A few days before I started watching Amadeus, an influx of young people flooded my TikTok For You Page, playing various Bach pieces on different orchestral instruments while remixing each song with modern music. It was all thanks to a passing trend, but it did briefly make me wonder if classical musical was making a resurgence in digital pop culture.

If those same kids watch the new five-episode Sky TV series, I think they'd be astounded. Amadeus goes far beyond a musical education for the uninitiated, delving further into the supposed rivalry between composers Wolfgang Amadeus Mozart and Antonio Salieri than previous accounts, including Miloš Forman's 1984 film.

Summing this rivalry up in one word would be easy: unhinged. The pair go far beyond the stereotypical boundaries of 'frenemies,' leaving their desperate acts of reconciliation until it's too late. I would never have paired Will Sharpe (Mozart) and Paul Bettany (Salieri) up to portray this, but their chemistry is undeniable.

What's more difficult to explain are the complexities behind this rivalry. To me, the duo's battles put me in mind of a 1700s version of Peggy Mitchell and Pat Butcher, from UK soap opera Eastenders. I'm in danger of losing non-UK readers at this point, but theirs was a connection that spanned decades, ranging from heartfelt consolation to vindictive plotting and literal fist fights. You never knew where you stood with them, and that was a big part of what made them so watchable.

It's not the best analogy I've ever come up with, but the atmosphere of palpable tension punctuated with violent outbursts means you never fully catch your breath. But, while Amadeus is narratively sound, it's visually questionable.

Sky has saved its best show of 2025 until last with Amadeus

If you look at the YouTube comments on the above video, fans of the 1979 stage play by Peter Shaffer, which he adapted for the subsequent movie, aren't pleased that the same tale is about to be retold. However, while it sometimes feels like we can hardly move for TV and film adaptations that cover familiar ground while not bringing much that's new to the party, I don't think Amadeus can be tarnished with the same brush.

Even if both those earlier versions had been flawless (and the three-hour long film is far from structurally sound, in my opinion), another adaptation would be worthwhile if it added a fresh perspective. Luckily for us, that's exactly what Amadeus does.

Without giving too much away, in addition to the story itself the TV series features Shaffer's own journey to writing his play, with the final scene of episode 5 breaking the fourth wall in a way I'm not sure I've ever seen attempted in television. Sky's creative risk-taking has flown under the radar, and the rest of the series is just as ambitious.

Sharpe effortlessly captures Mozart's supposed fiery temperament, and it's the foundation for the rest of the story's chaos. No one episode can contain the multitudes of emotions on show, with either Mozart of Salieri (or sometimes both) crumbling, celebrating, or threatening to jump out of a window (that's our unintentionally hilarious opening, so keep your eye out).

Amadeus throws everything and the kitchen sink at its storytelling, and the charged atmosphere is almost a character in itself.

Some of our cast have 'iPhone face', and that's a problem

As for the actual characters, both Sharpe and Bettany give the performance of their careers. I do wonder whether Bettany is going extra hard to distance himself from upcoming Marvel series VisionQuest, but perhaps that's just me being a franchise cynic.

Gabrielle Creevy (Constanze Mozart) also hits the right note (sorry) as the long-suffering go-between for the musical rivals, but there's something about the cast that bothers me. To me, the younger members (and by that, I mean under the age of about 40) look as though they have 'iPhone face'. What I mean by this is that, looking at them, you can escape the sense that they've seen an iPhone in their lifetime.

The makeup and costumes in Amadeus are beautiful, but they don't hide the fact that some of the cast just feel too modern. Even so, Sharpe particularly surprised me with his raucous, obscene and ridiculously arrogant take on Mozart.

The five-episode run does suffer from the classic issue of narrative lag between episodes 3 and 4, but when everything else has such a frenetic energy to it, this isn't hard to overlook. This of course includes the music, which Sharpe learned to play (rather than just flailing his hands about while the camera is carefully positioned to conceal that fact that he's not really playing).

As captivating as the scandal, drama and intricacies of Viennese society in the 18th century are, it all comes back to the music. It helps us to understand the world, Mozart and Salieri's struggles and ourselves in the process, and it's pushed me to make some conscious additions to my usual Spotify playlists. Their work is what both tortured composers ultimately wanted to be remembered for, and Amadeus certainly does them justice.

Stream Amadeus from December 21 in the UK using the below deals. Streaming platforms and release dates for other regions are yet to be confirmed.

