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Category: New Releases

  • Send Help (2026)

    Send Help (2026)

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    In late 2019, Columbia Pictures announced they would be producing a new movie with frequent collaborator Sam Raimi. Written by Mark Swift and Damian Shannon, of Freddy vs. Jason fame, the film eventually landed at 20th Century Studios. For the lead role, Raimi cast Rachel McAdams, with whom he worked on Doctor Strange in the Multiverse of Madness. Opposite her would be Dylan O’Brien, who starred in the Maze Runner trilogy and provided the voice of Bumblebee. With a relatively low $40 million budget, filming started in February 2024 in Los Angeles, Sydney, and Thailand. Raimi recruited three of his most frequent collaborators: cinematographer Bill Pope, editor Bob Murawski, and composer Danny Elfman. Despite some disagreements between Raimi and O’Brien, filming wrapped in April 2024, two years before its release. After premiering at Grauman’s Chinese Theater, Send Help opened in theaters in January 2026.

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    Synopsis

    Having worked as a corporate strategist for years, Linda Liddle (Rachel McAdams) is anticipating a promotion. Her former boss promised her a VP position once his son, Bradley Preston (Dylan O’Brien), took over as CEO. Unfortunately, Bradley gave the role to one of his golfing buddies and plans to demote her to a low-level position. Linda confronts him, and he begrudgingly has her accompany him on a flight to Bangkok to finalize a company merger. Unfortunately, the plane suffers an engine discharge and crashes, killing everyone onboard except Linda and Bradley. While Bradley’s stuck with a bad leg, Linda has masterful survival skills and sets up a shelter and supplies. Now, Linda’s in charge and Bradley has to do what she says, much to his chagrin. Can they work together to survive, or will they tear at each other’s throats before anyone can send help?

     

    Review

    January is typically seen as a dumping ground for movies studios have no faith in. Knowing that, it’s remarkable just how good Send Help is, and it makes you wonder why it wasn’t released sooner. Raimi hasn’t directed a proper horror film since 2009’s Drag Me to Hell, which was almost 20 years ago. This film reminds us why he’s considered a master of horror, particularly in his sensibilities and filmmaking style. Granted, it takes a while for his style to come through, which could be intentional, reflecting the mundane office setting. But soon, you get his signature motifs: extreme close-ups, whip cuts, POV shots, cartoonish violence, and even Bruce Campbell. Still, these wouldn’t be possible without Pope and Murawski, who worked with Raimi on Darkman, his Spider-Man trilogy, and more. Also, Danny Elfman delivers another excellent score, blending playful and sinister elements.

    While there are several actors here, most of the focus is on Rachel McAdams and Dylan O’Brien. They both crush their roles: McAdams as the seemingly meek but strong Linda and O’Brien as the stereotypical jerky boss. Seeing them at odds with one another is fantastic, especially as the power dynamics switch between them. Many of us have a horrible boss we’ve wanted to see get their comeuppance, so watching this is cathartic. However, there comes a point in the film where you start to wonder if Linda’s actions are justified. Granted, the film doesn’t portray Bradley as sympathetic, but you wonder whether he deserves the hell he endures. The film is an excellent showcase of their talents, both their comedic timing and their physicality. Sure, the whole “eat the rich” theme is nothing new, but the way it’s done here is uniquely satisfying.

    As enjoyable as the movie is, some flaws keep it from being a modern classic on par with Raimi’s best. While there’s plenty of practical blood and gore, there’s some dodgy CGI that sticks out like a sore thumb. Also, there are so many obvious set-ups that you can see from a mile away. For instance, Linda warns Bradley not to go beyond a certain area because there are tons of poisonous plants. Once she mentions it, you think, “Gee, I wonder if someone’s going to go there despite being warned not to?” Without going into spoilers, the movie goes off the rails in the last 15 minutes or so. With a runtime slightly under two hours, parts of the film drag, but the pacing is still tight. Overall, despite its flaws, Send Help is a wonderfully deranged thriller with two great performances and plenty of Raimi’s flair.

     

    Send Help is in theaters.

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    Where to watch Send Help (2026)

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  • 28 Years Later: The Bone Temple (2026)

    28 Years Later: The Bone Temple (2026)

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    After years of development, the long-awaited 28 Years Later hit theaters in 2025 to critical and commercial success. The film grossed $151.3 million worldwide against a $60 million budget and made numerous “Best of” lists. Before its release, filmmaker Nia DaCosta entered negotiations to direct a sequel in 2024, with Alex Garland writing. While Garland and original director Danny Boyle oversaw production, they gave de DaCosta plenty of creative freedom. With a $63 million budget, principal photography started in August 2024, three weeks after the last film. Much of the cast from the last one returned, including Ralph Fiennes, Jack O’Connell, Alfie Williams, and Chi Lewis-Parry. Filming wrapped in late 2024, with its release scheduled for 2026, allowing the filmmakers extra time for post-production. In January 2026, Nia DaCosta’s follow-up, 28 Years Later: The Bone Temple, hit theaters worldwide.

