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 gun hoe 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.
In the 1950s, young Marty Mauser pursues his dream of becoming a champion table-tennis player.
Director:Josh Safdie
Cast:Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara, Fran Drescher
Release Date: December 25, 202
Genre: Drama, Sport
Rated R for language throughout, sexual content, some violent content/bloody images and nudity.
Runtime:2h 29m
Review:
Marty Supreme is a chaotic but propulsive film from Josh Safdie that boasts a kinetic turn from Timothée Chalamet which drives the entire experience. There’s an instant jolt of energy that pops off the screen as it takes off to a running start, rarely letting up during its two hour and half hour runtime. Safdie quickly establishes the setting and cast of characters before moving into an impressively shot table tennis tournament. The story moves at such a frenetic pace that only a few ill-advised musical choices take you out of the experience before you notice you’ve been fully engaged in a story about table tennis. Timothée Chalamet magnetic central turn makes the entire engine churn as we follow his non-stop journey to achieve success. Chalamet simply dissolves into the character who’s utterly charismatic and driven but incredibly flawed at the same time. It’s a fascinating turn that shows off how talented he is as the film serves as a character study Marty’s drive and desires. The character is ready made to be dissected as an example of what goes on in the head of a relentless competitor or even as a metaphor for the country as a whole. There are plenty of layers that can be peeled off once it’s all said and done but Chalamet is simply the most interesting performer onscreen. It helps that his character is given the largest amount of depth while the supporting characters prove to be far more one dimensional. Gwyneth Paltrow and Odessa A'zion are both solid as respective love interest but we are given painfully little depth that leaves them feeling slightly underserved. Kevin O'Leary, Tyler Okonma and Abel Ferrara likewise make the most of their screentime but there’s very little to any of them outside the superficial aspects offered up. In the end, Marty Supreme is all about Timothée Chalamet’s performance, which creates the kind of cinematic gravitation pull that’s so enveloping that the rest feels almost unnecessary.
Two down-on-their-luck performers form a Neil Diamond tribute band, proving it's never too late to find love and follow your dreams.
Director:Craig Brewer
Cast:Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi
Release Date: December 25, 202
Genre: Biography, Drama, History, Music, Musical
Rated PG-13 for thematic material, some strong language, some sexual material and brief drug use.
Runtime:2h 13m
Review:
Song Sung Blues is earnest, almost to a fault, in its utterly non cynical approach to telling the peaks and valleys of Mike and Claire Sardina powered by a pair of stellar turns from Hugh Jackman and Kate Hudson. Craig Brewer’s film carries an air of authenticity that borders on schmaltzy at various points during the runtime but thankfully veers away from at decisive moments in the film. The opening act where the two fall in love and begin their rise as Lighting and Thunder with the two downtrodden dreamers finding their way to success. Those moments are incredibly uplifting and hard to resist regardless of how you feel about Neil Diamond’s music because there’s just something rousing about the whole thing. Brewer smartly lets his cast do the heavy lifting during the numerous musical numbers that pepper the film and serve as the beating heart of the whole thing. That opening act is a wide eye exercise in exuberance in their unabashed pursuit of their dreams before tragedy brings it all to a screeching halt. Once the story hits its middle segment it allows Jackman and Hudson to really flex their dramatic muscle as they provide an honesty to their performances that shows these people’s heart laid bare. Both are fantastic during the series of well staged musical as they leave every ounce of energy on the stage but the quieter moments really display the breadth of their talent. Their chemistry together makes the whole thing work so well that you can’t help but root for the couple to finally make it to the top, all thanks to their nuanced turns. Song Sung Blues does suffer a bit from some overly hokey dialogue which fall flat in the hands of lesser performers but Jackman and Hudson take you on an emotional journey that makes you feel every triumph and heartache on a personal level.
Hoping for a fresh start, a young woman becomes a live-in maid for a wealthy couple who harbour sinister secrets.
Director:Paul Feig
Cast:Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michele Morrone, Elizabeth Perkins
Release Date: December 19, 2025
Genre: Thriller, Psychological Thriller, Mystery
Rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language.
