Watch the terrifying new trailer Speak No Evil below:

Here’s the official synopsis:

When an American family is invited to spend the weekend at the idyllic country estate of a charming British family they befriended on vacation, what begins as a dream holiday soon warps into a snarled psychological nightmare.

Director James Watkins (The Woman in Black) is handling the directorial reigns on this new remake, and it is an utterly chilling psychological nightmare as a happy young family (Mackenzie Davis, Scoot McNairy) are trapped in a remote area by another family and the savage agenda of their patriarch (McAvoy).

Second, by second, this new trailer for Speak No Evil ramps up the tension, and it’s apparent that McAvoy’s Paddy is an unstable psychopath, and he’s got plans for Louise (Davis) and Ben Dalton (McNairy). While the new trailer promises a shocking watch, Watkins is keeping his cards close to the chest, and this new trailer doesn’t dive too heavily into the narrative, instead he ramps up the tension and the growing dread that envelopes the Daltons and primes audiences for an extremely chilling watch.

For McAvoy, Speak No Evil offers the dynamic thespian another chance to reinvent himself. He brings a hulking physical presence to the character of Paddy and an uber sense of raging machismo that will surely unsettle audiences.

Prepare yourself for a full shot of horror when Speak No Evil arrives in cinemas on September 12.

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The X-Men face their most formidable and powerful foe: one of their own, Jean Grey (Sophie Turner). During a rescue mission in space, Jean is nearly killed when she is hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful but far more unstable. Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. With Jean spiralling out of control and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. Now, with this family falling apart, they must find a way to unite — not only to save Jean’s soul but to save our very planet from aliens who wish to weaponize this force and rule the galaxy.

Long-time X-Men champion Simon Kinberg steps up to take the directing chair here for Dark Phoenix, and he crafts an interesting tale of family tension and unmatched power. In this latest chapter of the X-Men franchise, following the events of X-Men: Apocalypse, mutants are now free to live side-by-side with humanity and the X-Men are celebrated as international celebrity heroes. But when a new extra-terrestrial danger arrives on earth the very heart of this team is threatened and it’s here where things get interesting. With his film, Kinberg crafts a unique trinity dynamic between Charles Xavier, Jean Grey and Erik Lehnsherr and watching the dynamics of two different causes play out here results in plenty of action.

Once again James McAvoy commands particular attention as Professor Charles Xavier, a champion for mutant rights and acceptance who through hard work and time has made the world a brighter place for his kind, albeit inflating his ego in the process. His story here is one of hubris, as a past secret comes back to haunt him and threatens everything he has built. It’s fascinating to watch McAvoy’s turmoil as Charles has to battle the inner demons of his student Jean Grey, whom he has come to see as a surrogate daughter and their relationship and battles between one another highlight this thematic battle between adolescence and adulthood that the X-Men franchise has always examined. I liked how tested McAvoy was in the role and we really got to see Xavier’s flaws open up as he once again had to put away his own sense of self and return to the moral centre of this world that he has always been. And it resulted in plenty of great drama.

Taking centre stage in Dark Phoenix is Jean Grey herself and rising star Sophie Turner has plenty of material to work with here. After a freak accident leaves her imbued with a god-like alien power we see a terrifying power play burst out of her character, and this gives Turner plenty of room to stretch. Watching her as Jean, and the fluctuating boundaries of this new character I read into it an examination of an almost bi-polar individual who fluctuates violently between herself and this savage new force inside of her. As the Dark Phoenix, Jean is an unstoppable force and you buy into Turner’s dominance of the screen through the power that she wields. But next to this is the hurt and anguish that she finds herself in after she snaps back to herself and this drama is a real test for the character. Dark Phoenix was a big step up for Turner and she really proves herself here as she absolutely commands the centre of the audience and its attention.

Finally completing this trinity is Michael Fassbender who returns as the dark and charismatic Erik Lehnsherr. And Magneto himself has undergone considerable change here. Brushing aside his past anger and violence he now appears to have found some sort of peace with an assortment of followers on the island of Genosha, creating a self-contained homeland for them. But the arrival of Jean Grey and her actions bring out the beast in him and soon he is donning the helmet of Magneto once more. Fassbender has always been the straight-up cool factor of this franchise and again he does not disappoint with his performance here. His appearance also brings the narrative back to the brotherhood themes that were first explored between himself and McAvoy back in X-Men: First Class, and it’s great to see this relationship once again come full circle.

Fans who are wanting action will be in for a treat with X-Men: Dark Phoenix as Kinberg layers it on heavy. Jean’s powers turn her into a literal living weapon and the film’s third act is one massive action showcase that really throws you back into your seat. Another thing that I really enjoyed about X-Men: Dark Phoenix was the science fiction leanings that the film went in, and this again set it apart from the other comic book movies in the genre.

