How to get free cinema tickets across the UK this summer
This comes as a number of Blockbuster's hit the big screen this summer, including Jurassic World: Rebirth, Superman, and The Fantastic Four: First Steps.
What is XPlus at Showcase and where is it available?
XPlus is ideal for those looking for a "supersized" cinema experience.
Featuring a giant screen with "next-generation" projection to give the film a "crystal-clear" image, the service also boasts a 360° Dolby Atmos sound system.
This delivers a "fully immersive, powerful, and dramatic listening experience like no other."
Discussing the XPlus experience and how moviegoers can get free cinema tickets, Jon Dixon, UK Marketing Director at Showcase Cinemas, said: 'XPlus is the ultimate way to feel every moment when watching a film, with huge screens, crystal-clear visuals, and powerful Dolby Atmos sound.
"We know how much our customers value this amazing experience, so this offer is our way of saying thank you.
'If you're planning to see the biggest films of the summer, this is the best way to do it.'
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Those wanting to check out XPlus for themselves can do so at the following UK locations:
Showcase Cinema de Lux Bluewater
Showcase Cinema de Lux Derby
Showcase Cinema de Lux Leicester
Showcase Cinema de Lux Leeds
Showcase Cinema de Lux Nottingham
Showcase Cinema de Lux Reading
Showcase Cinema de Lux Coventry
Showcase Cinema de Lux Southampton
Showcase Cardiff Nantagrw
Showcase Dudley
This free ticket offering at Showcase lasts until August 28.
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The Guardian
an hour ago
- The Guardian
What the culture war over Superman gets wrong
We've entered the era of the superhero movie as sermon. No longer content with saving the world, spandex saviors are now being used to explain, moralize and therapize it. And a being from Krypton has shown up once again in a debate about real life; about borders, race and who gets to belong. Superman. Of all symbols. I've read reactionary thinkpieces, rage-filled quote tweets and screeds about the legal status of a fictional alien – enough to lose count. This particular episode of American Fragility kicked off because James Gunn had the audacity to call Superman 'the story of America'. An immigrant, by definition, as he was always meant to be. What set things off wasn't just the sentiment – it was who said it, and how plainly. Gunn, now headlining DC's cinematic future, told the Sunday Times that Superman was 'an immigrant who came from other places and populated the country'. He spoke of Superman's inherent kindness as a political statement in itself, noting that the film would play differently in some parts of America before adding, bluntly, that 'there are some jerks out there who are just not kind and will take it as offensive just because it is about kindness'. 'But screw them,' he added. It was that line – less the immigrant metaphor, more the unapologetic framing – that sent the usual outrage machine into motion. Enter Dean Cain, a former TV Superman. Cain accused Gunn of politicizing the character, which is remarkably foolish, considering Superman's been swatting at fascism since 1941. Meanwhile, over at Fox News, it's been a full meltdown over the idea that Superman, canonically not of this Earth, might be played as … not of this Earth. Liberal brainwashing, they suggested. Identity politics in a cape. But have they actually looked at David Corenswet? The man looks like he was made to sell oat milk in a Ralph Lauren ad. All cheekbones and cleft chin. If this is the foreign body in question, no wonder middle America has historically shrugged over Supes being an immigrant by definition. Even still, there's something telling about any collective gasp over a white, blue-eyed man with an immigrant backstory. The scramble to defend him says more than intended. For all the hand-wringing over Superman's alienness, what rarely gets named is how meticulously his story was crafted to cushion the unease of the topic at hand: otherness itself – the very thing people pretend was always central to his character. There are plenty of ways to frame the ridiculousness of this argument, clever ways to connect the dots, but the real fracture in Superman's myth hits, oddly enough, during a quiet scene in Tarantino's meditation on vengeance, Kill Bill: Vol. 2. In the scene, the villain, Bill (David Carradine) unpacks what makes Superman different from every other hero. 