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© Blumhouse Five Nights at Freddy’s is one of the few video game adaptations that has a fanbase which completely adores their franchise. The one theatrical experience with Five Nights At Freddy’s 2 has highlighted that these movies feel like event films for them despite it being the complete opposite and not giving that effect for the general audience. The first movie didn’t offer much for newcomers, as it spent the majority of its runtime with a dull storyline, weak jump scares and good performances that only came from the kids. Five Nights At Freddy’s 2 releases 2 years later, and despite Blumhouse telling audiences they’ll be improving on the sequel by taking on the constructive criticism, this sequel lacks what any true sequel needs, and that’s a solid script with high stakes, performances that outdo the predecessor and production on a scale that highlights they’re going bolder, bigger and better. Five Nights At Freddy’s 2 only manages to get one of these aspects right for this sequel, and unfortunately, that’s not enough to consider this a movie worth watching for regular moviegoers. Five Nights at Freddy’s 2 takes place a year after the events of the last movie. Abbie (Piper Rubio), Mike (Josh Hutcherson) and Vanessa (Elizabeth Lail) return as a new animatronic from Freddy Fazbear’s original location threatens to disturb their peace and enact their revenge. The movie opens up with a flashback in 1982 as we get to witness the horrific death of Charlotte (Audrey Lynn Marie) in the original Freddy Fazbear's location. This scene easily stands out among the rest of the movie, as it gives extensive detail into the operations behind a Fazbear location and showcases William Afton (Matthew Lillard) in action as he tries to snatch a kid away during a busy day at the pizzeria. For an odd reason, Emma Tammi, Scott Cawthon and Blumhouse have decided to cater this movie solely to the fans of the game, without any consideration for the general audience. Five Nights at Freddy's 2  © Universal Pictures While that's always a must with an adaptation, you must also cater for the audience that has no clue what the IP is. While the first movie lacked an engaging story and did poorly at injecting its lore into movie format, the second film does a better job of actually allowing audiences to better understand what took place within the pizzeria all those years ago and the overall world of Five Nights at Freddy's . Unfortunately, Five Nights At Freddy's 2 gets carried away with catering to its fans by leaving references around every corner and forgetting that to have a good movie, you first need at least a coherent story. Admittedly, this movie is a lot more fun and entertaining than its predecessor, which failed in almost every aspect. Five Nights At Freddy's 2 does a decent job of at least providing general audiences with a fun time, but that's about all it provides. This sequel may be underwhelming, but just like the first movie, Jim Henson's Creature Shop deserves all the praise for their work on the animatronics. We get new sleek, metallic animatronics this time around to fit the "toy" designs of Freddy (Kellen Goff), Chica (Megan Fox), Foxy aka Mangle and Bonnie (Matthew 'MatPat' Patrick), which look magnificent during every second they appear in the film. With their inclusion also comes the "withered" versions of Freddy, Chica, Foxy and Bonnie, which were animatronics used for spare parts that look creepier than anything seen before in this franchise and truly add to the horror aspect of the movie, delivering one of the greatest scenes of the two films. Outside of the outstanding work that Jim Henson's Creature Shop provides to this sequel and the eerie, 8-bit score that's composed by The Newton Brothers, Five Nights at Freddy's 2 doesn't offer anything else that's worth praising. The performances from our three main characters somehow feel worse than when we last got to watch them, and it's clear that it's the script and its writing which are failing them in a lot of areas. Scott Cawthon may be the creator of these games, but this movie is clear proof that sometimes, as a creator, you don't need to get closely involved in everything that involves your IP, and working from behind the scenes is better. He's not a movie writer, and it's evident from the incoherent and convoluted story, the rushed third act that doesn't feel rewarding with an anticlimactic ending, and dialogue that's beyond questionable. Five Nights at Freddy's 2  © Universal Pictures There are way more jumpscares in the film, but as we know with horror movies, inserting a lot of jumpscares doesn't suddenly make a good horror film and instead makes it rather boring. There was only one instance where a jump scare might've genuinely got me, which involved the creepy Marionette, which was one of the few highlights of this movie with how it possessed people, leading them to horrifying performances by Mackenna Grace and the few others who also got possessed in the movie. Grace rarely appears in the film, but she's one of the standouts with the short screentime she has alongside Megan Fox. If you're unfamiliar with Megan Fox's previous voice work, then quickly go watch a cutscene of Nitara speaking from Mortal Kombat 1. This abysmal voice acting led people to originally laugh at this casting, but Megan Fox is the