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I Fought the Law true story: What happened to William Dunlop?
TV & Streaming

I Fought the Law true story: What happened to William Dunlop?

by jummy84 September 6, 2025
written by jummy84

The show is based on Ming’s own memoir, For the Love of Julie, and was produced with her input, straying from the truth far less than many other similar stories.

So, here’s the full true story of I Fought the Law.

I Fought the Law true story: What happened to William Dunlop?

Ann Ming, played by Sheridan Smith, grips the arm of Charlie Ming, Daniel York Loh, as they sit in court in I Fought the Law. ©ITV

After struggling to get hold of Julie one morning in November 1989 (and learning that she’d missed a court hearing in which she was set to apply for a leave of separation from estranged husband Andrew), Ann reported her as a missing person.

Initially believing that she’d simply left of her own accord, even putting forward the theory she’d abandoned her young son Kevin to move to London, police took several days to properly investigate further. Despite spending nearly a week searching Julie’s house, they failed to find any evidence of her whereabouts and the case ultimately went cold.

Eighty days after she disappeared, Andrew decided to return to the family home where he discovered a strange odour. Thanks to her medical background, Ann instantly recognised the smell and on removing a bath panel, made the horrifying discovery of her daughter’s naked body wrapped in a blanket. A post-mortem concluded that she’d been sexually assaulted and strangled.

Who was William Dunlop?

After ruling out Andrew, police honed in on and later charged William Dunlop, a builder’s labourer who’d been visiting a friend that lived next door to Julie on the night she disappeared: he’d also violently assaulted a man while at a rugby club just hours beforehand.

The prosecution argued that Dunlop, who’d allegedly had previous relations with the victim, had called in with the hope of having sex. But when she spurned his advances, he subjected her to a “premeditated and truly horrendous” attack.

Despite what Ann believed to be an overwhelming amount of evidence linking him to the crime, including the fact that Julie’s house keys were found under his floorboards, a jury failed to reach a majority verdict in Dunlop’s first 1991 trial. And the Mings’ anguish was compounded later that same year when the same prosecution team failed to convince another jury of his guilt, resulting in his acquittal.

What happened next?

Jack James Ryan plays William Dunlop, sat in a dock in court

Jack James Ryan as William Dunlop in I Fought the Law. ITV/Hera Pictures

Dunlop was, however, convicted of another crime in 1997 – stabbing his pregnant girlfriend with a toaster fork and beating up her lover – and sentenced to seven years in jail. While incarcerated, he confessed to a prison officer that he’d been responsible for Julie’s murder. “She just started taking the mickey out of me and ridiculing me because I had a black eye and my eye was split open,” he later said in a taped police interview. “I just lost it and got up and strangled her.”

Dunlop, who had a history of violence, believed that he was protected by double jeopardy, an 800-year-old British law which prevented anyone from being tried for the same offence twice. But he underestimated a grieving mother, who’d been awarded £20,000 in damages from the Cleveland police force for its handling of the case, determined to seek justice for her beloved daughter.

How was justice eventually served?

Although he was convicted of perjury thanks to a recording of his confession in 2003, Dunlop wasn’t able to be tried for the actual murder until a change in the double jeopardy law was made in 2005. After pleading guilty to killing Julie, he was given a life sentence and ordered to serve at least 17 more years behind bars.

How did Ann Ming change the law?

Close up of Sheridan Smith as Ann Ming, dressed in black, tears down her face

Sheridan Smith as Ann Ming in I Fought the Law. ITV/Hera Pictures

Of course, having taken on the Crown Prosecution Service, met with then-Home Secretary Jack Straw, and given an impassioned speech at the House of Lords, Ann was hugely instrumental in the amendment.

“A lot of people did think I had a team of lawyers doing it on my behalf and this wasn’t the case,” she recently explained to the BBC. Ann’s tireless efforts have also resulted in at least a dozen other convictions, including one of the men responsible for the killing of Stephen Lawrence.

Where is William Dunlop now?

