Even though it is an animated movie that bypassed cinemas to premiere on Hulu and Disney+, 2025's Predator: Killer of Killers is the best thing to happen to the Predator franchise since its inception in 1987. Although each sequel has its dedicated fans (this reviewer has a soft spot for 2010's Predators), Killer of Killers confidently emerges as the best follow-up to date; an exhilarating, blood-soaked, and enormously entertaining anthology feature that handily delivers the goods. After helming Prey in 2022, director Dan Trachtenberg returns to the Predator universe with this outstanding animated endeavour, working with co-director Joshua Wassung (a visual effects veteran) to deliver more than just a throwaway stop-gap between live-action instalments. With Trachtenberg devising the story, and a script by Micho Robert Rutare (a veteran purveyor of TV schlock), Killer of Killers meaningfully contributes to the iconic science fiction franchise by exploring Predator skirmishes across different centuries and showing how the alien warriors treat those who defeat them in battle. With rousing action and remarkable visuals, the picture is an awesome treat for fans and newcomers alike.


In Scandinavia in 841 AD, Viking warrior Ursa (Lindsay LaVanchy) leads an expedition to destroy the rival Krivich clan to avenge the murder of her father. Accompanying Ursa is her son, Anders (Damien Haas), whom she is determined to protect. However, after the battle, a towering Predator warrior ambushes Ursa's group, sparking a desperate fight for survival. Hundreds of years later, in feudal Japan, a wandering shenobi named Kenji (Louis Ozawa) returns to his former home to face his brother, Kiyoshi (also voiced by Ozawa), after the death of their warlord father. A Predator also interrupts this conflict, with Kenji soon fighting for his life against the alien warrior. The third and final story takes place in the 1940s, when young mechanic Torres (Rick Gonzalez) is forced to leave his Florida home to fight for the United States during World War II. His squadron encounters a Predator spacecraft above the Atlantic Ocean, which is far more technologically advanced than the U.S. Navy fighter planes. The Predators abduct the survivor of each conflict as they search for a worthy opponent to face a Warlord Predator in an offworld arena.

Predator: Killer of Killers clocks in at a scant 86 minutes and consists of four sections as the movie introduces each primary character before placing them together in the arena on the Predator homeworld. With little time to waste, the segments dive straight into the nitty-gritty, efficiently developing the characters before a vicious Predator behemoth enters the equation, leading to a violent showdown. Showing the Predators in distinctly different environments and time periods gives the feature some much-appreciated variety, particularly with the third segment showing a Predator attacking planes amid a World War II dogfight. The production's anthology nature means there is no central protagonist, nor is there enough time to develop each character in a substantial way with meaningful arcs. However, the movie allows them sufficient development to ensure investment, with Ursa trying to protect her son, Kenji facing his brother in combat, and Torres working as a mechanic before being drafted into the U.S. Navy. It simply works.


The decision to execute Predator: Killer of Killers as an animated movie may seem unusual at first, but Trachtenberg and Wassung justify the approach with appropriately stylised, unique visuals. Motion is jerky at times, but the striking painterly quality of the animation ensures that every frame looks gorgeous. Additionally, whereas budget animation typically appears constrained, the deliberate stylisation here is a tremendous asset because it does not merely resemble a failed, cheap attempt at photorealistic animation. Another strength is the sense of authenticity for each era, down to the wise decision to allow Vikings to speak in Old Norse and the samurai to speak in Japanese. Those who dislike reading subtitles might take issue with this, but the creative decision benefits the movie because it makes it easier to believe the characters are real. Accompanying the animation is the thrilling score by Benjamin Wallfisch (Alien: Romulus), which also incorporates recognisable motifs from Alan Silvestri's original Predator score to terrific effect.

Even though Predator: Killer of Killers is an animated movie, it is not suitable for children. Trachtenberg and Wassung maintain the franchise's R-rated edge, filling the picture with visceral, hard-hitting violence and never pulling any punches. The set pieces also show tremendous creativity, with Predators using their era-specific arsenal to kill and maim victims or bring down planes. Additionally, the animators demonstrate an impressive range of fight choreography, varying according to the combatants, with the Vikings appearing brutal and simplistic, while the samurai move with more grace. Cinematography is dynamic and imaginative, consistently moving around the characters throughout the action set pieces while ensuring that everything remains comprehensible and coherent. Particularly awe-inspiring is the aerial set piece that pits a heavily armed Predator ship against WWII fighter planes, during which the virtual camera swirls around to capture the action. Additionally, the characters do not rely solely on strength to defeat the Predators, as circumstances force them to adopt a more thoughtful approach.


Voice performances are strong all around, with the production understandably opting for lesser-known names who give enthusiastic life to their respective characters. The biggest name here is Michael Biehn, who plays a fighter pilot named Vandy with grizzled gravitas. Plus, with Biehn's participation here, the actor is now part of a rare club of those who have featured in the three big sci-fi franchises: Terminator, Alien, and now Predator. The resurrection of the Predator franchise after the dismal critical and financial failure of 2018's The Predator is as unexpected as it is encouraging. Indeed, Predator: Killer of Killers is a welcome course correction, further expanding the lore and leaving room for sequels to bring back any returning characters from the franchise, from Arnold Schwarzenegger's Dutch Schaefer to Danny Glover's Mike Harrigan. The only thing remotely unsatisfying about Killer of Killers is the open-ended ending, as the story closes on a cliffhanger to whet appetites for the next instalment. Nevertheless, the movie gets far more right than wrong, respectfully continuing the series with renewed creative vigour. The sequel cannot come soon enough.

