As a huge Jason Statham fan, I was somewhat disappointed by the balance between drama and action in his latest vehicle, SHELTER. It’s slower and darker than most of his body(-slamming) of work. Here he’s a recluse living solo with his dog on a small island off the dreary Scottish coast, with only a small shack and decommissioned lighthouse. His only dealing with other humans is a boat that brings supplies once a week. Jessie (Bodie Rae Breathnach), the girl who delivers them, is supposed to just drop the box and leave without even seeing him. Her one attempt at conversation is curtly rebuffed.
That solitude falls apart when a sudden storm swamps Jessie’s boat, forcing him to rescue the girl and treat her injuries. He really doesn’t want to leave the island, but eventually must to get medical supplies. That’s when he’s picked up by ever-vigilant government agents who monitor the ubiquitous security cameras throughout what’s left of the Empire. He’s on Her/His Majesty’s terrorist watch list, so the heavy-duty pursuit begins. A retired spy network mucky-muck (Bill Nighy) has his own surveillance system (which even monitors the government’s), and his own agenda. We soon learn that Jason isn’t really a terrorist, but has been framed, which is why he’s been in hiding for a decade, or so. Not much of a surprise there. It’s Jason-freakin’-Statham! We already knew there ain’t no way he’s gonna be the bad guy!
So one faction deploys all their assets to arrest him, and one sends meaner minions to kill him. And Jessie, while they’re at it, since she’s seen too much of this top-secret stuff. The rest is a chase with almost enough action to satisfy Jason’s fans. His backstory is that he’s got super-lethal skills akin to his eponymous character in THE BEEKEEPER, allowing him to contend with vastly superior forces, while having to protect Jessie along the way.
Two problems. One is that most of the fights occur in dark settings, obscuring the action. The main reason for any butts plopping down on those theater seats is to watch Jason go all Statham-y on hordes of baddies in vivid detail. Shame on director Roman Waugh for undercutting his most valuable asset. The dude’s helmed enough action flicks to know better. The second is that Jessie’s character is written (also by Waugh) as annoyingly whiny, imposing too much dialog and too many moody silences on what couldda shouldda been a faster-paced adventure, as THE BEEKEEPER and A WORKING MAN were within the last two years. This plays out as if it were written for someone like Liam Neeson, who typically has more quiet, thoughtful stretches between his action scenes.
So, if Stathamians (Stathamites?) lower their adrenaline expectations, they can still find this worth the time. If not, then hope for BEEKEEPER 2: THE RETURN OF THE HIVE, or some other project that better serves The Master.
SHELTER opens in theaters on Friday, Jan. 30, 2026.
On a remote coastal island, a reclusive man (Statham) rescues a young girl (Breathnach) from a deadly storm, drawing them both into danger. Forced out of isolation, he must confront his turbulent past while protecting her, sending them on a tense journey of survival and redemption.
Shelter stars Jason Statham (The Beekeeper, A Working Man), Bodhi Rae Breathnach (Hamnet), Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody), and Academy Award nominee Bill Nighy (Living).
Shelter is directed by Ric Roman Waugh (Greenland, Angel Has Fallen) andproduced by Black Bear, Punch Palace Pictures, CineMachine, and Stampede Ventures.
Here’s a first look at the upcoming action thriller SHELTER, starring Jason Statham (The Beekeeper, A Working Man), Bodhi Rae Breathnach (Hamnet), Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody), and Academy Award nominee Bill Nighy (Living).
On a remote coastal island, a reclusive man (Statham) rescues a young girl (Breathnach) from a deadly storm, drawing them both into danger. Forced out of isolation, he must confront his turbulent past while protecting her, sending them on a tense journey of survival and redemption.
Directed by Ric Roman Waugh (Greenland, Angel Has Fallen), SHELTER opens in theaters on January 30.
Universal and DreamWorks Animation have unveiled the latest trailer for THE WILD ROBOT, a new adaptation of a literary sensation, Peter Brown’s beloved, award-winning, #1 New York Times bestseller.
The epic adventure follows the journey of a robot—ROZZUM unit 7134, “Roz” for short — that is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings, gradually building relationships with the animals on the island and becoming the adoptive parent of an orphaned gosling.