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    Synopsis

    After being rescued by The Jimmys, Spike (Alfie Williams) gets initiated into the gang through a fight to the death. Meanwhile, Dr. Kelson (Ralph Fiennes) continues maintaining his bone temple while monitoring the local infected. He takes an interest in an alpha infected, whom he dubs Samson (Chi Lewis-Parry), due to his imposing figure. With help from a sedative, Kelson develops a friendship with Samson as he tries to bring out his humanity. Across the way, the Jimmys capture a small group of survivors under orders from Sir Lord Jimmy Crystal (Jack O’Connell). He and the others sacrifice the victims as part of a satanic ritual, much to Spike’s revulsion. Soon, The Jimmys find Dr. Kelson and believe he’s Satan because of his orange skin and his interactions with Samson. But what Kelson discovers through his friendship with Samson will change the course of history forever.

     

    Review

    While I enjoyed 28 Years Later, I thought some things held it back from being truly exceptional. The tone was inconsistent, some of the editing choices were odd, and the new lore seemed unnecessary. So, color me surprised that 28 Years Later: The Bone Temple somehow improves on the last movie. For the record, I didn’t dislike Danny Boyle’s return to the franchise, but I think it could’ve been better. While Boyle’s direction felt somewhat dated, Nia DaCosta’s more deliberate directing style feels fresh and exciting. She makes excellent use of wide-angle shots, natural lighting, and close-ups that allow the actors to emote more. It probably helps that, while the last movie used iPhone cameras, this one used an Arri Alexa 35 camera. Not saying that you need high-end equipment to make a good movie, but the difference is very noticeable.

    Just as in the last film, Alfie Williams gives an outstanding performance as Spike, bringing the same depth and emotion. You can see in his face how desperately he wants to escape, but knows he can’t because there’s nothing else. Just like in Sinners, Jack O’Connell is fantastic as the sadistic Sir Lord Jimmy Crystal, exuding charisma and terror. Ralph Fiennes is also superb as Dr. Kelson, and his scenes with Samson are among the highlights. Granted, the subplot more or less cribs off of Dr. Frankenstein and Bub’s relationship from Day of the Dead. Still, it’s done uniquely, and Samson’s regaining of humanity leads to some spectacular set pieces, particularly in a subway car. Also noteworthy is Erin Kellyman as Jimmy Ink, the only Jimmy who befriends Spike and disagrees with Jimmy Crystal’s methods. Everyone puts in a great performance, and I’m curious to see what they do next.

    Like any good horror film, this one dishes out plenty of gore, though it’s more disturbing than the last movie. You still get Samson ripping someone’s head off with the spine attached, ala Mortal Kombat, but it’s less cartoonish here. There’s also a horrific scene where people have their torsos skinned in a ritualistic manner by The Jimmys. While you only see the aftermath, it’s a grisly scene illustrating humanity’s fall in a post-apocalyptic world. The movie also makes excellent use of music, both the score by Oscar-winning Hildur Guðnadóttir and the licensed music. One memorable scene features a massive performance by Kelson, set to “The Number of the Beast” by Iron Maiden. At 109 minutes, the film moves at a decent pace, though there are some slow scenes that could’ve been trimmed. Overall, 28 Years Later: The Bone Temple surpasses the previous installment in almost every way.

     

    28 Years Later: The Bone Temple is in theaters.

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    Where to watch 28 Years Later: The Bone Temple (2026)

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  • Wake Up Dead Man: A Knives Out Mystery (2025)

    Wake Up Dead Man: A Knives Out Mystery (2025)

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    As mentioned in my Glass Onion review, Netflix purchased the rights to produce two sequels to Knives Out. Thankfully, the first sequel received similar critical acclaim and netted Rian Johnson another Oscar nomination for Best Adapted Screenplay. For the next installment, Johnson again drew inspiration from Agatha Christie, plus Edgar Allen Poe and John Dickson Carr. He also drew on his own experiences of being raised in Evangelism, though he chose to focus on Catholicism. Along with the returning Daniel Craig, the cast included Josh O’Connor, Josh Brolin, Glenn Close, Cailee Spaeny, and Andrew Scott. Jeremy Renner also joined the cast, making this his first feature role since his near-fatal accident in 2023. Filming began in early 2024 around London, with additional filming in New York later that year. After premiering at the Toronto International Film Festival, Wake Up Dead Man: A Knives Out Mystery opened in late 2025.

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    Synopsis

    After punching out a deacon, former boxer-turned-priest Rev. Jud Duplenticy (Josh O’Connor) gets reassigned to upstate New York. He goes to Our Lady of Perpetual Fortune, run by Msgr. Jefferson Wicks (Josh Brolin), who preaches gloom and doom. During a Good Friday service, Hicks unexpectedly dies from a backstabbing, making Jud a prime suspect. To help with the investigation, police chief Geraldine Scott (Mila Kunis) hires world-renowned detective Benoit Blanc (Daniel Craig). Other suspects include Wicks’ assistant, Martha Delacroix (Glenn Close), Dr. Nat Sharp (Jeremy Renner), and lawyer Vera Draven (Kerry Washington). There’s also author Lee Ross (Andrew Scott), cellist Simone Vivane (Cailee Spaeny), and groundskeeper Samson Holt (Thomas Haden Church). As the investigation continues, more is learned about the church’s history and how Wicks’ family ties into it. Just who is responsible for Wicks’ death, and is Jud guilty, or is there something more going on?

