Films

The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.

Single on Valentine’s Day? Skip the predictable romance films and celebrate with these nostalgic, feel-good movies to lift your spirits

Valentine’s Day has come round once more, and if you’re not getting caught up in all the soppy, romantic nonsense, there’s loads of other ways you can spend your evening. If you’re staying in and swerving all the loved-up couples out there, telly is an excellent means of escape.

Valentine’s Day needn’t revolve around romance, after all. If you’ve had your fill of formulaic, predictable romantic flicks, here are some brilliant alternatives that’ll rekindle your appreciation for those nearest and dearest.

So whether you fancy a giggle on your own or with mates, ditch those rom-coms for some feel-good nostalgia this Valentine’s Day.

Angus, Thongs & Perfect Snogging (2008)

For anyone wanting to grasp what life was like as a British teenage girl in the late noughties, Angus, Thongs & Perfect Snogging hits frighteningly close to home. At some stage, we’ve all caught ourselves relating to Georgia’s worldview, however misguided it might be, reports the Express.

Adapted from Louise Rennison’s bestselling book series, we follow 14-year-old Georgia Nicholson (Georgia Groome) as she tries to navigate adolescence whilst pining after the new lad in town – a breakthrough performance from Aaron Taylor-Johnson. Throughout her mission to bag a boyfriend and organise a spectacular 15th birthday bash at a nightclub, we witness the inner workings of the teenage brain manifesting in reality through some absolutely hilarious and toe-curling antics.

Shaving off an eyebrow? Absolutely. Faking the disappearance of a beloved moggy for sympathy? Naturally. A massive pair of granny pants? Without question.

Whilst this flick might centre on Georgia’s romantic pursuits, beneath the surface lies a tender coming-of-age tale exploring insecurity, platonic bonds, and that distinctly teenage sensation that everything is utterly catastrophic. Plus, it boasts what’s arguably one of cinema’s finest original songs, guaranteed to transport you straight back to those nostalgic days.

Planning to mark Valentine’s Day with your mates this year? Nobody’s turning down this gem. Angus, Thongs & Perfect Snogging proved a defining British picture for younger audiences back then, and continues to supply countless cultural touchstones we reference today.

In fact, Georgia Groome recently resurrected that legendary olive outfit for a cameo appearance in the reveal video for Maisie Peters’ latest album ‘Florescence’. Nearly two decades on and that immortal line still echoes: “Boys don’t like girls for funniness”.

The film is available to stream on Netflix, Amazon Prime and Apple TV.

Wild Child (2008)

The year 2008 was evidently peak teen cinema. On one side sits Angus, Thongs & Perfect Snogging, offering a relatively authentic portrayal of adolescent life for girls during the noughties, whilst on the other stands Emma Roberts ‘ Wild Child.

What do you do with a spoilt, glamorous Malibu Barbie teenager who leaps off cliffs into the ocean? Simple – pack them off to an all-girls boarding school deep in the English countryside.

A genuine fish out of water, Emma Roberts’ Poppy Moore couldn’t be more different from the seemingly prudish, eccentric pupils she encounters at Abbey Mount. It’s quite the exaggerated portrayal of boarding school life, but that’s rather the point – to knock the protagonist down a peg or two.

Gradually, the crisp English climate begins breaking down Poppy’s defences as she develops authentic bonds with her roommates – Kate (Kimberley Nixon), Josie (Linzey Cocker), Kiki (Sophie Wu), and Jennifer “Drippy” Logan (Juno Temple). Naturally there’s a love interest (Alex Pettyfer) and a sworn enemy (Georgia King) determined to see her fail, though that’s really beside the point when there’s such entertaining mischief afoot.

Beneath the rebellious and entitled façade lies genuine warmth, drawn out through the connections she forges. Ultimately, Poppy emerges transformed – having discovered a missing piece of herself through real mates who embrace her for who she truly is, whilst wreaking havoc around campus. Whilst Wild Child might not be the most universally relatable picture, there’s something in all of us that yearns for that kind of school adventure.