8.3/10

After transitioning from YouTubers to filmmakers with 2023's Talk to Me, Australian twins Danny and Michael Philippou, a.k.a. RackaRacka, deliver another standout independent supernatural horror picture with 2025's Bring Her Back. With a screenplay by Danny Philippou and Bill Hinzman, it is another thematically rich horror offering that touches on adolescent neglect and abuse, and the loss of loved ones, giving the story a hard-hitting emotional heft that does not feel exploitative. Although Bring Her Back is not necessarily scary, it is incredibly chilling, intense and unnerving, with the directors generating an alarming sense of unease and danger. The premise is not entirely original, as creepy foster parents or guardians are a staple of the genre, but the execution is fresh and captivating, with exceptional performances and first-rate visuals, making this one of 2025's standout horror movies.


17-year-old Andy (Billy Barratt) does his best to look out for his partially sighted stepsister, Piper (Sora Wong), maintaining a loving bond. After their father (Stephen Phillips) suddenly dies in the shower, the siblings are placed into foster care, though Andy hopes to gain guardianship of Piper after his upcoming eighteenth birthday in a few months. Refusing to separate, Andy and Piper are adopted by the eccentric Laura (Sally Hawkins), who lives with her mute nephew Oliver (Jonah Wren Phillips) and is mourning the recent death of her visually impaired daughter, Cathy (Mischa Heywood). Laura quickly bonds with Piper, but Andy is more reluctant and guarded as he deals with his traumatic past, finding it difficult to trust and open up to his new foster mother. Andy's distrust continues to grow through a series of unsettling incidents, particularly as Oliver displays concerning and violent behaviour, making the teenager wonder about Laura's true intentions with Piper.

Despite its modest $15 million budget, Bring Her Back is best experienced in a cinema, where the movie's intricate audiovisual design can be more fully appreciated. The picture is thick in atmosphere, with cinematographer Aaron McLisky (Talk to Me, TV's Mr Inbetween) creating slick, engaging visuals and making the most of the low-key South Australian locations. Instead of a simplistic "point and shoot" approach, McLisky puts remarkable thought and care into each frame, using different lenses and focal lengths to enhance the horror. Indeed, the movie is unusually artistic. Also chilling is the blurry imagery of occult rituals, with Laura watching VHS tapes of a cult as she learns the intricacies of the ritual she intends to follow to bring Cathy back from the dead. Dim VHS imagery is inherently unsettling (the entire V/H/S series, which refuses to end after more than a decade, clearly understands this), and the sequences add another layer to the movie's creep factor, although this material feels slightly underutilised.


Much like Talk to Me, the directors establish a loose supernatural mythology in Bring Her Back as a basis for the narrative. The lore may not withstand intense scrutiny, and the movie uses the mythology as window dressing, as the script does not delve into the specifics or origins; however, it remains simple and understandable. Bring Her Back is not about cheap shock value or jump scares, as the directors stage the type of horror that gets under your skin and makes you wince. The movie delivers harrowing psychological horror, while the more visceral sequences are equally skin-crawling. Relying on outstanding practical effects, enormously convincing prosthetics, and unnerving sound design, the directors stage numerous grotesque moments, particularly as the story picks up steam during the second half. Additionally, the gore does not feel exploitative or schlocky, as the directors keep firm control of the picture's tone and show appropriate tact. Moreover, the production benefits from a confident sense of pacing, thanks to editor Geoff Lamb (Talk to Me), who ensures the material never devolves into tedium, despite the movie mostly involving tense character interactions rather than action or big set pieces. Bring Her Back is a slow-burn, but it's not dull.

Sally Hawkins arguably delivers one of the year's finest performances as the deeply troubled, manipulative, detestable, grieving foster mother who is unwilling to let go of her deceased daughter. Although the horror genre may seem below the Oscar-nominated actress, Hawkins brings immense emotion and gravitas to the material, espousing an effortlessly authentic and convincing Australian accent that could fool any Aussie native (this reviewer included). Most commendably, Hawkins makes Laura feel like a three-dimensional human being, rather than a shallow caricature, with the film grounding her motivations in grief and desperation.


Similarly impressive is young English actor Billy Barratt (Kraven the Hunter), who also nails the Aussie accent and capably handles the story's intense dramatic elements. Barratt was 17 years old during filming, the same age as his character, which makes him all the more believable - the directors wisely avoided trying to pass off a well-known actor in their late 20s or early 30s as a teenager. Another standout is Sora Wong, who makes her film debut here after landing the role despite having no prior acting experience. The palpable bond between Andy and Piper gives the movie its heart, which is a testament to the writing and performances. Meanwhile, newcomer Jonah Wren Phillips (How to Make Gravy) makes a horrifying impression as the mute Oliver, with the preteen actor participating in some of the movie's most memorable, unnerving moments.

Bring Her Back does not culminate in a massive climactic set piece, and the directors reportedly considered several different endings before settling on something more emotional. Although some genre aficionados might yearn for a bigger payoff, the film's ending feels in keeping with the movie's sombre tone, even if it leaves lingering questions about the demonic cult at the centre of the ominous ritual. Bring Her Back falls in line with the type of heightened, critic-courting horror movies that A24 is renowned for delivering (The Witch, Hereditary), which might make it a less tempting proposition for younger viewers who prefer more streamlined, mainstream-friendly genre flicks. However, it is an engaging, unnerving and emotionally devastating experience, and it does not feel like homework thanks to the strong character work, top-notch performances, and robust sense of atmosphere. It may not be fun or rewatchable, but Bring Her Back is unforgettable.

