Martin Campbell parks his camera on the wrong side of the glass and lets Daisy Ridley do the heavy lifting in a lean, vertigo-laced Die Hard riff that shines more often than it smudges. On paper, Cleaner sounds like a dare: take a skyscraper siege, swap Los Angeles for London,
Ryan Coogler’s 1932 Mississippi vampire saga—shot in IMAX-scale grandeur, scored like a jukebox séance, and anchored by Michael B. Jordan in audacious dual roles—blends pulp and poetry into a midnight sermon you won’t soon forget. There’s a wicked little theological joke at the heart of
On the ice world of Niflheim, a cloned “Expendable” keeps dying for capitalism — and somehow learns how to live. Our Hidden Gems & Limelight verdict: imperfect, irresistible. Bong Joon‑ho’s first feature since Parasite arrives like a snowball that’s accumulated a decade’s worth of obsessions on its
M3GAN trades jump scares for joystick moves — and mostly powers through the genre swap. If you came for the creeping dread of M3GAN (2023) — that viral shiver powered by a plastic smile and a dead-eyed shimmy — M3GAN 2.0 greets you with a different upgrade: bigger sets, louder toys, and
Drew Hancock’s brisk, blood‑slick tech‑horror cracks open “love as product,” with Sophie Thatcher’s star‑making turn—and one unforgettable kitchen gadget. January is supposed to be where movies go to hibernate, thaw out, and hope nobody notices the icicles. Then along saunters Companion, New Line’s
Tom Cruise’s Ethan Hunt sprints toward an emotional “last” hurrah—170 minutes of premium mayhem, a few narrative speed bumps, and a biplane stunt so audacious it makes your popcorn sweat. If there’s a reliable law of modern cinema, it’s that Tom Cruise will eventually dangle from,
David Corenswet’s bright, big-hearted Man of Steel is a crowd-pleaser with a stuffed suitcase. It brings back optimism, a John Williams wink, and one very good dog—while occasionally tripping over its own world‑building. It’s fitting that the first film in James Gunn’s new DC Universe
Michelle Yeoh swaggers back into the final frontier with a black‑ops caper that’s equal parts swagger, shrapnel, and moral shadiness. But is this Paramount+ “movie event” a bold new vector or just a classified detour? If the utopian sheen of Star Trek sometimes makes you crave a little
A sleek, Earthbound prequel that’s scary, stylish, and savagely smart about capitalism, identity, and the price of “forever.” The Alien franchise has always been at its meanest when it remembers two principles: (1) people are squishy, and (2) corporations are worse. Alien: Earth, Noah Hawley’s new FX series,
From Hidden Gems and Limelight: claustrophobic corridors, corporate secrets, and creatures that evolve faster than your survival plan—ten films that scratch the same deliciously dreadful itch. If Alien: Earth left you scanning the shadows and side‑eyeing your houseplants, welcome—you’re among friends. Here at Hidden Gems and
We dive into Marvel’s scrappy, sharp-edged team-up—equal parts bruised knuckles and tender hearts—that doubles as a stealth rebrand…and a reset. There’s something audacious about slapping an asterisk onto a Marvel title and daring audiences to ask, “Wait—what’s the catch?” With Thunderbolts* (PG‑13,
Ana de Armas swaps pliés for headshots in a chilly, stylish spin‑off that (mostly) sticks the landing There’s a particular pleasure in watching a franchise test its own spine. From the World of John Wick: Ballerina doesn’t just borrow Wick’s tailor, tattoos, and table manners; it