MOVIE REVIEW: MERCY

 

In the near future, an advanced AI judge tells a captive detective that he's on trial for the murder of his wife. If he fails to prove his innocence within 90 minutes, he'll be executed on the spot.

Director: Timur Bekmambetov

Cast: Chris Pratt, Rebecca Ferguson, Kali Reis, Annabelle Wallis, Chris Sullivan, Kylie Rogers

Release Date: December 25, 2025

Genre: Action, Crime, Drama, Mystery, Sci-Fi, Thriller

Rated PG-13 for violence, bloody images, some strong language, drug content and teen smoking.

Runtime:  1h 41m

Review:

Mercy is one of those speculative science fiction films that thinks is a lot smarter than it is but behind the glossy screen life production there’s a preposterous idea that can’t decide what it’s actually trying to say pair with enough plot holes to run a dump truck through.  Timur Bekmambetov knows how to direct a sleek-looking film so it shouldn’t come as a surprise that this is one of the better-looking screen life films out there.  Even though the film technically occurs in a single room with Rebecca Ferguson’s AI Judge and Chris Pratt’s defendant there’s plenty of action thrown at the screen by way of some serious Big Brother style surveillance which the film leads you to believe that nearly everyone signed up for.  There’s a set up where sections of city have been sectioned off, ala Escape from New York, but almost by design this ultra police state is just presented as being readily accepted by the general populace.  It’s an odd bit of world building since it begs more questions than anything outside of the general conceit of the 90-minute timed AI murder court.  Chris Pratt and Rebecca Ferguson do the best they can with what they have to work with since neither role is all that well written with each character suffering from wild changes throughout the film, particularly the supposably infallible, emotionless AI Judge Maddox.  Ferguson looks the part with her Star Trek villain black robe and slicked back hair, but the character goes from preeningly omnificent to strangely helpful and confused by the time it’s all said and done since they apparently created this program and never beta tested it before allowing it start doling out executions.  It doesn’t mean that the central mystery isn’t all that interesting since it plays like a low rent redux of The Fugitive which isn’t all that hard to figure out since the film gives you plenty of clues beforehand.  It all makes Mercy a forgettable bit of sci-fi shlock that could have been more interesting if the script had given the kind of care the visuals were.   

D+

MOVIE REVIEW: NO OTHER CHOICE

 

Abruptly laid off after 25 years at the same company, a desperate man goes to extreme lengths to eliminate the competition for the job he wants.

Director: Park Chan-wook

Cast: Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min, Yeom Hye-ran, Cha Seung-won

Release Date: December 25, 2025

Genre: Comedy, Crime, Drama, Thriller

Rated R for violence, language and some sexual content.

Runtime:  2h 19m

Review:

Park Chan-wook’s latest film is a stylish dark comedy satire that provides some laugh out loud moments with its over-the-top dissection of the rat race and its dehumanizing effects on people.  Chan-wook film is visually striking, leaving a series of indelible images etched on your memory once the film wraps up.  He switches between tones fairly effortlessly as the film starts more pensive and reflective about the level of humiliation that Lee Byung-hun’s, Yoo Man-soo suffers through after being fired from his job after more than two decades of service.   There’s plenty of subtext that can be mined from his career in the paper industry which can be seen as a dying, archaic product that doesn’t require the talents of specified careermen any longer.  There’s something incredibly relatable to anyone who’s suffered through a layoff as we get a clear sense that Yoo Man-soo’s mooring has been untethered as his career was something he took pride in and made up a large part of his sense of self.  Lee Byung-hun delivers a wonderfully nuanced turn by giving his characters a real sense of desperation which takes him to extremes measures to achieve his goals.  He manages to keep his character empathic through most of it as you never get a sense that he’s actually a bad guy just in a horrible situation which he can’t seem to find his way out of.  It leads to a series of misadventures which boils to a madcap bit of insanity halfway through the film during a murder gone hilariously wrong.  His desperation seeps into his marriage with his emasculation damaging his relationship with his wife played impressive ease by Son Ye-jin.  They have wonderful chemistry together as they play off each other with a live in authenticity that makes their moments work far more realistically even as things get more outlandish.  Ye-jin initially comes off as affluent and aloof, but she slowly reveals her smarts and knowledge of her husband and his strange behavior.  It’s a fascinating dance to watch, especially as she comes to the revelation of the extent of her husband’s actions to get a new job.  There are a few moments where the film meanders a bit, leaving you with the feeling that there’s a tighter more streamlined version in there somewhere as its methodical pacing takes small amount of shine off the central conceit.  That being said, No Other Choice, still manages to leave a lasting impression over the course of its runtime thanks to its strong direction and performances.   

A-

MOVIE REVIEW: 28 YEARS LATER: THE BONE TEMPLE

 

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.

A

MOVIE REVIEW: IS THIS THING ON?

 

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.  

B+

MOVIE REVIEW: PRIMATE

 

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.

Director: Johannes Roberts

Cast: Johnny Sequoyah, Jessica Alexander, Troy Kotsur

Release Date: January 2, 2026

Genre: Horror

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.  

B

MOVIE REVIEW: WE BURY THE DEAD

 

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.   

B