7.9/10

Continuing his impressively consistent run of movies, Guy Ritchie attempts something different with 2025's Fountain of Youth, teaming with Apple to mount a globe-trotting action-adventure with shades of Indiana Jones and National Treasure. Ritchie has been experimenting with different styles and genres of late, helming a tense action-thriller (Wrath of Man), a Bond-esque action blockbuster (Operation Fortune), a contemporary war movie (The Covenant), and an incredibly fun World War II flick (The Ministry of Ungentlemanly Warfare). However, Fountain of Youth is his most uninspired work in years, as the director bafflingly dials back his cheeky sense of humour and cinematic personality, which defeats the purpose of hiring Ritchie in the first place. The screenplay by James Vanderbilt (White House Down, Independence Day: Resurgence) provides plenty of puzzles, clues, heists and action scenes, but it all feels painfully by-the-numbers, with Ritchie only occasionally translating the material into something fun or compelling.


A disgraced archaeologist and professional treasure hunter, Luke Purdue (John Krasinski) is determined to find the location of the Fountain of Youth by following a trail of clues. Funding the operation is successful billionaire Owen Carver (Domhnall Gleeson), who hopes to beat terminal cancer by drinking from the foundation, also recruiting team members Murphy (Laz Alonso) and Deb (Carmen Ejogo) to lend their expertise. By stealing a painting in England, Luke involves his sister, Charlotte (Natalie Portman), a museum curator who loses her job after the heist. With Charlotte going through a difficult time as she battles for custody of her son, Thomas (Benjamin Chivers), she reluctantly joins the team to help by examining the clues as the hunt takes them to Austria and Egypt. Pursuing the team is the mysterious Esme (Eiza González), while a team of Interpol officers led by Inspector Jamal Abbas (Arian Moayed) is also determined to arrest the team before they reach their desired destination.

Ritchie shows off his trademark stylistic choices during the opening title sequence with a retro credit font and a flavoursome, catchy song, while the ensuing chase is exciting, and Luke's behaviour is cheeky. Unfortunately, the rest of the picture lacks such personality, as Fountain of Youth feels generic as hell from a stylistic and aesthetic standpoint. It appears that Apple demanded that Ritchie dial back his recognisable idiosyncrasies to serve as a glorified gun for hire; as a result, the movie's execution mirrors Apple's other original action movies, like The Family Plan and The Instigators. Since Fountain of Youth's target audience is younger than Ritchie's usual output, the director also dials back the violence to maintain a PG-13 rating. Consequently, the action scenes are sufficiently engaging and proficient but lack a visceral punch. Plus, even though the technical presentation is competent and slick, with polished cinematography and top-notch digital effects, Fountain of Youth lacks a defining flavour to distinguish it from other action-adventure films, making it difficult to care about whether or not Apple decides to push ahead with a sequel.


Much like the execution, Fountain of Youth's screenplay is similarly nondescript, from bog-standard genre characters with convenient knowledge of obscure things to witless action movie dialogue. ("Don't you move!") Additionally, Fountain of Youth is too long at over two hours, and the movie's attempts to shoehorn in villains (Esme) and adversaries (Inspector Abbas) only add frustrating roadblocks that slow the pacing. John Krasinski and Natalie Portman are good actors, but they struggle to carve out memorable or endearing characters. Perhaps the most interesting performance here is Domhnall Gleeson, who chews the scenery and leans into villainy during the third act.

Thankfully, Fountain of Youth is not a total bust despite its multiple shortcomings. With Apple presumably splashing out a kingly sum on the production, it looks fantastic, and it is often difficult to discern where the live-action elements end and the CGI begins. Production took place in several countries around the world, with Ritchie shooting sequences on location in Thailand, Austria, Egypt, and England, which gives the picture an impressive sense of scope. One particularly impressive set piece involves Luke's crew raising a piece of the wreck of the RMS Lusitania to recover a lost painting from the Purser's Strongroom. Although the concept strains credulity and might seem in poor taste considering the Lusitania's death toll (1,200 souls died in the sinking), it is a fun sequence, and the recreation of the ship's rusted interiors is incredibly convincing. Ritchie also re-teams with composer Christopher Benstead, and the resulting score thankfully does not amount to hollow noise; instead, the soundtrack is appreciably engaging and unique. Ritchie infuses the movie with other fun touches, including homages to Indiana Jones (Luke and Charlotte's archaeologist father is named Harrison) and Close Encounters of the Third Kind, but it's not enough to shake the pervasive feeling of familiarity.


Apple is clearly on the hunt for a franchise with Fountain of Youth, priming the team for more treasure hunts and adventures, even closing with a sequel tease. It's disappointing to see Ritchie wasting his time on such formulaic material, especially since sequels to films like The Ministry for Ungentlemanly Warfare or The Man from U.N.C.L.E. would be far more enticing. Although the movie has its merits, it amounts to another generic Hollywood blockbuster that does nothing to distinguish itself from similar slop, and it's hard to imagine anybody still remembering or rewatching the movie in five or ten years. Those who enjoy these disposable action-adventures might find Fountain of Youth enjoyable enough in the moment, particularly if you like John Krasinski, but more discerning viewers are advised to look elsewhere for their entertainment.

5.6/10

Considering the mixed quality of the sequels to 2001's standout romantic comedy Bridget Jones's Diary, the prospect of a fourth instalment - arriving twenty-four years after the original picture - was understandably grim. But against all odds, 2025's Bridget Jones: Mad About the Boy surpasses all reasonable expectations, delivering sharp comedy and bittersweet drama, rendering it more interesting and engaging than most chick flicks. The nine-year gap since the previous film (2016's enjoyable but forgettable Bridget Jones's Baby) feels surprisingly organic to the story, checking in with the titular character as she confronts another period in her life. Author Helen Fielding once again returns to adapt her own 2013 novel of the same name for the screen, collaborating with screenwriters Abi Morgan (Shame, The Iron Lady) and Dan Mazer (Borat, Brüno) to shape this astonishingly satisfying belated fourthquel. No sign of franchise fatigue plagues Mad About the Boy, nor does it feel like more of the same, as the movie is a refreshing breath of fresh air with its witty writing and heartfelt storytelling.


