MOVIE REVIEW: WICKED: FOR GOOD

 

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.  

A-

MOVIE REVIEW: KEEPER

 

A wife becomes isolated in a secluded cabin and has to fend off an unspeakable evil.

Director: Osgood Perkins

Cast: Tatiana Maslany, Rossif Sutherland, Claire Friesen, Christin Park, Erin Boyes, Tess Degenstein, Birkett Turton, Eden Weiss, Eden Weiss

Release Date: November 14, 2025

Genre: Horror

Rated R for some violent content/gore, language, and some sexual references.

Runtime: 1h 39m

Review:

Osgood Perkins’ latest, Keeper, is a slow burn, more experimental approach than his recent films, which isn’t going to be for everybody but for those looking for steady dose of folk horror and fans of Tatiana Maslany will find a perfect showcase here.  Perkin’s visual style makes the self-confined, claustrophic setting unsettling from the start and rarely letting up before the central reveal occurs.  He provides plenty of visual foreshadowing that makes more sense once the full scope of the story is unleashed with a cornucopia of horrific images and well places sounds.   The well-worn trope of the cabin in the woods immediately illicit the feeling that something’s off about this romantic getaway between burgeoning lovers.  Rossif Sutherland and Tatiana Maslany make for a fascinating onscreen couple as their understated early interactions give way larger displays of their relationship fraying at the seams.  Sutherland brings an unsettling undercurrent to his overly kind and empathetic Malcolm who feels off almost as soon as he appears onscreen.  This film, however, belongs to the incredibly talented Tatiana Maslany whose character is put through the emotional ringer during the course of the film.  Maslany is a study in subtly as her character is slowly revealed to be emotionally rundown but hopeful when we meet her.  As things get progressively stranger and more off kilter, she brings the kind of energy required to carry the film single handedly. She is more than game for everything thrown at her although the story starts to fall apart in the final act with the final reveal coming off as undercooked.  The conclusion feels overly rushed which keeps it from delivering a truly satisfying conclusion since you’re left with more questions than answers before Keeper's abrupt rather ending.

B-

MOVIE REVIEW: THE RUNNING MAN

 

In the near future, "The Running Man" is the top-rated show on television, a deadly competition where contestants must survive 30 days while being hunted by professional assassins. Desperate for money to save his sick daughter, Ben Richards is convinced by the show's ruthless producer to enter the game as a last resort. Ratings soon skyrocket as Ben's defiance, instincts and grit turn him into an unexpected fan favorite, as well as a threat to the entire system.

Director: Edgar Wright

Cast: Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Colman Domingo, Josh Brolin, Katy M. O'Brian

Release Date: November 14, 2025

Genre: Action, Adventure, Sci-Fi, Thriller

Rated R for strong violence, some gore, and language

Runtime: 2h 13m

Review:

Edgar Wright’s take on The Running Man sticks much closer to the Stephen King novel than the 1987 Schwarzenegger film, but it struggles to find its own identity with it never able to decide if it wants to go full camp like that film or lean into the darker dystopian side of the King novel.  Wright’s energetic style meshes well with the over-the-top action sequences and he’s clearly most comfortable in those moments.  There’s a bit of Paul Verhoeven 80’s style world building, think Robocop, that leans into the satirical side that’s fun but never explored enough to make a meaningful impact.  It’s an unsteady balance of energetic action with occasionally gruesome deaths paired with slower moments dealing with dying kids and ruminations about revolution.  It’s a weird mix that makes for a herky jerky flow to the film especially since the performances across the board are generally over the top.  Glen Powell leads the film capably, but he feels miscast from the start since his character is supposed to be a beaten down, desperate man something his chiseled features and physique don’t really communicate.  It’s not Powell’s fault of course and he delivers a solid, likable performance from start to finish but his character lacks the kind of depth you’d expect.  He’s got some basic character traits, and they don’t really expand beyond being good-hearted with a serious anti-authority streak but there’s little else to him when it’s all said and done even after becoming a sort of folk hero.  Josh Brolin is much better suited for the role of the show's swarmy producer, Dan Killian, and he clearly relishes hamming it up in the role.  Brolin is loads of fun every time he pops up but the film doesn’t take full advantage of his rather inspired turn.  The same can be said for Colman Domingo turn as Bobby T, the host of The Running Man show, who is having a blast playing the charismatic, over the top character.  They both are so over the top and energetic, you’re left wondering why Wright didn’t just go all in and deliver something more outright satirical that likely would have been more meaningful than slavishly serving King’s original story.

C+

MOVIE REVIEW: NUREMBERG

 

As the Nuremberg trials are set to begin, a U.S. Army psychiatrist gets locked in a dramatic psychological showdown with accused Nazi war criminal Hermann Göring.

Director: James Vanderbilt

Cast: Rami Malek, Russell Crowe, Leo Woodall, John Slattery, Mark O'Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant, Michael Shannon

Release Date: November 7, 2025

Genre: Biography, Drama, History, Thriller, War

Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content.