Check out the super cute trailer below and see the movie in theaters September 27.
I love this trailer… can’t wait to see this!
The film definitely looks to be among this year’s Oscar nominees for Best Animated Feature. DreamWorks has received 14 nomination for their previous films which include Shrek, Spirit: Stallion of the Cimarron, Shrek 2, Shark Tale, Wallace & Gromit: The Curse of the Were-Rabbit, Kung Fu Panda, How to Train Your Dragon, Kung Fu Panda 2, Puss in Boots, The Croods, How to Train Your Dragon 2, The Boss Baby, How to Train Your Dragon: The Hidden World and Puss in Boots: The Last Wish. The studio has won three Academy Awards.
(from back center) Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.
The Wild Robot stars Academy Award® winner Lupita Nyong’o (Us, The Black Panther franchise) as robot Roz; Emmy and Golden Globe nominee Pedro Pascal (The Last of Us, The Mandalorian) as fox Fink; Emmy winner Catherine O’Hara (Schitt’s Creek, Best in Show) as opossum Pinktail; Oscar® nominee Bill Nighy (Living, Love Actually) as goose Longneck; Kit Connor (Heartstopper, Rocketman) as gosling Brightbill and Oscar® nominee Stephanie Hsu (Everything Everywhere All at Once, this summer’s The Fall Guy) as Vontra, a robot that will intersect with Roz’s life on the island.
The film also features the voice talents of Emmy winning pop-culture icon Mark Hamill (Star Wars franchise, The Boy and the Heron), Matt Berry (What We Do in the Shadows, The SpongeBob Movie franchise) and Golden Globe winner and Emmy nominee Ving Rhames (Mission: Impossible films, Pulp Fiction).
(from left) Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.
A powerful story about the discovery of self, a thrilling examination of the bridge between technology and nature and a moving exploration of what it means to be alive and connected to all living things, The Wild Robot is written and directed by three-time Oscar® nominee Chris Sanders—the writer-director of DreamWorks Animation’s How to Train Your Dragon, The Croods, and Disney’s Lilo & Stitch—and is produced by Jeff Hermann (DreamWorks Animation’s The Boss Baby 2: Family Business; co-producer, Kung Fu Panda franchise).
Peter Brown’s The Wild Robot, an illustrated middle-grade novel first published in 2016, became a phenomenon, rocketing to #1 on the New York Times bestseller list. The book has since inspired a trilogy that now includes The Wild Robot Escapes and The Wild Robot Protects. Brown’s work on the Wild Robot series and his other bestselling books have earned him a Caldecott Honor, a Horn Book Award, two E.B. White Awards, two E.B. White Honors, a Children’s Choice Award for Illustrator of the Year, two Irma Black Honors, a Golden Kite Award and a New York Times Best Illustrated Book Award.
(from left) Fink (Pedro Pascal), Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.
How do you make a “rom-com” centered around a long-time married couple (yes, they’ve got kids)? Well, one idea would be to throw them a “curve”. With the Bracketts in this story, she’s forgotten their anniversary prompting him to take, well not desperate, but offbeat measures. Would it “spice” things up considerably, maybe rekindle those old sparks, if they pretended to be strangers meeting for the first time? But how could she have “blanked’ on the “big day”? For that answer, this new movie mixes in elements of an action flick. With that new twist, we learn that she indulges in many variations of ROLE PLAY.
