First, two potential Oscar contenders are here in the shape of Josh Safdie's Marty Supreme and Joachim Trier's Sentimental Value, two rather different films that have both been lavished with near universal praise, and could well become late entries on your Best of 2025 lists.
One other new release, which arrived on Christmas Day, is Anaconda – a reboot of the 1997 film, which stars Jack Black and Paul Rudd. We don't have a review of that one just yet, although it's perhaps worth noting that, on the whole, verdicts haven't been too kind.
Read on for your weekly round-up of all the films currently showing in UK cinemas.
Marty Supreme
As he represents his country with obnoxious showmanship in international tournaments, Marty's sweaty and scheming chase of the American Dream is exasperating for those in his orbit – including his long-suffering girlfriend (Odessa A’zion), a Japanese ping-pong prodigy (Koto Kawaguchi), a retired movie star (Gwyneth Paltrow) and her millionaire husband (Kevin O’Leary).
No matter how deplorable Marty seems in the absurd and exhilarating chaos entirely of his own making, you will laugh as much as you condemn – and never look away. In a feat of sheer intensity, Chalamet channels Tom Cruise in The Color of Money or even Robert De Niro in Mean Streets, and the result is a breathless and brilliant all-American character study for our times. – Max Copeman
Read our full Marty Supreme reviewThe Housemaid
Director Paul Feig has form walking the darker corridors of domesticity, but whereas 2018’s A Simple Favour revels in blackly comedic upheavals to happy homes, The Housemaid is a genuinely unsettling depiction of dysfunctional families and breathtaking cruelty. Seyfriend excels in a role that calls for her to flit from pantomime-like to pure evil, and Sweeney is impressive, too, blooming convincingly from put-upon maid to plucky heroine. – Terry Staunton
Read our full The Housemaid reviewSentimental Value
Winner of Cannes’ Grand Jury Prize, the film is co-written and directed by Joachim Trier (The Worst Person in the World), who crafts a meandering mood piece that will grip those willing to go with its flow.
Skarsgård’s turn, lamenting the loss of things past, is terrific, especially in his tender scenes with a bright and watchable Fanning. For all its melancholy, there’s much-needed dark humour, too, especially when Gustav gifts his 10-year-old grandson some highly inappropriate DVDs, such as The Piano Teacher and Irreversible. Priceless. – James Mottram
Read our interview with Joachim Trier and the Sentimental Value castAvatar: Fire and Ash
At over three hours long, the film's narrative never quite justifies its length, as Cameron lurches through multiple frenetic and overwhelming battles. But with a sincere if simple message baked in about the destructive qualities of humanity, several scenes – such as one where the planet's whale-like population is attacked – do hit home.
This is not least because of the spectacular world-building characteristic of this series; the sheer effort put into creating the bio-luminescent forests, turquoise oceans and, now, fiery volcanos is worth the ticket price alone. Released once again in state-of-the-art 3D, it's a marvel of CG craftsmanship and of Cameron's pursuit of technical perfection. – James Mottram
Read our full Avatar: Fire and Ash reviewRead our interview with Sigourney WeaverRead our interview with James CameronRead our interview with Oona ChaplinLurker
First-time writer/director Alex Russell worked on TV’s The Bear, so he knows how to turn up the tension to almost unbearable levels. Madekwe is excellent as the impulsive star-in-ascendence, but this is Pellerin’s time to shine.
"I’m just happy to be here," Matthew claims, a dopey smile frozen on his face while his eyes tell a different, far darker story. With its shades of The Servant and Nightcrawler, the film excels at daring us to keep watching, even as Matthew’s actions become more and more repellent. – Matt Glasby
Eleanor the Great
Scripted by Tory Kamen, the film largely spins on the likeable chemistry between Squibb and Kellyman in a story that gently prods themes of grief and loneliness. Squibb’s exquisite comic timing is present and correct, whether she’s berating a store clerk or embarrassing her daughter.
Making a solid debut, Johansson directs in an unfussy manner, with a strong sense of place and character. The result is a charming crowd-pleaser, even if it’s not the most earth-shattering narrative you’ll ever see. – James Mottram
Read our interview with Scarlett JohanssonRead our full Eleanor the Great reviewGoodbye June
With a laboured opening act and a tendency to lean too far into schmaltz, there are times where the screenplay feels like the work of a novice, but there are also some genuinely moving touches that show an emotional maturity to Anders's work.