Runtime: 2h 28m

Review:

Nuremberg is a throwback historical drama that's more than willing to lean on its stellar collection of performers led by a wonderfully nuanced turn from Russell Crowe as Hermann Göring.  James Vanderbilt film is capably shot throughout with its aesthetic borrowing heavily from Saving Private Ryan and the like with a decidedly washed out, desaturated look overall.  His approach gives the film a stage play sort of look and feel especially with the confined, claustrophobic prison sets which puts all the focus on the cast.  Its unhurried pacing and dialogue driven approach might not be for everyone especially since the film can't avoid some clichéd tropes and clunky dialogue.  Thankfully the cast is more than capable of rising above those pitfalls by turning in impressive performances across the board.  Rami Malek's psychiatrist, Douglas Kelley, serves as the main character and the audience's entry point into the story.  It’s a fascinating role for Malek since he's carrying his own agenda and motivation to work with Crowe's Göring.  The character is complicated collection of contradictions which allows his overeager self-confidence to cloud his judgement, and it allows him to get too close to his subject.  Once he's lost perspective it allows Russell Crowe's Hermann Göring to manipulate him with general ease before the extent of his complicity in Nazi atrocities become impossible to ignore.  Crowe turns in one of his best performances in recent memory by making Göring a charismatic figure who is disarmingly human.  He maintains a certain level of self-confidence even though he's on trial for horrific war crimes.  It’s a nuanced turn that reveals itself over the course of the film which allows Crowe to play with a full spectrum of his character's personality.  It’s the kind of turn that should garner some awards attention as it’s a study in subtly with Crowe only unleashing in earnest during the rather brisk trial sequence.  Michael Shannon and Richard E. Grant are given a secondary story thread about the genesis of the trial and the possible pitfalls of failing to prosecute their case and allow Göring to perpetuate Nazi propaganda even in defeat.  Shannon is excellent every time he pops up onscreen as he's perfectly cast as the determined Supreme Court Justice, Robert H. Jackson, who understands the scope of the trial and its historical import.  Considering the film's lengthy runtime, it would have been well served to have fleshed out Jackson a bit more, especially since Shannon is in rare form, especially when he's paired with an underutilized Richard E. Grant.  A few stumbles pop up as the central trial feels a bit rushed after all the set up since it’s over shortly after it begins with the film rushing to the finish line.  The closing sequences brings everything full circle with a rather chilling warning about what's happened before and our current day reality which makes Nuremberg feel timelier.  

B

MOVIE REVIEW: PREDATOR: BADLANDS

 

Cast out from its clan, an alien hunter and an unlikely ally embark on a treacherous journey in search of the ultimate adversary.

Director: Dan Trachtenberg

Cast: Elle Fanning, Dimitrius Schuster-Koloamatangi, Mike Homik, Rohinal Nayaran, Reuben De Jong, Cameron Brown

Release Date: October 31, 2025

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for sequences of strong sci-fi violence.

Runtime: 1h 47m

Review:

Dan Trachtenberg's Predator: Badlands is an incredibly fun sci-fi buddy movie that flips the script on the usual approach giving it a fresh vantage point which is aided by an excellent turn from Elle Fanning in dual roles.  Trachtenberg film delivers a visually impressive, although decidedly CGI heavy, experience even as he mines some well-worn sci-fi tropes to set up the story.  His energetic approach to the story makes it easier to overlook the fact it all feels overly familiar especially to any Trek fans who might see more than a few similarities to Klingon culture and that of the Yautja.  The good thing is that the action is well constructed across the board with each set piece providing some impressive thrills that's sure to make most fans of the series happy.  Making the central Predator a runt who's been outcast keeps him from being the standard issue killing machine we're used to seeing in these films.  This character is still untested which makes him far more vulnerable particularly when he loses the majority of his tech.  Dimitrius Schuster-Koloamatangi is able to deliver a solid character work as Dek, in the suit, while also providing the motion capture for the character's facial expressions.  Schuster-Koloamatangi manages to give his character the appropriate air of intensity and ferocity you'd expect but there are also slivers of playfulness and emotion scattered throughout.  He and Elle Fanning share strong chemistry together which makes the whole thing work as well as it does.  Fanning's damaged synth, Thia, has a wide-eyed enthusiasm despite the fact that she's missing her lower half for the better part of the film.  She's clearly having fun as Thia, a synth who was made more for research as opposed to field work which gives her character an inquisitive sense of wonder.  Their mismatched pair makes for some natural comedy that brings an air of levity you wouldn't typically expect from these kinds of films.  On the other end, Fanning's Tessa is much closer to the kind of mildly malevolent synthetics we've come accustomed to from the Alien franchise.  That character isn't nearly as fleshed out as Thia which is a shame since Fanning was game for it all.  Predator: Badlands does make a few decisions that are destined to be divisive in the long run but that doesn't hold the film from being one of the better entries in the series. 

B+

MOVIE REVIEW: BUGONIA

 

Two conspiracy-obsessed men kidnap the CEO of a major company when they become convinced that she's an alien who wants to destroy Earth.

Director: Yorgos Lanthimos

Cast: Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, Alicia Silverstone

Release Date: October 31, 2025

Genre: Comedy, Crime, Sci-Fi

Rated R for bloody violent content including a suicide, grisly images and language.