X-Men: Dark Phoenix is a fun ride for fans of the franchise and brings about a close to the series with a spot-on sense of nostalgia. See it now.

Image: 20th Century Fox

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Security guard David Dunn (Bruce Willis) uses his supernatural abilities to track Kevin Wendell Crumb  (James McAvoy), a disturbed man who has twenty-four personalities.

Comic book characters. They play an integral part in our society and the multi-coloured stories that collect their adventures of courage and heroism continue to inspire us and help lead us to reach our own true potential. These characters and stories are archetypal in nature and they have long served as a source of inspiration for Shyamalan. Following the birth of both hero and villain we are now at the final stages of this saga and in Glass, the director gives his final statement on just what it means for superheroes to exist in our real world.

Possessing a learned knowledge of both the superhero genre and the comic book medium Shyamalan takes this art form and presents it to us in a completely original take here in Glass. Using his film’s real world Philadelphia setting to great affect, Shyamalan employs the idea of reality to inform his narrative and frame the notion of how the extraordinary exist among the mundane. With Glass he throws away the blockbuster spectacle of traditional superhero fare and instead focuses his attention on this heightened normality, and just how these archetypal characters would act in our 2019 real world setting. While the characters of Kevin Wendell Crumb (James McAvoy), David Dunn (Bruce Willis) and Elijah Price (Samuel L. Jackson) are all superior beings in there own right, Shyamalan keeps them as grounded as possible which really makes their individual abilities even more fascinating to behold. He takes his audiences inside the minds of his characters and works to make you understand how each of them tick and how with the passage of time they have all grown to accept their abilities, and question just how their existence plays out in our world.

James McAvoy is far and away the star of the show here in Glass and as the conflicted villain Kevin Wendell Crumb, also known as The Horde, he builds on the masterful performance we first saw in Split. McAvoy’s chameleon performance really shifts up a notch here as we bear witness to 20 of his 24 personalities and his inventiveness and ease of transition between each of them really commands your focus. His physical transformation is also something to be admired here as he’s packed on a healthy dose of muscle mass to become a legitimate threat as the ferocious Beast and his howling, animalistic rage as this shadow-side villain will leave you gripped with fear. You never know whats going to happen next with McAvoy and his unexpected shifts in performance really keep you on edge.

Making a return to the Eastrail 177 trilogy is Hollywood veteran Bruce Willis as David Dunn and his heroic journey has been a long one since Unbreakable. Dunn has now accepted his abilities as a hero and takes his vigilante crime fighting seriously as he protects the innocent and seeks to punish the corrupt in a guise that becomes known as The Overseer. But every hero needs to be tested by the ultimate villain and Dunn finds his test in The Beast. What struck me with Willis’ performance in Glass was that we were watching a man who is committed to doing good and has this old-guard stoicism about him. Where as he was once a man of doubt, Dunn is now a man of action and has readily accepted his responsibilities as a hero and a father. Coupled with the film’s real world setting, Dunn’s presence is a much needed one and his penchant for heroic acts will have you cheering on as he takes the fight to the bad guys in a world that can sometimes feel so empty of any kind of real hero.

Finally rounding out Glass is the titular character himself, Samuel L. Jackson’s Elijah Price, a twisted genius whose belief in the extraordinary has led him to commit despicable acts in order for him to come to terms with who he is as a man and his archetypal nature. Jackson once again channels his characters twisted intelligence to good use here, and even though he may be the least threatening character, his mind and it’s cognitive ability make him the most dangerous person on screen. Jackson’s intelligence is on display here as Elijah and his determination to prove that the superior do exist leads to many frightening moments.

Walking in on this superhuman trinity is Sarah Paulson’s Dr. Ellie Staple, a psychiatrist specializing in cases involving delusions of  grandeur and her introduction throws a wild card into the mix. While Glass’s three main characters represent ideas of the possible and the miraculous, Staple’s character is a far more clinical persona and her presence is one that will really unnerve you. While on the surface their is nothing superior about Staple, the audience will come to learn that she herself carries her own ‘super-power’ in her ability to get inside the minds of her patients and how she very ably deconstructs their personas. Paulson’s sense of calm and composure within the film is completely unsettling and is a real credit to the actresses control of her craft.