Oh, the lady in question is Emma Brackett (Kaley Cuoco). At the start of the story, she’s on the job, donning a wig, and terminating a target. As in assassinate. From there she phones her handler Raj (Rudy Dharmalingam), and heads to the airport. In the next scene, Emma has taken an Uber to the quiet, nondescript suburban two-story she shares with hubby Dave (Davis Oyelowo) and their two kids, preteen Wyatt and adorable moppet Caroline. But why are they preparing her favorite meal (Dave’s BBQ pineapple chicken) as the kids “play restaurant”? It’s the big wedding anniversary and Emma was too preoccupied with her “gig”. Dave thinks that she’s often on the road conducting training seminars, so he doesn’t blink when Emma takes a call from her boss Ralph (really Raj again). It seems that the “hired killers’ union” (actually “the Sovereignty”) is angry over her going “freelance” and has put a price, and a “target” on her. Emma’s not globetrotting again and promises him that she’ll “lay low”. That night Dave shyly gifts her a “naughty nurse” outfit. But Emma “ups the ante” with a suggestion that they get a sitter, assume fake identities, and “hook up” in the bar of a swanky NYC hotel. She dons a slink LBD and a red wig and waits for Dave at the bar. Of course, he gets stuck in traffic, which allows time for an older, dapper Brit named Bob (Bill Nighy) to make a pass at her. Dave finally arrives as Bob insists that they do “shots’ and makes several odd comments to Emma. It turns out that the couple aren’t the only role players leading to an incident at the hotel that puts Emma on the run and Dave in the “hot seat”. Will she have to tell him the truth, or will it be too late to save them as Emma’s past catches up to them?
After being a TV sitcom staple in a couple of long-running shows, Ms. Cuoco gets a chance to show another side to her considerable talents. We’ve seen her snarky and sarcastic while projecting a playful sultry vibe, along with an engaging warmth. Now we get her “action hero mode” (we got a smattering from her vocal work as Harley Quinn in the Max animated series), and she’s splendid. She’s brusk and all business in the first half then shifts into “mama grizzly” as things get more “personal”. And this is a huge chance of pace for her co-star as Oyelowo proves to be an entertaining comic straight man as the bewildered and baffled Dave, a guy who just wants to chill with the “fam” after his 9-to-5 office drone job. After his superb Oscar-winning dramatic work, it’s great to see his lighter side. The two actors work well together and with the charming, but a bit sinister, Nighy as the wonky entertaining barfly. Another screen vet, Connie Nielson turns in a terrific performance as a special agent who is also more than she appears.
In the director’s chair is TV series vet Thomas Vincent who effortlessly switches gears from domestic bliss (the kids are more cute than cloying) to sexy banter (Cuoco’s a fiery sassy ginger) before plunging us into deadly showdowns. The script from Seth W. Owen provides some great dialogue for the two leads even though we soon realize that most of the plot is rehashed and reheated elements of TRUE LIES and MR. & MRS. SMITH. Nighy’s off-kilter Bob shakes things up a bit, but much of the finale seems to be a lighter version (and fairly bloodless) take on Bourne and John Wick. And though Emma is supposed to be a world-traveling pro-killer, we never really get a sense of the far-flung locales. There’s a basic cable blandness for most of the flick along with a lack of real brutality to the action (perhaps to try for a lighter rating than the “R” it received). The actors playing the Bracketts have easy-going chemistry but that’s not enough to redeem the overall familiarity of ROLE PLAY.
2.5 Out of 4
ROLE PLAY is now streaming exclusively on Amazon Prime Video
Emma (Kayley Cuoco) and Dave (David Oyelowo) have the seemingly perfect life – two kids, suburban house, good jobs – but after seven years of marriage they find themselves in a bit of a rut. For their wedding anniversary this year they are looking to spice things up with a little role play. They plan to meet as strangers in a hotel bar, but before Dave arrives, Emma catches the eye of a mysterious older man (Bill Nighy). The mystery gentleman recognizes Emma – as an international assassin for hire with a bounty on her head. Emma leads a secret life that Dave knows nothing about. Emma’s past comes roaring back into her new life and she is forced to take action to protect the family she loves.
Watch Kaley Cuoco, David Oyelowo, Connie Nielsen and Bill Nighy in #RolePlay – new movie streaming on Prime Video January 12, 2024.
The virtual screening is Wednesday, January 10th, 7:30pm CT.
To enter: This type of screening will allow readers that sign-up to watch at home. You will receive a link to the email you provide and once you click on it, you will join the virtual screening.
Check out the chilling trailer and poster for 20th Century Studios’ upcoming psychological horror film “The First Omen.” The film, which is a prequel to the classic horror film franchise, opens April 5, 2024, exclusively in theaters nationwide.
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
“The First Omen” stars Nell Tiger Free (“Servant”), Tawfeek Barhom (“Mary Magdalene”), Sonia Braga (“Kiss of the Spider Woman”), Ralph Ineson (“The Northman”), and Bill Nighy (“Living”).