Runtime: 1h 59m

Review:

Yorgos Lanthimos and Emma Stone’s fourth film together continues their fascinating collaboration which continues to delve into stranger territory with each film Bugonia continuing that trend to great effect.  Lanthimos’ remake of the 2003 South Korean film Save the Green Planet! boast his self-assured style with his vision clearly established from the onset.  His film is visually engaging throughout that gives the proceeding a sense of urgency and immediacy that works in the story’s favor.  The story runs through a slew of timely themes such as corporate greed and its human cost which can result in extreme radicalism fermented on the internet.  Emma Stone is given the task of being the worst kind of self-absorbed, corporate leader whose measured speech barely hides the insincere callousness simmering underneath.  Stone delivers a fantastic performance as the kidnapped CEO that uses every bit of her intellect to try and escape from Jesse Plemons and Aidan Delbis conspiracy obsessed cousins.  Plemons has corned the market on playing slightly off kilter characters who carry an air of danger with this role being tailor made for his talents.  His character is ragged both emotionally and physically as he struggles to cope with his mother’s illness, something he blames Stone’s company and her personally.   Their interchanges prove to be the highlights of the film as both performers bounce off each other effortlessly which just demands your attention as both are more than capable of turning from one emotional extreme to another in an instant.  They make for a fascinating onscreen adversary especially as the script starts to toy with expectations especially in the film’s final act which veers into absurdist nihilism which is sure to turn off some viewers.  Those who enjoyed the twisted Twilight Zone storytelling from Lanthimos, Stone and Plemons previous film, Kinds of Kindness, will find plenty to enjoy in the equally well-crafted and strange Bugonia. 

A-

MOVIE REVIEW: FRANKENSTEIN

 

A brilliant but egotistical scientist brings a monstrous creature to life in a daring experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Director: Guillermo del Toro

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Felix Kammerer, David Bradley, Lars Mikkelsen, Christian Convery, Charles Dance, Christoph Waltz

Release Date: August 30, 2025

Genre: Drama, Fantasy, Horror, Sci-Fi

Rated R for bloody violence and grisly images.

Runtime: 2h 29m

Review:

Guillermo del Toro's visually lavish adaptation of Frankenstein is meticulously constructed and emotionally moving thanks to stellar performances from its excellent cast.  Del Toro's film grabs you from the open sequence especially once it moves into its flashback sequences which are garishly gothic feast for the eyes.  His sensibilities are perfectly suited for his take on The Modern Prometheus with every sequence and shot carefully crafted which result in some rather mesmerizing moments that will stick with you long after the film has ended.  Plenty of credit has to be given to Dan Laustsen’s stunning cinematography along with Kate Hawley’s eye-catching costume design both of which are certain to garner awards attention when the time comes.  There's plenty to appreciate on a superficial level but Guillermo del Toro's ability to find the emotional weight and resonance to his monsters are on full display here as there's a steady sense of mournful melancholy that permeates the entire film.  It’s a thoughtful and measured approach powered by a soulful performance from Jacob Elordi which is an evocative mix of physicality and subtle humanity.   His 6-foot 5-inch frame is perfectly suited for The Creature but through all the prosthetics he manages to give his character so much emotional depth especially once he takes center stage.  Oscar Isaac gleefully bites into the role of Victor Frankenstein by bringing an unbridled sense of unchecked self-confidence and intellect particularly in the early act as he's manically trying to bring his creation to life.  Christoph Waltz's plays his benefactor funding his experience, but he's given surprisingly little to do during his limited screentime which feels like a missed opportunity.  Felix Kammerer and Mia Goth play his brother and fiancée with Goth delivering strong work.  Goth and Isaac have fun, playful chemistry together as they both find each other intellectually fascinating diversions.  Goth adds layers to a role that could have simply come off as a one note love interest.  It is hard to take your eyes off any of them as they deliver thoroughly engaging and thoughtful performances that make the film's two hour and a half runtime fly by.  Frankenstein is nothing more than a triumph for del Toro and his entire cast as they've created a seminal adaptation of Mary Shelley's work by capturing its heart and soul.  

A

MOVIE REVIEW: SPRINGSTEEN: DELIVER ME FROM NOWHERE

On the cusp of global superstardom, New Jersey rocker Bruce Springsteen struggles to reconcile the pressures of success with the ghosts of his past as he records the album "Nebraska" in the early 1980s.

Director: Scott Cooper

Cast: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser, Stephen Graham, Odessa Young

Release Date: October 24, 2025 

Genre: Biography, Drama, Music

Rated PG-13 for thematic material, some sexuality, strong language, and smoking.