As an exercise in worldbuilding, Glass is a piece of cinema that is extremely visually striking. As he did in both Unbreakable and Split, Shyamalan continues to utilize his unique colour palette with the prominent hues of green, yellow and purple to symbolize his characters and their motivations. These prominent visual references command your attention and help to pull you deeper into the arcs of the characters as an audience member. This use of defined colour, which is blended with the desaturated cinematography of Mike Gioulakis, and his use of framing, transforms the cinema screen into that of a literal moving comic book and makes for a unique visual aesthetic.

In discussing Glass, and Shyamalan’s process as a filmmaker I can also not go past his use of the unexpected and here it really keeps you on your feet. There is absolutely nothing predictable about Glass and Shyamalan takes his audience through plenty of zigs and zags and the result is a piece of cinema that is one of the most original narratives I’ve ever had the pleasure to witness in terms of superhero structure. I can’t go into specifics without leading to any notion of spoilers, it’s something that makes for a very interesting narrative.

If you’re seeking a superhero story with an intellectual twist then Glass is a film you need to see. Clever and meticulous in its characterization and visuals, Glass is something truly unique and is a fitting conclusion to the Eastrail 177 trilogy.

Image: Walt Disney Pictures

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Berlin, 1989. On the eve of the fall of the Berlin Wall Western intelligence agents are being hunted down and killed. To stop the carnage MI6 sends their best operative Lorraine Broughton (Theron) to investigate. What she finds is an altogether different espionage landscape where there are no rules and you can trust no one.

You have never seen Charlize Theron this fierce before. Known as a Hollywood risk taker, Theron bends all the rules of the action genre to suit her own new take on the classic spy film. Queen’s aptly named ‘Killer Queen’ (which is included on the soundtrack) applies perfectly to Theron’s antisocial, yet capable intelligence operative Lorraine Broughton. Quick-witted and sassy, Broughton is one super spy audiences won’t soon forget and her desire to throw away the book in terms of behaviour and cadence really caught on with me. And there’s also the fact that she kicks some serious ass.

Matched with Theron is the always dependable James McAvoy, and as MI6 Berlin station chief David Percival he’s an absolute shitbag. Cocky, arrogant beyond belief and playing all sides of the fence you never know what he’s going to do next. While Broughton might be MI6’s wrecking ball, Percival is the snake and his behaviour and actions pull Broughton in all kinds of different directions.

Starring alongside these these two heavy hitters are a dependable cast of supporting players who include Sofia Boutella as young French agent and Lorraine’s eventual lesbian lover Delphine, Bill Skarsgard as gifted Berlin black marketer and hustler Merkel and Til Schweiger as The Watchmaker.

If you want action then you’ve come to the right place because Theron and director David Leitch deliver on this. Having been put through her paces by Leitch’s own speciality stunt training school 87Eleven, Theron is a lethal weapon who storms her way through a pack of very nasty Soviet spy’s. But she has her work cut out for her, and her victories often occur because of her skills, improvised weaponry and just plain luck. The director made sure to play up the fact that she couldn’t overwhelm her opponents through sheer physicality and had to out think them and out work them. The film’s defining fight is five minutes of pure badassness and after it, well, you’ll never look at a set of car keys or a cork screw in the same way again.

Style and substance also feature heavily in Atomic Blonde and make for a film that is equal parts gorgeous and cool at the same time. Theron must go through at least thirty different costume changes in the film, and Dominic Sela’s cinematography is just beautiful to watch thanks to the film’s neon lit atmosphere and perfect framing. Atomic Blonde also has one of the coolest soundtracks you’ll hear all year and is packed out with tracks by the likes of New Order, George Michael, Queen and David Bowie along with featuring contemporary artists like Marilyn Manson and German additions of classic songs like Bowie’s ‘Space Oddity’. All of it makes for one engaging cinematic experience and I was hooked from the very first frame.

Atomic Blonde is without-a-doubt one of this year’s most engaging thrillers and really changes the game in terms of action cinema. If you’re looking for a rush and something that will really suck you in then Atomic Blonde is it.

Image: Paramount Pictures

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The latest trailer offers fans greater insight into Theron’s unstable MI6 operative Lorraine Broughton, who in the final days of the Berlin Wall must uncover a sinister conspiracy that is leaving allied spies dead, and could ignite World War 3.

Theron has a real grunge look going on thanks to her peroxide blonde hair, and is a multi-talented lady of action who mows through the bad guys with lethal effect. She’s matched perfectly with James McAvoy’s quirky David Percival, who somehow has to contain her raw aggression.

Director David Leitch (John Wick) captures some truly awesome action moments and is making the most of the film’s 1980s setting, including the use of a wicked soundtrack packed with the likes of New Order and Eurythmics.

Atomic Blonde is set to release on July 28 in the US and UK, and on August 3 in New Zealand and Australia.

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