In 2025, Dunlop was denied the opportunity to move to an open prison despite a Parole Board recommendation assessing him as “presenting a low risk of absconding”. Justice Secretary Shabana Mahmood was responsible for the blocking with a spokesperson stating: “Public protection is our number one priority.”

During his hearing, Dunlop had admitted to being a “violent, hideous, uncaring person” likely to have committed similar horrific offences had he not been imprisoned. But he also claimed that he was now a changed man who was deeply regretful of his past. The Ming family revealed they were “elated” at the decision and thanked Mahmood for putting “victims at the heart of the system”.

Where is Ann Ming now?

In 2007, Ann was awarded an MBE for her services to the criminal justice system. Sadly, her husband Charles Ming, who’d been by her side throughout her quest to overturn the law, died in 2013 having suffered from Parkinson’s and dementia for many years.

Despite soon turning 80, Ann has insisted she’ll continue to do what she can to ensure Dunlop never gets released, telling the BBC: “I wouldn’t want him to put another family through what he has put us through.”

Read more:

All four episodes of I Fought the Law are available to stream on ITVX from Sunday 31st August – check out our Drama hub for all the latest news. If you’re looking for something to watch tonight, check out our TV Guide.

Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

September 6, 2025 0 comments
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Blood of My Blood' Stars Talks 'Pride and Prejudice,' 'ACOTAR' and More
TV & Streaming

Blood of My Blood’ Stars Talks ‘Pride and Prejudice,’ ‘ACOTAR’ and More

by jummy84 September 6, 2025
written by jummy84

Outlander‘s prequel spinoff, Outlander: Blood of My Blood, has easily captured our hearts as it chronicles the intersecting love stories of Jamie (Sam Heughan) and Claire’s (Caitriona Balfe) parents.

While the show may have kicked off with Claire’s parents, Julia (Hermione Corfield) and Henry (Jeremy Irvine) occupying World War I England, the action quickly shifted to the 18th-century Scottish Highlands, as they were whisked away through time at the standing stones of Craigh Na Dun. Their journey may have torn them apart, but it put them in the path of Jamie’s parents, Ellen (Harriet Slater) and Brian (Jamie Roy), just as their forbidden romance was kicking off.

And despite the drama these characters may face in the series, the stars were all laughs as they played a round of Knock Your Blocks Off: Swooon Edition during which they addressed rom-coms, ACOTAR, and much more. As the quartet pulls blocks from our heart-shaped tower, Slater was first up, prompted to share the most romantic TV or movie line she could think of.

September 6, 2025 0 comments
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John Early on His Hilarious Directorial Debut 'Maddie's Secret'
TV & Streaming

John Early on His Hilarious Directorial Debut ‘Maddie’s Secret’

by jummy84 September 6, 2025
written by jummy84

TIFF: The morning after Early’s dizzy “Maddie’s Secret” premiered at the festival, the star and filmmaker sat down with IndieWire to dish about making a totally original movie inspired by everything from “Showgirls” to the weirdly sexual world of food influencers.

September 6, 2025 0 comments
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Last Rites' Casts Franchise-Best Opening Day
TV & Streaming

Last Rites’ Casts Franchise-Best Opening Day

by jummy84 September 6, 2025
written by jummy84

The power of Christ still compels moviegoers. “The Conjuring: Last Rites” exorcised an impressive $34.5 million across Friday and preview screenings in 3,802 locations. That’s well ahead of the figure earned by the horror series’ 2018 spinoff “The Nun” ($22 million), giving “Last Rites” the biggest opening day gross in franchise history.

It puts the New Line feature on track to surge far above its pre-weekend industry projections for a $50 million debut, beating “The Nun” ($53 million) for the series’ biggest opening weekend ever. Not only will it be the biggest domestic bow for a horror movie in 2025, but the R-rated “Last Rites” could even rank as the seventh-biggest opening weekend of the year, with a chance at edging out “Thunderbolts*” ($74 million) depending on its play through Saturday. The film also gets a revenue boost from playing Imax and premium large-format auditoriums.