The film is directed by Arkasha Stevenson (FX’s “Legion”) based on characters created by David Seltzer (“The Omen”), with a story by Ben Jacoby (“Bleed”) and a screenplay by Tim Smith & Arkasha Stevenson and Keith Thomas (“Firestarter”). The producers are David S. Goyer (“Hellraiser”) and Keith Levine (“The Night House”) and the executive producers are Tim Smith, Whitney Brown (“Rosaline”), and Gracie Wheelan.
Today, 20th Century Studios released a first look at its upcoming psychological thriller “The First Omen.” The film, which is a prequel to the classic horror film franchise, will open April 5, 2024, exclusively in theaters nationwide.
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
“The First Omen” stars Nell Tiger Free (“Servant”), Tawfeek Barhom (“Mary Magdalene”), Sonia Braga (“Kiss of the Spider Woman”), Ralph Ineson (“The Northman”), and Bill Nighy (“Living”). The film is directed by Arkasha Stevenson, based on characters created by David Seltzer (“The Omen”), with a story by Ben Jacoby (“Bleed”) and a screenplay by Tim Smith & Arkasha Stevenson and Keith Thomas (“Firestarter”). The producers are David S. Goyer (“Hellraiser”) and Keith Levine (“The Night House”) and the executive producers are Tim Smith, Whitney Brown (“Rosaline”), and Gracie Wheelan.
Bill Nighy as Mr. Williams in LIVING. Photo credit: Jamie D. Ramsay. Courtesy of Number 9 films / Sony Pictures Classics.
Bill Nighy gives a striking performance as colorless taciturn bureaucrat whose his rigid, repetitive life is transformed by a terminal diagnosis, in LIVING. Director Oliver Hermanus, working with a script by novelist Kazuo Ishiguro (“Remains of the Day”), re-tells Akira Kurosawa’s IKIRU by transporting it to 1950s London, with its armies of buttoned-down businessmen in identical conservative dark suits, bowler hats and umbrellas, moving through the same drab routines day-to-day. The change works amazing well, and is aided by a perfect script, evocative period-style photography, nice period flourishes and, of course, a remarkable performance by Bill Nighy, which certainly ranks among his best in his long career. LIVING is a moving drama about living a meaningful life, a film well worth seeing.
LIVING opens with credits that completely recreate the look of 1950s dramas, from the style of the text to the spot-on bustling streets to the color tone of the film. The effect is so startlingly convincing that you might think you are watching a film by Hitchcock from 1952, the year that Kurosawa’s black-and-white masterpiece was released. From that auspicious start, the film smoothly moves to a more natural palate as it transitions to train journey, as Bill Nighy’s character starts his own journey.
Nighy’s character does not appear right away. As the top man at a small division of London’s government center, the civil servants under his command talk about Mr. Williams (Nighy) as a revered, aloof figure as they are joined by a young new hire, Peter Wakeling (Alex Sharp), waiting on platform for the morning train. Young Wakeling is eager, smiling and friendly – way too expressive for their tastes – and his unsmiling new co-workers let him know right away that is not proper behavior for their dignified office. When Mr. Williams does arrive on the platform, he merely nods to his underlings, and goes to his separate compartment, like a military officer keeping his distance from the ordinary soldiers.
Of course, there is nothing so grand about the office they share in the London’s civil government office. Mr. Williams bows deferentially to a Sir James (Michael Cochrane), before proceeding to his own department’s tiny office, where he sits at the head of shared table where they process their paperwork. Rigid routine rules everything in their day.
The coworkers offering hints to their new colleague helps introduce us to this gray bureaucratic world. There is only one woman in this male-dominated office, young Miss Harris (Aimee Lou Wood) who dresses with a little splash of warm color and occasionally bends the rules by smiling or even a little joke. But almost immediately she tells us that she is going to be leaving for another job soon, as a manager in a restaurant.