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I can only think of one time in my life where I've felt so sick watching something I've had to turn off my TV (Raw, the body horror movie by Julia Ducournau). Now, there's a second entry in that list – the new Starz show Spartacus: House of Ashur.

Think Gladiator if Ridley Scott didn't have to adhere to cinema age rating criteria. Blood is well and truly spilled in this version of Ancient Rome, and it's enough to make even the most hardened of horror fans turn green.

Having said that, the legacy sequel (Spartacus originally ran on the network from 2010-2013) is only a horror in how it's delivered. Starz has gone heavy on the spectacle here, and all the gory action distracts us from the fact there's not much that's noteworthy under the show's surface.

There are a few new breakout stars as our returning cast members (Nick E. Tarabay as Ashur, mainly) slip back into their roles like no time has passed. But is this enough to save a show that's reliant on tricks and showmanship?

In a word, no... or at least, not for me. I often found myself wanting to fast-forward through any scenes that didn't have a sword being plunged into somebody's stomach, and I cringed at the gratuitous sex and assault scenes that I knew a historical drama just couldn't resist including.

Shock-factor isn't always an indicator of something good, no matter how entertaining the moment itself is. In fact, I'd probably enjoy episodes more as bitesize bites on TikTok.

Lift the lid on Spartacus: House of Ashur and you'll start to see the problems

Even the above trailer has had to be heavily redacted so it can actually be posted on YouTube. The gore and guts are easily Spartacus: House of Ashur's big selling point, and this means returning fans will definitely not be disappointed.

There are certainly some astonishing and creative maiming, even if the VFX don't always make them look believable. Without giving anything away, my favorite (if that's the right thing to call it) is at the end of episode 2, where Achillia (Tenika Davis) finally gets her own back on the male gladiators who have been expectedly sexist.

Here's the first big dichotomy. The sequel introduces a female gladiator to its ranks as the big 'we have can diverse casting just as effective as Bridgerton's' moment. It's actually a historically accurate decision, but more importantly, it's effective.

Davis is easily the best part of Spartacus: House of Ashur, running literal rings around her co-stars. She's clearly put in a lot of hours of training, and Achillia's attitude to Ancient Rome isn't just refreshing, but a necessary palate cleanser. Claudia Black's Cossutia isn't too far behind, effortlessly swinging from wife to warrior.

As for the rest of the show's female characters, there's a lot left to be desired. It's almost a given that a historical drama will falter to showing degradation unnecessarily because, a) it actually happened and, b) it's an easy way to create on-screen tension.

But wouldn't it be a novel idea to be as forward-thinking narratively as shows are in their casting? Rewrite history for the right reasons, people!

As for the rest, it's all convoluted

But let's move onto the meat of the show, as it very much were. Aside from Ashur and right-hand man Korris (Graham McTavish), our men are not as interesting once they've put down their spears and shields. A good 90% of their time is taken up with combat training, so anything else we see (e.g. emotional narrative) is incredibly heavy-handed.

Outside of the impactful fighting, nothing else really lands. There's no point in time that I'm concerned with finding out what happens next, or wondering whether the overall storyline is going to take me somewhere else. Instead, I'm wondering who will have blood gushing out of their legs next.

Still, there are small wins. Episode 1 kicks us off with a surprise Lucy Lawless cameo and Ashur keeps a firm hand on the tiller as the new Dominius. But as I've hammered home by now, we're essentially sitting ringside for a 10-episode long fight we can just about stomach.

Nuance, meaning and complexity? Not present here. Full-throttle entertainment, gore and fighting to the death? Amped up to the max. Whether that's a good or bad thing remains to be seen.

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Don't tell Amazon, but my heart sank when I first heard that yet another Robin Hood adaptation was coming to MGM+. But after watching it, I've mostly been won over. As it turns out, you can teach an old dog new tricks.

I've always been of the firm belief that the 2010 Robin Hood movie starring Russell Crowe and Cate Blanchett is the best we've had (I didn't grow up watching the animated Disney movie from 1973, so I'm discounting that). However, newcomer Jack Patten in the titular role and Lauren McQueen as Marian are a breath of fresh air.