Even at its fourth mainline entry (and ninth including spin-offs), “The Conjuring” franchise has endured as a moviegoing draw. Stars Vera Farmiga and Patrick Wilson again return as the real-life, self-professed occult investigators Ed and Lorraine Warren. Director Michael Chaves is also back to helm this entry, after previously handling the last mainline installment “The Conjuring: The Devil Made Me Do It” in 2021, plus the 2023 spinoff “The Nun II.”

The weekend also marks another hit for Warner Bros., which has now strung together a whopping seven consecutive openings above $40 million. Reviews have been mediocre for “Last Rites” and moviegoers are only a little more positive, with survey firm Cinema Score polling a franchise-low “B” grade among early audiences. But none of that is proving much of a hindrance. Against a production budget of $55 million, it’s off to a fantastic start.

Meanwhile, Disney has the filmed version of the Broadway musical juggernaut “Hamilton” in 1,825 theaters, with $3.9 million across Friday and preview screenings. It’s projecting to land in second place with a three-day opening around $9 million. It’s pretty remarkable, considering that “Hamilton” has been available to view on Disney+ for nearly a half-decade. The studio acquired rights to the performance recording years ago and had originally set theatrical plans, but released it on the platform during COVID lockdowns. But now “Hamilton” is finally in theaters to align with its 10th anniversary; evidently, there’s a desire to see it on the big screen, despite being readily available for home viewing.

Third place goes to another Warner Bros. horror title with “Weapons,” earning another $1.5 million on Friday to go down just 47% from its daily total last week. Now in its fifth weekend of release, writer-director Zach Cregger’s R-rated original has earned more than $140 million in North America.

Disney is currently holding fourth with “Freakier Friday,” which earned another $960,000 on Friday to fall 46% from its daily total last week. In its fifth weekend, the comedy sequel has now hit $85 million domestic and will soon pass “Snow White” ($87 million) to become the 15th-highest-grossing North American release of the year.

Narrowly slipping behind to fifth, Sony Pictures’ “Caught Stealing” is facing a $3.2 million gross for its second weekend, which would mark a 58% fall from it debut. That’s not the kind of hold that the mid-budget neo noir was depending on after a muted opening. It’s looking to hit just $14.9 million domestic through its second weekend.

Also opening wide this weekend, the Salvation Poem Project has the PG-rated Christian tale “Light of the World” in 2,075 locations. Rivals have the hand-drawn 2D animated feature at $700,000 for Friday and previews, with an eighth place opening in the cards.

September 6, 2025 0 comments
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Paul Greengrass’s Intense Wildfire Drama
TV & Streaming

Paul Greengrass’s Intense Wildfire Drama

by jummy84 September 6, 2025
written by jummy84

Paul Greengrass and Blumhouse might seem like an odd mix, the former perhaps best known for his meticulous, sensitive docudramas, the latter most famous for low-budget, high-yield genre movies. But though it has its roots in the real world, The Lost Bus — the director’s first film since his 2020 Western News of the World — is arguably his first horror movie, made all the more frightening after the wildfires that swept California earlier this year. Based on real events, it’s a true story of heroism that took place in Northern California just six years earlier during what’s now known as the Camp David fire.

The beginnings of it are depicted in true disaster movie style, with ominous music and a collapsing electric pylon that causes a faulty cable to fall to the ground. The blaze starts small but soon catches hold, and these scenes are right up there in Greengrass’s wheelhouse. We see what looks very much like professional fire-fighters playing themselves, mapping out the path of the fire — or is several fires? — and arguing about the threat it poses. “I don’t think it’s an issue,” says one. “It should be fine.” Famous last words indeed.

It’s all theory at this point, and Greengrass incrementally introduces the reality of such a dangerous fire, and the first men to try to douse the flames soon realize they’re about to be fighting a losing battle. Going into the wildfire is a like a portal into another world; aside from the vicious heat, a constant rain of sparks flies through the smoke-choked air, and not only is hard to see, it’s hard to breathe. All of this is rendered with stunning ease by his VFX team, in scenes that look like a news bulletin from the apocalypse. In this sense, the film has two locations: the sleepy, sunshine town of Paradise and the fiery hellscape of Dante’s Inferno. The effect is jarring, giving the effect of night and day (indeed, it takes a while to realise that all of this happening simultaneously).