The film also marks one of Natasha Richardson’s final performances (as headmistress Mrs Kingsley) prior to her tragic passing in 2009.

Wild Child is available to stream on Netflix.

The Breakfast Club (1985)

This film boasts what’s arguably one of cinema’s most iconic closing sequences and exit tracks. The Breakfast Club, a coming-of-age comedy-drama, follows a group of outsiders whiling away the hours together during an all-day Saturday detention.

Each teenager belongs to a different social circle within the school, and their paths would ordinarily never cross in daily life. They’re set the task of penning a thousand-word essay on “who you think you are” by their notoriously harsh vice principal (Paul Gleason).

Alongside the usual rebellious teenage shenanigans and storylines, the film explores the realities lurking beneath the stereotypes presented on screen. It tackles themes including peer pressure, abuse, neglect, troubled relationships, and suicide in a manner that resonates with its audience, rendering the characters relatable to viewers.

Despite their contrasts, the group discover they’re all grappling with comparable struggles and form connections with one another. It serves as a reminder that surface appearances can be deceiving.

Whilst the group suspect their newly-formed bonds will dissolve once detention wraps up, they acknowledge they’ll view their classmates through fresh eyes going forward. As the film reaches its conclusion, we hear their moving message to their vice principal, declaring: “Each one of us is a brain, an athlete, a basket case, a princess, and a criminal.

“Does that answer your question? Sincerely yours, the Breakfast Club.”

Cue Judd Nelson’s fist raise and Simple Minds’ ‘Don’t You Forget About Me’.

The Breakfast Club can be watched via Netflix, Amazon Prime and NOW TV.

Romy and Michele’s High School Reunion (1997)

There’s something about a 90s comedy that hits all of the right spots, something the 2020s can learn from. The film follows underachieving best friends Romy (Mira Sorvino) and Michele ( Lisa Kudrow ) who decide to reinvent themselves with fake careers to impress their former classmates at their ten-year high school reunion.

The film kicks off with the drama of the girls’ prom in 1987, where they find themselves targeted by bullying from the high school cheerleader clique. Some stroppy behaviour leads the girls to do the classic slow dance together.

Fast forward, the duo don’t appear to have achieved much success since leaving school, stuck in dead-end jobs – or jobless – living a life lacking in some sort of purpose. They’re fine, totally fine.

It’s the invitation from one of their high school tormentors to their high school reunion that makes them pull their socks up, but only in the pretence sense. It’s your typical American movie that takes you on a journey, both literally and figuratively.

Following a catastrophic falling out over their friendship, the pair go their separate ways after their drive cross-country to the reunion. Or do they?

The film is madcap, light-hearted, and chock-full of clichés, but sometimes that’s just the ticket. Let’s face it, we all need a good giggle now and then, and anything featuring Lisa Kudrow is guaranteed to leave you in fits of laughter.

You can catch this film on Disney+.

Frances Ha (2012)

Whilst we’re accustomed to seeing Greta Gerwig behind the lens, she’s equally at home in front of it. The film stars Gerwig as a struggling dancer in New York, grappling with the rollercoaster ride of her twenties alongside her best mate, Sophie (Mickey Sumner).

They say your twenties are meant to be the time of your life, but in truth, you’re still figuring out who you are and where you fit into the world. We can all identify with the unpredictability of existence; flitting from one flat to another, settling for jobs you don’t really fancy, and witnessing friendships fade as they form new relationships.

Life in the Big Apple can be complex and unsettling, regardless of which side of the Atlantic you hail from. The trials and tribulations of everyday life can weigh heavily, with Frances battling to make her mark on New York.

The film masterfully blends comedy, drama and emotion to paint an authentic picture of struggling twenty-somethings.

In 2025, Frances Ha secured the 90th spot on The New York Times’ list of “The 100 Best Movies of the 21st Century”. Writing for Harper’s Bazaar, Yasmin Omar noted: “Frances Ha has become a cult classic thanks to its relatable portrait of the bewildering life stage that is young adulthood.”