one laughing now as she delivers a sinister performance as Toy Chica that almost carries Five Nights at Freddy's 2 but isn't anywhere near enough to trick you into believing that this is a good movie. As mentioned previously, one of the greatest scenes from the movie comes from Mike in a security room as he tries to disable the "toy" animatronics from causing chaos on the streets while the "withered" animatronics attempt to stop him. Unlike the first movie, which just featured Mike sleeping on the job, this scene recreates the point-and-click gameplay of the early Five Nights at Freddy's games and mechanics, specifically from its second game. Yet another moment for fans to point at the screen and scream, but it's a scene that feels earned and serves a purpose in the story despite being a way to cram Easter eggs down the audience's throat. Five Nights at Freddy's 2 , while slightly better than its predecessor due to its small entertaining factor, regresses in almost every other way possible. Emma Tammi and Scott Cawthon lose sight of what makes a great horror movie and how to adapt a video game, going back on all the fantastic work that other video game adaptations have worked hard towards. The actors are left with a weak and shallow script that hinders their performances, and while Jim Henson's Creature Shop continues to deliver phenomenal work on the animatronics by bringing them to life, they're massively underutilised in the movie when it comes to delivering a hardcore scare to its audience. The movie might be a PG-13 in America, which isn't any excuse for it to be as tame and bland as it is, but with the film having a 15 rating in the UK, it only makes the entire experience worse as you wait for gruesome kills to arrive, and they all happen off-screen with not a single spill of blood seen. There's more blood in a Marvel movie than there is in Five Nights at Freddy's 2, and for a film that's about a serial killer and the dead kids who possess animatronics going on a revenge spree, there should at least be a pint of blood spilt in these movies. Blumhouse has clear plans to continue this franchise with how the movie ends and its teases with the mid-credit scene and audio tease during the credits, but the best plan of action for this franchise is to either make them R-rated and go all out or sit back for 3-4 years, make a reboot in the form of an animated R-rated television show, and tell the story of Five Nights at Freddy's without catering to the fans with dozens of Easter eggs to keep their attention. There's a way to give the fans what they want ( Sonic the Hedgehog ), and this isn't it. Five Nights at Freddy's 2 . © Universal Pictures About Five Nights at Freddy's 2 Premiere Date:  December 5, 2025 Writer: Scott Cawthon Director: Emma Tammi Production:   Blumhouse Productions, Scott Cawthon Productions Distribution:  Universal Pictures Cast: Josh Hutcherson, Elizabeth Lail, Piper Rubio, McKenna Grace, Kellen Goff, Megan Fox, Matthew Patrick, Skeet Ulrich, Matthew Lillard, Freddy Carter

Kill Bill: The Whole Bloody Affair © Lionsgate Audiences around the world had to view The Bride's (Uma Thurman) epic samurai-kung fu revenge story in two parts, Kill Bill: Volume 1 and Kill Bill: Volume 2 , which originally were released six months apart. Two movies that felt drastically different from each other, and while people always had the chance to play both films back to back, Kill Bill: The Whole Bloody Affair offers a definitive viewing experience, as you get to see stories for the first time that Quentin Tarantino never had the opportunity to originally show. Kill Bill: The Whole Bloody Affair was first shown to people at Cannes in 2006, but it has now received a worldwide release, which includes the Production IG anime sequence and Tarantino's "The Lost Chapter: Yuki's Revenge," a short created by Epic Games and The Third Floor in collaboration with Fortnite . It's the complete package that no one has been able to view until now, and it was completely worth the wait. Quentin Tarantino has always stated that Kill Bill was always one movie, so unfortunately, this doesn't count as his tenth and final film, and neither does " The Lost Chapter: Yuki's Revenge, " but after viewing Kill Bill: The Whole Bloody Affair , it's understandable why Tarantino originally wanted it as one movie. For those unfamiliar with the story of Kill Bill , it follows a woman called Beatrix Kiddo, aka The Bride, aka Black Mamba, aka many other names, who was once a part of the Deadly Viper Assassination Squad run by Bill (David Carradine) but left to have a sweet and private life with her unborn daughter. Her wedding gets interrupted by Bill, with the Deadly Viper Assassination Squad slaughtering everyone at the wedding rehearsal, but unfortunately for them, the Bride survived, and after waking up from a four-year coma, she sets herself on a bloody and violent path of revenge for the death of her unborn daughter. Kill Bill: The Whole Bloody Affair © Lionsgate The most noticeable addition is that the Bride vs Crazy 88 is no longer in black and white, which was originally decided to stop the movie from receiving an NC-17 rating due to its intense and gory violence. Now you can witness it colourised and see the Bride in her iconic yellow biker jumpsuit covered in the blood of the Crazy 88 as she slices them down with her Hattori Hanzo (Sonny