Paradise is where we meet Kevin McCay (Matthew McConaughey), a single father who has returned to his hometown from Reno after his father’s death. Kevin has started work as a bus driver but finds himself at the end of the list when shifts are handed out. This is why, as the fire is just about to spin out of control, he agrees to pick up 23 children stranded at Ponderosa Elementary School, plus their teacher Mary Ludwig (America Ferrera). The fire has knocked out the bus’s comms and tracking system — hence the film’s title — leaving Kevin to battle the elements using only his and Mary’s intuition and common sense.

McConaughey starts out in usual mode; this could be his character from Mud with a few extra dollars in his pocket. He lives in a tumbledown comfort with a sick dog, his ailing mother and his son Shaun (Levi McConaughey). His relationship with Shaun is fraught, to say the least. As we see in an early scene, Kevin’s attempts to be a dad are lacklustre at best, and it ends with Shaun shouting, “I f*cking hate you. I wish you were dead.” These words are still ringing in Kevin’s ears when the disaster strikes, and the blaze takes on a more personal significance, a metaphor for Kevin’s mental state as he enters purgatory.

As with all Greengrass’s films, though, this is a film about ordinary people in extraordinary circumstances, which is no doubt what drew him to Brad Ingelby’s very human script. Once the chips are down, though, McConaughey effortlessly switches up to action mode, and the film starts to resemble a fever dream of Speed. Alongside him, the scared but somehow quietly reassuring presence of America Ferrera leavens the potential for cliched action-hero theatrics by giving the film a rare but for once very real sense of peril. The same goes for Ashlie Atkinson as bus controller Ruby, whose very human guilt is palpable throughout.

That we know, or can safely assume, that the story worked out well for the kids does take away some of the intensity, as does the film’s determination to make this film a moral journey and not just an experiential thrill ride. Nevertheless, it’s a trip in more than one sense of the word, and yet another streaming release this year that demands to be seen on the big screen.

Title: The Lost Bus
Festival: Toronto (Special Presentations)
Director: Paul Greengrass
Screenwriters: Paul Greengrass and Brad Ingelsby
Cast: Matthew McConaughey, America Ferrera, Yul Vazquez, Ashlie Atkinson, Spencer Watson
Distributor: Apple TV+
Running time: 2 hr 9 mins

September 6, 2025 0 comments
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'Black-ish' Producer's Sitcom Set in Wildfire-Devastated L.A. Sees Ire
TV & Streaming

‘Black-ish’ Producer’s Sitcom Set in Wildfire-Devastated L.A. Sees Ire

by jummy84 September 6, 2025
written by jummy84

A CBS sitcom in development from Black-ish creator Kenya Barris and comic Mike Epps is experiencing online backlash since it was announced, as it’s set against the backdrop of the wildfire-devastated area of Altadena, where residents are still reeling from this January’s deadly and destructive wildfires.

The project — which is in its early stages and has no cast attached beyond Epps, nor any on-air commitment from CBS — would follow two brothers who move in with their late grandmother’s caretaker when their plans fall apart as they try to sell her property in Altadena, an area of L.A. that saw major devastation in January’s deadly Eaton fire; that blaze, one of several over a few weeks in January across L.A., killed at least 19 people and destroyed over 9,000 structures. It would mark a return to broadcast TV for BET Studios principal Barris, who has focused on cable and streaming properties since Black-ish ended its run on ABC in 2022.

On Jan. 7, a Santa Ana wind event pushed very dry winds through Southern California’s mountains. Peak gusts were said to have reached 90 mph, and it’s believed they led a transmission line to become re-energized, igniting the fire that rapidly pushed into foothill communities — particularly Altadena. The fire spread to 14,000 acres by Jan. 10 and caused mass destruction, nearly wiping out Altadena’s downtown area. Residents looking to rebuild are now competing with their wealthy neighbors across L.A. also impacted by the eight blazes that torched the city that month as they fend off disaster capitalist land developers looking to scoop up land from the minority-heavy community.