The complicated family dynamics are well observed, even if this lacks the depth of another Netflix-released film about warring siblings thrust together to care for a dieing parent, Azazel Jacobs's His Three Daughters. Still, the idea of juggling the impending grief of losing a loved one with the unavoidable jollity of the festive season will no doubt resonate with a lot of viewers. – Patrick Cremona
Read our full Goodbye June reviewRead our interview with Kate WinsletSilent Night, Deadly Night
Writer/director Mike P Nelson stays faithful to the narrative of the 1984 film, improving on it with a tighter script, sly humour, stronger performances and more convincing gore. A deliriously over-the-top slaughter in a Nazi night club is both horrific and hilarious, and the visual palette is an affectionate homage to the genre as a whole.
With occasional nods to other 80s fright-fests, this is a film that knows its audience well, and treats it with a respect that guarantees it as a genuine crowd-pleaser. – Terry Staunton
Read our interview with star Rohan CampbellEternity
Callum Turner and Miles Teller play the men – one died heroically in the Korean War, the other choked to death on a pretzel – and take turns aiming for Cary Grant screwball suavité. If they’re a touch interchangeable, that’s partly the point and it barely matters because Da’Vine Joy Randolph and John Early, as celestial Afterlife Co-ordinators, provide solid comedy back-up.
The production design is another standout and provides a running gag that keeps on giving, as this limbo is a teeming marketplace of competing versions of the afterlife (such as Beach World, Capitalism World, and Man-Free World). – Steve Morrissey
Read our interview with the Eternity castIt Was Just an Accident
Winner of the Cannes festival's prestigious Palme d’Or, this tense, taut thriller comes from acclaimed filmmaker Jafar Panahi (No Bears). Like his characters, he’s been imprisoned by the Iranian authorities, as well as banned from filmmaking, and there’s no escaping the film's in-baked sense of righteous anger.
But Panahi wisely seasons the film with black comedy: witness two security guards who take a bribe (with a handheld credit card terminal!) to look the other way when they hear a ruckus in Vahid’s van. A powerful, poignant meditation on the futility of vengeance. – James Mottram
Cover-Up
Joined here by co-director Mark Obenhaus, Poitras is no stranger to tackling those who take on authorities at the highest level – notably in Citizenfour, her timely 2014 look at whistle-blower Edward Snowden.
Here, she meets her match in the 88-year-old Hersh, who continues to needle the great and the not-so-good. He frequently refuses to answer questions, guarding his anonymous sources, but the film never balks, even covering the scandal that engulfed him when penning his John F Kennedy memoir involving forged Marilyn Monroe letters. Thoroughly absorbing. – James Mottram
Wake Up Dead Man: A Knives Out Mystery
What makes the mystery so enticing is that it initially appears to be an impossible crime, with Johnson's script making several references to John Dickson Carr's classic locked room mystery novel The Hollow Man. The church setting allows the director to make cinematic use of religious iconography and deliver a pointed satire about the way contemporary right-wing figures have weaponised faith to their own ends.
Meanwhile, the film gets a little darker, more unsettling, and weirder than the previous instalments – embracing elements of gothic horror – and although there are times where the case threatens to get a little too convoluted, it eventually leads to a hugely satisfying denouement. – Patrick Cremona
Read our full Wake Up Dead Man reviewRead our interview with Daniel CraigRead our interview with Josh O'ConnorRead our interview with the supporting castZootropolis 2
Despite their clashing methods, the duo stumble on a mystery involving Zootropolis’s 100-year anniversary and Gary De’Snake (Ke Huy Quan), a rogue viper slithering amok in the supposedly reptile-free city. Predictable plot twists aside, the duo’s investigation nimbly spans genres and Disney tropes, with animal jokes, crime film influences and lightly handled messages about prejudice deftly interwoven.