     

    Review

    Compared to the last installment, Wake Up Dead Man is a marked improvement in many ways. For one, the pacing is much better, sprinkling in the flashbacks rather than derailing halfway through, as before. The flashbacks feel more woven into the narrative and help slowly reveal more information as the film goes on. Also, while the bright, tropical style of Glass Onion was nice, I prefer the darker edge of this installment. From the church’s Gothic architecture to its minimal lighting, there’s a macabre mood that draws you deeper into the mystery. Interestingly, Rian Johnson claims to have drawn inspiration from Francis Ford Coppola’s Dracula, which makes sense. Both movies have a strikingly dark vibe in their production design and cinematography, which lend themselves well to the material. Admittedly, this is more subjective than objective, so your mileage may vary based on your tastes.

    As with the previous two installments, Daniel Craig turns in another stellar performance as Benoit Blanc. Interestingly, we see a different side of Blanc, one that questions his faith and doubts his methods. Alongside him, Josh O’Connor excels as a priest torn between his violent past and his desire to do good. Cailee Spaeny, who shone in last year’s Civil War and Alien: Romulus, once again delivers as a broken cellist. Josh Brolin works as an incendiary priest, and Glenn Close shines as Wicks’s sycophantic assistant, giving an all-star performance. Washington delivers a subtle charm, Renner and Scott are entertaining, and Church makes the most of his limited screentime. Speaking of, Jeffrey Wright steals his scenes as a quiet priest who’s unafraid to speak his mind, even if vulgar. Mila Kunis is good, if slightly out of place, in her role, and Noah Segen returns as a friendly bartender.

    Like Glass Onion, this film takes a satirical jab at aspects of today’s culture, including conspiracy theories and cancel culture. For instance, there’s a great gag about Lee Ross finding success but not with the audience he wanted. The movie also explores faith and religion, though it never feels like the filmmakers are condemning people for their beliefs. Instead, it’s more of a commentary about how some religious figures can use their power for nefarious purposes. For instance, while Jud tries to welcome people in, Wicks is content preaching fire and brimstone to drive them away. Admittedly, the film takes some leaps in logic to make the mystery work, but so do many other movies. Plus, at roughly two hours and twenty minutes, parts feel slow, but not enough to ruin the experience. Overall, Wake Up Dead Man: A Knives Out Mystery is another great mystery thriller worth investigating.

     

    Wake Up Dead Man: A Knives Out Mystery is in theaters.

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    Where to watch Wake Up Dead Man: A Knives Out Mystery (2025)

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  • Glass Onion: A Knives Out Mystery (2022)

    Glass Onion: A Knives Out Mystery (2022)

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    On a $40 million budget, Knives Out grossed over $312 million worldwide and earned universal critical praise. Daniel Craig and Ana de Armas earned Golden Globe nominations, while Rian Johnson got a Best Original Screenplay Oscar nomination. With its success, Lionsgate greenlit a sequel in 2020, but Netflix bought the rights in 2021 for $469 million. Johnson, his producing partner Ram Bergman, and Craig all returned to make two sequels for roughly $100 million. Aside from Craig, none of the original actors returned, as Johnson wanted a standalone sequel over a direct follow-up. Filming started in June 2021 on the Greek island of Spetses, with additional filming in Belgrade. The movie premiered at the Toronto International Film Festival in 2022, followed by screenings in London, Miami, and Los Angeles. Glass Onion: A Knives Out Story had a limited theatrical run in November before premiering on Netflix that December.

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    Synopsis

    Feeling isolated due to the pandemic, tech billionaire Miles Bron (Edward Norton) invites his friends, the “Disruptors”, to a party. There’s scientist Lionel Toussaint (Leslie Odom Jr.), governor Claire Debella (Kathryn Hahn), and model-turned-designer Birdie Jay (Kate Hudson). Along with her assistant, Peg (Jessica Henwick), there’s alpha male streamer Duke (Dave Bautista) and his girlfriend, Whiskey (Madelyn Cline). However, two guests arrive who complicate things: Miles’ ex-partner, Andi (Janelle Monáe), and renowned detective Benoit Blanc (Daniel Craig). Miles invites everyone to a murder mystery, which Blanc solves easily, but things escalate quickly as the night goes on. It turns out that everyone on the island has a motive to either keep Miles alive or have him killed. Soon, we learn that not everything is as it seems, or rather, people aren’t who they say they are. All of this and more will be revealed after peeling the Glass Onion.

     

    Review

    Knives Out was one of my favorite films of 2019, so I was excited about the follow-up, Glass Onion. While it’s not as good as the original, this is still a solid thriller with some comedy sprinkled in. For one, the cast is incredible, featuring some of the best actors in recent memory. Along with Craig, you’ve got Edward Norton, Kate Hudson, Leslie Odom Jr., Kathryn Hahn, Dave Bautista, and Janelle Monáe. Everyone gives a terrific performance, with Craig again taking charge as the enigmatic and eccentric Benoit Blanc. Norton fits the egotistical but clueless tech CEO perfectly, and Hudson is fun as the vapid socialite. Hahn and Odom Jr. work well as the voices of reason, and Bautista works as the blockheaded alt-right streamer. However, Monáe steals the show with her femme fatale performance and cold, conniving line deliveries. Also, Noah Segan is fun as the slacker Derol.