Four years ago, Bridget Jones (Renée Zellweger) lost her husband, Mark Darcy (Colin Firth), who died during a humanitarian mission in Sudan. Unable to work, Bridget struggles to raise her two children, Billy (Casper Knopf) and Mabel (Mila Jankovic), as she wrestles with grief while her family and friends offer conflicting advice on how to move forward. Daniel Cleaver (Hugh Grant) remains in Bridget's life as a friend and babysitter, but the pair no longer engage in anything romantic. Choosing to embrace life again, Bridget takes a job as a talk show producer and opens herself up to the dating pool, with a chance encounter leading to a connection with the handsome young Roxter (Leo Woodall). Despite the age gap, Bridget and Roxter pursue a relationship, though she also finds herself drawn to Billy's new science teacher, Scott Walliker (Chiwetel Ejiofor).

Like all great romantic comedies, Bridget Jones: Mad About the Boy succeeds because the story provides a robust dramatic foundation. This fourth film is not just about Bridget looking for love during her latter years; it's about a widower trying to move on from an unspeakable tragedy while being a mother to two vulnerable, distraught children. Billy particularly struggles to move on from Mark's death, fearing that he will forget his father as the years progress. One outstanding scene between Scott and a grieving Billy is astonishingly poignant, showing a sense of maturity that rom-coms rarely exhibit. The story's other dramatic components are similarly effective, including Daniel reflecting on his lonely life as he confronts his morality, with the drama feeling like an organic part of the story instead of something perfunctory or contrived. Furthermore, the script is in touch with the trials and tribulations of modern dating, incorporating dating apps and ghosting, and its depiction of contemporary parenting is surprisingly authentic. Nothing in Mad About the Boy feels manufactured or Hollywood-ised, with the film retaining the franchise's uniquely British charm.


Luckily, Bridget Jones: Mad About the Boy does not skimp on the laughs, with director Michael Morris (To Leslie) ensuring the picture is still an incredibly amusing and enjoyable sit despite the dramatic material. The fourthquel runs a hefty 125 minutes, but while the notion of a rom-com exceeding two hours seems unappealing (90 minutes is the usual sweet spot), Mad About the Boy justifies its length with a substantive narrative. With Morris's direction and the sharp editing, the movie sustains a wonderful sense of energy and style, easily scoring belly laughs. Although Morris is a long-time television director (he oversaw episodes of Better Call Saul and Preacher, among others), and this is only his second feature film, the helmer mounts an impressively slick and thoroughly cinematic romantic comedy, making it all the more baffling that Peacock sent the movie straight to streaming in the United States. Moreover, Morris confidently navigates the tonal shifts when the characters pause for soulful reflections or discussions about life and death.

Returning to screens six years after her Oscar-winning turn in 2019's Judy, Renée Zellweger reprises the iconic role without missing a beat, handling the comedy and drama with equal confidence. Zellweger provides an engaging inner monologue throughout the picture, and she occasionally conveys so much without words, such as the excitement of texting a new person on a dating app or the anxiousness of being ghosted. The progression of Zellweger's performance over the years is genuinely impressive, credibly transitioning from young and exuberant to a more world-weary parent. Thanks to Zellweger, investing in Bridget's situation and caring about what happens to her is easy. Fortunately, a capable supporting cast surrounds the actress. Although Firth's Mark Darcy is now deceased, the actor is not absent from the sequel. Firth shows up during a few heartwrenching moments to reinforce the hole his death left in Bridget's life, and these scenes are sweet instead of corny. One particular sequence towards the end of the film, at a Christmas pageant, is almost unbearably poignant and left this reviewer with tears in his eyes. Who expected that from a rom-com?


Meanwhile, after electing not to return in Bridget Jones's Baby, Hugh Grant makes an excellent impression playing Daniel Cleaver again, twenty-one years after last playing the role in Bridget Jones: Edge of Reason. Grant remains an utter joy, and even though he is no longer a heartthrob leading man, he's genuinely hilarious and believably handles the dramatic moments. Grant stated in an interview that he wrote additional scenes to give Daniel a more meaningful and emotional role in the story since he adored the script and wanted to participate, and the effort pays off wonderfully. Additionally, Mad About the Boy pulls out all the stops by bringing back as many returning actors as possible, including the wonderful Jim Broadbent as Bridget's father, Gemma Jones as Bridget's mother, Sally Phillips as Bridget's close friend Shazza, Emma Thompson as Bridget's doctor, and several more. The new cast members are equally terrific, with the handsome and charismatic Leo Woodall as Bridget's new love interest, and the always-reliable Chiwetel Ejiofor as the science-minded Mr. Walliker.

Even though the Bridget Jones movies are primarily aimed at women, the appeal of Mad About the Boy extends to men since the picture explores relatable, universal themes while delivering uproarious gags that should please any viewer, regardless of gender. Indeed, despite Bridget's dating woes, the movie smartly avoids demonising men. The feature is perhaps a touch too long, and it can't match the brilliance and novelty of the original film, but these are minor quibbles. Bridget Jones: Mad About the Boy is thoroughly entertaining, hilarious, and touching, and it is hard to imagine a more fitting cinematic conclusion for the titular character. Indeed, with no more novels to adapt and seemingly no more dramatic arcs for Bridget to undertake, this is the perfect ending for the series.