Straight off the bat, the new series has taken a huge risk by putting two unknown actors in its lead roles, and this is a large part of why I think the 10-episode series is so successful. They're perfectly counterbalanced by heavyweights Sean Bean (Sheriff of Nottingham) and Connie Nielsen (Eleanor of Aquitaine), though for me it's Nielsen who has the most to offer us (more on this later).

That's not all that's working, though. Creators Jonathan English and John Glenn have fleshed our the Robin Hood origin story to great effect, turning an elusive urban legend into Rob, a boy who wants to do right by the people he loves. This fantastic sense of basic narrative structure also means we have some epic cliffhangers... but there are issues in Sherwood Forest, too.

Robin Hood is the perfect example of good storytelling done well with unknown faces

Instead of a distant rogue who takes from the rich and gives to the poor (though we do see this a little bit as the series progresses), the notion of who we know Robin Hood to be is instantly called into question. This version of Rob has a nickname, complicated relationships with his home and family and a lot of love for their way of living that is constantly being threatened.

Our opening episodes deftly use their time to flesh Rob out into the 3D character he's never truly been before, and this is our starting point for seeing his story in a completely new light. Though he maintains an intimately close bond with Marian (Patten and McQueen's chemistry feels as natural as breathing), it's never explicit, and we're nurturing a beautiful Romeo and Juliet-style connection right along with them.

I can't give all the credit to our leads for the narrative satisfaction, though. It's incredible how many movies and TV shows these days don't get the basics right – I'm aware I sound about 87 saying this, but as a trained scriptwriter, it annoys me endlessly.

English and Glenn know exactly what they're doing here, and uprooting the story of Robin Hood from its very beginnings allows the overall plot to stay tight and on message. Yes, there are definitely episodes that are more boring than others (there's a lot of Rob and his 'merry men' sitting around despairing in the woods), but each episode cliffhanger is an absolute blinder.

Without fail, a curveball is swiftly delivered in each episode's last 30 seconds, turning what we've learned so far on its head. This means you can't do anything else with your time other than immediately watch next episode, and I love the feeling of investment those moments give me. Frankly, I'd say it's the best part of the whole series.

Amazingly, we don't need to see every time somebody gets it on

While physical scenes between Rob and Marian are wholesome and harmless, I couldn't believe my eyes at how unnecessarily explicit the rest of Robin Hood is. This falls particularly on Priscilla of Nottingham (Lydia Peckham), who gets back at her dad by trying to hold physical power of the chief of the guards.

Add Rob's mates getting it on in the serving chambers of Eleanor's castle, and it all feels a bit icky. Entire scenes of dialogue are acted out in questionable positions, and you already know that the women are near naked while the men remain mostly clothed.

It's 2025, and we can get across the point that women are using their 'feminine wiles' as power without including graphic sex scenes that don't serve to drive the plot forward. It's certainly not a feminist move by any stretch of the imagination – even though there will be an intimacy coordinator on set, these are creative decisions being made by men, at the end of the day.

These scenes also weirdly undermine Connie Nielsen's Eleanor of Aquitaine, who is undoubtedly the best written character in the entirety of Robin Hood. Every word that leaves Nielsen's mouth is a piece of sage wisdom, using her own wiles to coordinate attacks and alliances through international correspondence.

It's a masterclass in the continued underestimation of women throughout history, having their stories rewritten while in fact making their own in a man's world. Clearly, Nielsen has cornered the market for playing royalty, taking everything we love about Lucilla in Gladiator and expanding it in all the best ways. If Amazon gave us a spinoff focussed entirely on her, I wouldn't be mad about it.

I might be nitpicking here, but overall, I'm impressed. I won't be lobbying for more takes on the Robin Hood legend any time soon, but MGM+ has proved what is possible in the tired-out realm of adaptations.

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The stubborn part of me was convinced I would always consider Pan's Labyrinth to be the finest Guillermo del Toro movie. Then the new Netflix movie Frankenstein was unleashed, and it changed everything.

When someone as great as del Toro can outdo himself, it makes me even more hopeful for his future as a filmmaker. Once again, he made me cry with a sympathetic, tense, and utterly beautiful movie, the kind of offering that makes me remember why I fell in love with film in the first place.

Yes, it really is that good. Literature lovers among us may be concerned that it doesn't retell Shelley's story to the letter, but you needn't be, as del Toro's version offers a different perspective and does it very well.

Indeed, he even spoke about this in an Empire interview where he said, "The best moments in my mind of Frankenstein, of the novel, are yet to be filmed". So he set out to tell said best moments, resulting in this beautiful movie.