    Rian Johnson’s direction is once again on point, taking full advantage of the Greek island locales. He also makes excellent use of shadows, low lighting, and sweeping camera angles to elevate the atmosphere. This style is primarily thanks to Johnson’s frequent cinematographer, Steve Yedlin, who knows how to frame a shot expertly. Also, Rian’s cousin, Nathan Johnson, who scored his past few movies, returns to deliver another thrilling score. Like the last film, this does a great job of leaving just enough hints without giving away the entire mystery. It makes for a fun second viewing, looking back on certain moments and seeing how they tie into the revelations. Additionally, the movie is an entertaining satire of modern society, particularly cancel culture, privileged lifestyles, and egotistical CEOs. You could easily see comparisons between Miles Bron and people like Elon Musk, Mark Zuckerberg, and Jeff Bezos.

    However, while most of the movie works, several issues prevent it from matching its predecessor. The original sprinkled in flashbacks here and there to advance the story without feeling intrusive. But here, the movie stops dead about halfway through to deliver one extended flashback before catching back up. Not only does this wreck the film’s pacing, but so much information is thrown at you all at once. I’m not saying there’s anything wrong with nonlinear storytelling, but it needs to make sense in context to what’s happening. Also, while the ending is satisfying, it doesn’t feel like solving the mystery had anything to do with the resolution. Even if it doesn’t match the original’s quality, this remains a solid follow-up that mystery thriller fans will enjoy. Overall, Glass Onion: A Knives Out Mystery is an entertaining thriller that, while not perfect, still delivers where it counts.

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    Where to watch Glass Onion: A Knives Out Mystery (2022)

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  • Sisu: Road to Revenge (2025)

    Sisu: Road to Revenge (2025)

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    In a 2023 interview, filmmaker Jalmari Helander expressed interest in directing a sequel to Sisu if it were a hit. Thankfully, the film was a success, grossing $14.3 million against a €6 million budget and earning critical acclaim. Later that year, the film’s star, Jorma Tommila, said he wanted to return as the protagonist. Helander confirmed that a sequel was in development, with a final budget of roughly €11 million ($12.2 million). Filming began in early 2024 in and around Finland and Estonia, primarily in Rapla and Lääne Counties. While Lionsgate was the domestic distributor for the first film, Sony Pictures’ Screen Gems replaced them in early 2025. The film premiered at Fantastic Fest that September, followed by a special screening in Helsinki the following month. Roughly two years after its predecessor, Sisu: Road to Revenge opened in US theaters in November 2025.

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    Synopsis

    After WWII, Finland ceded Karelia to the Soviet Union, forcing many Finnish citizens to leave their homes. Among them is ex-commando Aatami Korpi (Jorma Tommila), who tears down his house to move it further inward. Korpi gained a reputation for single-handedly killing 300 Soviet soldiers after his family’s execution during the Winter War. Upon hearing that Korpi is on USSR soil, the government enlists officer Igor Draganov (Stephen Lang) to take him down. However, no matter how many men Draganov sends after him, Korpi brutally massacres them one by one. We soon learn that Draganov was responsible for the death of Korpi’s family, making this more personal. Even after being run off the road and surviving a tank explosion, Korpi keeps getting back up and won’t stop. Before, he was only trying to rebuild his life, but now, Korpi’s on the road to revenge.

     

    Review

    Going through my review catalog, I’m shocked that I never reviewed Sisu; suffice it to say, I loved it. Sisu was one of the most raw, visceral, over-the-top, and entertaining action movies I’d seen in a while. Thankfully, the sequel is just as good as the original, even if it loses some of its freshness. While not quite as gruesome as the original, Sisu: Road to Revenge still delivers on the over-the-top violence. Jalmari Helander knows what the audience wants and gives us precisely that: nonstop action and tons of viscera. What helps is that this is a more personal film since it deals with the lead’s past. Not only is he moving his house piece by piece, but he’s targeted for what he did to the Soviets. The movie gives us just enough backstory without diminishing the protagonist’s coolness factor.

    Speaking of, Jorma Tommila once again delivers as the silent but tough commando-turned-farmer, Aatami Korpi. He’s able to communicate his emotions through just his facial expressions and body language, without saying a word. You can sense the raw anger in his eyes, and watching him struggle to get back up is satisfying. Stephen Lang is fantastic as the villainous Igo Draganov, though it feels like anyone could’ve played the part. While it’s great to see Stephen Lang in the role, any actor could’ve played it without anything changing. Still, seeing Lang at odds with Tommila is fantastic, and it’s great whenever Tommila gets one over on him. Character actor Richard Brake, from Mandy and Barbarian, also appears as the KGB officer who sends Draganov. Though he has limited screentime, he makes the most of his scenes every time.

    Like the first film, this one revels in the excess: tons of blood, cartoonish violence, and over-the-top action. The plot, such as it is, is very threadbare, but a movie like this doesn’t need an intricate story. Mika Orasmaa’s cinematography is phenomenal, making the most of the Estonian locations and capturing vivid panoramic views. It also helps that they manage to capture the action on screen without shaking the camera throughout. Several scenes feel like a classic Western, highlighted by the minimalist score by Juri Seppa and Tuomas Wainola. Admittedly, if you’re looking for a powerful message, an intricate plot, and deep characterization, you’ll be disappointed. However, if you like ridiculous action, simple but compelling stories, and larger-than-life characters, this is for you. Overall, Sisu: Road to Revenge manages to maintain what worked in the original and then some.