Runtime: 2h 11m
Review:
The Housemaid is a tawdry throwback to the psychosexual thrillers from the 90’s powered by a devilishly unhinged performance from Amanda Seyfried that covers up some of the film’s more glaring warts. Paul Feig delivers a beautifully acclimated film that carries the sort visual polish you’d come to expect from a director of his talent. There are bits and pieces of his own comedic/thriller A Simple Favor scattered throughout as he creates the affluent world the characters inhabit exemplified by Seyfried’s Nina Winchester who’s perpetually draped in white clothing. After initially setting the stage of the well to do perfection Sydney Sweeney’s Millie is hired into, it doesn’t take long for the rather large cracks in the façade to start to reveal themselves. The passive aggressive hell hole Sweeney’s character finds herself is peppered with psychological torture that she endures thanks to her checkered past. The story is fun although it telegraphs a number of its “shocking” reveals early on especially for those with a decerning eye since the construction isn’t as clever as it thinks it is. Sydney Sweeney is solid if uninspired in the lead role with her character proving to be the least interesting person onscreen at any given time. Sweeney has proven she’s capable of pulling off strong performances but here she’s fighting some choppy writing which has her character go from overly gullible to brutally street smart on the turn of a dime. It’s a shame since the character’s checked past offers up plenty to work with but the film doesn’t bother offering up any real depth to her which feels like a massive misstep. Brandon Sklenar plays up the heartthrob role he’s established in his recent turns in 2024’s It Ends with Us and 2025’s Drop with general ease with makes his character easy to like especially early on. Ultimately, this film belongs to Amanda Seyfried with her truly twisted turn as Nina Winchester who may or may not be utterly insane. Seyfried chews the screen up with impressive enthusiasm as she channels Faye Dunaway’s Mommie Dearest at various points during the film as she tortures Sweeney’s Millie almost from the moment she settles into the house. She so captivating that there’s a noticeable dip in energy whenever her character disappears from the screen especially during the increasingly ludicrous final act which almost crashes the entire film. As is, The Housemaid plays like an amalgam of The Hand that Rocks the Cradle, Single White Female and Sleeping with the Enemy that struggles to ultimately struggles to find its own voice.
The conflict on Pandora escalates as Jake and Neytiri's family encounter a new, aggressive Na'vi tribe.
Director:James Cameron
Cast:Sam Worthington, Zoe Saldaña, Stephen Lang, Sigourney Weaver, Oona Chaplin, David Thewlis, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, Matt Gerald, Kate Winslet, Cliff Curtis, Edie Falco, Brendan Cowell, Jemaine Clement, Britain Dalton, Trinity Bliss, Jack Champion, Bailey Bass, Filip Geljo, Duane Evans, Jr.
Rated PG-13 for intense sequences of violence and action, bloody images, some strong language, thematic elements and suggestive material
Runtime:3h 17m
Review:
Avatar: Fire and Ash is a visual and technical marvel, much like the first two entries, that’s the rare spectacle that needs to be seen on the big screen however the story is far more clunky and repetitive than before which makes its three hours plus run feel far more taxing than it should. James Cameron’s third entry in his franchise again shows off his innate ability to continually up the ante on creating an immersive cinematic experience that envelopes you from the moment the film starts. The action sequences are truly mesmerizing and massive in scale across the board with the 3D experience here putting everything else out there to shame. The aerial and water set sequences are an assault on the senses especially when he utilizes a POV approach that firmly places the audience with the characters which is visceral and thrilling. Those set pieces alone are worth the price of admission since it’s something that filmmakers haven’t been able to recreate with such a level of technical CGI mastery especially in 3D. Issues start to pop up as the general gist of the story starts to reveal itself with the introduction of the Ash People led by Oona Chaplin’s Varang. Initially they serve as intriguing antagonists, particularly Chaplin who’s motion capture performance is impressive throughout but their backstory and motivations is oddly thin and rushed before turning into a mirror of Jake Sully and Neytiri relationship with Varang and Stephen Lang’s Colonel Quaritch. There is a fun psychedelic sequence between them which serves as their twisted courtship which is a trippy thing to experience in 3D. Their relationship should make more of an impact than it does but Chaplin’s Varang characterization stops there with her becoming little more than a hence woman for Quaritch to finally recapture Sam Worthington’s Jake Sully. Stephen Lang is still loads of fun as Quaritch but his character’s actions and motivations all change on a dime throughout the film which keeps him from being as menacing as he should be. Sam Worthington and Zoe Saldaña are both able to ease back into the roles with little trouble with a layer of emotion added early as they deal with the death of their son in the previous films. It gives them both a bit more to work with dramatically as both characters deal with that loss in different ways with Saldaña’s Neytiri simmering with resentment and anger towards humans which is mostly directed towards their adopted son Jack Champion’s "Spider". Champion does his best in that role, but the character still feels awkwardly out of his place from the way he’s written to his general 90’s drug dealer meets Land of the Lost’s Cha-Ka. The spotty writing extends to the other children, with Sigourney Weaver and Britain Dalton doing their best with the teen angst their characters experience for far different reasons. It’s an odd mis mash of ideas that doesn’t work as well as it should especially considering the amount of screentime it is given with those moments dragging the film’s momentum to a standstill in between the visceral electricity of the action sequences. It saps Avatar: Fire and Ash of its full potential which is a shame since these plays well as a trilogy capper to the story started in the original.