Chiba) sword. It's a minor change, but it really brings the intensity of the movie together and brings to life the brutality that Quentin Tarantino originally had in mind for the sequence. A very major change which was smartly edited for audiences who have never viewed Kill Bill before was the cliffhanger that appears at the end of Kill Bill: Volume 1 . That final line is removed from Bill, and instead the reveal is kept for the end of Kill Bill: The Whole Bloody Affair , making for what easily could be one of the best plot twists in cinema history if that's your first time viewing the movie. It allows fans of Kill Bill to have a whole new experience with the story while also making way for newcomers and allowing the mystery surrounding the Bride's history to linger just a little bit longer. In addition are two animated sequences, one by Production IG that expands the world and another by Epic Games and The Third Floor, which, truthfully speaking, wouldn't be missed but still remains an interesting addition. The Production IG animated sequence, which is seen for the first time, features the backstory of O-Ren Ishii (Lucy Liu), and it plays as the Bride tries to wiggle her big toe and before the start of the next chapter, which sees the Bride off to Japan to meet Hattori Hanzo. This specific backstory might be as gruesome as the entirety of Kill Bill: The Whole Bloody Affair gets, and due to it being animated, they can get away with that. It's a backstory that fleshes out the character of O-Ren Ishii and allows for the audience to connect with a character that was originally thought to be heartless and ruthless, and while Lucy Liu very much still remains that with the character, this animated sequence finally gives a reason for why she is the way she is, and it's a tragic and devastating story. Kill Bill: The Whole Bloody Affair © Lionsgate When Quentin Tarantino was first writing Kill Bill , it originally featured a scene that involved Gogo Yubari's (Chiaki Kuriyama) sister coming for revenge after the Bride killed her, and this scene would've taken place in California after Copperhead (Vivica A. Fox) had been killed. It was a scene that was cut because they couldn't afford to do another grand action sequence, and this is evident from the lack of action sequences in Kill Bill: Volume 2 , which is a bit more tame compared to its first volume. Tarantino and Uma Thurman have collaborated with Fortnite to bring this lost chapter to life, and unexpectedly, after having its premiere in-game, it also appears at the end of the movie. It's understandable why it was removed from the original draft, as it doesn't really add much to the Bride's journey and is just yet another inconvenience that feels detached from the overall story, but I think what's interesting from this entire collaboration is seeing how Epic Games can unite with filmmakers to bring to life their movies in ways that they haven't been able to before. It's filled with Fortnite gags but still feels like Kill Bill in nature with Tarantino's direction. However, if you're not a gamer or not too familiar with Fortnite , you might be confused with what's on the screen. Either way, I'd rather have a future of Epic Games providing these opportunities for filmmakers through the use of Fortnite than have certain corporations restrict filmmakers from theatrical use and limit them about what they can do. Overall, Kill Bill: The Whole Bloody Affair is the definitive viewing experience for fans of Kill Bill and newcomers alike. It still stands as one of Tarantino's best pieces of work, and getting to view it as he intended honestly feels like an honour. It's slightly reedited to recontextualise cliffhangers and insert them as plot twists that allow audiences to connect with the Bride in the final chapter and understand her feelings in that very moment as we witness an ending that's more emotional than it ever has been before. It's the complete package with blood and guts, an iconic yellow jumpsuit, animated mayhem and a swift 4 hours and a half of pure, sweet revenge. Kill Bill: The Whole Bloody Affair © Lionsgate About Kill Bill: The Whole Bloody Affair Premiere Date:  December 5, 2025 Writer: Quentin Tarantino Director: Quentin Tarantino Production:   A Band Apart Distribution:  Lionsgate Cast:   Uma Thurman, Lucy Liu, Vivica A. Fox, David Carradine, Michael Madsen, Daryl Hannah, Julie Dreyfus, Chiaki Kuriyama, Miyu Ishidate Roberts

Ultimate Wolverine #12 © Marvel Wolverine’s journey through the Ultimate Universe has been a long and brutal one, and for readers, it’s been just as bloody. We’ve come a long way from Logan’s days as the Winter Soldier of the Eurasian Republic, and each step has brought him closer to becoming the man known as the  Wolverine. Unfortunately, that path of self-discovery has cost him the people he cherished the most. The Ultimate Universe is an unforgiving place, and Ultimate Wolverine  #12 is no exception. Logan has witnessed more death than most can fathom - so much that his life feels like a waking nightmare - yet he’s never been one to cower. This issue sees him returning to where it all began, seeking vengeance on those who manipulated him and those who murdered his friends. His return to the Eurasian Republic isn’t flashy, but it spells trouble for Doctor Alonya Prostovich, the head of Directorate X, whose exploitation of mutants and role as