     

    Sisu: Road to Revenge is in theaters.

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    Where to watch Sisu: Road to Revenge (2025)

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  • Predator: Badlands (2025)

    Predator: Badlands (2025)

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    Despite earning mostly negative reviews, 2018’s The Predator grossed $160.5 million worldwide against an $88 million budget. This gross was enough to convince Fox to continue the franchise, even after Disney purchased 20th Century Fox. During the production of that film, Dan Trachtenberg, the director of 10 Cloverfield Lane, began working on a new installment. After premiering at San Diego Comic-Con, Hulu released Trachtenberg’s Prey in August 2022 to overall positive reviews. This reception led to Trachtenberg working on two more films in the franchise for 2025. The first was Predator: Killer of Killers, an animated anthology film released on Hulu in June to further critical acclaim. Before this, Trachtenberg was filming the second film in New Zealand in 2024 under the working title “Backpack.” After premiering at the TCL Chinese Theater, Predator: Badlands stalked its way into theaters in November 2025.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Despite his brother’s protest, Yautja runt Dek (Dimitrius Schuster-Koloamatangi) wants to prove his worth by hunting the most dangerous prey. Before leaving, Dek witnesses his father, Njohrr (Reuben De Jong), kill his brother for defending him despite his perceived weakness. Dek lands on the planet Genna, otherwise known as the “death planet” for its hostile flora and fauna. During his hunt, Dek meets Thia (Elle Fanning), a damaged synthetic who offers to help him track down his target. He reluctantly agrees and straps her to his back as he explores the planet searching for his prey, the Kalisk. Meanwhile, Thia’s twin, Tessa (Elle Fanning), also a synth, is reactivated and assigned to track her down. It turns out the Weyland-Yutani Corporation, which built Thia and Tessa, also wants the Kalisk for their bio-weapons division. Will Dek succeed and prove his worth, or will the corporation get there first?

     

    Review

    Although not as iconic as the original, Predator: Badlands ranks among the franchise’s better films. On one hand, making the Predator the protagonist somewhat contradicts what every other installment established. However, I believe franchises need to explore new directions to stay relevant while still honoring what worked before. If The Terminator can transition from villain in the first film to hero in the sequel, why not The Predator? Thankfully, Dan Trachtenberg knows what makes this franchise successful while still innovating the formula in a way that works. You still have a Predator wandering through jungle-like settings, hunting, and killing human-like beings in gruesome ways. Of course, the victims are cyborgs with white blood, clearly done to achieve a PG-13 rating. While it’s disappointing not to have an R-rated Predator movie, what we got is at least entertaining. Still, here’s hoping we get more R-rated entries than PG-13 ones.

    Though he doesn’t have any discernible dialogue, Dimitrius Schuster-Koloamatangi makes for a great Predator. He gives the character a physicality and presence not unlike Kevin Peter Hall’s in the original. His movements feel precise and deliberate, like a skilled hunter, but with some hesitation that shows he’s still new. Elle Fanning does a fantastic job playing the dual roles of synthetics Thia and Tessa, making each feel distinct. As Thia, she’s witty and sarcastic without feeling annoying, while as Tessa, she’s cold and calculating without seeming bland. Since most of the film centers on Dek and Thia, they must have great chemistry, which they thankfully do. They play off each other really well, and it never feels like one dominates the screen over the other. Granted, your mileage may vary on whether you find Thia endearing or annoying, though I personally found her enjoyable.

    Usually, I’m against giving certain characters detailed backstories and extensive lore, but it works here. The other films hinted at the Predator’s history and culture, but this one delves further without neutering the Predator’s impact. Also, the movie adds ties to the Alien franchise, which isn’t the first time the two series crossed over. Thankfully, it’s not as blatant or poorly handled as the Alien vs. Predator movies, and it’s done more cleverly. It helps that the action is exciting and dynamic, with Dek fighting a variety of alien monsters of different sizes. On that note, seeing what Genna has to offer, from bloodthirsty roots to massive hornets, is exhilaratingly weird. At slightly under two hours long, the movie moves at a solid pace, though some moments drag here and there. Overall, Predator: Badlands shows that, while there are a few kinks, the franchise still has life left in it.

     

    Predator: Badlands is in theaters.

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    Where to watch Predator: Badlands (2025)

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  • KPop Demon Hunters (2025)

    KPop Demon Hunters (2025)

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    In 2018, Maggie Kang pitched an animated film idea to Aaron Warner during production of 2021’s Wish Dragon. Kang wanted to tell a story that mixed South Korean culture and mythology with K-pop, utilizing strong but flawed characters. Wish Dragon director Chris Appelhans came on board to co-direct with Kang after being impressed with her ideas. Production began in 2021 under Sony Pictures Imageworks, which also animated Spider-Man: Into the Spider-Verse and Spider-Man: Across the Spider-Verse. The filmmakers drew inspiration from K-pop groups like BTS, Itzy, Blackpink, and BigBang, as well as anime and Korean dramas. Around this time, Sony entered a deal with Netflix to give first looks in exchange for potential joint development projects. Kang and Appelhans’ KPop Demon Hunters would be part of the direct-to-platform deal, with Netflix fronting the $100 million budget. Alongside a limited theatrical release, KPop Demon Hunters premiered on Netflix in June 2025.