Frances Ha is available on Netflix, Amazon Prime and Apple TV.

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Directed by Mark Neveldine and Brian Taylor, this “high-octane” action film with Jason Statham proved so popular it was then followed by a 2009 sequel.

An “adrenaline-fueled” action film has been praised as one of Jason Statham‘s best, and it’s now available on ITVX.

Crank, released in 2006, stars Jason Statham as Chev Chelios, a Los Angeles hitman poisoned with a synthetic drug that kills him if his heart rate drops. To survive, he must keep his adrenaline flowing through constant, violent and chaotic actions while tracking down his enemies.

It is a fast-paced film described to be like a “video game” in style, which sees action star Statham at his best as he performs all of his own fight and car stunts.

The film stars Statham in one of his typical roles as an action star, alongside Amy Smart as Eve Lydon, Jose Pablo Cantillo as Ricky Verona, Carlos Sanz as Carlito, and Dwight Yoakam as Doc Miles.

The film was considered a huge success and performed well at the box office, as it grossed $42.9 million (around £31.6 million) worldwide against a $12 million (about £.8.8 million) budget.

Directed by Mark Neveldine and Brian Taylor, the film proved so popular it was then followed by a 2009 sequel, Crank: High Voltage.

On film and TV ratings website Rotten Tomatoes, it scored a moderate 62% but fans have still said it’s worth a watch. One review wrote: “Crank is a relentless, high-octane action film that thrives on its breakneck pacing, jump cuts, and kinetic cinematography – all of which are seamlessly integrated into the storytelling. As a genre piece designed to deliver a near-constant dopamine rush, it excels, offering a uniquely immersive and adrenaline-fueled experience.”

A second posted: “Extremely fast-paced and action-packed psychedelic movie that really feels like a (very effective) parody of the state of modern entertainment.”

A third said: “This is a good film. Jason Statham is great and the rest of the cast is good too. The action is wild. Worth a watch if you’re a fan of Statham.”

A fourth added: “This movie is ridiculous but that is what made it a good, fun movie. It’s high-octane and over-the-top scenes made the movie such a joy to watch.”

A fifth said: “Relentlessly paced and full of ‘whoa’ moments – Crank might just be the peak Statham movie. An outlandish one vs 100 action flick that was popularised in the 80s works better here with the wink and nod to the audience that the movie is in on the gag as well.”

Another wrote: “It’s ridiculous, but highly entertaining and funny.” Another shared: “This is pure 00s action. I loved it but it took me a hot minute to appreciate the style. I can see why people wouldn’t enjoy this film but if you want an action film that doesn’t take itself seriously and has some laugh-out-loud moments, Cranks delivers.”

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Crank is available on ITVX now.

This season’s Oscar nominees for film editing have one thing in common: coping with trauma. The Envelope invited editors from each film to break down a pivotal scene that showcased their craft.

‘F1’

“F1” builds momentum for its underdog tale with an intricately constructed racing montage.

(Warner Bros. Pictures)

Editor: Stephen Mirrione
Scene: The montage in which Brad Pitt’s washed-up racer Sonny Hayes begins his winning streak through a momentum-building Grand Prix swing.

“There were more than a dozen structural versions of how we were getting through this story,” said Oscar winner Mirrione (“Traffic”). The three-minute, high-octane montage benefited from 5,000 hours of footage, captured with 20 cameras around the tracks. It was treated like a massive puzzle, with the racing order moved around for maximum impact. The key was seamlessly integrating in-camera footage with broadcast footage from actual races that offered happy accidents such as rain and a crash. “At one point, it was more focused on rookie driver Joshua [Damson Idris],” added Mirrione. “But then we realized that Sonny was more interesting, visually, in terms of his arc about dealing with the trauma of his near-fatal crash. And then once we saw it in context, it was not just about the two of them and their rivalry but also the team coalescing around Sonny.”

