New Film Releases Next Week in the UK for January 2026

As the frost of January continues to bite, the British cinematic landscape is heating up with a slate of releases that suggests 2026 is going to be a vintage year for the silver screen. For those of us who spent the first half of the month nursing hangovers and catching up on the dregs of the holiday blockbusters, next week marks the moment where the “serious” cinema season truly begins. On Friday, 23rd January, the UK gets access to a diverse array of stories ranging from prestige literary adaptations and harrowing sporting dramas to the return of iconic psychological horror.

It is a weekend that feels uniquely British in its distribution, offering a balanced diet of intellectual stimulation and visceral thrills. Here is what you can expect to find at your local multiplex and independent arthouse next week, or some home releases too.

Leading the charge is a film that has been whispered about in hushed, reverent tones since its premiere on the festival circuit. The History of Sound, directed by Oliver Hermanus, is a sweeping period drama that pairs two of the most formidable young talents of their generation: Paul Mescal and Josh O’Connor. Set during the First World War, the narrative follows two young men, Lionel and David, who embark on a journey across the American landscape to record the lives, voices, and music of their countrymen.

What begins as an ethnomusicological expedition quickly evolves into a deeply felt and clandestine romance. Mescal, who seems incapable of a false note, brings a soulful vulnerability to the role of Lionel, while O’Connor provides a counterpoint of restless energy. In a month where Mescal already dominates screens with Hamnet, it is his work here that may well define his year. It is a film about the ephemeral nature of life and the permanence of sound, captured with a painterly eye that demands the biggest screen possible. Expect this to be a heavy hitter when the awards nominations start rolling in.

For those seeking a more introspective, though no less emotional, experience, H is for Hawk arrives via Lionsgate. Based on Helen Macdonald’s seminal memoir, the film stars Claire Foy as a woman grappling with the sudden death of her father (played in flashbacks by the reliably brilliant Brendan Gleeson). In her grief, she turns to a tradition as old as time but rarely seen in modern London: falconry.

The film focuses on her relationship with Mabel, a young goshawk. It is a prickly, difficult, and ultimately life-affirming story about the wildness of grief and the discipline required to tame both a bird of prey and one’s own internal demons. Foy’s performance is a masterclass in restrained anguish; she captures the jagged edges of a mind pushed to the brink. It is a quiet film, but one that lingers long after the credits roll, reminding us that sometimes the best way to process human loss is through a connection with the non-human world.

On a completely different note, we have Saipan, a film that will likely dominate pub conversations across the country. This isn’t just a sports movie; it is a dramatisation of a national trauma. Centred on the infamous 2002 World Cup incident, the film stars Éanna Hardwicke as Roy Keane and Steve Coogan as Mick McCarthy.

For the uninitiated, the “Saipan incident” was the moment the Irish captain walked out on his team—or was sent home, depending on whose side you took—following an explosive row over training facilities. Coogan is an inspired choice for McCarthy, capturing the pragmatic, weary frustration of a manager caught between a legend and a hard place. Hardwicke, meanwhile, has the unenviable task of portraying Keane’s singular, terrifying intensity. It is a claustrophobic, dialogue-heavy drama that plays out like a Shakespearean tragedy set in a Pacific island training camp. Whether you are a football fan or not, the clash of egos on display here is riveting.

If the psychological weight of the aforementioned dramas feels too heavy, Entertainment Film Distributors is offering a different kind of darkness with Return to Silent Hill. This marks a long-awaited return to the fog-shrouded town that defined survival horror for a generation. Director Christophe Gans, who helmed the 2006 original, returns to adapt the story of Silent Hill 2, widely considered the narrative peak of the franchise.

The film follows James Sunderland, a man drawn back to the mysterious town after receiving a letter from his deceased wife. While video game adaptations are often a mixed bag, the early word on this is that Gans has leaned heavily into the Lynchian surrealism and body horror that made the source material so iconic. With a score that reportedly pays homage to Akira Yamaoka’s haunting industrial themes, this is a treat for horror purists. It is less about jump scares and more about the creeping dread of one’s own psyche, manifested in the form of grotesque creatures and rusted, metallic corridors.

For those craving a high-concept thriller, Timur Bekmambetov’s Mercy arrives courtesy of Amazon MGM Studios. Starring Rebecca Ferguson and Chris Pratt, the film is set in a near-future where capital crimes are on the rise. Pratt plays a detective who finds himself accused of a crime he didn’t commit and is forced to prove his innocence in a society where the justice system has become increasingly automated and merciless.

Bekmambetov, known for his kinetic visual style in films like Wanted, brings his signature energy to the proceedings. While it may not have the intellectual weight of The History of Sound, it serves as a necessary jolt of adrenaline for the January schedule. Ferguson continues to prove she is one of the most versatile actors working today, providing a grounded presence in a film that often moves at breakneck speed.

The 23rd also sees a smattering of smaller, yet intriguing, releases. Dogs at the Opera offers a bit of levity for families, an animated feature that is exactly what it says on the tin, though one suspects it might be more of a “wait for streaming” title for many. On the more experimental end of the spectrum, MUBI brings us No Other Choice, a film that promises to challenge audiences with its uncompromising look at contemporary social structures.

Additionally, for the cinephiles who prefer the classics, Park Circus is re-releasing Steven Spielberg’s Duel. Seeing that 1971 masterpiece on the big screen remains a thrill; it is a reminder of how much tension can be wrung from a simple premise and a very large truck.

The final full week of January 2026 offers a remarkably robust selection of cinema. We are seeing a trend of “double-headers” for certain actors—Paul Mescal being the prime example—which highlights the current star-driven nature of the UK market.

Whether you are in the mood for the historical romance of The History of Sound, the grit of Saipan, or the nightmares of Return to Silent Hill, there is a genuine reason to brave the cold and head to your local cinema next Friday.

The diversity of these releases suggests that distributors are no longer treating January as a dumping ground for subpar content, but rather as a launchpad for films that require a bit more breathing room than the summer blockbusters allow.