Runtime: 1h 59m

Review:

Springsteen: Deliver Me from Nowhere is a pensive, reflective look at a very specific moment in his career powered by an engrossing, tortured turn from Jeremy Allen White.  Scott Cooper film possesses a melancholic melody to it that underwrites the whole thing.  He tries his best to avoid the usual pitfalls of the musical biopic by delivering something more pensive and introspective as we follow Springsteen right before he truly becomes an icon.  Flipping back and forth between the black and white past and the 80's as Springsteen works through the trauma of his past by working his way through a deeply personal demo.  This approach allows us to watch him struggle with his complicated history with his father as he's on the precipice super stardom.  It’s hard to avoid some of the more clichéd aspects of the genre especially in the flashback sequences but Cooper maintains a thoughtful approach to it all that gives it an air of authenticity that works in the film's favor.  The pacing is methodical throughout as he lets every moment settle before providing a musical jolt of vibrant energy.  Those musical numbers are stripped down which allows Jeremy Allen White to really show off an impressive set of pipes as he sings Springsteen's songs highlighted by a showstopper of a performance of Born in the USA.  White though brings so much more to the role by giving it a soulful, guilt-ridden humanity to his performance that drives the film.  It’s a fascinatingly subtle turn that gives you a window into the amount of turmoil simmering underneath with a revelatory moment in the film's final act finally allowing its release.  Jeremy Strong as Jon Landau, Springsteen's manager, is equally impressive particularly when they both share the screen.  Strong gives his character a tangible sense of steadfast belief and support throughout the film which leaves you wishing you had a friend like him.  They bring so much to the roles that you can't help but feel their deep-rooted, lived-in connection onscreen, something sure to garner both their share of awards consideration when the time comes.  Odessa Young also delivers strong work as the love interest but you are left feeling she could have brought so much more to the role if it had a tad more depth to it.  Gaby Hoffmann, Paul Walter Hauser and Stephen Graham have small but pivotal supporting roles with each doing the most with their limited screentime.  By the time it’s all said and done, Springsteen: Deliver Me from Nowhere manages to stand on its own as a musical biopic thanks to its stars and its thoughtful approach to storytelling.  

B+

MOVIE REVIEW: GOOD FORTUNE

 

A well-meaning but inept angel named Gabriel meddles in the lives of a struggling gig worker and a wealthy venture capitalist.

Director: Aziz Ansari

Cast: Aziz Ansari, Seth Rogen, Keanu Reeves, Keke Palmer, Sandra Oh

Release Date: October 17, 2025 

Genre: Action, Comedy, Fantasy, Romance

Rated R for language and some drug use.

Runtime: 1h 38m

Review:

Aziz Ansari's Good Fortune is deceptively simplistic riff on It's a Wonderful Life which is headier than it lets on, boasting an excellent cast with solid comedic chemistry.  Ansari writes, directs and stars in the film which has an easy going, accessible vibe as we’re introduced to the collection of characters and central conceit.  Ansari sardonic persona fits his character, Arj, perfectly whose somebody that’s reached the end of his rope.  There’s an unsettled sense of desperation constantly simmering under his performance that’s relatable to anyone who’s done everything to get ahead but never made any progress.  Seth Rogen works as a perfect counterbalance to Ansari’s endless anxiety with his goofy, out of touch venture capitalist Jeff.  It would have been easy to make Rogen’s character a typical rich bro, but the script takes a more measured approach that keeps him likable for the better part of the film.  His character is likable enough that the central moment that sets off the main part of the plot feels inorganic and out of character since Jeff is portrayed as a generally well-meaning guy who just happens to be incredibly wealthy.  Even after the "switcheroo" occurs Rogen’s Jeff is mostly levelheaded and patient as he waits for Ansari’s Arj to finally agree to head back to his old life.  Keanu Reeves’s low rent, well intentioned guardian angel, Gabriel, gives him a chance to play a different sort of character than John Wick which has dominated the last decade of his career.  His usual monotone delivery works well here since it gives his character a detached but relatable sensibility.  It would have been easy to use the same delivery across the board but his character goes through the most complete character arch as he comes to understand humanity on a more tactile level.  The trio are funnier more often than not as each of them go through a series of fish out of water moments that allows them ample time to flex their comedic muscles.  Keke Palmer and Sandra Oh round out the main cast but neither is given enough to do in order to take full advantage of their talents.  It’s a missed opportunity, especially in the film’s back half which is more uneven and makes it feel far longer than actual runtime.  Good Fortune is more than capable as a message comedy but you are left with the feeling that it could have been truly special with a more well-rounded script.   

B-

MOVIE REVIEW: BLACK PHONE 2

 

Bad dreams haunt 15-year-old Gwen as she receives calls from the black phone and sees disturbing visions of three boys being stalked at a winter camp. Accompanied by her brother, Finn, they head to the camp to solve the mystery, only to confront the Grabber -- a killer who's grown even more powerful in death.

Director: Scott Derrickson

Cast: Ethan Hawke, Mason Thames, Madeleine McGraw, Jeremy Davies, Demián Bichir

Release Date: October 17, 2025 

Genre: Horror

Rated R for strong violent content, gore, teen drug use, and language.