‘Marty Supreme’

A dinner in “Marty Supreme,” starring Timothée Chalamet as Marty Mauser, leads to a startling flashback.

(A24)

Editors: Ronald Bronstein, Josh Safdie
Scene: The jarring dinner scene/Holocaust flashback introducing nasty businessman Milton Rockwell (Kevin O’Leary)

In this scene from the 1950s-set psychological drama, we get a glimpse of Marty’s (Timothée Chalamet) motivation for his obsessive pursuit of table tennis: Jewish pride and survival instinct. “The adversarial impulse of the Rockwell dinner scene involves several characters, each with a distinct subjective agenda,” said Bronstein. “The act of cutting the scene [with close-ups and extreme close-ups] became inseparable from its sensations and emotions.” Yet Bronstein pushed it to extremes with the bizarre Auschwitz flashback involving Marty’s dinner guest, Béla (Géza Röhrig). Thanks to his table tennis prowess, Béla disarms bombs for the Nazis in the woods. But when he discovers a beehive, he shares the honey with his fellow prisoners by smearing it over his body. “That’s like a carrot on a rope that’s hanging in front of me at all times, and when I get to the end of that exchange, I’m allowed to break free and go into an entirely new set of tools, which are much more expressive,” added Bronstein.

‘One Battle After Another’

Leonardo DiCaprio as Bob Ferguson, nearing the conclusion of “One Battle After Another’s” climactic car chase.

(Warner Bros. Pictures)

Editor: Andy Jurgensen
Scene: The climactic roller-coaster car chase

Jurgensen assembled the best VistaVision car chase in history for Paul Thomas Anderson‘s turbulent father-daughter actioner. That’s where teenage Willa (Chase Infiniti) becomes the hero by outsmarting and killing the hired muscle (John Hoogenakker), who chases her up and down the rolling hills followed closely by Willa’s flummoxed ex-revolutionary dad, Bob (Leonardo DiCaprio). Shot at shaky high speeds, the scene actually took shape as a result of the unique San Diego location called the Texas Dip, which looks epic in the 8 perf/35mm horizontal format. The Hitchcockian cross-cutting among the three cars, favoring Willa’s POV, was achieved with close-ups from rearview and side mirrors. The layering of the propulsive soundscape and Jonny Greenwood’s percussive score completed the adrenaline rush. But the tender father-daughter reunion at the end required reshooting. “The moment Bob pulled up to the crash site, when we first did the scene, he ran over to her right away, and they embraced,” Jurgensen recalled. “When we watched the dailies, it just didn’t feel authentic. So we reshot it with more meat: Willa second-guessing everybody and Bob having to earn her trust by proving his identity with the secret code.”

‘Sentimental Value’

Renate Reinsve’s Nora plays a part in her father’s new film in “Sentimental Value.”

(Kaspar Tuxen Andersen)

Editor: Olivier Bugge Coutté
Scene: Actor Nora Borg’s (Renate Reinsve) early stage fright breakdown

Joachim Trier’s family drama finds Nora confronting the Borgs’ generational trauma when she reunites with her estranged director father, Gustav (Stellan Skarsgård). After an opening montage on the layered history of their Oslo home, which Nora once wrote about in a school essay, our introduction to the adult Nora is conveyed by the chaos and humor of her panic attack before a performance. But finding this arresting sequence first required trimming a very long setup of patrons entering the theater and sitting down, and the camera discovering Nora, frozen in fear, in the back of the dark stage. “It was so boring,” Coutté insisted. “But here we’re starting right on Nora’s face. Where are we? Has she become an actress? And then you slowly understand. There are no rules; just rhythm.”

‘Sinners’

Jayme Lawson performs “Pale, Pale Moon” in a pivotal scene from “Sinners.”