Korpi dismantles the house where his family was murdered and loads it on a truck to rebuild it somewhere safe. He soon finds himself in a violent cross-country chase as the Red Army commander who killed his family comes back to finish the job.
Director:Jalmari Helander
Cast:Jorma Tommila, Richard Brake, Stephen Lang
Release Date: November 21, 2025
Genre: Action, War
Rated R for strong bloody violence, gore and language
Runtime:1h 28m
Review:
Jalmari Helander's Sisu: Road to Revenge, his follow up to his 2022 original, ups the ante on the over-the-top grindhouse carnage by taking it to a cartoonish level of excess that's as lean as it is bloody. Helander gleefully delivers another barebones story packed with massive action set pieces that get increasingly insane and nonsensical as the film goes on. While his original film was more grounded and self-serious, this entry possesses a wry sense of humor that takes a minute to take hold. The film plays like a bloody mashup of The Passion of the Christ in the form of a Looney Toons war movie which makes for an interesting experience to say the least. The film throws out any semblance of logic in order to deliver some of the crazier action sequences in recent memory. At the center of it all is the eternally stoic and driven Jorma Tommila who returns as the bloodied and battered Aatami Korpi. Tommila just exudes intensity throughout while never uttering a single word of dialogue. It’s another fascinating turn for Tommila in this role as he's again able to communicate so much emotion via facial expressions, something on full display in the last moments of the film where the character finally lets his guard down. Stephen Lang serves as the primary antagonist in this entry, a role he's perfectly suited to his talents. The role, much like the story, isn't terribly deep but Lang is menacing enough to serve as a perfect foil to Tommila's vengeful Korpi. The film would have been well served to have given their relationship a bit more time to breathe so that you get a real sense of the animosity between the two before the final showdown. Alas, Sisu: Road to Revenge doesn't concern itself with story or characters all that much which keeps it from being something truly special.
William Shakespeare and his wife, Agnes, celebrate the birth of their son, Hamnet. However, when tragedy strikes and Hamnet dies at a young age, it inspires Shakespeare to write his timeless masterpiece "Hamlet."
Director:Chloé Zhao
Cast:Jessie Buckley, Paul Mescal, Emily Watson, Joe Alwyn, Jacobi Jupe, David Wilmot, Olivia Lynes
Release Date: November 26, 2025
Genre: Biography, Drama, History, Romance
Rated PG-13 for thematic content, some strong sexuality, and partial nudity.
Runtime:2h 5m
Review:
Chloé Zhao’s Hamnet is a historical drama that takes you on an enveloping emotional journey that’s as uplifting as it is devastating thanks in large part to a mesmerizing turn from Jessie Buckley. Zhao’s film is a study in subtly from the start as she holds images and frames the characters in a way that makes them look like they could be renaissance paintings. She uses her ability to create a naturalistic look and feel to great effect here as there are countless quiet moments shared between characters and their environment to communicate a venerable treasure trove of emotional information. Her direction gives the film a primal but utterly humanistic aura which creates an engrossing world for the characters to inhabit. The central duo of Paul Mescal and Jessie Buckley are both clearly in their element with each instantly inhabiting the skin of each character and living it with an impressive level of authenticity. Mescal’s turn is a study in measured, understatement as we follow his character go from unrealized “useless” scholar to a successful playwright. Through it all, he brings a sense of undying love for his wife and children although there’s a sense of restraint especially after tragedy strikes. It’s not the beefiest role in the film but he delivers excellent work in every time he’s onscreen. Jessie Buckley though is the lifeblood of the film with a truly astonishing turn that runs through an obstacle course of emotions. Buckley always brings an intelligence and intensity to her roles which is perfectly suited to this role. She brings something otherworldly to the character that’s enchanting from the moment she appears onscreen. The opening sequences of infatuation and love ring just as true as the heartbreaking moment of loss. She’s captivating throughout with the final act serving as a showcase for her talents with character’s catharsis is laid bared onscreen. It’s the kind of the singular performance that’s sure to garner many well-earned awards accolades when the time comes as she makes Hamnet a powerful experience that’s sure to leave a lasting impression.
