It almost felt like Matt Bettinelli-Olpin and Tyler Gillett’s Ready or Not 2: Here I Come – a sequel to the original horror-comedy hit, were playing the very game it references in the title, as it has been a surprisingly long seven years since the original was released in theatres. Despite the wait, this one starts up literally right where the first concluded, with smoking survivor Grace MacCaullay (Samara Weaving) being brought to a hospital, after which the police would like to question her on all the Le Domas carnage. But, unknowingly to anyone except a select few, her defeat of the satanic gaming family has set in motion a most unique event that will bring together the other elite families that are members of the same Council (that, for all intents and purposes, run the world) – who are all called forth by the head of the table, Chester Danforth (David Cronenberg – yes, the famed horror director).

It almost felt like Matt Bettinelli-Olpin and Tyler Gillett’s Ready or Not 2: Here I Come – a sequel to the original horror-comedy hit, were playing the very game it references in the title, as it has been a surprisingly long seven years since the original was released in theatres. Despite the wait, this one starts up literally right where the first concluded, with smoking survivor Grace MacCaullay (Samara Weaving) being brought to a hospital, after which the police would like to question her on all the Le Domas carnage. But, unknowingly to anyone except a select few, her defeat of the satanic gaming family has set in motion a most unique event that will bring together the other elite families that are members of the same Council (that, for all intents and purposes, run the world) – who are all called forth by the head of the table, Chester Danforth (David Cronenberg – yes, the famed horror director).

Interweaving an emotional narrative between historical fact and seemingly plausible guesswork/fiction to the point that it feels a wholly realistic possibility, this year’s Academy Award Best Picture nominee Hamnet (2025), co-written and directed by Chloé Zhao, provides an intriguing look at the life of William Shakespeare and his family tied into his legendary tragedy Hamlet. Also co-written by Maggie O’Farrell – who wrote the novel of the same name that the film is based upon, the narrative takes a years long look at the Shakespeare family. Opening with an explanation that the names of Hamnet and Hamlet were basically interchangeable at this time in history, that will certainly come into play later.

After director John Kosinski got the need for speed while making the big smash hit sequel Top Gun: Maverick back in 2022, he clearly wanted to stay in the fast track, deciding to co-write and direct what has become one of the 2026 Academy Award Best Picture nominees – F1: The Movie (2025). With racer Lewis Hamilton on board as a producer and the film making team getting permission from all of the actual F1 racing teams, they shot at real Grand Prix weekends throughout the 2023 and 2024 seasons, with a faux garage set up between the Mercedes and Ferrari pits... making things look as accurate and impressive as possible. Following longtime driver Sonny Hayes (Brad Pitt – who did most of his own racing), he has become a jack of all trades of sorts – driving everything from F1 and Daytona, to taxi in New York, he is basically a meandering racer-for-hire.

It is not too often that a mid or post-credit sequence leaves much of an impact as things come to a close. Usually meant to add a few final jokes to a comedy (think Airplance! or Old School), show some silly bloopers, or tease for a future film (Marvel has thrived thanks to these hints pointing towards coming storylines and movies), a rare example of something having a true impact on a narrative is Ryan Coogler’s period horror film Sinners (2025). A most dynamic feature melding many intriguing elements, the first thing that will be noticed is the time and setting – Clarksdale, Mississippi during the Great Depression (specifically 1932). Following twin brothers ‘Smoke’ and ‘Stack’ Moore (both played by Michael B. Jordan), and to a slightly lesser extent their cousin Sammie...
It is now quite rare to see an erotic thriller made. Thriving during the late 1980s and into the 90s, in a modern cinematic world that has become more cookie cutter and safe, it just doesn’t seem to fit within the current mold being used in Hollywood. That is why it is a breath of fresh air to see the current success of The Housemaid (2025). And, while we’re on that, it also ties into another film from back in 2009 called Chloe... not only because it falls within the same more adult themed genre, but also because they both star Amanda Seyfried. Starting with the 2025 offering from director Paul Feig, The Housemaid follows Millie Calloway (Sydney Sweeney) as she desperately seeks employment after a yet undisclosed difficult past. Falling into a seemingly perfect job as a housemaid for the wealthy Winchester family, Nina (Seyfried), Andrew (Brandon Sklenar), and daughter Cece (Indiana Elle), live in a gargantuan posh house on the edge of New York.

A blackmailing scheme that leads right to the top, plenty of political tomfoolery, a black militant causing many an issue on the darker side of life, a smut king involved with numerous dirty coppers, and more all revolve around a dynamic robbery in the Roger Donaldson directed film The Bank Job (2008). Set in London, England circa 1971 and loosely based upon numerous real and rumoured happenings from the time, the main narrative follows Terry Leather (Jason Statham – The Beekeeper; Snatch.), a small time former crook and now used car dealer/garage who is still down on his luck thanks to owing money to the wrong sort of people.