7.8/10

The most interesting and perhaps the best Final Destination sequel to date, 2025's Final Destination: Bloodlines is an unexpectedly strong continuation of the horror series that brings back the franchise's best elements: elaborate set pieces, dark humour, tongue-in-cheek gore, and a few knowing winks. Instead of resurrecting the brand name for a lazy cash-in after a slew of successful legacy horror sequels, this sixth instalment benefits from recruiting fresh blood in the form of directors Zach Lipovsky and Adam Stein (2018's Freaks), writers Guy Busick (Ready or Not, 2022's Scream) and Lori Evans Taylor, and even Jon Watts (Spider-Man: No Way Home), who devised the story and produced the picture. Another Final Destination picture is not unwelcome after fourteen years, and the new creative team thankfully do not try to subvert expectations or introduce eye-rolling postmodernist humour. The result is a slick, devilishly enjoyable horror flick with a few fresh ideas that should please fans and newcomers alike.


In the 1960s, young Iris Campbell (Brec Bassinger) prevented a deadly disaster at the brand-new Skyview Restaurant Tower after she experiences a premonition of the tall building collapsing and everybody dying, including her boyfriend Paul (Max Lloyd-Jones). Decades later, Iris's granddaughter, Stefani (Kaitlyn Santa Juana), experiences a recurring nightmare of Iris's premonition, which affects her academic performance at college. Seeking answers, she returns home to see her father Marty (Tinpo Lee), her younger brother Charlie (Teo Briones), and more of her extended family, including her uncle Howard (Alex Zahara). Learning that her grandmother (now played by Gabrielle Rose) became a recluse who sent alarming letters to the family, Stefani tracks down Iris in a fortified cabin, who warns her granddaughter that Death is coming for their family. Since Iris messed with Death's plan by having children, the Grim Reaper now seeks to eliminate all of Iris's descendants, sparking a series of deadly accidents.

Ditching the long-circulated storyline about first responders that was initially the basis for a sixth Final Destination, Bloodlines is the first movie in the series to do something fresh by travelling back several decades and focusing on a family that should not exist. Naturally, Busick and Taylor's screenplay incorporates a few familiar beats from the series, including characters dismissing warnings about Death coming for them and the way that the ending predictably plays out, but there is only so much that can be done with a Final Destination picture while delivering the content that fans crave. The execution is essential to overcome a formulaic narrative, and Bloodlines gets it right for the most part: the characters are credible, the story flows smoothly, and the film is not tedious or dull between the scenes of guts and gore.


Directors Lipovsky and Stein, who secured the job by staging a freak accident during a Zoom meeting with New Line execs and producers, thankfully show an exceptional flair for set pieces, ensuring that Bloodlines takes care of the franchise's core component. The movie commences on a high note (heh) with the ominous sequence in the incredibly tall Skyview Tower that leaves you unsure about precisely when the inevitable accident will occur. Setting the scene in the 1960s gives it a fresh aesthetic, and the directors carefully build suspense instead of relying on lazy jump scares. (As always, avoid all trailers and previews for the most enjoyable experience - these movies are best consumed when you go in blind.) Miraculously, Bloodlines brings back an element of surprise to the series, cleverly toying with expectations, and Death's design even forces the reveal of a family secret in an uproarious moment. On that note, the movie has a healthy sense of humour, with the elaborate deaths coming across as darkly comedic instead of mean-spirited. Unfortunately, the overtly digital aesthetic does detract a visceral punch from the set pieces, and it is a shame the directors did not opt for more practical effects.

A robust selection of mostly unknown actors gives the film some dramatic heft, with Gabrielle Rose making a particularly good impression as the aging, paranoid Iris. Most recent legacy sequels brought back notable actors from the respective franchises, including Scream and Halloween. However, the Final Destination series lacks that luxury since the actors all die by the end of each instalment. However, this sequel does bring back one notable name in franchise mainstay and genre icon Tony Todd (the iconic Candyman), who reprises his role of William Bludworth for the last time here. Bloodlines is dedicated to the memory of Todd, who featured in almost all of the Final Destination films except 2009's The Final Destination, but nobody really remembers that painfully paint-by-numbers entry. With Todd's recent passing and the context of his appearance here, his scene carries a distinct poignancy, and the script smartly ties his character to Iris, revealing his backstory after twenty-five years of mystery. Todd looks tragically gaunt here, as the actor passed away from stomach cancer mere months after filming, but the creative team ties his condition into the story, giving the character a fitting, bittersweet exit. Reportedly, Todd improvised the character's final lines to speak directly to the fans.


Remarkably, Final Destination: Bloodlines demonstrates that the Final Destination series still has life in it after two decades of Death catching up with those who evaded him. This sequel is the longest instalment in the series to date, clocking in at a hefty 110 minutes (whereas the other entries run 80-95 minutes), but the directors confidently sustain interest throughout the narrative. Despite some silly character behaviour (see one scene involving an MRI machine) and a few predictable story beats, Bloodlines is a highly satisfying watch that does not forget what made the franchise so appealing. The notion of more sequels is surprisingly enticing, as we still do not know why the premonitions happen, and the 1960s setting of the prologue shows that moving the action to another time period has potential. (Rumours of a medieval-era Final Destination movie have persisted for several years.) As long as New Line continues to produce these flicks, I will probably continue to watch them.

7.3/10

Although it seems relatively pointless to produce a sequel to a mid-budget action-thriller from nine years ago, 2025's The Accountant 2 is far more worthwhile than erroneous first impressions might imply. With most of the original cast returning, along with screenwriter Bill Dubuque (The Judge) and director Gavin O'Connor (Warrior), this follow-up justifies its existence with a robust story, sharp character interaction, and thrilling action sequences, surpassing all reasonable expectations with confidence. Additionally, even though it is a sequel, The Accountant 2 doesn't demand intimate knowledge of its predecessor, as this follow-up places the returning characters in a new story, making it easy for newcomers to find their footing. Heck, even if you have seen the original movie but don't remember it (and you are not alone - it was nine years ago), The Accountant 2 is a satisfying viewing experience, and the prospect of further sequels is more enticing than ever.