One year has passed since the supernatural nightmare at Freddy Fazbear's Pizza. Former security guard Mike has kept the truth from his 11-year-old sister, Abby, concerning the fate of her animatronic friends. When Abby sneaks out to reconnect with Freddy, Bonnie, Chica and Foxy, she sets into motion a terrifying series of events that reveal dark secrets about the true origin of Freddy's.
Director:Scott Cawthon
Cast:Josh Hutcherson, Elizabeth Lail, Piper Rubio, Matthew Lillard, Skeet Ulrich, Wayne Knight, Mckenna Grace, Teo Briones
Release Date: December 5, 2025
Genre: Horror, Mystery, Thriller
Rated PG-13 for violent content, terror and some language.
Runtime:1h 44m
Review:
Five Night at Freddy's 2 is a mess of a horror sequel that improves on the original merely because it’s so bad and incoherent that it’s funnier as it goes along. Emma Tammi returns behind the camera and does a capable job of directing the action and delivering a handful of well-timed jump scares throughout. She moves the action along at a steady pace in spite of the increasingly incoherent mythology being thrown onscreen. Those who have played the games might get more of out all of this but as a straightforward film the number of illogical concepts and ideas thrown out onscreen are bound to confuse the uninitiated. The main story cherry picks story elements from A Nightmare on Elm Street and Friday the 13th padded with a pack of clichéd childhood trauma which makes everything feel very generic and terribly unoriginal. There are plenty of nonsensical horror movies out there which still manage to be engaging or fun, but this one just leaves you scratching your head or asking more questions as the story gets sillier. There are a variety of just goofy things like 80’s era animatronics having tracking mechanisms and location locks, returning characters being entirely unaware of other locations of the restaurant that are in the general area or an all-night science fair just to name a few. The cast does what it can with the material with both Josh Hutcherson and Elizabeth Lail desperately searching for a better film to no avail. They both are solid across the board even though their characters are thrown into a variety of exceedingly preposterous situations which is exemplified by Hutcherson’s character questioning the lack of a door in haunted pizza joint before using an animatronic face to confuse the possessed animatronic robots. Piper Rubio returns from the original as Abby, it’s passable but hampered by an unfortunate haircut that might remind a few people of Lord Farquaad from the original Shrek. Matthew Lillard returns for a quick hallucinatory sequence with Elizabeth Lail that’s far more inventive and interesting than everything else in the film. Skeet Ulrich, Wayne Knight and Mckenna Grace have small supporting bits which really don’t add all that much to the overall film outside of throwing familiar faces at the screen. Five Night at Freddy's 2 is at, the very least, funny even if unintentionally but the set up for a third part is real headscratcher because who exactly is asking for that.
Detective Benoit Blanc sifts through a series of suspects when a monsignor turns up dead.
Director: Rian Johnson
Cast:Josh O'Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church.
Release Date: November 26, 2025
Genre: Comedy, Crime, Drama, Mystery, Thriller
Rated PG-13 for violent content, bloody images, strong language, some crude sexual material, and smoking.
Runtime:2h 24m
Review:
The third entry in the Knives Out series, Wake Up Dead Man, is a slightly darker mystery that has some headier concepts on its mind than the first two films still sporting its wry scripting and big characters led by Josh O’Connor and Daniel Craig. Rian Johnson borrows plenty of inspiration from classic Edgar Allan Poe and Agatha Christie locked room mystery among others as his launching pad. He takes a slightly different approach in the first half by using Josh O'Connor’s Rev. Jud Duplenticy as his primary point of view before bringing Craig’s Benoit Blanc into the fold. It’s a bold move to keep the main character of the series offscreen for nearly an hour in order to let O’Connor establish the character and introduce the cast of characters at play. Thankfully, O’Connor is thoroughly engaging as the pragmatic, well-meaning boxer turned priest who serves as the linchpin of the story. His emotional baggage that led him to the priesthood adds layers of complexity to his role which makes the character’s story arch all the more interesting by the time it’s all said and done. The supporting players led by Glenn Close, Josh Brolin and Jeremy Renner are all clearly having a blast with the outsized characters they are playing. Close and Brolin both chew up every bit of scenery they get with impressive enthusiasm with the latter looking like a cult leader version of Kris Kristofferson on more than a few occasions. Renner plays against type here as a nebbish loser, drinking his life away after his wife left him, becoming more and more bitter as the days go along. Kerry Washington, Andrew Scott, Cailee Spaeny and Daryl McCormack round out the primary cast, but their characters are noticeably underwritten as caricatures more than three-dimensional people. They serve more as types of people that fall under the spell of Brolin’s charismatic extremist Monsignor Wicks. Those relationships offer up a variety of tantalizing tidbits of thematic morsels that you’ll be left chewing on long after the film’s runtime comes to end. The concepts of faith, storytelling and fanaticism are thrown about as the central mystery unfurls onscreen with Daniel Craig’s Benoit Blanc getting a hell of an introductory monologue once he appears onscreen. Craig is given more to work with here as Blanc isn’t as self-confident and sure of himself as we’ve seen in previous entries. It allows Johnson and Craig plenty of fertile ground to explore with Blanc and what makes his tick. Wake Up Dead Man is a thoroughly fascinating direction to take the character although there are more than a few spots where some trimming down would have made for a fluid, effective experience.