Runtime: 1h 54m

Review:

Black Phone 2 is a solid, if overlong, follow up to the 2021 original with this entry taking more of a Nightmare on Elm Street approach, sprinkled with atmospheric elements from of The Shining for good measure.  Scott Derrickson returns behind the camera and brings back the throwback aesthetic of the original while adding some impressive visual flourishing along the way such as overly grainy dream sequences.  He has a noticeable amount of restraint which is especially noteworthy for a sequel as he allows the audience to spend time Finney and his sister Gwen four years after the traumatic events.  Mason Thames and Madeleine McGraw return from the original film to play the siblings which gives them natural chemistry together.  Thames’ Finney is left hardened by his experience with The Grabber and is more than willing to fight anyone while he represses his trauma.  Thames delivers a measured performance balancing his steely eyed protectiveness of his sister while keeping a ting of vulnerability hover underneath.  He’s given a moment in the film’s back half that really lets him unleash everything which makes for a solid showcase of Thames’ talent.  Madeleine McGraw has a much larger role here and she does well with the bigger spotlight even though her character is saddled with using nearly every bit of 80’s slang you can think of.  Her character is much more central to the overall plot as her psychic has increased since the last film and has put her in the crosshairs of unsettled ghost and the spirit of the vengeful Grabber, played again by Ethan Hawke.  Hawke’s character doesn’t really become part of the story until about midway through the film but once he does you get the sense, he’s relishing the chance to chew up scenery.  It’s a fun performance but it’s hard to overlook the obvious comparisons to Freddy Krueger throughout.  Thankfully, this leans closer to earlier Kruger than the overly wisecracking version of those latter films in that franchise.  Hawke’s bloodied demon looks like a festering open wound as he’s torturing Gwen with a more expressive mask doing a lot of work.  Demián Bichir, Miguel Mora and Arianna Rivas round out the cast with Bichir in particular delivering strong work leaving you wondering why the film didn’t write him a beefier role.  The script does leave something to be desired in general as it’s peppered with clunky, exposition heavy dialogue which the cast does to work with.  A handful of those moments feel like they could have been trimmed a bit in the editing room to keep them slowing down the film as much as they do.  Black Phone 2 might not be a top tier horror sequel, especially in a year that has had stellar entries throughout, but it is effective enough that you don’t question why they bothered with a sequel in the first place.

B-

MOVIE REVIEW: ROOFMAN

 

After escaping from prison, former soldier and professional thief Jeffrey Manchester finds a hideout inside a Toys "R" Us, surviving undetected for months while planning his next move. However, when Jeffrey falls for a divorced mom, his double life starts to unravel, setting off a compelling and suspenseful game of cat and mouse as his past closes in.

Director: Derek Cianfrance

Cast: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang,  Peter Dinklage

Release Date: October 10, 2025 

Genre: Biography, Crime, Drama, History, Music, Romance

Rated R for language, nudity and brief sexuality.

Runtime: 2h 6m

Review:

Roofman takes a stranger than fiction true story and turns it into an engaging crime/romantic comedy that leans heavily on Channing Tatum's charisma and chemistry with an understated but layered turn from Kirsten Dunst.  Derek Cianfrance's film is disarmingly charming from the start as we get a quick rundown of the Jeffrey Manchester's Roofman crimes that land him in jail initially.  Tatum's voice oversets him up as a loveable rogue who's more of a victim of circumstance than an outright criminal.  It works for the most part as you need to like Jeffrey's inventive outlaw in order for the film to work as well as it does.  There are echoes of 2001's Blow and 2002's Catch Me If You Can as the audience is swept up in the character's increasingly precarious house of cards that's destined to fall at any moment.  There's a pervasive sense of optimism as the character that Tatum's Manchester encounters are mostly trusting and inviting at nearly every turn.  Kirsten Dunst injects a constant sense of trepidation to her single mother even as her character falls in love with Tatum's Manchester.  There's a subtly to her performance that's impressive across the board as she communicates a hefty amount of emotional information with a look that gives you the sense that's she's just waiting for the other shoe to drop.  Her character has an impressive level of depth that’s sorely lacking from some of the other supporting players who are much more broadly written, wasting the talents of the film's excellent supporting cast made up of Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Uzo Aduba and Peter Dinklage.  Thankfully, Dunst and Tatum share an authentic chemistry together which serves as the film's beating heart, making the film's closing act more somber, almost tragic as the roof begins to fall in around them.  While the film doesn't absolve its central character of all the blame, he does get a decent level of cinematic sheen that glosses over the amount of emotional damage he left in his wake.  Roofman may be a bit too forgiving of its central subject but it does offer Channing Tatum a chance to really showcase his acting chops in a way we haven't seen before.  

B+

MOVIE REVIEW: CHAIN REACTIONS

 

Five artists, Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, and Karyn Kusama, explore how "The Texas Chain Saw Massacre" shaped their art and psyche.

Director: Alexandre O. Philippe

Cast: Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, Karyn Kusama

Release Date: September 19, 2025 US/October 27, 2025 UK  

Genre: Documentary, Horror

Rated PG-13 for violence/action.