Their paper shuffling routine is interrupted by the arrival of a polite but weary small group of women with a petition, to transform a problem vacant lot into a playground. It is clear they have been here before. In fact, they have been to every department before, shuffled from division to division as each office insists the project doesn’t fall under their purview and sends them to the next one. Eventually, the paperwork goes in some pile where it sits, neglected, until it is discarded and the process starts again.
There is an absurdist clockwork aspect to this Sisyphean routine. But on this day, Mr. Williams breaks routine, announcing he must leave early for an appointment. He volunteers nothing, and his underlings do not to ask, but the appointment is with his doctor.
At the doctor’s office, Mr. Williams gets grim news: a terminal diagnosis and six to nine months to live. The news leaves him stunned, and suddenly considering what he should do with his remaining time. He arrives home late, and we are surprised to learn that he once had more of a life. A widower with a grown son and a daughter-in-law who live with him, we expect them to offer some support when he tentatively tries to tell them about his diagnosis. But he has not even said more than a couple of words before they abruptly brush him off, heading off to bed, while saying they have to get up early. Instead of returning to the office the next morning, Mr. Williams embarks on a wandering journey as he considers his mortality and reflects on what he might do with his remaining life.
Bill Nighy tamps down his usual charm playing this very stern character, at least to start, but bit by bit, we get glimpses of that charm as well as the character’s long-hidden inner life. This brilliant. carefully-crafted performance is the major reason to see this film, but the affecting script, lovely period details, and beautiful photography provide their own delights, as well as supporting Nighy’s work. Nighy and the script move the character from hard flintiness to a lost despair to a movingly human resolution.
Other cast members contribute to that story arc, with Tom Burke offering a nice turn as a surprisingly kind bohemian writer who takes Nighy’s Williams on a brief tour into nightlife hedonism, and Aimee Lou Wood as Miss Harris and Alex Sharp as young Mr. Wakeling who offer glimpses of youthful light and hope, lights that help Williams decide on his path.
The period details are not only spot-on and contribute to the film’s surprising visual beauty. Director of Photography Jamie D. Ramsey wraps everything in warm, striking visual, which frames Williams’s journey well as he comes to grip with his life. The final scene is particularly touching, due to the fine imagery and excellent mis-en-scene from Ramsey and director Oliver Hermanus.
While Bill Nighy is the standout in this film, it is such a well crafted and touching drama that is more than worthwhile and a fitting homage to Kurosawa’s original.
LIVING opens Friday, Jan 20, at Landmark’s Plaza Frontenac and other theaters.
Oh, the ups and downs of family life with its joyous highs and tragic lows can make a most surprising emotional journey, particularly at the movies. And when three generations try to live under one roof (something very common over the past few months), well anything is bound to happen. In this tale past disappointments erupt into verbal warfare as a looming tragedy begins to chip away at the possibility of a mutual truce. Throw in the British tradition of burying one’s feelings and you’ve got the foundation of a gripping drama. Or a whimsical comedy. Or both. It helps that the center of this “dramedy” is not the typical film avuncular “Grampa”, but an eccentric and aloof “grifter”. Ah, but he’s still an offbeat charmer thanks to the casting of a terrific character actor. And he does dole out a few nuggets of real wisdom, from which springs the title, SOMETIMES ALWAYS NEVER.
We’re introduced to Alan (Bill Nighy) as he tries to balance his cellphone and umbrella as she strolls along the seashore. He’s talking to his youngest son, Peter (Sam Riley) to plan a rendezvous, They’re going to meet, pile into one of their vehicles, and make the long drive to a little town’s office of the coroner. Yeesh! Seems a body has turned up, and they need to find out if it’s the longtime missing eldest son Michael. But the official is shared with another small town, so the two just miss him. Peter, who wants to spend as little time with his pop as possible, wants to go back home and return the next day. Ah, but Alan thought ahead and reserved rooms at a local inn. In its pub, they meet a long-married couple, Arthur (Tim McInnery) and Margaret (Jenny Agutter). At Alan’s prodding, they engage in a game of Scrabble. This annoys Peter because as a child they always got the cheaper “knock-off version” Scribble with flimsy “punch-out” cardboard tiles. He retires after a round, but the game continues with Arthur making a wager with Alan. During a game break, Margaret tells Alan that they too are there to “ID” the body. This doesn’t stop Alan from trouncing them in the game ( he’s a Scrabble hustler). This makes the nest day at the morgue even more awkward, though the corpse is not either party’s relation. Father and son head home, but Alan is restless in the office of his failing men’s clothing store. After locking up he arrives at Peter’s doorstep, to his dismay while delighting his wife Sue (Alice Lowe). She invites him to stay but can only offer a bed (part of a “bunk”) in their teenage son Jack’s (Louis Healy) room. When he’s not at school his head is buried in his computer, playing an online multi-user fantasy war game. But while Jack’s away, Alan goes online, saying he’s upgrading the hard drive, but really playing Scrabble. One of the players who goes by the alias “Skinny Thesaurus” attracts Alan’s attention. He tells Peter that this must be Michael attempting to contact him. As Peter dismisses him and returns to work, Alan leaves, determined to track down this “word master”. Angry, but fearing for his dad, Peter searches for Alan, hoping that he can bring him back to reality before he’s another victim of the “dark web”.