In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with, and her first love, who died young and has waited decades for her to arrive.
Director: David Freyne
Cast:Miles Teller, Elizabeth Olsen, Callum Turner, John Early, Olga Merediz, Da'Vine Joy Randolph
Release Date: November 26, 2025
Genre: Comedy, Drama, Fantasy, Romance
Rated PG-13 for sexual content and some strong language.
Runtime:1h 54m
Review:
Eternity is an old school throwback to golden age romantic comedies with its fizzy, optimistic approach paired with a game cast lead by a luminous Elizabeth Olsen. Writer/Director David Freyne delivers a fun Twilight Zone set up on the afterlife that's heavy on style albeit light on details on how any of it works. It’s a fun bit of world building that works well in the film's favor with Freyne giving everything a decidedly 60's aesthetic which adds to the retro feel. He maintains a steady flow to the action that keeps the film moving at a steady pace throughout with only a few lulls in the action popping up. The script is filled with sly jokes about death and happiness that are wryly funny but thoughtful at the same time. The central trio of Miles Teller, Elizabeth Olsen and Callum Turner lean into the material to great effect with each delivering strong work. Teller carries the early scenes as the newly deceased curmudgeon serving as the audience’s entry point to the story. He manages to carry the weight of age and experience behind his younger facade he's given once he arrives in the afterlife. He's a likable everyman who's got a good heart behind his cranky exterior. Callum Turner plays a solid foil as the perfect romanticized lost love who's been pining and waiting for the love of his life. They serve as fascinating yin and yang versions of love with one being more grounded and real and the other being far more idealized. At center of it all is Elizabeth Olsen's Joan who's left with an impossible decision of choosing which one to spend eternity with. Olsen is simply fantastic throughout as her character navigates a fun run of emotions as she works through her decision. She's able to give her character an old soul much like Teller with their interactions carrying an air of lived in authenticity. Its subtle but their moments together do feel like the pair have lived together for nearly 70 years. On the other end, when Olsen and Turner are together there's more of a tinge of the early embers of passionate love that comes through. She's excellent across the board as she moves from playful, confused and frustrated with natural ease which lays her talents on full display. Da'Vine Joy Randolph and John Early round on the cast as afterlife coordinators tasked with helping them choose their eternal destinations. They are both excellent in supporting turns adding a nice amount of comedy and texture to the story with Randolph stealing every scene she's in. It all makes for one of the more enjoyable, uplifting rom-coms in recent memory which is sure to make Eternity a cult classic down the road.
Detectives Judy Hopps and Nick Wilde find themselves on the twisting trail of a mysterious reptile who turns the mammal metropolis of Zootopia upside down. Testing their growing partnership like never before, they go under cover in new parts of town to crack the case.