Former Financial Crimes Enforcement Network director Raymond King (J.K. Simmons) seeks to locate a missing Salvadoran family, meeting with an assassin, Anaïs (Daniella Pineda), for help. Following King's assassination, his protege, Marybeth Medina (Cynthia Addai-Robinson), begins an investigation, which leads her to track down Christian Wolff (Ben Affleck), an autistic accountant who services criminal organisations. With evidence of child trafficking and the case turning out to be bigger than anticipated, Christian turns to Braxton (Jon Bernthal), his estranged brother who still works as an assassin, to help by bringing his skills with firearms. The siblings work through old feelings as they search for answers about the missing family, while crime lord Burke (Robert Morgan) sends Anaïs to assassinate Medina.

The Accountant 2 swiftly reintroduces Christian and his unique thought process in the first act of the picture, checking in with him as he applies his mathematical thinking to the realm of speed dating. The resulting scene is incredibly amusing, reestablishing Christian as an interesting character worth investing in. Also fascinating is the way Christian enlists the assistance of neurodivergent children from the Harbor Neuroscience Academy, who are computer experts, to aid the investigation during one particularly tense scene while Medina strongly disapproves of their illegal yet clever methods.


Above all else, this sequel primarily succeeds because it leans into the buddy chemistry between Affleck and Bernthal, who interact like genuine siblings and whose banter genuinely sparkles throughout the film. Bernthal is great in anything, and his presence here is a considerable asset, scoring laughs with ease and looking right at home while operating firearms amid an intense gunfight. Affleck's performance is similarly superb, convincingly playing a neurodivergent individual with immense intelligence. Wisely, Dubuque's script also introduces depth to the siblings' relationship, and the film emphasises that even though Christian can drive Braxton up the wall, the pair still have a deep bond and are very fond of each other. A strong supporting cast surrounds the pair, with Daniella Pineda making the biggest impression as a competent assassin who cannot remember her past.

Director O'Connor confidently navigates the tricky narrative, exploring the central conspiracy that involves several players and twists and turns. The pacing is not always on point, and the film requires your full attention to prevent you from getting lost in the occasionally labyrinthine proceedings. However, the bigger picture ensures perpetual interest in the story: Christian, Braxton, and Medina want to free imprisoned children. Additionally, O'Connor nails the action sequences with ease, staging vicious, violent confrontations that mainly occur in the movie's final third. The climactic assault on a compound in Juarez is a highlight, and it is incredibly satisfying to watch Christian and Braxton kill a group of child traffickers. Thankfully, O'Connor's set pieces are enjoyable and comprehensible, with returning cinematographer Seamus McGarvey never giving in to distracting shaky cam. The R-rating allows for badass bloodletting and plenty of colourful language, ensuring the movie doesn't feel like another safe Hollywood blockbuster for the broadest possible audience.


Another appreciated reprieve from superhero movies and big-budget blockbusters, The Accountant 2 is a memorable and engrossing action-thriller aimed at adults, reminiscent of films like Sicario or Wrath of Man. There are plenty of highlights, including a small appearance by the always-reliable J.K. Simmons (reprising his role from the first film), Christian using a tax return to confront a pizza shop owner over money laundering, and Braxton finding and rescuing a cat after the climactic action sequence. Sequels are often disappointing due to the sheer weight of expectations, which makes The Accountant 2 all the more refreshing. After all, it's doubtful that many viewers expected much from this seemingly random, belated sequel; yet, the picture is more satisfying than many disappointing, high-profile sequels.

7.8/10

2025's Sinners sees writer-director Ryan Coogler tackling a wholly original story after his forays into the Marvel Cinematic Universe (Black Panther and its sequel), the Rocky series (2015's Creed), and true stories (2013's Fruitvale Station). A wildly ambitious, genre-bending masterpiece that deserves to be viewed on the biggest screen possible, Sinners is Coogler's best work, boasting superb aesthetics, top-notch technical execution, and a superlative, evocative soundtrack. The picture also represents an extremely rare specimen in contemporary cinema, as it's a big-budget, R-rated, original movie without a star-laden cast or large-scale action sequences. Don't sleep on this movie - it deserves box office success and a wide audience, especially since online commentators frequently point out Hollywood's tendency to almost exclusively produce sequels, reboots, and comic book adaptations.


In 1932, identical twin brothers Smoke (Michael B. Jordan) and Stack (also Jordan) return to Mississippi after spending several years working for Al Capone in Chicago. Arriving with ample money, the brothers purchase a sawmill with plans to transform it into a juke joint for the local African American community. Turning to their friends and connections to assemble the staff, they recruit pianist Delta Slim (Delroy Lindo), singer Pearline (Jayme Lawson), and their cousin, a talented aspiring guitarist named Sammie (Miles Caton), to perform live music for the patrons. Chinese shopkeepers Grace (Li Jun Li) and Bo (Yao) join the staff to take care of the establishment's supplies, while Smoke's estranged wife, Annie (Wunmi Mosaku), comes onboard as a cook. In the lead-up to opening night, Stack also reconnects with his former lover, Mary (Hailee Steinfeld), who wants to support the endeavour. However, the upbeat opening night of music and drinking is interrupted by the arrival of an Irish-immigrant vampire, Remmick (Jack O'Connell), who hopes for an opportunity to feed on unsuspecting patrons.

