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‘28 YEARS LATER: THE BONE TEMPLE’ A Funky Continuation of the Infection

After escaping a tumultuous coming‑of‑age under his father’s forceful hand and delivering his ailing mother to her final resting place, Spike (Alfie Williams) has now taken up with a band of satanists. In 28 Years Later: The Bone Temple, Nia DaCosta’s sequel to last year’s reinvention of the franchise, a movie that picks up right where the last one left off and carries on its meditative yet unabashedly goofy vibe, Spike finds himself in a new kind of “kill or be killed” situation. Under his eye, Spike is forced to duel a member of Lord Jimmy Crystal’s (Jack O’Connell) death cult that has just taken him in, where survival means becoming part of the tribe. Or, as they put it, one of the fist’s many fingers. As Spike soon discovers, though, being a member of a death cult isn’t much better than just being dead. After all, what’s worse: dying, or losing a piece of your soul in order to survive? Read More

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Brutal Rabid Ape Slasher ‘PRIMATE’ Totally Shreds

What a deranged way to kick off 2026. Primate, Johannes Roberts’ feverish little rabid chimpanzee slasher, is a gloriously squirmy exercise in pure genre efficiency. Sustaining a bone-deep sense of dread across its tight 90-minute runtime—punctuated by the occasional obligatory laugh to let off steam—Primate is a feral scream of a January horror film that doesn’t waste time papering over its shortcomings. It knows exactly where its strengths lie: in Roberts’ unsavory tendencies, the suffocating tension, and some of the most creatively horrifying gore to hit the screen in recent memory.

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Violently Sexy ‘THE HOUSEMAID’ Cleans House

A pulpy erotic thriller that channels the airport-read energy of Gone Girl with a dash of The Stepford Wives’ satirical zip, The Housemaid is an effortlessly entertaining throwback to a mostly bygone era of glossy, high-concept potboilers. Led by the competent, sudsy trio of Sydney Sweeney, Amanda Seyfried, and Brandon Sklenar, Paul Feig’s adaptation of Freida McFadden’s 2022 bestseller does carry some of the expected baggage: over-reliance on clunky overdubbed narration, and a few character choices that feel more convenient than coherent. But the film is so self-aware, so happily leaning into its own soapy excess, that the silliness becomes part of the charm. Read More

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‘AVATAR: FIRE AND ASH’ Is a Punishing Retread With Nothing New to Add

James Cameron is too good of a director to spend the rest of his career trapped in Pandora. Avatar: Fire and Ash, the third of five planned installments, may be the most unequivocal waste of time and talent in any major motion picture this century. At three hours and 17 minutes, this second sequel is the neglected middle child of the franchise—adrift, unsure of its purpose, and mostly forgotten even as it plays out in real time. Despite its nearly endless runtime, so little actually happens that the movie ends in almost the exact same place it began. It’s a truly depressing chapter in a franchise that began with a box-office-destroying splash in 2009 and (shockingly) managed to carry the flame with The Way of Water, a disappointing but still absurdly profitable sequel. Read More

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‘IS THIS THING ON?’ Mic Checks a Middle-Aged Marriage

Alex Novak is checked out. From his marriage. From himself. From whatever once brought him joy. The first moment we meet Alex, played with hangdog affability by Will Arnett, he amicably agrees to a separation with his wife Tess (Laura Dern, wonderful here) while they brush their teeth together. Their pending separation is met with all the nonchalance of agreeing on where to get Sunday night takeout. Because Alex Novak is checked out. Read More

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‘NO OTHER CHOICE’ Is Park Chan-wook’s Darkly Comic Stand Against Humanity Becoming Replaceable

A searing South Korean social satire about the accelerating impossibilities of employment in 2025, No Other Choice doesn’t give an inch. The new film from legendary director Park Chan-wook (Oldboy, The Handmaiden) stars Lee Byung-hun and Son Ye-jin as a husband and wife forced to reconsider their socioeconomic standing when patriarch Man-Su is laid off from his cushy white-collar job at a paper company looking to upscale efficiencies and downscale headcount. An updated reimagining of Donald E. Westlake’s 1997 horror thriller novel The Ax, the story follows Man-Su as he resorts to any means necessary to re-enter the workforce—including killing off his competition. After all, he has no other choice. Read More

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‘MARTY SUPREME’ Serves Up Another High-Tension Safdie Classic

Within the very first minutes of Marty Supreme, one thing is very clear: Josh had the juice. After the split between writing/directing duo Josh and Benny Safdie, each brother struck out to make their own riff on the sports drama. Benny’s The Smashing Machine, a shockingly flat biopic about Mark Kerr (Dwayne Johnson) and the early days of the UFC, revealed that, as I put it in my review, “he might not only benefit from a creative partner but actually need one. Alone, his work is startlingly inert.” The opposite is true of Josh Safdie. Marty Supreme, his fictionalized sports drama about a grifter table tennis player played by Timothée Chalamet in his best onscreen role yet, has more kinetic life and effortless energy in just the opening scene than the entirety of The Smashing Machine. While it’s not my intent to pit brother against brother in some carnivorous blood match of talent, it is striking to see the cinematic results of their cleaved relationship in such an apples-to-apples comparison. There is no contest: Marty Supreme reigns supreme. Read More

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‘ETERNITY’ Wastes the Afterlife in Rom-Com Purgatory

Joan (Elizabeth Olsen) just died. Fortunately for her, death comes with options. She gets to choose between a series of curated afterlives, each designed so she can spend a hand-selected eternity with the person she loved most. Unfortunately, she was married twice: first to Luke (Callum Turner), a dedicated soldier who died in war, and later to Larry (Miles Teller), with whom she shared 65 years and raised a family. So now Joan must decide between the smoldering heat of her first love and the cozy domesticity of her second. With A24 distributing and a respectable cast assembled, one might assume the existential rom-com Eternity would sidestep the genre’s tired clichés and deliver something meaningful. Instead, it sinks comfortably into the wreckage of the rom-com’s worst instincts, like a codependent relationship that’s too lazy to risk anything new. Though just mildly amusing and just mildly clever, Eternity is unmistakably formulaic, centering its drama on that tried and true love triangle truism: women be indecisive. Read More

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‘ZOOTOPIA 2’ and the Overwhelming Joy of the Meaningful Family-Friendly Film

“It was so wonderful.” That was my three-year-old daughter’s verdict after watching Zootopia 2, which marked both her first press screening and her first time seeing a movie in a theater. And I have to agree. Even if you remove the film’s actual quality from the equation, the experience itself—sharing one of my greatest joys with my wide-eyed little girl as she gleefully demolished popcorn and a sour apple ICEE—was pure movie magic. Read More

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The Tragedy of ‘HAMNET’ and the Absolution of Art

The therapeutic power of art reverberates through both creator and observer. There’s something that stirs the human spirit in encountering it, especially when it comes carved straight off the bone of the soul. And no emotion strikes deeper than the sorrow born of tragedy. In Chloé Zhao’s powerhouse of a dramatic tearjerker, Hamnet, tragedy and art are married through a human tapestry of love and loss. Buckle up and bring the Kleenex. Read More