The first movie, released in 2019, felt like a long episode of a show that had already begun but still welcomed me in, giving me room to understand the dynamics and care about the characters. That same warmth carried through the next two films. The first centered on a family secret and a disputed inheritance; the second (Downton Abbey: A New Era) had the family renting out Downton as a film set to pay the bills; and this final chapter explores Lady Mary’s divorce and the challenges it brings in the patriarchal society of 1930s England.

While I imagine the series had more dramatic highs and lows, this film trilogy plays like an extended, three-part epilogue, showing how Downton Abbey found its “happily ever after” (though not always perfectly happy). The story no longer chases grand plot twists, and that’s part of its charm. The Grand Finale proves how well the franchise knows its audience and how deeply it respects its characters. Its commitment to both is evident, and deeply endearing.

Rather than manufacturing spectacle, the film gives its characters space to simply exist, which feels rare in today’s landscape, where many series sacrifice lived-in authenticity (and real emotional connection) for overblown plotlines. This final chapter remains faithful to what came before, while gently embracing the passage of time. Lady Mary’s divorce anchors the narrative, alongside the return of Barrow, now “working” for actor Guy Dexter, and the arrival of an uncle (Paul Giamatti) who promises to improve the family’s financial situation. Yet everyone, from upstairs to downstairs, has their place and their moments. What began in A New Era is developed here with care and lightness.

Conflicts arise, but they never cause lasting damage. Themes are approached with a charming optimism – a bit idealized, perhaps, but all the more delightful for it. And when it comes to delivering a proper farewell, The Grand Finale leaves no doubt. The film radiates affection for this journey that began 15 years ago. Every character receives a satisfying send-off, including heartfelt tributes to Violet Crawley, who died at the end of the second film, and whose actress, Maggie Smith, passed away last year. Still, no door is ever fully closed at Downton… so who’s to say this is truly the end?

Still, a good serial killer alone isn’t enough for a horror film. A strong antagonist is just as essential. In Dangerous Animals, we get a true final girl as our protagonist. Zephyr (Hassie Harrison) is a surfer with a rough past who refuses to play by “the system rules.” She lives a nomadic life, has her van as her home, and travels the coast chasing the perfect wave. On one of these trips, she meets the suspiciously handsome Moses (Josh Heuston), who turns out to be not only a good man, but her opposite in many ways. They hit it off and spend the night together, but not used to Moses’s fancy lifestyle, Zephyr sneaks out before dawn (apparently no one’s afraid of anything in Australia), and crosses paths with Bruce, kicking off her own personal hell and a tense, action-packed survival nightmare.

Set against a paradisiacal backdrop, Deadly Animals creates a deeply unsettling atmosphere, largely thanks to Tucker and Jai Courtney’s chilling performance. With Nick Lepard’s screenplay and Sean Byrne’s sharp direction, Tucker becomes a well-crafted, believable killer. He mentions a childhood trauma – being attacked by a shark and surviving – which became a defining moment, making him view sharks as divine creatures. There’s a certain madness to Tucker, which Courtney captures brilliantly, yet he still manages to appear just “normal” enough for tourists to feel safe stepping alone onto his boat. The way Tucker kills is even more intriguing: he always takes two victims, sending one into the water to be attacked by sharks while forcing the other to watch. There’s an eerie theatricality to Tucker’s performance, he even records each of his torture sessions.

Tucker’s mistake is choosing Zephyr as one of his victims. She’s a born survivor who simply refuses to bow to him. This sets up a gripping showdown where they both dish out and take brutal hits, though Zephyr certainly suffers far more. The tension escalates when Moses, despite her trying to keep her distance out of fear of emotional attachment, becomes the hopeless romantic who risks his life to find her once he realizes she’s missing. While a touch of romance can be welcome, their relationship ends up leaning on familiar clichés that slow the narrative down. It’s not that Dangerous Animals is too serious to handle romance – it’s very aware it shouldn’t take itself too seriously (yes, “Baby Shark” is mentioned more than once) – but toning down the sentimentality between Zephyr and Moses, especially towards the end, might have kept the film’s tone slightly darker and more cohesive.

Flaws aside, Deadly Animals is still a thrilling survival horror, with sharp direction that makes the most of its action scenes and its sharks, massive, terrifying, untamed yet as realistic as possible, and a storyline that truly entertains.