The situation might not feel ripe for comedy hijinks as many in Altadena continue to struggle nine months after the deadly devastation. Since the development was announced via Deadline, some have expressed trepidation and disgust, while others hope that the show finds an appropriate balance of levity and pathos. The debate was ignited instantly in the announcement story’s comments section and spread across the web as many decried the premise of the show and expressed disdain around the idea of a sitcom using a tragedy and uphill recovery battle as fodder for laughs.

“Funny or too soon?” journalist and KBLA radio host James Farr wrote while posting about the series on Instagram, sparking debate in L.A. among his followers.

“Love them both but there’s not anything funny happening. I’m sure they’ll deliver intellectual humor with plenty of ‘message’ as a through line. However, I don’t know how I feel about it,” Farr said when asked about the in development show. “Great for keeping Altadena in the national conversation though.”

Comments on Farr’s post ran from outrage (“Way too soon!!”) to cautious hope. An Instagram user named Alegria Castro summed up sentiment on both sides of the debate, writing: “If it’s going to benefit the community of Altadena and the rebuild — Then it’s great! If not, too soon.”

A communications spokesperson for Supervisor Kathryn Barger, who represents the 5th district of L.A. County, even weighed in to The Orange County Register, saying that they’d heard from constituents about the show and, “the majority have voiced feeling hurt this is in the works. The loss they’ve felt due to the Eaton fire feels still very raw for many.”

Barris’s Instagram post announcing the show’s development and premise also irked many of his followers. The showrunner defended himself and the project in response to one user’s criticism.

“What way could you think of supporting it then by doing what I know how to do and trying to bring a light to a place that many have already forgotten,” Barris commented. “I understand your fear but know that I only plan to do the best I can to make sure the world sees you.”

September 6, 2025 0 comments
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Yellowstone spin-off series casts another Hollywood legend opposite Michelle Pfeiffer
TV & Streaming

Yellowstone spin-off series casts another Hollywood legend opposite Michelle Pfeiffer

by jummy84 September 6, 2025
written by jummy84

The show was greenlit in 2023 and boasts a star-studded cast with Michelle Pfeiffer in the lead role.

Now, as reported by Deadline, the latest addition to The Madison is film and TV star Kurt Russell.

Kurt Russell in Monarch: Legacy of Monsters. Apple TV+

Russell, perhaps best known for roles in Escape from New York, The Thing, and Quentin Tarantino flicks The Hateful Eight and Once Upon a Time in Hollywood, joins the cast fresh off the back of playing Lee Shaw in Monarch: Legacy of Monsters.

Although Russell is confirmed as part of The Madison’s cast, his role is yet to be determined.

Russell and Pfeiffer join the previously announced cast of Patrick J. Adams, Elle Chapman, Matthew Fox, Beau Garrett, Amiah Miller, Alaina Pollack, Ben Schnetzer, Rebecca Spence, Danielle Vasinova and Kevin Zegers.

Like with previous entries in the Yellowstone universe, The Madison is created and written by the show’s original creator Taylor Sheridan.

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The series is being executive produced by Sheridan, David C. Glasser, John Linson, Art Linson, Ron Burkle, David Hutkin, Bob Yari, Christina Voros, Michael Friedman, Pfeiffer, Russell and Keith Cox.

It is produced by Paramount Television Studios, 101 Studios and Bosque Ranch Productions, and began filming in Montana in September 2024, only a few months before the conclusion of 1923 in February of this year.

At the time of writing, there is no confirmed airing date for The Madison.

Yellowstone is available to stream on Paramount+.

Add Yellowstone to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.

Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

September 6, 2025 0 comments
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Rick and Sophia
TV & Streaming

Rick Shelford Decides If He Can Trust Sig Hansen During Team-Up

by jummy84 September 6, 2025
written by jummy84

[Warning: The below contains spoilers for Deadliest Catch Season 21]

Rick Shelford explored the mostly desolate Adak Island at the start of the September 5 episode of Deadliest Catch. The Aleutian Lady captain described it as, “about every horror movie you’ve ever seen.” He mentioned there was a plus in the Alaska area in that they have a McDonald’s. Even though Rick said he was more of  a Burger King guy, beggars can’t be choosers. Adak Island served as a military base in the 1940s, but World War II troops pulled out and led to a downturn. It also once became a hotbed for the crab industry. Rick’s grandpa came there at age 12 and became one of the pioneers from the very start. 

Discovery Channel

After the nice history lesson, we checked in with Captain Sig Hansen and the Northwestern. The numbers aren’t coming in the way he wanted, which got him thinking about his next course of action. With fuel prices having gone up, time was money. He gave Rick nearby a ring to see what he had going on and to maybe potentially collaborate. Sig got Rick thinking about his grandpa’s spot, which hasn’t really been looked into for a couple of decades. Sophia “Bob” Nielsen questioned if going into a partnership with Sig was a good idea. Rick didn’t trust him, but did like the idea of checking out his old family place on Adak Island. Meanwhile, Sig continued his search for crab. He investigated some valleys on a map and one particular spot in some canyons. 

Rick went to the old property where he had to kick the front door open because it didn’t have a handle. He discovered some old clothes and other items, but the big find was a desk. There nearby was a map that Rick thought, “might be something special.” Adding. “This is priceless stuff.” 

He went back to his vessel contemplating what to do next. Rick hesitated a bit, but ended up having Sophia take photos of the charts and map information for Sig. Sig saw potential in the gullies with its different depths. Rick immediately had some misgivings. “He is going to screw us on this one I got a feeling,” Rick said. They rendezvous in hopes the risk of fuel, time and trust would pay off. The two captains send pots out in their respective vessels. Their collaboration paid off with pots coming in with around 50 to more than 80 at a time. 

Elsewhere, Johnathan Hillstrand had every reason to be in a good mood. The Time Bandit captain had all the crab he needed and readied for delivery. That and the crew witnessed some killer whales nearby. However, they had a tight offload deadline to meet or risk losing hundreds of thousands of dollars in product. There was a snag in his plan when the Coast Guard reached out looking to board, investigate and verify permits. This would severely delay Johnathan as he had to get to the harbor the next day. After the crew was cleared, they used makeshift sails to help shave off some time. As the Time Bandit readied for arrival, big waves and dangerous conditions made it difficult for them to fully make it into the small harbor. Enduring some scary moments, through some skillful maneuvering, they made their deadline. The crew celebrated with what they referred to as a “fisherman’s Christmas.” 

Deadliest Catch, Fridays, 8/7c, Discovery Channel

September 6, 2025 0 comments
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Curry Barker Made One of 2025's Best Horror Films
TV & Streaming

Curry Barker Made One of 2025’s Best Horror Films

by jummy84 September 6, 2025
written by jummy84

We’re rapidly approaching the point where the most reliable route to becoming a horror director is to launch a short-form comedy career. Jordan Peele shocked the world with “Get Out,” Zach Cregger made it a pattern with “Barbarian” and “Weapons,” Danny and Michael Philippou jumped on the train with “Talk to Me” and “Bring Her Back.” Now, YouTube prankster Curry Barker has released one of the best horror films of 2025.

“Obsession” begins with the simplest of horror premises: Bear (Michael Johnston) is a shy and sensitive music store employee who can’t find the courage to ask his co-worker and childhood friend Nikki (Inde Navarrette) on a date. Rather than be honest with her and tell her how he actually feels, he wanders into a woo-woo crystal store and buys a One Wish Willow, a kitschy antique toy from the 1960s that promises to grant its owner one wish when they snap a branch in half. The cashier warns him that most of the customers who buy them have complained about the results, but it wouldn’t be much of a horror movie if he listened.