(Warner Bros. Pictures)

Editor: Michael P. Shawver
Scene: Pearline’s (Jayme Lawson) violence-inducing “Pale, Pale Moon” performance

In Ryan Coogler’s Imax spectacle, where the blues collides with vampires, the monstrous transformation commences with Pearline’s siren call: “Pale, Pale Moon.” This was Shawver’s boldest sequence, cross-cutting her mesmerizing performance with the rhythmic crowd stomping, the brutal beating of a card cheater and newbie vampire Mary (Hailee Steinfeld) seducing and murdering Stack (Michael B. Jordan). “When this was first cut together, it was about three or four times as long as the actual song that had been recorded and performed,” explained Shawver. “And so Ryan watched it and he liked what he saw, but he wanted to cut it to the length of the song. That first moment I wondered if I was the right editor, but that fear and anxiety gives you a bit of freedom to find those spiritual connections that built to this climax at the end. It was really just about Ryan’s ability to engage audiences on a personal level and unlock those things and find the ways that they can go together.”

Kylie Jenner nearly spilled out of her plunging top while doing her makeup behind the wheel of her car in a new video.

The Kardashians star shared a video of herself applying her “Lip Combo of the Day” with Kylie Cosmetics products in an extremely low-cut tank.

In the Instagram clip, Kylie, 28, filmed herself in the driver’s seat wearing a skintight, dark gray crop top.

The shirt barely covered the reality star’s enlarged breasts as a result of a boob job she received eight years ago.

She finished the look with straight black hair, full makeup, and diamond stud earrings.

Kylie said she was recording in her driveway because she had just gotten home from an appointment.

During the video, the beauty mogul was visited by her son Aire, who turned 4 on Monday and made funny faces at the camera while sitting on her lap.

After letting Aire run inside for a snack, Kylie continued her makeup demo in the car’s vanity mirror.

At the end, Kylie puckered her pout to show off the shiny pink combo and rosy cheeks after applying her “favorite” pink blush.

Earlier this week, the mom of two showcased her breasts in a see-through, strapless dress with pomegranate seeds covering the bust.

Kylie wore the ensemble in a photoshoot to promote her new pomegranate lip butter.

Fans couldn’t help but praise the star’s looks in the Instagram post’s comments.

They weren’t the only ones who’ve had something to say about the influencer’s boob size.

Kylie’s ex, Travis Scott, 34, referenced her breasts in his new track, Rosary, from his album Don Toliver, released January 30th.

“Forty-four five C, the way they sit, I need to test,” Travis rapped, which fans linked to Kylie’s implants after she bragged about them in June 2025 on TikTok.

Travis is the father of Kylie’s son, Aire, and older daughter, Stormi, who turned 7 on Monday.

Fans long suspected Kylie had a breast augmentation, but she confirmed it in 2023 while talking to her BFF Stassie Karanikolaou on The Kardashians.

The TV personality admitted that she regretted getting the procedure before having children and wished she’d waited until later.

Kylie and Travis parted ways in January 2023, and she’s now dating Marty Supreme actor Timothée Chalamet, 30.

The couple has been linked since spring 2023, and Kylie has supported him at multiple red carpet events.

Despite being over 30 years old, this epic historical war drama film directed and produced by Mel Gibson about Sir William Wallace is still hailed as a “masterpiece” by fans.

A classic period drama movie starring Mel Gibson has won over fans who praised it as “literally the best film ever made”, and it’s on Film4 tonight.

Braveheart is a 1995 epic historical war drama film directed and produced by Mel Gibson, who portrays Scottish warrior Sir William Wallace as the lead role. The film depicts Wallace as the medieval Scottish patriot who is spurred into revolt against the English when the love of his life is slaughtered.

Leading his army into battles that become a war, his advance into England threatens King Edward I’s throne before he is captured and executed, but not before becoming a symbol for a free Scotland.

Despite being over 30 years old, the film is still hailed as a “masterpiece” by fans and the film has an impressive score of 76 percent on Rotten Tomatoes, with countless five-star reviews from film fans.

One review posted: “One of the saddest and most epic things I’ve ever seen since the Planet of the Apes trilogy and Titanic; this movie shows the true meaning of love, passion and faith – that is how you make a masterpiece!”

