Dr. Kelson finds himself in a shocking new relationship with consequences that could change the world as he knows it, while Spike's encounter with Jimmy Crystal becomes a nightmare he can't escape.
Director:Nia DaCosta
Cast:Ralph Fiennes, Jack O'Connell, Alfie Williams, Erin Kellyman, Chi Lewis-Parry
Release Date: January 16, 2026
Genre: Horror
Rated R for strong bloody violence, gore, graphic nudity, language throughout, and brief drug use
Runtime: 1h 50m
Review:
28 Years Later: The Bone Temple, the second film in the planned trilogy, takes the story and style in a different direction than its predecessor to effectively find its own voice thanks to a pair of contrasting but equally stellar performances from Jack O'Connell and Ralph Fiennes. Nia DaCosta takes over the reins from Danny Boyle behind the camera and delivers a brutal sequel that’s hauntingly beautiful at the same time. DaCosta takes a different approach than Boyle’s kinetic style with something more straight forward but just as visually impactful. She delivers plenty of brutal gore throughout especially from the Jimmy’s story thread but she counterbalances it with thoughtful, pensive beauty and a healthy influx of music with Dr Kelson’s side. Kelson’s storyline does offer more humor than expected thanks to Ralph Fiennes’s all in performance that plays as an incredibly nuanced character study. Fiennes delivered excellent work in the first film even with his limited screentime but he’s just phenomenal here with the expanded screentime. The character’s established empathy is further expounded on, but we get more insight into his mental state as he tries cope with loss of his former life and world. His relationship with the infected Sampson offers him a sliver of hope as he attempts to treat him with plenty of real-world subtext simmering underneath that story thread. On the other end of the spectrum is Jack O'Connell who fully embraces his deliciously garish villain that’s built a person army through violence and indoctrination. His character is mentally twisted but manipulative enough to have created his own Satanic cult as a response to his childhood trauma from the start of the outbreak. O'Connell give his Jimmy Crystal a sense of self-awareness especially when it comes to his belief structure especially when he comes face to face with Fiennes’s Kelson who is purported to be his father, Satan. When he and Fiennes share the screen there’s a delicate dance between the two performers after initial trepidation before finding common ground to speak to each other with a sense of honesty. It’s a fascinating sequence that leads into the film’s grand finale, which is a spectacle all on its own thanks to subverting expectations of where this would all go. There’s set up for the final entry which clearly hands off the baton but 28 Years Later: The Bone Temple proves to be the rare middle feature that stands on its own two feet with impressive confidence.
Facing middle age and an impending divorce, Alex finds new purpose in the New York comedy scene, while his wife, Tess, confronts the sacrifices she made for their family.
Director:Bradley Cooper
Cast: Will Arnett, Laura Dern, Cooper, Andra Day, Amy Sedaris, Sean Hayes, Christine Ebersole, Ciarán Hinds
Release Date: January 2, 2026
Genre: Comedy, Drama
Rated R for language throughout, sexual references and some drug use.
Runtime: 2h 4m
Review:
Bradley Cooper’s third time behind the camera, Is This Thing On?, continues to show his impressive prowess at finding authentic emotion in relationship dramas and continues to get the most out of his performers, with Will Arnett delivering his best dramatic performance paired with a strong turn form Laura Dern. This story isn’t as grandiose as his previous film, which dealt with large personalities and their relationships with this one focusing more on something much more grounded by exploring the fractures of a marriage. It’s not groundbreaking by any stretch of the imagination but there’s a fascinating flow to the story that slowly reveals the meat of the story and what is driving these characters apart. There’s an air of authenticity to it all with Arnett and Dern’s interactions filled with lived in subtext of resentment that simmers underneath even as they do their best to be adults about their separation. Arnett’s character finding some form of catharsis by doing open mics at comedy clubs plays more like therapy than actual stand up. If you are looking for something that’s focused more on the stand-up world you won’t find any deep exploration of that world with it only touching on the surface of it. Those moments serve a purpose dramatically, such as an onstage meltdown in the final act, but they don’t play as realistically as the relationship side especially since it’s set in the super competitive Manhattan comedy scene. In the same vein, Cooper’s onscreen character feels strangely out of place since he’s so cartoonish and over the top that he’s jarring every time he pops up onscreen. These aren’t huge missteps, but they are noticeable enough to be distracting when those moments pop up. Thankfully, Will Arnett and Laura Dern’s nuanced performances are both strong enough to make it easier to overlook those issues. Arnett gives you a real sense of the internal turmoil and sadness that his character is going through while he maintains a brave face around his family. Laura Dern’s turn is just as textured with those things left unsaid between the two lingers in the air before they both finally have it out in the final act and bear their souls with unchained honesty. It’s messy and uncomfortable but it feels real before the film decides to end on cleaner, safer ending than expected.