I really do mean it when I say beautiful, both in terms of its story and how it looks visually. I'm used to del Toro's movies being well-crafted, and he was right to partner with cinematographer Dan Laustsen, who he worked with on the Oscar-winning The Shape of Water.

Alexandre Desplat has composed many of my favorite scores, such as The Grand Budapest Hotel and again, The Shape of Water, so there's some familiar names here, and this makes for a beautiful collaboration. A movie like this shines when there's a great score alongside it, and trust me, you'll get that here.

That's not the only similarity Frankenstein shares with The Shape of Water, either, as both made me cry a lot. I do tend to cry at many movies, admittedly, but no one tugs at my heartstrings quite like this guy. I will always be obsessed with del Toro's sympathetic lens and how he crafts his characters.

Jacob Elordi's The Creature is as captivating to watch as it is heartbreaking. We see the world through his eyes, a technique I always love, which was done wonderfully in Leigh Whannell's Wolf Man, too. Forcing us to see things from a seemingly impossible perspective, a place we will never be, is jarring and makes for an excellent narrative device.

It's not all doom and gloom, though, as his signature brand of wonder does shine brightly at times. Amid the horrors, there's hope and innocence, something that brings me back to his movies over and over. We get to see as much light as we do darkness, taking us on a rollercoaster of ups and downs. While it is a bleak story, of course, it's balanced with this overarching feeling of empathy that stays with you long after you leave the theater.

Frankenstein is best seen on the biggest screen possible

Victor Frankenstein is played equally as brilliantly by Oscar Isaac, embodying the spirit of a man who is ostracized but refuses to give up, a complicated man who has long been the subject of many literary debates. He's a traumatized, obsessed man, rich in complexities. This comes across brilliantly in Isaac's performance.

The entire ensemble is excellent, with huge names like Mia Goth (she really is a star, like her iconic horror character Pearl professes), Charles Dance, Ralph Ineson, and Christoph Waltz rounding out the cast. Nobody is wasted here; I was impressed by every role.

This is only elevated by beautiful costumes and set design, which have transportive powers at the best of times, but I couldn't believe that 2 hours and 30 minutes had passed. It really does fly by, and I can't wait to watch it all over again.

I urge people to go and see Frankenstein as soon as possible. Its arrival on Netflix does mean more people will get to see it, but it's best experienced in theaters if you can. It's a cinematic feast for the eyes and should be seen on the biggest, loudest screen possible.

When it does arrive on Netflix, I highly recommend checking out del Toro's Cabinet of Curiosities, too, to further satisfy your grisly cravings. What better way to celebrate Halloween than that?

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Zach Cregger burst onto the horror scene in 2022 with what looked to be a simple tale about a double booked Airbnb in the movie Barbarian. With the film praised so highly by horror fans, how could he possibly outdo himself?

Enter Weapons, a new movie that I genuinely believe is even better than Barbarian due to its wonderful cocktail of horror, dark comedy and mystery that keeps you guessing throughout.

Weapons has had some of the best viral marketing I’ve ever seen for a horror movie. Indeed, it's not all hype and no substance, as after watching the movie I can report that it lives up to all the scary videos and the real looking website you've seen online.

Weapons follows a shocking mystery that shocks a small town. At 2:17am, all but one child mysteriously vanishes from the same class, leaving a sea of worried parents and baffled police officials behind to pick up the pieces.

Fingers are soon pointed towards Justine Gandy (Julia Garner) after the town realizes that it was only the teacher's class impacted by this terrifying phenomenon. CCTV footage shows the children all running, arms outstretched, their destination unknown, and Gandy becomes ostracized as a result.

She's just one of the main characters we follow in the movie, though. The others are Archer Graff (Josh Brolin), a worried father, Paul Morgan (Alden Ehrenreich), a police officer, and Andrew Marcus (Benedict Wong), the school principal.

The less I say about this movie, the better because it's good to know as little as possible before watching Weapons. But just know that this mystery leaves the entire community stumped and soon puts them in danger too.

This is a movie that doesn't let up. Often with horror movies we feel safer when there's scenes set in the daytime, but Weapons has you constantly on edge from the ominous intro all the way to the final credits. It's terrifying and anxiety inducing – everything you could want from a Barbarian follow-up.

