections is Hayley Bennett’s Roxanne, a care-free, high-spirited beauty who longs for love above all else and who desires it on her terms. Bennett gives Roxanne an ingenue innocence, but in the telling of the story, we see that she is a much more complicated character than first expressed and Bennett’s performance truly grows on you. Her performance of Roxanne is a character who thrives on love and its expression, and there’s an erotic undercurrent that is present in her performance. Just like Dinklage, Bennett brings her entire self to the expression of Roxanne’s character and she makes a considered love interest and foil for our titular character.

Those with an appetite for music and dance will also be well rewarded by Cyrano and there are some incredible musical numbers. All four principal actors, Peter Dinklage, Hayley Bennett, Kelvin Harrison Jr. and Ben Mendelsohn express themselves through the performance of song and these musical numbers are a grand way to deliver the narrative of Cyrano to an all-new audience. There is a liveliness and intelligence to the musical numbers that are expressed in Cyrano and they are transportative in their construction and presentation.

Given the presence of this whirlwind narrative of love and devotion, you are sure to be in tears at its ending and Cyrano is far and away one of the year’s best films. Beautiful to look on, packed to the brim with amazing performances and possessing a story that gets to the heart of why we love, it’s an utterly unforgettable work of art and a true testament to the character of the legendary Cyrano de Bergerac.

Image: Universal Pictures

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Take a look inside the making of the movie here:

Here’s the official trailer for Cyrano:

Bringing a fresh light to the famed 1897 play Cyrano de Bergerac by Edmond Rostand, Cyrano casts award=winnign actor Peter Dinklage as the famed poet Cyrano de Bergerac and takes audiences inside a wonderfully colourful and musical narrative. As he longs to be closer to his great love Roxanne (Haley Bennett), Cyrano’s true feelings are brought out and soon he must contend with rising jealousies and the emotions of lost love.

Dinklage looks incredible in this adaptation of Cyrano and it’s clear that Wright is looking to bring new life to the famed character and play, which is regarded as one of histories greatest-ever pieces of literature,

Here’s the official synopsis:

This musical adaptation of Edmond Rostand’s classic play tells the story of Cyrano de Bergerac (Peter Dinklage) as he pines for the affections of the beautiful Roxanne (Haley Bennett), who has fallen in love with another man named Christian de Neuvillette. Though Cyrano understands that his social status and physical appearance will forever keep him apart from his lady love, he offers his skills as a gifted poet to Christian in an effort to bring the two lovers together once and for all.

Prepare thyself to be transported into a true work of art when Cyrano arrives in cinemas on February 27.

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Poised with sharklike self-assurance, Marla Grayson (Academy Award® nominee Rosamund Pike) is a professional, court-appointed guardian for dozens of elderly wards whose assets she seizes and cunningly bilks through dubious but legal means. It’s a well-oiled racket that Marla and her business partner and lover Fran (Eiza González) use with brutal efficiency on their latest “cherry,” Jennifer Peterson (two-time Academy Award® winner Dianne Wiest) — a wealthy retiree with no living heirs or family. But when their mark turns out to have an equally shady secret of her own and connections to a volatile gangster (Golden Globe winner Peter Dinklage), Marla is forced to level up in a game only predators can play — one that’s neither fair, nor square.

Director J Blakeson (The Disappearance of Alice Creed) takes audiences on a dark and deranged journey in this razor-sharp thriller. Part character study, party black comedy, part edge-of-your-seat thriller, I Care A Lot is a thoroughly original concept and takes you on a very twisting journey which is sure to shock and surprise at every step. In my own opinion, the less that is said about this film’s narrative leads to a better viewing experience for audiences, and in my own personal view, I Care A Lot is the most original film I’ve seen since Panos Cosmatos’ Mandy. And this all comes down to Blakeson’s vision and talent as a filmmaker.

Audiences will really get a kick out of I Care A Lot, and Blakeson’s unique remix of genre and story is sure to keep you on edge. Violent, deranged, comically hysterical and utterly shocking, Blakeson introduces you to a range of characters who are each more twisted than the next, and his exploration of the themes of success and survival makes for a very interesting watch. Blakeson toys with his audience from beginning to end and the result is an extremely exciting piece of cinema that you can’t look away from.

Standing in as I Care A Lot’s central character is Rosamund Pike as ultra-sharp legal guardian Marla Grayson. A corporate lioness on the hunt in a modern-day savannah, Marla is determined to succeed in a hyper-capitalistic world and has forgone any kind of moral obligation or ethical boundaries in her pursuit of success and wealth. She’s a crafty, manipulative go-getter who has found a perfect niche in life as a legal guardian, which allows her to fleece her clients of their life long savings…..until she chooses one mark who turns out to be anything but a nice old lady.

Pike absolutely commits as Marla and she takes audiences on a dramatic, thrilling and sometimes terrifying journey as she simply won’t give up until she gets what’s hers. She gives Marla unwavering confidence and moral superiority, alongside a crooked smile and ‘sweet’ demeanour that underneath hides a dangerous and morally bankrupt person. And it’s enjoyable to see Pike shift and slide throughout the film’s narrative. In one scene you’ll hate Marla, then in the next, you’ll love her. There’s a strong complexity to Marla’s character and this is all down to the strength of Pike’s performance and her talent for playing very bad girls. Marla Grayson is a true cinema original and Pike’s performance is sure to stay with audiences.

Facing off against Pike’s Marla is Peter Dinklage as the nefarious Roman Lunyov. A dangerous, sadistic character who the less is said about the better, but who grows particularly tried of Marla’s ‘schemes’ and who desires to make an example of her. This is Dinklage like we’ve never seen him before, and he again brings his A-game talent to this very dark character. As an audience member its fun to see these two characters sparring together on screen, their battle of wills growing more dangerous by the minute. Like Pike, Dinklage keeps the audience on edge, and you never know what he’s going to do next as this unpredictable and extremely volatile character.