Director: Jared Bush, Byron Howard
Cast:Ginnifer Goodwin, Jason Bateman, Shakira, Idris Elba, Ke Huy Quan, Fortune Feimster, Andy Samberg, David Strathairn, Patrick Warburton, Quinta Brunson, Danny Trejo
Zootopia 2 returns with an endless amount of animal puns, a fun crime mystery paired with a buddy/romantic comedy brought to life in a lushly animated kid’s movie which is powered by the chemistry of Ginnifer Goodwin and Jason Bateman. Jared Bush and Byron Howard take over behind the camera with Bush also writing the script for this sequel which has an infectious energy from the start as we reintroduced into the Zootopia world. Each action set piece is packed with an impressive level of detail and depth splashed onscreen that gives the film a palatable vibrancy throughout. There is plenty to see as we follow our central duo try to solve another large-scale mystery that has them on the run from the police and a wealthy family who’s desperate to hide family secrets. The plot is far more layered and thoughtful than most family films with it switching gears fairly seamlessly between its central mystery and the duo opposites attract partnership dynamic. The mystery does offer up some heady allusions to the history being erased along with smatterings of societal and racial inequalities. Younger kids are sure to miss most of these story threads but you have to appreciate the thoughtful approach which make the story feel a bit more meaningful than just something more mindless. It all works because of Ginnifer Goodwin and Jason Bateman natural chemistry together as mismatched partners who try to find a way to appreciate their differences in order to become a better pair. Goodwin easily jumps back into Judy Hopps overachieving, optimistic bunny fur which still feels like a riff on Leslie Knopp from Parks and Recreation. Jason Bateman has perfected his deadpan delivery now which is perfectly suited for his reformed con artist red fox. Their back and forth are playful but heartfelt thanks to a sharp script with gives them plenty of emotional depth as they come to terms to the depth of their connection. They do an excellent job of making it all feel organic and natural even amongst the zaniness going on around them. Ke Huy Quan and Fortune Feimster join the fray here as Gary De'Snake a pit viper trying to help his family and a beaver conspiracy theorist who joins Hopps and Wilde solve the mystery. They both make the most of their screen time with Quan bringing his usual earnestness to the role with Feimster providing a sort of manic energy that’s hilarious. The cast and story make Zootopia 2 a fun journey but it does start to lag a bit in the final act with some plot devices coming off a retread which could have been less noticeable with the help of with a few edits here and there to make it a more efficient experience overall.
Now demonized as the Wicked Witch of the West, Elphaba lives in exile in the Ozian forest, while Glinda resides at the palace in Emerald City, reveling in the perks of fame and popularity. As an angry mob rises against the Wicked Witch, she'll need to reunite with Glinda to transform herself, and all of Oz, for good.
Director: Jon M. Chu
Cast:Cynthia Erivo, Ariana Grande, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Michelle Yeoh, Jeff Goldblum
Release Date: November 21, 2025
Genre: Family, Fantasy, Musical, Romance
Rated PG for action/violence, some suggestive material and thematic material.
Runtime:2h 17m
Review:
Wicked: For Good concludes the story started in last year's Wicked with a return to the vibrant world of Oz with a more pensive, thoughtful and darker story carried by another pair of stellar performances from Cynthia Erivo and Ariana Grande. Jon M. Chu displays confidence behind the camera as he delivers a series of visually engaging set pieces that provide the same kind of spectacle from the first film even though this entry lacks the number of memorable songs from that film. "Wonderful" and "No Good Deed" leave the biggest impression once it’s all said and done with Erivo bringing the house down during the latter's performance. The rest of the songs are all well staged and performed but there's nothing as catchy as "Wonderful" or "No Good Deed" and definitely nothing coming close to the songs in the first film. It’s mainly due to the subject matter getting more contemplative with plenty of introspection from our central characters about their decisions and repercussions. While this entry might not be as bubbly and fun as the first half it does offer a lot more emotional "meat" for Erivo and Grande to work with. Cynthia Erivo continues her strong work from the first film as she continues her battle against Jeff Goldblum's Wizard after being made the villain by Michelle Yeoh's Madame Morrible who is now his propaganda chief. Erivo brings a sense of self-determination to the role that just shines offscreen even when her character faces doubt about her mission. The character's story arc is peppered with subtext that adds to the overall resonance of the film especially if you choose to read it allegorically as a mirror to the real world. Through it all she's effortlessly engaging in the role although this entry gives Ariana Grande's character more depth and pathos. Grande proves to be more than up to the task by giving a more nuanced, layered performance than her first go around. She's able to convey so much emotional turmoil as she struggles with her personal battle with imposter syndrome and being a figurehead puppet against her best friend. Her and Erivo scenes together, especially in the final act, carry so much emotional weight thanks to their natural chemistry together which serves as the lifeblood of this entry. This entry is much more laser focused on them with the supporting cast mostly relegated to smaller roles with Michelle Yeoh and Jeff Goldblum doing the most with their limited screen. There's plenty to appreciate about Wicked: For Good but it does lag in spots which leaves you with the feeling that with some judicious edits on both films this whole story could have been fit into a single film especially since original stage production was a little under 3 hours long to begin with.