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    Synopsis

    For years, groups of talented women have protected the world from demons by upholding the Honmoon magical barrier. The latest group is Huntr/x, a K-pop band featuring Rumi (Arden Cho), Mira (May Hong), and Zoey (Ji-young Yoo). They’ve maintained the Honmoon through their songs and reached superstar status, with thousands of rabid fans. In the demon world, former human Jinu (Ahn Hyo-seop) proposes an idea to the demon king, Gwi-Ma (Lee Byung-hun). He suggests starting a rival band, The Saja Boys, to steal Huntr/x’s fans while also weakening the Honmoon. Huntr/x quickly sees through The Saja Boys and plans to attack them, but Rumi has second thoughts. Unbeknownst to Mira and Zoey, Rumi is a half-demon, which gives her a connection with Jinu on a personal level. With the Idol Awards approaching, the girls have to work through their struggles to save the world.

     

    Review

    When I first heard about KPop Demon Hunters, I had no idea what to expect given the title. Usually, I wouldn’t be interested in this type of movie, which is why it’s surprising how much I loved it. Much like the Spider-Verse movies, the animation is stylish, vivid, colorful, and energetic without feeling overwhelming to the senses. You can definitely see the influence of Korean mysticism in the animation, from the character designs to the visual aesthetics. Jinu’s pet tiger and crow, inspired by minhwa—a genre that highlights mischief and whimsy—align with the film’s style. There’s also an evident anime influence with the exaggerated facial expressions and body language, which leads to some great gags. It’s a pity this film had a limited theatrical release; the animation deserves a big screen viewing. Whether it’s the slow pedestrian scenes or the flashy action sequences, everything looks incredible.

    All of the voice actors do a fantastic job bringing these characters to life and making them feel real. Arden Cho effectively shows doubt and false confidence through Rumi as she attempts to hide a regrettable secret. May Hong is great as Mira, switching between tough and aggressive and light-hearted and friendly. Ji-young Yoo brings an infectious level of energy to Zoey but also shows a more human side that feels natural. What helps these girls is that they’re not generic girlboss badasses, but relatively strong yet flawed people. Ahn Hyo-seop knocks it out of the park as Jinu, showing internal conflict while also putting on a false persona. Lee Byung-hun is excellent as the demon king, and Ken Jeong steals the show as the eccentric manager, Bobby. All in all, the cast does a fantastic job of making these characters feel like real people instead of stereotypes.

    The songs are incredibly catchy, and each one serves a purpose beyond just being a good song. Each song is integral to telling the story and shows how each character grows throughout the film. For instance, Huntr/x starts confident in How It’s Done, but later Rumi shows her vulnerability with Free. The film also has some strong themes of friendship, community, acceptance, and coming to terms with one’s flaws. Rumi’s struggle with her demon side can apply to anyone dealing with mental illness, gender identity, or sexuality. If I had any complaints, some story elements don’t feel fleshed out, such as the Celine character. Still, even if you’re not a fan of K-pop, you’ll find something to like about this movie. Overall, KPop Demon Hunters is a fun, exciting, and emotional film with great characters, entertaining action, and a fantastic soundtrack.

     

    Watch KPop Demon Hunters on Netflix: https://bit.ly/3JB0Ran.

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    Where to watch KPop Demon Hunters (2025)

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  • Bugonia (2025)

    Bugonia (2025)

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    In 2003, South Korean filmmaker Jang Joon-hwan released the absurdist dark comedy Save the Green Planet! The film received widespread critical acclaim and won several industry awards at numerous film festivals. In 2020, CJ Entertainment announced its collaboration with Ari Aster’s Square Peg production company to produce an English-language remake. Will Tracy, best known for writing Succession and The Menu, would be adapting the script, with Jang returning to direct. However, in early 2024, reports confirmed that Yorgos Lanthimos would be replacing Jang as director with Element Pictures. On a $45- $55 million budget, principal photography began in England in July and wrapped in Atlanta in October. After some additional filming in Greece in May 2025, the film premiered at the Venice International Film Festival in August. Focus Features acquired worldwide distribution rights to the film, now titled Bugonia, and released it in October 2025.

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    Synopsis

    Local conspiracy theorist Teddy Gatz (Jesse Plemons) lives alone with his neurodivergent cousin, Don (Aidan Delbis). Teddy believes that a race of aliens called “Andromedans” has taken over Earth, and he’s convinced Don that they’re real. Believing her to be one, they kidnap Michelle Fuller (Emma Stone), the CEO of a massive pharmaceutical company. They shave her head and coat her in an antihistamine cream to supposedly prevent her from contacting her mothership. Michelle tries to reason with them to let her go, but they’re so stubborn that they keep her locked up. Soon, the police launch a massive investigation into her disappearance, leading local sheriff Casey (Stavros Halkias) to investigate. As Teddy tries to maintain control of the situation, Don begins to express doubts, especially after they torture Michelle. Will Teddy succeed in uncovering a grand conspiracy, or will Michelle escape and prove that she’s not an alien?