I Care A Lot’s wild card entry is noted performer Dianne Wiest as Jennifer Peterson, an elderly lady who is the target of Marla’s latest scam and who is anything but what she pretends to be. Wiest has made a career playing sweet, good-natured characters and Blakeson uses this to his advantage in presenting a character that we’ve never seen Wiest play before and she gives Pike a real run for her money here.

Alongside its standout narrative and performances, I Care A Lot is a meticulously designed piece of cinema from a visual standpoint with cinematography, production design, costuming and score all drawing you into the action that unfold on screen. Whether it’s the neon shaded hues and dark shadows of cinematographer Doug Emmett’s visuals, or the sickly, overly polished ‘prison-like’ space of a retirement village, or Marla’s sharply tailored pantsuit wardrobe in bright primary colours, all of it draws you in and makes for a solid feast for the eyes.

Part of the fun of I Care A Lot from a viewing standpoint is you never know where this narrative is going to take you and the resulting film is filled with twists, turns and sucker punches you just can’t see coming. With his film, Blakeson takes an interesting look at ideas of success and capitalism in action, and with a character who is so goal-focused as Marla it’s hard not to look away. Another fun thing about this film is just how unlikeable and repugnant all of these characters are, and as an audience member this aspect of the film toys with your emotions as these characters play their game and this leads up until the film’s shocking final scene.

I Care A Lot is one of the cleverest, most original pieces of cinema I’ve ever come across and in my mind could well end up being the best film of the year. It’s a piece of cinema that keeps you on the edge of your seat the whole way through and really does something interesting with notions of character and genre. See this one immediately, because you don’t want to miss out on it.

Image: Amazon Prime Video

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The Croods have survived their fair share of dangers and disasters, from fanged prehistoric beasts to watching their daughter get heart eyes over a new boyfriend. But now they face something that will shake their pack to its core and make them reconsider everything they hold true: another family. The Croods need a new place to live. So, the first prehistoric family sets off into the world in search of a safer place to call home. When they discover an idyllic walled-in paradise that meets all their needs, they think their problems are solved … except for one thing. Another family already lives there: the Bettermans. The Bettermans (emphasis on the “better”) — with their elaborate tree house, amazing inventions and irrigated acres of fresh produce — are a couple of steps above the Croods on the evolutionary ladder. When they take the Croods in as the world’s first houseguests, it isn’t long before tensions reach a breaking point. Just when all seems lost, a new threat will propel both families on an epic adventure outside the safety of the wall, one that will force them to embrace their differences, draw strength from each other and forge a future together.

Picking up after the events of the first film, everyone’s favourite stone-age family, The Croods, who include Grug (Nicolas Cage), Ugga (Catherine Keener),  Eep (Emma Stone), Guy (Ryan Reynolds) Thunk (Clark Duke), Sandy (Kailey Crawford) and Gran (Cloris Leachmen), find themselves coming face to face with an all-new modern world and it soon becomes harder and harder for the pack to stay together. Director Joel Crawford makes this a fun one for the whole family with jokes and laughs that will appeal to both little viewers, along with their parents who are also along for the ride. In addition to the humour which pokes fun at the Croods interaction with the ‘modern world’, the film’s animation is packed full of glorious sights and plenty of colour and it creates a visual spectacle that sucks you into this story of family, and why it’s essential to stick together no matter what.

Casting wise, The Croods: A New Age has a spot on cast with the likes of Nicolas Cage, Emma Stone, Catherine Keener and Ryan Reynolds, and this time they come up against a brand new pre-historic family, who are a touch more modern, with The Betterman’s who consist of Phil (Peter Dinklage), Hope (Leslie Mann) and their teenage daughter Dawn (Kelly Marie Tran). And this conflict of lifestyle and outlook is where the fun begins. As a viewer, it’s great to see Cage and Keener go up against their total opposite characters in the form of Dinklage’s chillaxed Phil and Mann’s high-strung Hope, and their interactions lead to plenty of laughs. Dinklage and Mann are a real hoot to watch in The Croods: A New Age and they infuse their vocal performances with a great sense of character that pulls audiences deeper into the narrative.

Adding more conflict to the narrative is the continuing romance of the Crood’s daughter Eep (Emma Stone) who is now head over heels in love with Guy (Ryan Reynolds), and it’s in this modern setting where things get interesting for these characters. While Guy adapts ‘a little too well’ to his new environment, Eep is a wild child at heart and their romance is tested to the utmost with some hilarious results along the way. Stone once again has a blast in the role of Eep and her chemistry with Reynolds’ Guy is fun to watch. And then there’s her new BFF Dawn (Kelly Marie Tran) whom she introduces to the wild side of life and these two make the most of a pre-historic landscape just waiting to be torn up with uncontrollable adventures.

As a cinematic experience, The Croods: A New Age also mark s a great return to cinema for family-friendly animated movies, and it’s the type of film we could all use after this year. With a tightly paced narrative, great character interactions, whimsical comedy, gorgeously rendered visuals and a thumping score and soundtrack, The Croods: A New Age offers up a great time out at the movies that every member of the family will enjoy. Films that are just straight out fun like The Croods: A New Age have been few and far between this year because of the ongoing pandemic, so to have a movie that’s this fun, and enjoyable, and more so in cinemas, is a reason to celebrate.

The holiday season is fast approaching and there’s no better movie to enjoy over it than The Croods: A New Age. It’s perfect family fun out at the movies in every single way, and the whole family will be smiling with this one.

Image: Universal Pictures 

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