Old and fresh characters are breezily balanced, with series newcomers Quan, Fortune Feimster and Andy Samberg playfully nailing their voice roles. Featuring a winning lead pairing, pacey chase sequences and a richly realised world, the film builds on its predecessor’s appeal with charm, energy and the wittiest nod to The Shining in a kids’ movie yet. – Kevin Harley
Pillion
With its titular double meaning – slang in the niche world of BDSM-practising bikers, meaning those who take the submissive role – the film may prove a little too outré for certain viewers. However, British writer/director Harry Lighton finds humour and sweetness in the premise, leaning into the sexual dynamics on show without ever kink-shaming its participants.
Melling and Skarsgård are wonderfully cast, especially Melling, who convincingly goes from dowdy and downtrodden to confident and cool. Seasoned with a dash of Mike Leigh-style suburban angst, Pillion will truly tickle your fancy. – James Mottram
Wicked: For Good
There’s no reason to think Wicked: For Good won’t perform the same trick, or better it, with Chu bringing events to a rousing close. While he infuses enthusiasm into every frame, the same can be said for his leading ladies. Ariana Grande and Cynthia Erivo are back in top, lung-busting form as, respectively, the pink-hued Glinda the Good and Elphaba, the green-skinned witch who has been cast out of Oz, thanks to the machinations of the Wizard (Jeff Goldblum, wickedly charming as ever), the ultimately carney-man.
Now in exile, the demonised Elphaba’s name has been stained by the Wizard, in league with her one-time tutor, the former Dean of Sorcery at Shiz University, Madame Morrible (Michelle Yeoh, still wearing that delicious Mr Whippy ice-cream hair-do). The slightly vapid Glinda, meanwhile, thinks they need to be trademarking the word "good", while she’s also caught up in preparations for her impending wedding to Prince Fiyero (Jonathan Bailey), who has been charged with capturing Elphaba. – James Mottram
Read our full Wicked: For Good reviewRead our interview with Wicked production designer Nathan CrowleyNow You See Me: Now You Don't
Yet as the crowded cast grapple with the script’s patchy supplies of sparkle and finesse, it can be hard to care which way the plot’s cards end up landing. The set pieces lift proceedings, with action sequences at a public diamond display and in a house of illusions showing flashes of pacy wit, levity and invention.
However, the narrative linking them is frustratingly loose – even for a franchise that revels in the ridiculous. One or two twists prove inconsequential, while the script is rarely as clever as it thinks it is and hardly ever as fresh as it should be. – Kevin Harley
Read our full Now You See Me: Now You Don't reviewRead our interview with star Rosamund PikeOne Battle After Another
Leonardo DiCaprio stars as Bob Ferguson, a former member of resistance group the French 75, now completely sapped of his revolutionary spirit. But when his old nemesis (Sean Penn in sensationally odious form) re-emerges, Bob must rediscover his fight so he can protect his teenage daughter (Chase Infiniti, a revelation).
The film feels urgent and timely, tapping into contemporary themes from the USA's barbaric treatment of immigrants to the growing prevalence of extremist ideologies among people with influence, but there's also a dash of hope and poignancy. Anderson's choice to put a touching father/daughter relationship front and centre amid the thrills gives his masterful film undeniable emotional heft. – Patrick Cremona
Read our full One Battle After Another reviewRead our interview with Leonardo DiCaprioCheck out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Hence then, the article about what films are out in uk cinemas this week reviews from marty supreme to the housemaid was published today ( ) and is available on Radio Times ( Middle East ) The editorial team at PressBee has edited and verified it, and it may have been modified, fully republished, or quoted. You can read and follow the updates of this news or article from its original source.
Read More Details
Finally We wish PressBee provided you with enough information of ( What films are out in UK cinemas this week? Reviews from Marty Supreme to The Housemaid )
Also on site :
- Supermarket timings for Boxing Day and New Year revealed for Asda, Tesco, Sainsbury’s, Aldi, Lidl and more
- Trump rants about Epstein in Christmas Day post claiming he dropped ties with sex offender ‘long before it became fashionable’
- ‘Stranger Things 5’ Volume 2 Spoiler Interview: Duffer Brothers Explain the Upside Down’s Origins, Will’s [SPOILER], That Breakup and Why Eleven Might Not Get a Happy Ending