Lucy's tropical island homecoming turns deadly when her family's clever chimpanzee, Ben, becomes rabid. With her father away and no help coming, paradise becomes a prison as Lucy and her friends fight for survival against a pet they once trusted.
Rated R for strong bloody violent content, gore, language, and some drug use.
Runtime: 1h 29m
Review:
Primate boasts a simple premise that pits a rabid monkey against a group of kids with increasingly gory results that feels reminiscent of 1983's Cujo. Johannes Roberts film is better constructed than that film as he sets up a series of tense scenarios throughout the film's rather efficient runtime. He delivers a series of gory shocks that'll make your blood pump more often than not. The decision to use a practical suit as opposed to CGI is a master stroke as it gives the creature a more tangible presence onscreen. Ben is played by Miguel Torres Umba, a Colombian movement specialist, who delivers impressive work throughout by giving the creature a sense of personality which starts off sweet before turning far more sinister. Roberts is smartly selective about how he deploys the creature, often times giving more of a sense of his presence as he corrals the kids into contained spaces before unleashing it during moments of carnage. Tonally it’s straightforward terror especially early on but there’s a noticeable switch to more overt dark humor as Ben goes from a rampaging monkey to slasher style villain as he appears and disappears before attacking. The cast of fresh-faced young adults are all solid even if they aren’t asked to do much since the characters are all thinly drawn since they’re mostly just meat for the grinder. Johnny Sequoyah leads the film with a capable, focused turn that gives off more final girl energy as the film moves along. Oscar Winner, Troy Kotsur, delivers solid work in his limited screentime but you are left with the feeling that the film could have used him more especially when the film switches to his soundless point of view. Ultimately, Primate proves to be a lean, mean gore machine that delivers enough thrills to make the experience worthwhile.
After a catastrophic military disaster, the dead don't just rise, they hunt. Ava searches for her missing husband, but what she finds is far more terrifying.
Director:Zak Hilditch
Cast:Daisy Ridley, Mark Coles Smith, Brenton Thwaites, Kym Jackson, Matt Whelan
Release Date: January 2, 2026
Genre: Horror, Thriller
Rated R for strong violent content, gore, language and brief drug use.
Runtime:1h 34m
Review:
We Bury the Dead is a mediative zombie film that’s far more interested in the emotional toll of loss than endless gore embodied by a nuanced turn from its star Daisy Ridley. Aussie director, Zak Hilditch, delivers a road movie set in a postapocalyptic environment in the same vein as his 2013 hidden gem These Final Hours. They bear his distinctive style uses the set up as a means to explore deeper issues of loss and acceptance that the central character struggles with during their trek. The post catastrophe set up feels grounded in reality with shades of Romero scattered throughout with the accidental explosion of an experimental weapon setting off the action. The gung ho attitude of the local military to the dead that “wake up” should feel fairly familiar to anyone familiar with classic Romero film with a few flourishes added for good measure, you’ll hear grinding teeth long after you leave the theater. Those looking for a healthy bit of zombie action will likely be left wanting more as there are scant few moments offered up with most subverting expectations in terms of how they play out. This film is more concerned with Daisy Ridley’s character search for her husband and closure with bits and pieces about their relationship reveals over the course of the story. Ridley is a study in subtly as she creates a multilayered character who thrust herself into this harrowing journey for a variety of reasons. She maintains a strong façade but there’s a sense that it could quickly shatter any moment thanks to the immeasurable loss she carries and lingering questions. It’s a propulsive performance that carries the film over some of the rougher, more familiar moments that would feel clichéd in lesser hands. Brenton Thwaites, in full surfer dude mode, and Mark Coles Smith make the most of their screentime in supporting roles. Thwaites is clearly having a ball in the role with the film, feeling his loss when he disappears for a good portion of it. Mark Coles Smith also delivers strong work as solider who offers to assist the pair on their trek although there’s an immediate sense that something is not quite right with his character. Ridley has strong chemistry with both even though both bring different energy to the film and her character in general. Ultimately, We Bury the Dead is more of a character study than an outright zombie flick which may turn off a portion of the audience expecting something more visceral.