'What Kent wears – the glasses, the business suit – that's the costume,' Bill says. 'That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us.' It's one hell of a tell – the kind of observation that pulls back the curtain on how Superman was engineered to understand the world, and how the world, in turn, reinforced how he should fit within it. From the start, Superman was never meant to be an outsider. His creators, Jerry Siegel and Joe Shuster – sons of Jewish immigrants – didn't craft him as a symbol of difference but as a projection of pure Americanness. They gave him a midwestern upbringing, an Anglo name in Clark Kent, and that square-jawed charm. Siegel and Shuster were working against the backdrop of unchecked antisemitism, at a time when Jewish immigrants faced hostility. But instead of exploring immigrant 'otherness', the artists imagined a version of America where that alienness could be easily discarded via an outfit change. Superman wasn't an outsider – he was the ideal immigrant, effortlessly slipping into a world that required no resistance. His story wasn't about struggling to belong, but about the fantasy of belonging, with the privilege of choosing whether or not to fight for it. That projection of safe, silent Americanness hasn't remained confined to the pages of comic books. Today's immigration politics run on the same fantasy. The myth of the 'good' immigrant – quiet, grateful, easy to assimilate – still runs wild. It's the same story that fuels the strange spectacle of politicians praising white South African farmers as victims of racial persecution, all while demonizing migrants from Latin America, the Middle East or sub-Saharan Africa. The notion of who deserves to stay has always been racialized, selective and violent. Tom Homan, Trump's border czar, has said that a person's physical appearance could be a factor in the decision to question them. He later said it could not be 'the sole reason'. But in April, Juan Carlos Lopez-Gomez, a US-born citizen from Georgia, was detained in Florida even after his mother showed authorities his birth certificate. In New York, Elzon Lemus, an electrician, was stopped because he 'looked like someone' agents were after. Maybe he didn't wear his suit and glasses that day. Superman, the immigrant who makes people comfortable, has never been just a comic book character. He's been a metaphor and living testament to the kind of 'other' that wealthy nations have always preferred: those who blend in, assimilate and rarely challenge the systems that demand their silence. If you're still not convinced that Superman's assimilationist fantasy is alive and well, just look at a White House meme from 10 July 2025: Trump dressed as Superman, with the words 'Truth. Justice. The American Way.' It's a glaring example of how cultural symbols are repurposed – hijacked, really – to serve a narrow and self-congratulatory vision of America. That's the trick of Superman: he's been a blank canvas of a both-sides heroism, which makes everyone feel seen. You don't even need to like or dislike Superman for the Maga debate to pull you in, as it was always meant to. The culture war still appointed a celebrity to govern the most powerful nation on Earth. It still turned a corporate diversity initiative into a national crisis. And it took a serious conversation about immigration and made a polished, all-American character its face. The culture war distorts, and it continues, relentless as ever. Noel Ransome is a Toronto-based freelance writer
Metro
5 hours ago
- Metro
James Gunn admits Henry Cavill's Superman firing was 'terrible'
James Gunn has opened up on the 'really unfair' way Henry Cavill was fired from DC and his role as Superman. The Witcher star first appeared as the caped superhero in 2013's Man of Steel before starring as Superman in 2016's Batman v Superman: Dawn of Justice. He also appeared in Zack Snyder's Justice League in 2021 and made a cameo appearance in 2022's Black Adam. Cavill announced in 2022 he would be returning to the role in Gunn's reimagining of the franchise, only to walk back on his comments months later when he was let go by DC. Superman, released earlier this month, stars Pearl actor David Corenswet in the titular role instead. Recalling the incident, Gunn condemned DC Studios for their handling of Cavill's role in the film. 