The Man in My Basement
'Fuze'

After dropping Nikki off at home after a night of bar trivia with their other co-workers (and weirding her out with his attempt to flirt while insisting they’re just friends), he snaps the willow and makes a simple wish: that Nikki would love him more than anything in the world. It isn’t long before she emerges from her house and asks to go home with him, and Bear thinks he just purchased a one-way ticket out of the friend zone.

Suddenly, Nikki is always horny for Bear, is eager to show public affection, and spends so much time with him that she basically moves in. For Bear, the new arrangement is great about 99 percent of the time… the only drawback is that Nikki occasionally snaps back into her old self and screams in utter terror for a few seconds, before resuming the love-bombing.

Even before the movie spirals out of control, Bear and Nikki’s mutual friends start pointing out how weird this all is. The other girls at work heard Nikki talking about how she saw Bear as a little brother mere hours before she turned into a lovestruck teenager, and it becomes clear that she’s going through something. Rumors start to fly — guesses range from drug addiction to a full mental breakdown, but somehow nobody guesses “novelty ’60s wish-granting toy with deadly consequences” — but the one thing they can all agree on is that Bear is taking advantage of a girl in a vulnerable state.

Social connections begin to dry up, party invitations get lost in the mail, and Bear soon finds himself with nobody to turn to when the new Nikki starts stabbing herself with broken glass, cooking his dead cat, and sealing his doors with duct tape to prevent him from leaving the house. All that he can do is call the customer service line on the back of the package — but when he hears that they have the soul of the real Nikki screaming for help, the hopeless romantic realizes that he bit off far more than he could chew.

“Obsession” is proof that the Cregger-ification of 2020s horror is in full effect, as its combination of sadistic violence, ironic needle drops, and comedy mined from people responding to tragedy in pathetically self-serving ways will merit plenty of comparisons to “Barbarian” and “Weapons.” It also wisely continues the recent trend of allowing forces of unexplained evil to simply exist in its world, finding its social commentary in the way humans react to things they don’t understand. Instead of turning the actual evils into metaphors.

The film‘s most compellingly unpredictable thrust lies in Barker’s choice to tell a story of something objectively horrible — in this case, a guy taking a woman’s entire soul away and turning her into a psychotic replica of herself so that he can have sex with her body and pretend they’re actually dating — exclusively from the perspective of the perpetrator. Navarrette delivers a brilliantly twisted performance as what’s left of Nikki, but given that her real self is stuck shrieking in call-center purgatory and only gets to emerge for seconds at a time, Bear is the human whose eyes we see everything through.

A sizable majority of the horror genre is built around men doing heinous things to women, with results ranging from deeply misogynistic to cathartically feminist. But “Obsession” is built around a much more contemporary male fear: being the problematic guy whose entire social circle knows he took advantage of a girl and wants nothing to do with him.

When we meet Bear, he isn’t some monster just waiting to snap. He’s a sensitive guy, frustrated by his lack of romantic success, and his heartbreak pushes him to put his own desires over his friend’s autonomy just long enough to ruin both of their lives. He doesn’t physically assault her, but he wades into a morally gray area for purely self-serving purposes, clearly haunted by the guilt of the irreversible cycle he set in motion. He also hates the fact that his friends are correct in their criticisms of him. (The fact that a movie like “Obsession” can even exist is evidence of the tiniest bit of social progress, as it would only work in a society where men feel like there are real social consequences to sexual misconduct.) Barker shows him no mercy for his actions, but leaves the door open to darker introspection. For most viewers, the terrifying question shouldn’t be “Could I end up like Nikki?” — rather, it’s, “Could I or someone I know be tempted to do what Bear did?”

That’s not to say that what happens to him is worse than what happens to her (at least at first), but Barker almost seems to be daring his audience to ask themselves how many “good guys” in the theater could be capable of a similar lapse in judgment under certain circumstances. Men and women will experience two very different types of fears when they consider the answer, but “Obsession” should keep everyone awake long after they get home from seeing it.

Grade: B+

“Obsession” premiered at the 2025 Toronto International Film Festival. It is currently seeking U.S. distribution.