     

    Review

    If you’ve seen any of Yorgos Lanthimos’ previous movies, you should have an idea of what to expect here. You’ve got an absurd premise, actors at the top of their game, and a deconstruction of the world around us. While I haven’t seen Save the Green Planet, I’d like to know how this film compares to it. From what I can tell, the Korean cult movie is livelier, more colorful, and wackier than its premise. Bugonia, on the other hand, is very subdued, has a muted color scheme, and a cynical edge. Even compared to Lanthimos’ other works, this doesn’t have the visual flair and whimsy of Poor Things or The Favourite. That said, you can see his touches in the dialogue, the absurdism, the social commentary, and the shock scenes. Without spoiling it, Lanthimos’ style really kicks in during the climax, which needs to be seen to be believed.

    Like in her other collaborations with Lanthimos, Emma Stone gives an outstanding performance as boss girl Michelle Fuller. Even after getting kidnapped and having her head shaved, she does her best to maintain control of the situation. Seeing her and Jesse Plemons wrestle for dominance is worth the price of admission alone, especially in their dialogue. While Stone is in command even in the face of danger, Jesse Plemons gradually crumbles as the situation gets worse. As stellar as Stone and Plemons are, the real highlight is newcomer Aidan Delbis as the well-meaning but vulnerable Don. Having a real autistic person in the role adds authenticity, and Delbis shows a genuine innocence in his performance. Despite his mental impairments, you can tell that he knows he’s being manipulated and can’t do anything about it. He shows a lot of promise here, and I’m excited to see what he does next.

    Oscar-nominated cinematographer Robbie Ryan, another frequent Lanthimos collaborator, does an exceptional job here, adding dread to the real world. His use of VistaVision gives the film a sense of scale that makes everything seem bigger than it is. Adding to this is composer Jerskin Fendrix’s score, which adds a level of gravitas you’d expect in a major blockbuster. The music and cinematography take these small moments that seem insignificant and make them into the most important things possible. Despite its comedy label, the film is more dour and cynical than funny, though it does feature some dark humor. Also, without getting into spoilers, the ending might feel like a cop-out, but it’s typical in a Lanthimos film. At just slightly under two hours, the film is a slow burn that hooks you in until the explosive climax. Overall, Bugonia is an outstanding movie that you won’t soon forget.

     

    Buy Bugonia from Amazon: https://amzn.to/3LquWKr.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Bugonia (2025)

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  • Good Fortune (2025)

    Good Fortune (2025)

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    In early 2022, comedian Aziz Ansari began work on what would’ve been his directorial debut, Being Mortal. Unfortunately, production was suspended indefinitely following an investigation into a complaint filed against co-star Bill Murray. Though he had been doing more dramatic work recently, Ansari wanted to show that comedy was still a popular genre. He chose to, as he described, “write about things that everyone is dealing with that no one is talking about.” Namely, he wanted to tell a story about people struggling with day-to-day life due to the failing job market. For the case, he brought his Being Mortal co-star Seth Rogen, as well as Keanu Reeves as an angel. After some delays, filming began in early 2024, though concerns arose after photos surfaced of Reeves in crutches. Despite these setbacks, Aziz Ansari’s directorial debut, Good Fortune, hit theaters in October 2025.

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    Synopsis

    Arj (Aziz Ansari), a struggling documentarian, is working various odd jobs and struggling to make ends meet. His luck changes when he meets tech billionaire Jeff (Seth Rogen), who agrees to hire him as his assistant. Things improve for Arj until Jeff fires him for using his company credit card for an expensive dinner date. Having hit rock bottom, Arj gets a visit from his guardian angel, Gabriel (Keanu Reeves), who tries helping but fails. In an attempt to show that wealth won’t solve his problems, Gabriel switches Arj’s life with Jeff’s, but it backfires. While Jeff is now struggling to get by, Arj is living comfortably, throwing huge parties, going on vacations, etc. After explaining that Arj must agree to switch lives back, Gabriel’s supervisor, Martha (Sandra Oh), takes away his wings. Now stuck on Earth, Gabriel learns what being human means while trying to fix his mistake.

     

    Review

    While not the funniest movie in the world, Good Fortune is still an enjoyable, even hopeful, watch. Regardless of where you’ve been in life, almost everyone has been in a tough spot in their lives. This movie perfectly captures that feeling of hopelessness and despair we’ve felt when everything seems to be going wrong. That said, the film tackles these issues in a comedic way to avoid bumming out the audience. At the same time, this comedy doesn’t have many big laughs, though there are a few chuckle-worthy moments. A lot of the humor comes from the cast, who all play well off of each other. While the dialogue isn’t the greatest, it gets the job done, and there are some amusing anecdotes thrown in. While the movie conveys a powerful message, it never feels pandering; instead, it comes across more naturally in its delivery.