Cregger told me during an interview that "if you liked Barbarian, this is more – and in a good way" – and he's absolutely right. It does dial the horror up to 100, and left my jaw on the floor for a lot of it. Some of Weapons scariest moments happen when you least expect it as you find yourself absorbed in the investigation.

This is a very character driven movie. As a result, we do spend a lot of time getting to know the members of the town, often when they're alone. There's some excellent scenes that give us insight into how they're feeling while at their homes, or during nightmare sequences.

It's easy to feel sympathy for the characters but also frustration as well. Each character feels very well-rounded. This troubled town is full of very different personalities and they all shine through here.

The town of Maybrook becomes scarier thanks to the eerie score, composed by Cregger alongside his two friends, brothers Ryan and Hays Holladay. This was Cregger's first time composing for one of his own movie's and he's done a brilliant job.

For me, Weapons is a masterpiece but I know some fans might not like the non-linear pacing, as it can feel slow at times when the tension is building. But if you like character-driven horrors that build to a shocking reveal, you're going to love this.

In the trailer, the child narrator teases that “a lot of people die in a lot of weird ways in this story" and that's very true. To find out how, exactly, you'll have to be brave and go and watch it when it arrives in theaters on August 8 in the US and UK, and August 7 in Australia.

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Light spoilers follow for The Fantastic Four: First Steps.

It's not an exaggeration to say The Fantastic Four have been represented poorly on the big screen. 20th Century Fox's two attempts to launch live-action franchises starring Marvel's First Family in the early and mid-2000s were at best average, and at worst utterly abysmal.

A well-made film that captures the spirit of the iconic quartet's comic-book adventures is long overdue, then – and The Fantastic Four: First Steps duly delivers. It falls short of being, well, fantastic but, considering what's come before it's easily the eponymous team's best live-action adventure to date.

Space oddity

Set in a parallel universe – one designated Earth-828 – to Earth-616, i.e., the Marvel Cinematic Universe (MCU), First Steps reintroduces audiences to the titular team. For those who don't know, the individuals who comprise this group are Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Johnny Storm/Human Torch (Joseph Quinn), and Ben Grimm/The Thing (Ebon Moss-Bachrach).

The only heroes who exist in this retro-futuristic alternate dimension, these superpowered scientists-cum-celebrities have not only created a utopia built upon ground-breaking technological advancements, but also keep their planet safe from those who wish to destroy it.

That's until Galactus (Ralph Ineson), an immortal, world-consuming cosmic entity, and his surfboard-riding lieutenant The Silver Surfer (Julia Garner) come calling, anyway. With the duo marking the group's planet for death unless they hand over Reed and Sue's newborn son Franklin for reasons I won't spoil, The Fantastic Four face their biggest obstacle yet as they try to stop a seemingly unstoppable space god from tearing their family – and their world – apart.

Thanks to the rich, vibrant, and fully independent alternate dimension that Marvel's new-look Fantastic Four inhabits, you don't need to do any MCU homework before you watch First Steps.

Sure, there are Easter eggs and references to the group's various villains in the comics. Those include Doctor Doom, who wasn't considered as First Steps' main villain before Galactus and who'll be played by returning MCU superstar Robert Downey Jr in Avengers: Doomsday. Still, given it's devoid of ties to the increasingly complex MCU, First Steps is the most accessible Marvel project – for first-time viewers and fans who've fallen off the cinematic juggernaut's bandwagon – since 2008's Iron Man movie.

But this isn't your typical origins story. With two prior film adaptations covering the team's backstory, First Steps takes a leaf out of Tom Holland's debut as Spider-Man in Captain America: Civil War, plus his standalone MCU film trilogy, by introducing heroes who already possess their cosmic radiation-sourced superpowers. As the film tells us, Richards and company have been operating as superheroes for four years by the time it begins.

Its breezy opening takes a similar approach to another of 2025's most exciting new movies and fellow superhero film in James Gunn's Superman.

Like the most recent entry of a long-running comic book series you've just picked up off the shelf, both films drop you right into the thick of things and expect you to figure things out as you absorb their story. It's a refreshing change of pace for a Marvel project and its DC Universe (DCU) counterpart, and helps to quickly establish these pre-existing universes without prolonging their first acts via another superfluous re-tread of their origins.

That doesn't mean this movie's first 30 minutes aren't without fault. In fact, its opening act is one of the most tonally jarring I can remember in any movie.