Runtime: 1h 43m

Review:

Alexandre O. Philippe's well-constructed documentary about The Texas Chain Saw Massacre is a fascinating exploration about the far-reaching impact the seminal slasher.  Philippe uses archival, behind the scenes footage from the 1974 film as bridges between each segment which in of itself is a fascinating taste of what it was like being on the ground while the legendary film was being filmed.  The five artists interviewed have some overlap here and there but they're distinct enough to make each segment engaging while avoiding the kind of repetition you'd expect from multiple people discussing one film.  Patton Oswalt kicks off the film as he discusses his heartfelt love and appreciation of the film and artistry at play in its low budget facade.  He brings a heady approach at breaking down sequences and correlations with other classic horror films.  Oswalt is clearly a cinephile and he add an expected level of thoughtful analysis that starts off the documentary on strong footing.  Japanese director Takashi Miike takes center stage in the second segment and relates a rather fascinating recollection about how a sold out showing of Charlie Chaplin's City Lights changed the course of his professional career and life in general.  He also brings a sense of how this American film hit the Japanese culture and its effect on his style throughout his career.   Australian film critic and author, Alexandra Heller-Nicholas, likewise brings her recollection of viewing Chain Saw in Australia via worn out, faded VHS copies which gave it a very specific look and feel which made it reminiscent of Australian films of the time.  In her recollection, she presents the film as a coming-of-age moment much like other grindhouse film of the time.  She describes how her connection to Chain Saw and Peter Weir's Picnic at Hanging Rock formed her cinematic outlook and worldview feels relatable on multiple levels.  Stephen King is given the penultimate portion of the documentary and his stream of conscience way of speaking goes in multiple directions throughout his time.  There's less of a focus on Chain Saw since King goes off on various tangents about other films and cinematic violence in general.  Director Karyn Kusama closes out the documentary as she brings another fresh point of view as she breaks down the cultural relevance of the tropes and thematic ideals that the film puts on display.  There's a measured and thoughtful approach to her dissection of the generational and cultural collisions at the center of the film.  She posits the film as a timeless, mythical chronicle of violence and misfortune for every character in the film and ourselves by reflection.  Once it’s all said and done, Chain Reactions manages to bring a series of fresh points of view to a film that's been appreciated and analyzed to death by this point which is a testament to Alexandre O. Philippe talent as a documentarian. 

A

MOVIE REVIEW: TRON: ARES

 

Mankind encounters AI beings for the first time when a highly sophisticated programme, Ares, leaves the digital world for a dangerous mission in the real world.

Director: Joachim Rønning

Cast: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson, Jeff Bridges

Release Date: October 10, 2025

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for violence/action.

Runtime: 1h 59m

Review:

Tron: Ares boast an excellent cast, a pulse pounding soundtrack from Nine Inch Nails and the kind of mesmerizing techno visuals you'd expect but the clunky, clichéd script keeps it from being truly special.  Norwegian director, Joachim Rønning, does an excellent job of capturing the look and feel of 2010's Tron: Legacy in addition to an extended retro segment that takes us back to the 1980's original.  Rønning proves more than capable of delivering big action set pieces both inside of the grid and out as evidenced by a rather thrilling motorcycle sequence through the city that brings the digital into the real world.  All the action is perfectly suited for the big screen in addition to being one of the few films I'd recommend seeing in 3D to get the full effect of the technical wizardry on display.  The Nine Inch Nail's pulsating soundtrack elevates each of the action set pieces to such a level that the director is more than comfortable with making more of an audio/visual experience with very little in the way of story or dialogue offered up.  While these sequences are undoubtably the highlights of the film they do tend to go on a tad too long almost as if the cast and crew are disinterested in getting back to the main narrative.  As wonderfully constructed as all these sequences are, the script and story fail to make them part of something more than a very generic AI becomes self-aware story.  The characters and plot are so clunkily written that you wish that the amount of care that was put into the visuals and soundtrack would have carried over to the actual story.  The dialogue is incredibly stiff across the board, which gives the talented collection of actors very little to work with.  The characters all come off as caricatures as opposed to fully realized creations.  Jared Leto leads the cast as the titular security program created by Evan Peters' Julian Dillinger, grandson of Flynn's rival from the original film.  Leto plays his character like a thoughtful Terminator type with a mostly robotic delivery broken up by random playful moments.  Greta Lee struggles a bit to get her footing as the emphatic CEO of ENCOM who is in search of Kevin Flynn's Permanence Code which would make it possible for programs from the grid to exist in the real world permanently.  It’s a slightly odd plot point since Legacy ended with Olivia Wilde's Quorra entering the real world at that film's finale which is touched upon in passing near the end of this film.  Evan Peters is task with the role of child prodigy turned unscrupulous CEO of Dillinger Systems who's only missing a long twirly mustache to complete his cardboard cutout villain.  Peters is such a capable actor that it's slightly irritating to watch him try to make the clunky dialogue not seem so cringe worthy.  Gillian Anderson is given the thankless task of playing his mother and former CEO who seem to be the only person in the company that thinks her son's actions are a bad idea.  Jodie Turner-Smith serves as the villainous program unleashed to pursue Lee and Leto's characters whose sole motivation seems to be her love of directives.  She's a visually imposing figure as she looks the part, but she's given very little to work with outside of looking intense.  Jeff Bridges gets an extended cameo here where he seems to channel The Dude more than anything else.  Hasan Minhaj, Arturo Castro and Sarah Desjardins are familiar faces that pop up but much like the rest of the cast aren't asked to do much besides shoot out some goofy comedy relief and technobabble.  Tron: Ares ends up being a missed opportunity since the two thirds of the film are rather impressive, but the lackluster script ultimately holds it back from greatness.  

