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
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.
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.
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.
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.