'It's terrible – believe it or not, the day we were dealing with trying to figure out if we could take the job at DC Studios, the day the deal closed, all of a sudden, they were announcing that Henry was back,' he told the Happy Sad Confused podcast. 'I was like, 'What is going on? We know what the plan is. The plan was to come in and do Superman. It was really unfair to him and a total bummer.' 'There was a vacuum at the time and a lot of people had a take on what they wanted to do at DC and they were trying to force their way and it was just never part of the equation.' He went on to say the situation was 'really unfortunate' and he felt for the 'poor guy', but that Cavill took the news like an 'absolute gentleman.' 'He said, 'The only thing I ask is that I'm able to reveal it myself as opposed to coming from you guys.' And I'm like, 'That's a class act',' he continued. Gunn also said he would love to have Cavill in a future DC film, revealing he 'talked to him about it on that day.' To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video Cavill shared the news he would not be returning in an Instagram post, writing: 'I will, after all, not be returning as Superman. 'After being told by the studio to announce my return back in October, prior to their hire, this news isn't the easiest, but that's life. 'The changing of the guard is something that happens. I respect that. James and Peter have a universe to build. I wish them and all involved with the new universe the best of luck, and the happiest of fortunes.' Gunn's Superman was released on July 11 and currently holds an 83% rating on Rotten Tomatoes with several glowing reviews. It sees Corenswet's Superman drawn into conflict and the public questioning his actions, giving tech billionaire Lex Luthor (Nicholas Hoult) the opportunity to rid the world of Superman for good. On taking on the role and being propelled from a relative unknown actor to one of the world's most recognisable superheroes, Corenswet opened up to Metro about how he handled the news. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video 'Oh, I just played solitaire by myself and panicked quietly,' he said on the red carpet at London's Superman Fan Event. 'No, I had the opportunity to tell about six or seven people who I was close to and just kind of relished in this one hour where I had a big secret that nobody else knew about,' he continued. 'It's a rare moment in life, so I tried to be present with it and not be too overwhelmed. 'I got to tell my wife and a couple of family members and then just sat in a chair and waited for the news to break.' Thankfully, once David's not-so-secret identity had been exposed, he could rely on other actors who've slipped into Superman's red Speedos for advice. 'I was lucky enough to exchange letters with Tyler Hoechlin and Henry Cavill, two fellas who have played Superman before me,' he explained. Despite initial backlash over Cavill being replaced, Corenswet appears to have won fans over with his appearance in Gunn's Superman. More Trending 'There aren't enough words to describe just how much I love david corenswet as superman, and just how much of a masterpiece superman (2025) is,' Cntarogothic wrote on X. 'The thing is, sure, Henry Cavill played Superman, but David Corenswet IS Superman. Just, straight up,' Noodles_and_tea added. StacyH90 admitted: 'I was a big fan of Henry Cavill's Superman, and was bummed when it was clear we weren't getting more of him. But hot dayum David Corenswet really holds his own! He IS Superman! The man that could kill us all w/ a twitch of a finger but chooses to do good, saving squirrels too.' Cree reasoned: 'Henry Cavill and David Corenswet are both great Supermen who embody different ideals of the character and liking one more doesn't mean you have to hate the other'. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Legendary sci-fi film dubbed 'one of the best ever made' streaming for free MORE: 'Worst film ever' ripped apart by critics in one-star reviews MORE: I Know What You Did Last Summer star left sobbing over original actor's 'iconic' return
The Independent
8 hours ago
- The Independent
‘Superman' flexes its might in second weekend with $57.3 million