Story and character are not always the primary concern of a horror movie, but the horror elements are secondary in Sinners. Coogler spends the film's first two acts developing the characters and establishing the world, making a compelling period drama instead of something more disposable. Coogler immerses the narrative in the culture of the people and the period, and the resulting illusion feels wholly authentic, rather than forced or manufactured. The dialogue carries an engaging lyricism, and the movie does not take the characters for fools once they discover that vampires are hunting them. Indeed, the characters are aware of vampire lore and begin preparing themselves for an assault, including collecting garlic juice, wooden stakes, and silver, and being careful not to invite any vampires inside. Sinners runs a beefy 137 minutes, but it doesn't feel like homework as Coogler packs the picture with endless pleasures, including the exceptional music and a smattering of humour to ensure the tone is not dour.


The superlative technical presentation of Sinners significantly elevates the picture, as it doesn't look like a run-of-the-mill studio blockbuster. Cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever) captured the film on 65mm using IMAX 15-perf and Ultra Panavision cameras, and the result is a visual marvel. The aesthetics are flawless, from the location shooting and authentic-looking sets to the period costumes and seamless special effects. One of the most impressive achievements is putting Smoke and Stack in the same shot, alongside each other, and having them physically interact, including when they engage in a fight. Coogler acquits himself admirably with the various action sequences, staging set pieces that are more grounded and exciting compared to his work on the Black Panther movies. Since the director allows us to become acquainted with the central characters, the climactic showdown with the undead is all the more intense and gripping. The ferocity of the vampires also gives the picture genuine thrills. Since Sinners carries an R-rating, Coogler does not hold back on the gore or bloodshed - the violence is hard-hitting, giving the set pieces a thrilling edge, but the director still thankfully shows appropriate restraint and tact.

The real star of Sinners is the music, with Coogler recruiting frequent collaborator Ludwig Göransson (who worked with his wife, Serena Göransson) to compose the bluesy, atmospheric original score. The soundtrack evocatively captures the time and place, while an array of blues musicians also contribute a terrific selection of original songs to further enhance the film's flavour. Furthermore, Sinners features an excellent ensemble cast, with Coogler bringing in the always reliable and charismatic Michael B. Jordan to play brothers Smoke and Stack. It's a perfect role for Jordan, who brings gravitas and charm to the tricky double act, while adding subtle nuances to distinguish Smoke and Stack from each other. A robust supporting cast surrounds Jordan, with the extraordinary Wunmi Mosaku making the biggest impression as Annie, who has a strong connection to hoodoo and gives the film a strong sense of culture. Meanwhile, Hailee Steinfeld makes a terrific impression as the spunky Mary and even contributes the original song "Dangerous" to the soundtrack. On that note, several actors perform songs throughout the movie, including Jack O'Connell and Jayme Lawson, and much of the singing was reportedly recorded on set instead of being dubbed in later. O'Connell has great fun playing the central vampire, hamming it up without compromising the film's tone.


One of 2025's best movies, Sinners merges engrossing period storytelling with badass vampire action and toe-tapping music, demonstrating that Coogler has not lost his mojo despite the disappointment of Black Panther: Wakanda Forever in 2022. The way the film switches genres in the third act is genuinely effective, with the introduction of vampires feeling reminiscent of From Dusk Till Dawn, and the climactic action scenes do not cheapen the story. Admittedly, an additional shootout involving the (deserved) massacre of KKK members feels like fantasy wish fulfilment, but it is satisfying and well-executed. Be sure to stick around once the film ends, as there are additional scenes both during and after the credits that provide further closure to the story and an extra musical performance.

8.7/10

Another limp entry in the ever-weakening Marvel Cinematic Universe, 2025's Captain America: Brave New World is a jumbled hodgepodge of story ideas and concepts, lacking a unifying or coherent narrative that ties everything together. In other words, it bears all the hallmarks of a troubled production, as the movie underwent extensive reshoots, hasty rewriting, and last-minute re-editing in a desperate attempt to salvage the ridiculously expensive blockbuster after an endless succession of poor test screenings. Rewrites and reshoots are not necessarily a bad thing, but the foundation of Captain America: Brave New World is incredibly shaky, making it borderline impossible to salvage. Despite the potential for this to be another intriguing political thriller reminiscent of 2014's superlative Captain America: The Winter Soldier, it's another swing and miss, with director Julius Onah (The Cloverfield Paradox) struggling to pull together the jumbled narrative strands to create an engaging or fascinating viewing experience.


Five months after winning the U.S. Election, President Thaddeus Ross (Harrison Ford) sends Sam Wilson/Captain America (Anthony Mackie) and Joaquin Torres/Falcon (Danny Ramirez) into Mexico to stop Sidewinder (Giancarlo Esposito) from selling stolen items. The mission is a success despite Sidewinder escaping, with Sam bringing back a canister of adamantium collected from Celestial Island. Ross hopes to unite world leaders by proposing a treaty to control the worldwide mining and distribution of adamantium, and he invites Sam and Joaquin to a White House summit. Also joining the pair is Isaiah Bradley (Carl Lumbly), who attempts to assassinate President Ross but denies any knowledge of the incident. Sam seeks to clear Isaiah's name, working alongside Joaquin while also receiving assistance from Ruth Bat-Seraph (Shira Haas), a former Israeli Black Widow who now works as Ross's security advisor. With a war looming between the U.S. and Japan over Celestial Island, Sam uncovers a conspiracy masterminded by Dr. Samuel Sterns (Tim Blake Nelson), whose grand plan involves ruining Ross's reputation.

Instead of building upon the previous Captain America movies, this fourth instalment is a follow-up to two of the most forgettable and disliked entries to the MCU: The Incredible Hulk and Eternals. It also vaguely follows on from The Falcon and the Winter Soldier, but the Disney+ series feels startlingly inessential in the grand scheme of the franchise, aside from introducing Isaiah Bradley, whose presence here feels incidental. If you do not remember The Incredible Hulk, Eternals or The Falcon and the Winter Soldier, do not fret - the movie perfunctorily reveals all relevant information, with the script going heavy on exposition. The first half-hour recaps everything we already know, from Isaiah's hatred of the U.S. government (remember, they imprisoned and experimented on him!) and Ross's cruel reputation to the massive Celestial hand that emerged during Eternals.