As 2025 has come to a close and I look back at the 100 movies I’ve reviewed its time to look back and choose my 10 favorite films along with some honorable mentions. As usual, these movies are in no particular order and aren’t necessarily based on my original rating. Instead, these films just left the biggest impressions on me and proved to be memorable for one reason or another. Some films are destined to be awards darlings; a handful are horror films simply because it’s my favorite genre and then there are just some films that took me by surprise.
The Ugly Stepsister
Norwegian film director and screenwriter Emilie Blichfeldt debut film is impressive deconstruction of the Cinderella fairy tale powered by a knockout performance from its star, Lea Myren. The visuals and costuming of the darkly comedic body horror tale are all top notch throughout but the thematic layers underneath all its gruesome ickiness are what really make this import stand out.
While I still hold that the basic plotting of Sinners is pretty much a redux of a From Dusk till Dawn you can’t deny the level of craftmanship behind and in front of the camera. Boasting a deeper story than its pulpy predecessor and packed full of strong performances across the board, Ryan Coogler delivers a memorable film that’s exemplified by its time bending musical number that truly a transcendent moment.
I was one of the few people who didn’t care for Danny and Michael Philippou’s debut film Talk to Me, so I wasn’t expecting much from their sophomore effort. So, I was shocked at how much more refined and darkly elegant Bring Her Back turns out to be with its heavier emphasis on mood punctuated by moments of brutal horror. The performances are all stellar, but Sally Hawkins keeps the whole thing together with an eccentric and crazed turn that deserves awards attention.
I can say that I enjoyed most of Zach Cregger 2022’s Barbarian I did feel like it feel apart in the final act. His Pulp Fictionesque construction of Weapons just stepped up his game as the varying points of view keeps the audience off balance as the central mystery is revealed. By the time the reveal occurs, the film has dug its claws into audience which carries them through its darkly funny, kinetic and memorable final act
Stephen King’s 1979 novel The Long Walk has always been a personal favorite of mine, so the cinematic adaptation had some high expectations to meet. Francis Lawrence, with a script from JT Mollner, delivers one of the best King adaptations in recent memory that captures the heart and soul of his stories with its heartfelt sentimentally paired with unrelenting horrors. This tale lacks the supernatural elements of his other works with its simplistic plot playing out like a twisted version of Stand By Me and The Running Man powered by excellent turns from its central duo of Cooper Hoffman and David Jonsson.
Paul Thomas Anderson’s thematically packed epic is the kind of cinematic journey that grabs you from the start and rarely lets up. At its base, its simplistic story of Leonardo DiCaprio’s burnt-out revolutionary trying to protect and save his daughter from an increasingly chaotic world is instantly relatable and timely. There’s plenty to dissect about the story’s narrative that makes the film feel like the right film at the right time with its deconstruction of extremism carried by excellent turns from its collection of A list talent.
This is one of the more random surprises of the year, a musical biopic about an artist that I’m not terribly familiar with could have been a paint by the numbers snooze fest. Its central gimmick of having the main character be a CGI monkey was enough of a hook to make it a curiosity but the approach to the story which didn’t pull any punches proved to be incredibly engaging and heartfelt making it a memorable experience that very few people saw.
It shouldn’t come as any surprise that Guillermo del Toro’s adaptation of Frankenstein is an elegant, visually stunning endeavor that finds the emotional center of the story. Oscar Isaac, Jacob Elordi and Mia Goth deliver nuanced turns that give the film a level of refinement that goes hand in hand with its gothic ascetics. Elordi, in particular, makes for a soulful monster who is searching for meaning in his creation from an uncaring, careless “father” in the form of Oscar Isaac’s Victor.
Yorgos Lanthimos and Emma Stone’s 4th collaboration together continues their explorations of their avant guard cinematic taste. This remake of the 2003 South Korean film, Save the Green Planet!, is an actor’s movie with Emma Stone and Jesse Plemons being utterly captivating every second they are onscreen. The plot keeps the audience guessing until the end with Lanthimos playing his cards very close to the vest, which results in a rather electric finale.