The role of family patriarch serves as a showcase for the dry acerbic wit and deliciously halted line readings of the supremely talented Nighy. A scene-stealer in his far-too-brief role in the recent version of EMMA., Nighy runs with the role of Alan, a fella’ that’s surprisingly difficult to embrace and makes the film his own inspired character study. While with son Peter, Nighy gives Alan a passive-aggressive tone, condescending one moment, then defensive of their shared history (“We did with what we had”). He keeps much of that vibe when he spots a “mark” in the stuffy Arthur. He later asserts himself as he “invades” Peter’s home/sanctuary and resumes his mission (finding Michael) with a fanatical zeal. But he also sees this time as a chance to point his grandson in the “right direction” (the title refers to his rule about the front three buttons on a suit coat or jacket). As the story’s main focus, Nighy truly “delivers the goods”. Plus he’s got a great sparring partner in Riley (maybe best known as the sidekick human/raven in the Maleficent flicks) who has a terrific “slow burn’ as he deals with his ever-frustrating father. While in pop’s company every “old wound” begins to open up. During a flashback montage of him as a child being continuously disappointed at birthdays and holidays (“I couldn’t get ‘Action-Man’, so it was ‘Action-Joe’! He didn’t have the kung-fu grip!”). Riley expresses Peter’s sadness through his half-lidded eyes and slouching posture. But when Alan slowly tries to “take over” his home, Peter stands his ground. Caught in the middle is the bubbly Lowe as the peacemaking Sue who often stumbles while calming them and trying not to lose her teenage son, even “stalking” him near the bus stop to his school (where he hopes to connect with a lovely classmate). Healy as son Jack is often the typical surly, close-mouthed movie teen, but being a “flatmate’ to his Gran’dad seems to open him up. leaving the virtual world and rejoining his folks in the real one. Aside from the family, McInnerny scores some big laughs as the oafish patsy Arthur, while Agutter exudes a sultry frisky charm as the randy Margaret (can AN AMERICAN WEREWOLF IN LONDON really be nearly 40).
Carl Hunter makes a confident debut as a feature film director after many TV credits. He keeps the pace bouncy, even as the first act set around the morgue threatens to become morbid. With the story divided up in chapters headed by a dictionary definition (the Scrabble connection) and the use of kids’ book style limited animation interludes, the film almost veers into the sickeningly precious, but Hunter succeeds in this tricky “balancing act”. It’s whimsical without being cloyingly cute. Credit must go to veteran screen scribe Frank Cottrell Bryce who provides an expert “roadmap” for this family journey. He adds an air of mystery and suspense to the pathos and comedy, making us fear for Alan’s safety as he becomes more obsessed with his “quest”. Plus the UK locales, from York to Liverpool, are expertly used (especially the lonely seaside in the first few minutes). For fans for (honest) family films and especially admirers of the talented Mr. Nighy, SOMETIMES ALWAYS NEVER is just as compelling and entertaining as any game of Scrabble, or even Scribble. As they say in the film, “It’s a Bingo!”.
Three and a Half Out of Four
SOMETIMES ALWAYS NEVER is available as a Video On Demand through most cable and satellite systems, along with most streaming apps and platforms.