 

B-

MOVIE REVIEW: V/H/S HALLOWEEN

 

A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

Director:  Anna Zlokovic, Paco Plaza, Casper Kelly, Alex Ross Perry, Bryan M. Ferguson, R.H. Norman

Cast: Samantha Cochran, Natalia Montgomery Fernandez, Teo Planell, María Romanillos, Lawson Greyson, Riley Nottingham, Jenna Hogan, Jake Ellsworth, Stephen Gurewitz, Carl William Garrison, Jeff Harms, Noah Diamond, Sarah Nicklin

Release Date: October 3, 2025

Genre: Horror

Unrated

Runtime: 1h 55m

Review:

The eighth installment of the V/H/S franchise opts for Halloween specific theme which should be a perfect fit for the anthology, but the shorts are mostly underwhelming and undercooked.  

 

The wrap around device, Diet Phantasma, written and directed by Bryan M. Ferguson has a fun 80s aesthetic which works in its favor until each sequence becomes increasingly repetitive as the film goes on.    

The first short, Coochie Coochie Coo, written and directed by Anna Zlokovic is a solid start by using a well worn haunted house trope and setting up funhouse of gross outs and jump scares.  It may not be groundbreaking, but its effectively constructed story makes it feel like one of the more well rounded entries in the film.  

Ut Supra Sic Infra directed by Paco Plaza of [Rec] fame offers an intriguing set up but plays out in a surprisingly paint by the numbers set up and payoff.  It doesn't help that the characters are all logically challenged as they place themselves willingly in situations that result in fatal situations.  Paco Plaza is one of the most established directors in this volume which makes this short rather underwhelming and disappointing.   

Fun Size, written and directed by Casper Kelly, is one of the goofiest entries here which delivers a handful of gory laughs thanks to the zany set up and murderous mascots that pursue our hapless quartet of drunken trick or treaters.  This entry would have benefited from a bit more world building to flesh out the concept of Fun Size's world since there's painfully little offered up.  

Kidprint, written and directed by Alex Ross Perry, is far and away the darkest and nastiest short in this volume as it deals with a child serial killer in the 90's.  Taking some real life inspiration from Blockbuster's Kidprint which was supposed to serve as real life footage of your child in case they were abducted or went missing.  This short takes that concept down a dark path with little held back in terms of violence against children and gore.  There's a solid kernel of an idea, but it moves too quickly through the reveal with the back half just being relentless gore before its cynically ironic ending.  

The final entry, Home Haunt, written and directed by Micheline Pitt-Norman and R.H. Norman offers initial promise with its retro aesthetic that's quickly jettisoned once it moves to the present day.  The story is fairly straightforward with things playing out in a fairly predictable manner.  There are some fun, over the top moments but ultimately it doesn't leave much of a mark.  

Overall V/H/S Halloween feels like a rushed, step down from the previous entry V/H/S Beyond which was far more consistent than this entry which is a real shame. 

C

MOVIE REVIEW: THE SMASHING MACHINE

 

MMA fighter Mark Kerr reaches the peak of his career but faces personal hardships along the way.

Director: Benny Safdie

Cast: Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten, Oleksandr Usyk

Release Date: October 3, 2025

Genre: Action, Biography, Drama, History, Sport

Rated R for language and some drug abuse.

Runtime: 2h 3m

Review:

Benny Safdie's, The Smashing Machine, has a different ebbs and flow than most sports biopics which gives it a distinctive but uneven feel that keeps us at arm’s length from Mark Kerr despite strong turns from Dwayne Johnson and Emily Blunt. There's a sense of melancholy that hovers over the entire film even as Kerr becomes a champion and deals with opioid addiction.  The first half of the film feels similar to Mike Figgis' Leaving Las Vegas, especially if you have no familiarity with Kerr's story beforehand as we watch him put his body through the ringer to become a champion.  There's something oddly sanitized about it all as we are never given any sort of insight into his struggle until much later on in the film.  Dwayne Johnson's performance has a measured intensity behind his determination to excel but the script never gives him many moments to really dig into the psyche of the man.  Only a small moment at a demolish derby gives us the slightest bit of insight into his internal machination and the film could have used more of them.  Johnson, to his credit, delivers his most focused performance that really shows he's capable of so much more than his standard fare.  The film gives him a showcase to deliver something more subtle in his acting which makes it all the more frustrating that the script doesn't give him something more interesting to work with.  Emily Blunt is in the same boat as she delivers excellent work as Kerr's acidic, passive aggressive girlfriend who becomes steadily more unstable and biting.  They share a sequence in the latter part of the film that allows both of them to shine which leaves you wishing the story had taken advantage of their chemistry earlier on.  Mixed martial artist, Ryan Bader, proves to be the biggest surprise as he delivers a rather tender and thoughtful turn as Kerr's best friend and fellow competitor Mark Coleman.  There's an unspoken bond that comes through when Bader and Johnson share the screen together which gives their relationship an authentic connection.  By the time it’s all said and done, The Smashing Machine, becomes just as much a story of Coleman's career resurrection as it does Kerr's which likely would have worked better overall for the story's focus.  

B-

MOVIE REVIEW: GOOD BOY

 

A man moves into a new home that has supernatural forces lurking in the shadows. As dark entities start to threaten him, his brave dog comes to the rescue.