    Aziz Ansari and Seth Rogen both give solid performances in their respective roles as Arj and Jeff. You instantly identify with Arj’s struggle of trying to get by while working low-paying jobs and constantly getting grief. Although making Jeff unlikable would’ve been easy, you understand his perspective, and he has a great arc, as does Arj. Keke Palmer is also good as Arj’s love interest, Elena, even if her subplot about unionizing doesn’t go anywhere. However, the real scene stealer is Keanu Reeves as the well-meaning but indept guardian angel Gabriel. Seeing this heavenly being experiencing human things for the first time is hilarious and makes him an endearing character. The movie is at its best when it involves either Arj and Gabriel, Jeff and Gabriel, or all three together. All three play off each other really well and have excellent comedic timing, which makes for a fun viewing experience.

    As I hinted at earlier in the review, one of the film’s flaws is the unresolved subplots that go nowhere. Aside from the union subplot, there’s Arj and Elena’s relationship that comes and goes, and the struggles amongst the angels. Plus, the movie doesn’t do anything that similar movies haven’t done before, like It’s a Wonderful Life or Groundhog Day. Granted, a film doesn’t have to reinvent the wheel or be a huge trendsetter to be enjoyable. For a first-time director, Ansari shows great promise in his use of color and composition. I’d be curious to see what he does next, whether it’s another comedy or something more dramatic. At just over 90 minutes, the movie is a quick, breezy watch that leaves you feeling hopeful. Overall, Good Fortune isn’t one of the funniest movies ever, but that doesn’t mean it isn’t enjoyable to watch.

     

    Good Fortune is in theaters.

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    Where to watch Good Fortune (2025)

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  • Black Phone 2 (2025)

    Black Phone 2 (2025)

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    Though he was protective of his novel 20th Century Ghosts, Joe Hill had an idea for a potential sequel. Director Scott Derrickson said he would be interested if the first film were a success, which it was. On top of earning positive reviews, The Black Phone grossed over $161 million worldwide on a $16 – $18 million budget. Much of the original cast returned for the sequel, along with new additions like Demián Bichir and Arianna Rivas. Under the working title Mysterium, filming began in late 2024 in Toronto and Hamilton, with a $30 million budget. The studio hired cinematographer Pär M. Ekberg, whose prior credits include music videos for Coldplay, Beyoncé, and P!nk. Filming wrapped in January 2025, and while initially set for a July release, Universal delayed it for months. After premiering at Fantastic Fest in September, Black Phone 2 hit theaters worldwide in October.

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    Synopsis

    Four years after the last film, Gwen (Madeline McGraw) begins experiencing strange dreams about murders at Alpine Lake Camp. She persuades her brother, Finney (Mason Thames), and their friend Ernesto (Miguel Mora) to investigate. When they arrive at the camp, a severe blizzard traps them there with the remaining staff. The staff includes supervisor Armando (Demián Bichir), niece Mustang (Arianna Rivas), and counselors Kenneth (Graham Abbey) and Barbara (Maev Beaty). One night, Finney hears the broken payphone ringing nearby, answers it, and hears The Grabber (Ethan Hawke). Although dead, The Grabber swears revenge on Finney and plans to torment his sister through her dreams. Gwen realizes that The Grabber’s first victims were at the camp, and their bodies were never recovered. Hoping to weaken The Grabber, the group works with the staff to locate and recover the missing bodies. But soon, Finney and Gwen learn more than they ever expected.

     

    Review

    Black Phone 2, though not terrible, suffers from what many sequels face: finding a reason to justify its existence. The first film worked as a self-contained story that ends on a strong note, with no loose ends. The fact that one of the catalysts for making the sequel was the original’s success should say enough. Supposedly, Joe Hill had a “wonderful idea” for a sequel, which makes me wonder exactly what it was. Something tells me his “idea” might’ve involved taking “inspiration” from A Nightmare on Elm Street. I wouldn’t accuse this movie of being a rip-off, but there are more than a few similarities. You have a killer returning from the dead to seek revenge, who invades people’s dreams, and thrives off of fear. Granted, he only targets one person’s dreams, who happens to have dream abilities established in the first film, but still.

    As with the last film, the cast delivers some excellent performances, notably McGraw, Thames, and Hawke. While I would’ve preferred having Mason Thames be the central focus, I liked that they gave Madeline McGraw the spotlight. Thankfully, it never feels like she takes the film away from him as they share equal screentime. Like the first film, Ethan Hawke steals the show as The Grabber, this time acting more aggressively and evilly. As silly as the movie gets at times, he takes the role very seriously, which I commend him for. Also, Demián Bichir makes a good authority figure at the camp, able to act relatable while remaining a devout Christian. The rest of the cast does a fine job, but none of them stand out as much as the leads. That said, the back-and-forths between Madeline McGraw and Maev Beaty are hilarious.

    Scott Derrickson’s direction is still solid, feeling more like an ’80s slasher film in the best way. One standout element is how they convey the dream world by shooting those scenes using a Super-8 camera. The shoddy focus and muffled sound give these sequences an unnerving quality that heightens the tension. Unfortunately, the movie’s story falters, not only in its parallels to Wes Craven’s classic but also in its twists. Without going into spoilers, my best comparison would be to the twist in Halloween II. Essentially, the filmmakers tried adding a more personal connection between Finney and The Grabber, inadvertently making The Grabber less scary. Much like the sequel to the John Carpenter classic, this one isn’t terrible, but it feels wholly unnecessary. Overall, Black Phone 2 is a decent follow-up, but you’re not missing much if you decide to skip it.

     

    Black Phone 2 is in theaters.

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