Chloé Zhao meditation on love and loss is restrained but engrossing from its opening shot to its close. Jessie Buckley and Paul Mescal are excellent together, but this film is a showcase for Buckley impressive depth of talent that just makes you feel every emotional peak and heartbreaking valley throughout with an undeniable sense of veracity.
An old-fashioned throwback that takes an inventive conceit to hook you in and have the cast keep you engaged the rest of the way. The central trio of Elizabeth Olsen, Miles Teller, and Callum Turner are all clearly having fun but it’s Olsen who makes this whole thing work.
This is one of the most inventive films of the year, a three-year passion project by director Ben Leonberg. The possession storyline is fairly basic once you break it down but using the dog’s POV is a stroke of genius as it creates a distinctive experience that has you connecting with nearly every moment of fear and empathy from the dog accomplished through a series of painstakingly well-placed shots.
James Gunn’s first live action film in the new DC Universe had a lot of work to do and it succeeds in setting up the new world and his general approach. Lighter, funnier and larger in scope, Gunn’s film offers up plenty to like including David Corenswet’s likeable take on Superman. Corenswet’s Superman does get lost a bit in his own film but that doesn’t prove to be a big enough misstep from this being one of the more enjoyable comic book movies of the year.
Danny Boyle revives the franchise he started 18 years after the last entry which subverts expectations by delivering a coming-of-age story as opposed to a direct continuation or redux of the original story. Boyle’s film is still visceral and energetic in a way that’s gripping especially during some well-constructed set pieces.
The sixth entry in any horror franchise isn’t usually going to give the series a boost in the arm the way this revival does. This series has always been rather tongue in cheek with this entry fully embracing the absurdity of the increasingly complicated deaths with gleefully gory results. It also gives legendary horror icon, Tony Todd, a wonderful moment that serves as fitting send off before his death a few months later.
One of two Steven Soderbergh’s films in 2025, Black Bag, is a sleek and smart spy thriller that leans more on the battle of wits as opposed to outsized action. Cate Blanchett and Michael Fassbender are perfectly matched onscreen with both feeding off each other’s energy to create a singular sort of chemistry that propels this underappreciated film.
Best friends Griff and Doug have always dreamed of remaking their all-time favorite movie "Anaconda." When a midlife crisis pushes them to finally go for it, they assemble a crew and head deep into the jungles of the Amazon to start filming. However, life soon imitates art when a gigantic anaconda with a thirst for blood starts hunting them down.
Director:Tom Gormican
Cast:Paul Rudd, Jack Black, Steve Zahn, Thandiwe Newton, Daniela Melchior, Selton Mello
Release Date: December 25, 202
Genre: Action, Adventure, Comedy
Rated PG-13 for violence/action, strong language, some drug use and suggestive references.
Runtime:1h 40m
Review:
The meta of reboot Anaconda offers up a goofy conceit and solid collection of comedic stars should equal something far funnier than this utterly forgettable comedy that delivers a few solid laughs its overly complicated story keeps it from hitting Tropic Thunder level of satire. Tom Gormican is a perfectly capable comedic director exemplified by his equally meta comedy, The Unbearable Weight of Massive Talent, from 2022 which took full advantage of its central conceit by focusing on the absurdity of it. This film has a handful of well set up jokes but there are far too many that just fall flat as it tries to juggle way too many story threads that don’t really come together the way they should. Instead of leaning into the sillier territory it offers up an utterly pointless gold mining storyline that wastes Daniela Melchior character and could have been easily excised with little overall impact. Likewise, the main storyline of these childhood friends making their dreams a reality doesn’t land the way it should in spite of Paul Rudd, Jack Black, Steve Zahn and Thandiwe Newton solid chemistry together. It attempts to set up a sweet story arch between them falls flat and keeps it from really nailing the zany meta comedy that should have been the focus. When it does lean into that side of the story it does deliver some fun moments although they are more likely to leave you grinning than busting out in uncontrollable laughter. Black delivers his usual manic energy which serves as a counter balance to Paul Rudd’s more nuanced approach. Thandiwe Newton shows off some impressive comedic timing and Steve Zahn’s work leaves you wishing they’d given him a bit more to do. Selton Mello who plays the snake handler, seems to be the only person in the cast that fully embraces the absurdity of his character but unfortunately, he's taken off the screen fairly early on. Anaconda isn’t the total dumpster fire that it could have been, but it is rather forgettable which leaves you wondering why they bothered at all.