Director: Ben Leonberg

Cast: Shane Jensen, Arielle Friedman, Larry Fessenden, Indy as himself

Release Date: October 3, 2025

Genre: Comedy, Horror, Thriller

Rated PG-13 for terror, bloody images and strong language.

Runtime: 1h 13m

Review:

Ben Leonberg's feature film directorial debut, Good Boy, is an impressive cinematic magic trick that effectively places you in a dog’s point of view as he watches his owner slowly succumbs to an evil entity in a haunted house.  Leonberg meticulously crafts his film by using a bevy of perspective shots to give Indy a palpable sense of emotions as he experiences the increasingly bizarre happenings occurring in the house.  The haunted house in the wood’s setting is a classic horror movie trope but by changing the perspective it feels fresh for the better part of the film’s efficient runtime.  Things unfold how you’d expect in most of these stories, but Leonberg has a solid sense of how to set up atmosphere and build tension to deliver a handful of well-timed frights that’s sure to make more than a few people jump in their seats.  A handful of wonderfully shot doggy nightmares have a mesmerizing effect that’ll leave you wondering what your dog is really dreaming about when they’re rustling around.  The general plot is related to overheard second hand conversations between Shane Jensen’s Todd and his sister Vera played by Arielle Friedman as we learn tidbits about his failing health and their tragic family history.  It would have been easy to simply rely on the central gimmick and deliver a barebones story, ala 2024’s  In A Violent Nature, but there’s enough heft to this story that it would have worked as a straight forward haunted house film.  What Leonberg is able to do with his real-life dog, Indy, is nothing short of amazing as the countless hours of shooting to get the right look or reaction from his canine star pays off in spades.  Indy is a rather adorable golden retriever which will instantly have you engaged in his long-term well-being, especially as things get precariously more dangerous.  He’s an incredibly engaging leading man in spite of the fact that he can’t speak which is a testament to Good Boy’s production and Leonberg’s masterful direction.    

A

MOVIE REVIEW: ONE BATTLE AFTER ANOTHER

 

Bob is a washed-up revolutionary who lives in a state of stoned paranoia, surviving off-grid with his spirited and self-reliant daughter, Willa. When his evil nemesis resurfaces and Willa goes missing, the former radical scrambles to find her as both father and daughter battle the consequences of their pasts.

Director: Paul Thomas Anderson

Cast: Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor, Chase Infiniti

Release Date: September 26, 2025

Genre: Action, Crime, Drama, Thriller

Rated R for pervasive language, violence, sexual content, and drug use

Runtime: 2h 50m

Review:

Paul Thomas Anderson’s One Battle After Another delivers a little bit of everything with bits of humor, drama and heartfelt emotion, melded into an epic chase movie that’s populated by a collection of caricatures brought to life by its top tier cast.   Anderson’s film pulsates with energy from the moment it starts and rarely lets up which is an impressive feat for a film that’s nearly three hours long.  He stages big set pieces throughout the film that give the film an epic feel, culminating in a cleverly shot car chase over a series of hills.  There’s a constant beat to the whole thing as we follow Leonardo DiCaprio’s Bob journey from revolutionary to paranoid, burnout single father who’s just trying to do the best he can with his daughter.  We follow his torrid love affair with Teyana Taylor’s all-in extremist, Perfidia Beverly Hills, which takes a turn once she’s pregnant and Bob reassesses his life.  The story is draped in a series of hot topic issues such as domestic terrorism and extreme immigration enforcement, but it never delves into them in any substantive way.  The characters exist on opposite ends of the power structure, and both use the levels available to them to reach their ultimate goals which allows for a rather colorful collection of characters to be thrown onscreen. Leonardo DiCaprio leads the way with an unglamourous role that he dives right into with impressive gusto.  There is a fair amount of depth to his character as he evolves from his frenetic love affair with Perfidia to what he becomes sixteen years after the fact.  He does his best work after the time jump by delivering a level of authenticity behind his bumbling burnout with his heartbreak for his lost love and genuine drive to save his daughter.  DiCaprio and Chase Infiniti have a moment near the end of the film that delivers an emotional, heartfelt exclamation to the whole story.  Infiniti, in her big screen debut, proves to be more than capable of holding up her side of the story by giving her character a believable naiveite to start before moving into self-survival mode.  She’s able to convey a hefty amount of emotional information with simple looks or gestures as she’s swept up in the insanity that her character is dropped into.  Sean Penn’s Col. Steven J. Lockjaw is a rather fascinating collection of facial tics and pent-up self-hatred.  Penn is clearly having a ball playing with the clear contradictions that make up the character from giving him a very specific gait when he walks, likely due to his secret proclivities, or his measure but off-putting speech pattern.  Benicio Del Toro is perfectly suited for his role as the laid-back karate sensi/migrant mover, but you wish the film had spent a bit more time on fleshing out the character to give him a bit of depth.  Likewise, Teyana Taylor’s Perfidia is a kinetic ball of anarchic energy in the film’s opening act leaving a strong impression, but the story takes her offscreen rather quickly never to return.  Small nitpicks aside, One Battle After Another is an engaging ride that is hard not to enjoy thanks to its razor sharp direction and strong performances.  

A-