Indeed, the Marvel Phase 6 flick is all too keen to flit between melodrama, comedy, and the occasional splash of horror between scenes, and sometimes within the same sequence. These narrative jolts make for an emotionally polarizing first act and detract from the grave, existential threat posed by the omnipotent and seemingly unkillable space tyrant (i.e. Galactus) at crucial moments.

Imagine how Avengers: Infinity War's incredibly shocking ending would've been emotionally undercut if one of the surviving heroes made an unnecessary joke amid the heart-shattering silence that follows. That's what First Steps does all too often in its first act and its narrative suffers as a result.

Heavy lies the crown

Thankfully, The Fantastic Four's latest big-screen reboot becomes a much stronger movie once its opening act ends.

Part of that is down to the lack of hard cuts between scenes, which aid the natural flow of its unfolding story. However, the film's narrative improvement also owes much to a greater focus being placed on the four primary members of The Fantastic Four: First Steps' cast and the unwavering mutual bond that exists between them.

Much was made of Pascal, Kirby, Quinn, and Moss-Bachrach's hirings when Marvel confirmed they'd be playing The Fantastic Four in February 2024, with some observers questioning whether they were the right fit and/or if they'd gel as a collective.

First Steps proves those naysayers wrong. Arguably the movie's biggest strength, their chemistry is on point from the outset, with quips and witty insults aplenty, plus their collective resolve amid individual and group disagreements, highlighting the easy rapport that exists between the actors and the characters they portray.

Individually, Moss-Bachrach does a great job of capturing Grimm's long-standing position as the heart and soul of the team. Pascal is similarly stellar as the group's incredibly intelligent yet oft-times emotionally awkward de-factor leader.

However, the Storms are the real standouts. Kirby and Quinn steal the show as the superpowered siblings who, throughout The Fantastic Four's early comic book runs, were simply depicted as the team's tokenistic female/damsel in distress and stereotypical cocksure ladies' main.

As they have in more recent comic book stories, though, the pair's representation on the screen have undergone highly satisfying evolutions akin to how they're not portrayed on the page. Indeed, Sue is positioned as the group's strongest member from emotional and superpower perspectives. Meanwhile, Johnny is a fully-formed, three-dimensional character with his own intellectual intuition that ties into a intriguing subplot that makes full use of his multifaceted persona.

If there's a criticism I can level at First Steps from a cast viewpoint, I wish there were more scenes showcasing their collective camaraderie and quieter moments between each pairing.

Some scenes used in TV spots or one of its three main teasers, including First Steps' official trailer and the final trailer Marvel released for its new Fantastic Four movie, are absent from the final cut. Given the movie's sub-two hour runtime, though, there was certainly scope for their inclusion, and I wouldn't have scoffed at seeing more humorous, heartfelt, and dramatically heavy interactions that would've further sold me on these all-important dynamics.

The same is true of the film's villains. I've been eager to see Ineson's take on Galactus since his hiring last May and Garner's version of the Big Bad's Herald following her casting a month earlier, especially given the Shakespearean tragedy elements that define their antagonistic sensibilities.

Sadly, both characters are underused. Garner gets more to do than Ineson and , after looming large as a terrifying off-screen presence for much of the film, the latter's humanoid monstrosity gets his due in First Steps' intense final act. Nevertheless, the pair weren't lying when they told me they never filmed a single scene together for First Steps, which is abundantly clear in the final edit. Their characters aren't given the requisite screentime to really dig into their motivations, nor does the flick lean into the cosmic horror they could've delivered individually and collectively.

My verdict

The Fantastic Four: First Steps is an entertaining, distinct, and at-times emotional Marvel film that MCU diehards and newcomers will equally enjoy. Still, while I applaud its brave storytelling and unique selling points, it could've benefitted from some narrative refinement to enhance its primary themes and multi-genre formula.

Those frustrations aside, this is still the most authentic representation of the superteam outside of Marvel literature. Considering what's come before, it wasn't a particularly high bar to clear, but I commend Shakman and company for giving us a Fantastic Four film that won't make me shudder at the thought of rewatching it. For that reason alone, it's not a small step forward, but rather a giant leap in the right direction for Marvel's First Family on the silver screen.

The Fantastic Four: First Steps launches in theaters on Thursday, July 24 (UK) and Friday, July 25 (internationally). The group's three other film adaptations are available now on Disney+.