Another added: “Quite literally the best film ever made. Holds up still, even 30 years later. Quality sweeping scenic views, amazing James Horner soundtrack, action, adventure, and a roaring rollercoaster of emotions that hits every vibe from its tales of love, tragedy of loss, moments of anger and vengeance, triumph, vindication, desperation, heart break… it’s all there.

“Many complain about the violence and gore, but it sets the stakes and makes clear the cold, dark and gritty nature of the world. Do yourself a favour and watch this masterpiece!”

A third said: “An epic and inspiring story full of heart put to film! One of the most iconic soundtracks of all time (Outlawed Tunes on Outlawed Pipes). The historical inaccuracies are there, [but] they don’t make this masterpiece a tad less spectacular.”

Another said: “Top three movies of all time. This movie is long but worth a watch. I’ve probably seen this movie more than 20 times. Great movie. Classic.”

Another wrote: “Beautiful cinematography, compelling characters, and intense, gory, and violent battle scenes, Braveheart is a thrilling and heartfelt experience after 30 years and has a great performance and direction from Mel Gibson.”

One more review praised the film by stating: “Braveheart is my favourite movie of all time. The story, action, characters and everything is perfect. The action in this movie is great.

“It’s a masterpiece. I love every second of this movie and it delivers one of the most iconic lines. This movie is a masterpiece and I’m not taking that back.”

Somebody else noted: “Astonishing movie. If you enjoy action-packed sequences of angry Scots, harrowing tales of love and impressive acting, then this movie is for you.”

Braveheart airs on Saturday January 31 on Film4 HD at 9pm.

A film buff has shared 10 lesser-known psychological thrillers including Fresh, No Exit and Strange Darling that are described as masterpieces that will mess with your mind for days

We all adore films that have us gripping the sofa, pulse pounding, eyes glued to the screen. That’s why psychological thrillers are so popular!

The films excel at delivering these spine-tingling sensations – and there’s a wealth of brilliant examples you might have missed. TikTok user horror_hideout91 has compiled a selection of underrated thrillers perfect for your viewing queue.

Some are hailed as masterpieces that’ll haunt your thoughts for days afterwards – so why not give them a whirl:

First up is ‘No Exit’. The plot follows a university student who discovers a kidnapped girl at a remote motorway services during a snowstorm, with the abductor lurking close by.

Following that, there’s ‘Fresh’. This chilling tale revolves around a woman fed up with dating apps, who hands her digits to an apparently delightful bloke she meets whilst shopping. Yet appearances can be deceiving.

The third recommendation is ‘Deep Water’. A husband who permits his spouse to conduct extramarital relationships to prevent divorce becomes the main suspect when one of her loversvanishes.

Alternatively, consider ‘The Lie’. This centres on a dad and daughter who encounter the girl’s closest mate beside the motorway. When they pull over to offer transport, they discover their kind gesture has triggered dreadful repercussions.

Alternatively, there’s ‘The Woman in the Window’, which follows an agoraphobic woman who observes her neighbours for entertainment – only to discover she’s witnessed a horrific crime.

The cinema enthusiast also suggested ‘Exam’, featuring eight job candidates competing for a corporate position. They’re placed in a room and must answer one straightforward question. The catch? Working out what the question actually is.

Next up is ‘Burn’, centring on a lonely and unstable petrol station worker constantly living in the shadow of her more charismatic colleague. When they’re robbed one evening, she seizes it as the ideal chance to forge a bond with the robber.

Alternatively, give ‘Take Shelter’ a go. It tracks a man tormented by apocalyptic visions who must determine whether to protect his family from an impending catastrophe – or shield them from himself.

The penultimate recommendation is ‘Strange Darling’, depicting a one-night stand that descends into darkness, spiralling into a serial killer’s brutal killing spree.

Finally, the list concludes with ‘Milk & Serial’, where a surprise prank sees a well-known social media pair forced to confront the ramifications of their behaviour.

So there you have it – 10 chilling recommendations guaranteed to keep you gripped throughout!