September 6, 2025 0 comments
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A WW2 Bomb Is Unearthed in Central London
TV & Streaming

A WW2 Bomb Is Unearthed in Central London

by jummy84 September 6, 2025
written by jummy84

What sets someone off? In the twisty, streaming-caliber thriller “Fuze,” that’s as much the question as whether the 500-pound bomb discovered in a London construction site might blow. If it does, the WW2-era explosive (presumably a relic of the Blitz) could wipe out several city blocks, which is why authorities swarm the area and evacuate all residents in the film’s opening minutes. Normally, that would be a recipe for some edge-of-your-seat action, although Ben Hopkins’ script makes clear early on that the bomb is just a distraction, while an even more sinister plot is ticking within the blast radius.

If it weren’t for the film’s cast (or the grim seriosity of its director, David Mackenzie), “Fuze” might have been a complete dud. But “Hell or High Water” helmer Mackenzie treats the assignment like he’s the one saving lives, eschewing anything that might count as fun along the way. With his jaw clenched and sights set on being the next James Bond, Aaron Taylor-Johnson plays Major Will Tranter, a bomb disposal pro who’s both an ace sniper and a bit of a loose cannon, breaking protocol in his obsessive attempt to deactivate the vintage ordnance with minimal casualties.

While Tranter’s poking around the deadly antique, a high-ranking police officer named Zuzana (Gugu Mbatha-Raw) is focused on protecting the public. Mackenize singles out a Dari-speaking immigrant named Rahim (Elham Ehsas) and his elderly parents as the residents warily pour out of a nearby apartment building, knowing that audiences’ imaginations (and biases) will start to suggest how this character might relate to the bigger picture. Although several of the film’s surprises are predictable — usually just moments before the reversal comes — no one is likely to figure out Rahim’s connection to the bomb.

One thing is sure: Movie stars don’t take roles in movies like “Fuze” unless they’re being offered something interesting to play, which means that the instant Theo James and Sam Worthington appear (or step from the shadows), our interest shifts from the bomb to whatever these two and their accomplices are up to. For nearly the first half of the film, composer Tony Doogan layers a steady synthetic heartbeat beneath the action, which gains little from this trick. If we’re invested, it’s because the cast telegraphs that these characters are important.

James’s character talks with a South African accent and goes by the name Karalis, and though he comes across as a villain at first, it’s too early to say if that’s true. Karalis supplies his colleagues with fluorescent orange utility uniforms and stealthily leads them through the back door of the Bank Al Muraqabah, located just below Rahim’s building. While Tranter tinkers and Zuzana monitors the wall of local surveillance footage, Karalis and his team get to work drilling through the wall of the vault. Clearly, it’s no coincidence that they picked this moment to rob the bank. But what is their greater goal?

Mackenzie’s a good director — good enough to make the sheer preposterous of this heist seem plausible — but he saves the thing that would make us root for these characters until the very end. Meanwhile, it’s not clear who’s side we’re meant to take, which complicates things once a scheme that couldn’t possibly have gone according to plan starts to unravel in unexpected and potentially upsetting ways. By this point, there are plot holes bigger than the one this bomb might tear in the London map.

How did the bomb get to the building site? Who’s the bloke whose safety deposit box Karalis is after, and why isn’t he a character? Is Zuzana the only one trying to stop the scheme, and what kind of thriller is that, where you leave it to the criminals to eliminate one another? There’s an element of sleek, Jean-Pierre Melville-style efficiency to the operation, if not Michael Mann-level theatrics. “Fuze” shares the French director’s code of honor between men, no matter which side of the law they inhabit, as seen in films such as “The Red Circle” and “Army of Shadows.”

Apart from one shocking death (when Tranter switches from neutralizing bombs up close to eliminating threats with his long-range rifle), the action is entertaining enough in the moment, but not especially memorable. The most explosive scene isn’t the one you expect, but the coda in which we learn why three characters are so unwaveringly loyal, when everyone else seems ready to double-cross each other at the first opportunity. It’s in that moment that the film’s fuze is set. Can Tranter or anyone stop it?

September 6, 2025 0 comments
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