James Gunn's 'Superman' showed staying power in its second weekend at North American box offices, collecting $57.3 million in ticket sales and remaining the No. 1 movie in cinemas, according to studio estimates Sunday. None of the week's new releases — 'I Know What You Did Last Summer,' 'Smurfs,' and 'Eddington' — came close to touching Warner Bros. and DC Studios' superhero success. 'Superman' dipped 54% from its domestic opening, an average decline for a big summer film. In two weeks, 'Superman' has grossed $406.8 million worldwide, a good start for the movie DC Studios is banking on to restart its movie operations. A big test looms next weekend, when the Walt Disney Co. releases Marvel 's 'The Fantastic Four: First Steps.' Strong audience scores and good reviews should help propel the $225 million-budgeted 'Superman' toward profitability in the coming weeks. For Warner Bros. and DC Studios, 'Superman' is key to kicking off a 10-year plan for the comic book adaptation studio. Co-heads Gunn and Peter Safra were tasked with rehabilitating the flagging operation. Next on tap are the films 'Supergirl' and 'Clayface' in 2026. But 'Superman' is far from flying solo in theaters right now. Universal Pictures' 'Jurassic World: Rebirth' came in second this weekend, with $23.4 million in its third week of release. The seventh 'Jurassic' movie, this one starring Scarlett Johansson, held its own despite the competition from 'Superman.' In three weeks, it accrued $648 million worldwide. Apple Studios and Warner Bros.' 'F1: The Movie' has also shown legs, especially internationally. In its fourth weekend, the Brad Pitt racing drama dipped just 26% domestically, bringing in $9.6 million in North America, and another $29.5 million overseas. Its global total stands at $460.8 million. But both of the biggest new releases — Sony Pictures' 'I Know What You Did Last Summer' and Paramount Pictures' 'Smurfs' — fell flat. 'I Know What You Did Last Summer' opened with $13 million, a fair result for a movie budgeted at a modest $18 million, but a disappointing opening for a well-known horror franchise. The film, directed by Jennifer Kaytin Robinson, is set 27 years after the 1997 original. Teenagers played by Madelyn Cline and Chase Sui Wonders are again haunted for covering up a car accident. The movie's reviews (38% 'fresh' on Rotten Tomatoes) were poor for 'I Know What You Did Last Summer' and audiences graded it similarly. The film notched a 'C+' on CinemaScore. The original collected $72.6 million in its domestic run in 1997. Paramount Pictures' 'Smurfs' debuted in fourth place this weekend with $11 million. The latest big-screen reboot for the woodland blue creatures prominently features Rihanna as the voice of Smurfette. But reviews (21% 'fresh' on Rotten Tomatoes) were terrible. Audiences were kinder, giving it a 'B+' on CinemaScore, but the $58 million-budgeted release will depend largely on its international sales. In 56 overseas markets, 'Smurfs' earned $22.6 million. Ari Aster's 'Eddington' opened with $4.2 million on 2,111 screens for A24. Since its premiere at the Cannes Film Festival, 'Eddington' has been particularly divisive. The pandemic-set Western features Joaquin Phoenix as the right-wing sheriff of a small New Mexico town who faces off with its liberal mayor (Pedro Pascal). While Aster's first film, 2018's 'Heredity' ($82.8 million worldwide against a $10 million budget) helped establish A24 as an indie powerhouse, but the less-than-stellar launch of 'Eddington' marks the second box-office disappointment for Aster. His 2023 film 'Beau Is Afraid' cost $35 million to make but collected just $12.4 million worldwide. 'Eddington' cost about $25 million to produce. Audiences gave it a 'C+' on CinemaScore. None of Aster's previous films have been graded higher. Yet collectively, Hollywood is enjoying a very good summer. According to data firm Comscore, the 2025 summer box office is up 15.9% over the same period last year, with the year-to-date sales running 15% ahead of 2025. Summer ticket sales have amassed about $2.6 billion domestically, according to Comscore. Top 10 movies by domestic box office With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore: 1. 'Superman,' $57.3 million. 2. 'Jurassic World Rebirth,' $23.4 million. 3. 'I Know What You Did Last Summer,' $13 million. 4. 'Smurfs,' $11 million. 5, 'F1: The Movie,' $9.6 million. 6. 'How to Train Your Dragon,' $5.4 million. 7. 'Eddington,' $4.3 million. 8. 'Elio,' $2 million. 9. 'Lilo & Stitch,' $1.5 million. 10. '28 Years Later,' $1.3 million.