Perhaps the movie's greatest sin is how it completely ruins the movie's emotional core. Throughout the picture, Ross speaks about wanting to reconcile with his daughter, Betty (Liv Tyler), and go for a walk with her. But during the perfect moment to bring her into the story, when Ross turns into Red Hulk and wreaks havoc around Washington D.C. (Red Hulk was all over the marketing, it's not a fucking spoiler), she remains absent. As a result, the movie ruins the opportunity for a poignant denouement; instead, Sam delivers a pretentious speech to talk Ross down, reminiscent of The Falcon and the Winter Soldier's heavily ridiculed, god-awful ending. Speaking of Red Hulk, despite his prominence in the marketing materials, Ross only transforms in the final ten minutes of the picture, and the "twist" that reveals how gamma radiation entered Ross's body is utterly risible.

Captain America: Brave New World recycles ideas from Captain America: The Winter Soldier and Captain America: Civil War, and it is clear that director Julius Onah wanted to make a grounded espionage thriller influenced by the Russo Brothers. However, it is all for naught without an intelligent screenplay foundation, and the inclusion of the Red Hulk contradicts the gritty tone. The notion that Sam could fight Red Hulk in close combat is not even remotely believable - not even Steve Rogers, with the Super Soldier Serum, could fight the Hulk, and Tony Stark needed an elaborate Hulkbuster suit in Avengers: Age of Ultron to give him any chance. There's no getting around the fact that Captain America: Brave New World feels like three movies awkwardly combined into one dissonant whole, with throwaway plot elements like Giancarlo Esposito's Sidewinder, who appears in only three scenes and has no bearing on the jumbled central narrative. Characters were added (Sidewinder), removed (Seth Rollins as a member of the Serpent Society), or changed (Ruth Bat-Seraph, who no longer wears a Sabra costume in the final film) during post-production, which reflects the narrative's lack of cohesion.


The pacing and editing of Captain America: Brave New World are choppy as hell, which reflects the extensive post-production tinkering to make the film as short and palatable as possible. Even though the movie runs just under 110 minutes before the credits, it feels two and a half hours long. Captain America: Brave New World also tones down the incendiary political dialogue compared to The Falcon and the Winter Soldier, even though it feels like Disney and Marvel opted to trim such content during the editing process. Alas, the poor quality of the special effects is further evidence of the constant re-jigging. Like countless other recent MCU projects, the digital effects are phoney and obvious, from fake-looking CGI backdrops to a Red Hulk that looks considerably less convincing than the Hulk in 2012's The Avengers. To the movie's credit, the basic production qualities are otherwise fine, from the slick photography to the tense score. Additionally, several of the action sequences are perfectly serviceable as Sam engages targets in close combat, including a tense showdown with Sidewinder. The camp value of the Red Hulk sequence also enhances the film's entertainment value in an ironic scene.

Anthony Mackie is perfectly likable and charming as Sam Wilson, and he was the perfect sidekick for Chris Evans's Steve Rogers. But reducing Captain America to a mere mantle is an ill-considered mistake, and the script can never get to the heart of who Sam Wilson is. Plus, Captain America: Brave New World spends too much time trying to drive home the message that Sam is Captain America, which feels like an unnecessary thematic retread of The Falcon and the Winter Soldier. Frankly, Mackie deserves better than this slipshod material. Meanwhile, although Harrison Ford is a fantastic actor, his interpretation of Ross feels like an entirely different character, with Ford seemingly phoning this one in for a big bag of Marvel cash (to paraphrase Deadpool). Also in the cast is Danny Ramirez, who returns as Sam's quippy sidekick, Joaquin Torres. Unfortunately, Ramirez fails to make much of an impression, as he feels redundant to the story. Whereas Steve Rogers recruited Sam out of necessity in The Winter Soldier, Joaquin is simply there for the sake of having a sidekick.


The supporting cast of Captain America: Brave New World is underwhelming, especially compared to The Falcon and the Winter Soldier, which had Baron Zemo and John Walker. This sequel even forgets about Sharon Carter despite the show's post-credits scene positioning her as a villain. Onah instead stuffs the movie with uninteresting new characters that do not receive a sufficient introduction. The most glaring example is Shira Haas as Ruth Bat-Seraph, who the movie positions as a Black Widow surrogate, but without the necessary development or backstory to make us care. Furthermore, although it's fun to see Tim Blake Nelson return to the MCU, and the actor gives it his all, there's no getting around his goofy look: he resembles a stick of broccoli. The movie wants the return of Nelson's Samuel Sterns to be a memorable mic-drop moment, but the reveal lacks weight and significance. After all, Sterns only appeared once previously in The Incredible Hulk, which came out in 2008. The marketing also spoiled the twist.

Marvel scored a rare win in 2024 with their sole theatrical release, the incredibly profitable Deadpool and Wolverine, which knowingly poked fun at the poor quality of recent MCU titles. Alas, with Captain America: Brave New World, the MCU is back in the doldrums, though it is, at least, marginally better than The Marvels and Ant-Man and the Wasp: Quantumania. Despite a few entertaining action set pieces and some intriguing ideas, it's difficult to care about this story, which feels too disconnected from the previous Captain America movies despite being an ostensible sequel. One can only imagine an alternate version of this picture with Steve Rogers instead of Isaiah Bradley. Captain America: Brave New World is, quite simply, a wasted opportunity - a passionless blockbuster that exemplifies the qualities many of the MCU's critics always associate with the long-running franchise.

4.7/10