Logan’s former handler still cast a long shadow. Ultimate Wolverine #12 © Marvel Even with Sentinels guarding her, Logan’s relentlessness carries him straight to Prostovich, and his intentions go beyond simple retribution. Logan seems aware of the Phoenix specimen she’s been studying, suggesting that it may be one of the driving forces behind his return. Either way, once the Wolverine sets his sights on a mission, Prostovich has no leverage, and she quickly becomes entangled in whatever plans he has for her and for the Phoenix. Matters escalate further when the Rasputins get wind of the situation, setting the stage for a long-overdue confrontation among several of the series’ major mutant players. Condon delivers once again, offering a chilling look into Logan’s psyche while exposing the rot at the heart of the Eurasian Republic and its leadership. Cappuccio’s gritty artwork fits the narrative perfectly, capturing the cold, bleak atmosphere when necessary and shifting to something more explosive when the story demands it. Among the current Ultimate titles, this remains one of my clear favorites. I’ll admit I was worried this run might slip into the familiar Wolverine tropes we’ve seen for decades, and while it echoes them in a few ways, it works. Condon’s bleak, dystopian vision of the Eurasian Republic and the mutant struggle grounds those themes in a fresh and compelling context. Making heroes into villains tilts the narrative in interesting directions, and the Ultimate Universe is uniquely suited for a story this dark and personal. We’re heading into the endgame now, and I’m excited -maybe even a little nervous - to see what’s in store next, for better or worse, for our heroes. Ultimate Wolverine #12 © Marvel About Ultimate Wolverine #12 Release Date:  December 10, 2025 Written by:  Christopher Condon Art by: Alessandro Cappuccio Cover by: Alessandro Cappuccio Page Count: 31 Synopsis :  WOLVERINE'S ATTACK ON THE EURASIAN CAPITAL! After the devastation in ULTIMATE WOLVERINE #11, Wolverine is out for vengeance! And he's taking on the whole of the Eurasian Republic in this big, bad and bloody climactic issue…who will be left standing?

This article contains spoilers for St. Denis Medical  S2E7. Allison Tolman as Alex and David Alan Grier as Dr. Ron in St. Denis Medical © NBC St. Denis Medical  continues its streak of well-written, character-driven filler instalments in “No Wonder His Kidney Wants Out,” an episode built almost entirely on misunderstandings and one extremely misguided act of generosity. The show once again leans on the cast’s easy chemistry, moving the ensemble between a potential kidney donation, a GoFundMe gone wrong, and an attempt to impress an inspector who may or may not be someone Joyce (Wendi McLendon-Covey) once dated. It’s familiar territory for the show, but it's executed with enough well-timed hilarity to make the episode an enjoyable outing.  This week’s A plot is introduced in the cold open. Harry ( David Hornsby) , a renal patient who has been stuck on the transplant list for three years, is suddenly offered a kidney by his brother Ruben ( Paul Scheer) . The gesture creates a divide between Ron (David Alan Grier) and Alex (Allison Tolman), with Serena (Kahyun Kim) stuck in the middle. Alex sees the offer as a heartwarming start to her shift, while Ron assumes no one gives away an organ without expecting something in return. Hilarity ensues when Bruce (Josh Lawson) backs Alex by explaining selflessness through gym logic. The last thing he wanted to do today was go, but he did it anyway, for his chest, back, and traps. It doesn’t take long for the entire conversation to fall back into Ron’s favourite point: no act is truly selfless. Paul Scheer as Ruben, Kahyun Kim as Serena, David Alan Grier as Dr. Ron, and David Hornsby as Harry in St. Denis Medical © NBC The writers get good use out of that back-and-forth, particularly once Serena joins in. She reminds Alex that she saw her at a pond clean-up last weekend, only because Alex had posted about it on Instagram without disabling likes. Desperate to win the debate, Alex insists that if needed, she would be the first to give any of them her kidney. Bruce, never wanting to feel left out, wants in on the potential organ donation and starts a list for Alex's organs so that there's no drama later. Lawson’s earnest delivery of "Who wants want?" may well be the biggest laugh of the season thus far. Bruce’s sudden panic about his lack of close friendships feeds directly into the B plot. After reading that 92% of kidney donors are loved ones and that meaningful male friendships add on average four years to your life, he decides that Matt (Mekki Leeper) is going to help him find “a dude.” Matt, who would very much like to be that dude, spends the episode trying not to look crushed as Bruce cycles through various co-workers and patients within the hospital who, inevitably, are not suitable companions. Josh Lawson as Dr. Bruce and Mekki Leeper as Matt in St. Denis Medical © NBC Alex’s belief in selflessness comes back to haunt her when she accidentally donates $1000 instead of $100 to Parker’s GoFundMe for his dog’s eye surgery. She tries to reverse the charge without revealing she did it, but Ron and Serena overhear, with Ron revelling in her spiral. When Parker (Jonathan Slavin) publicly calls for the anonymous donor to reveal themselves, Ron insists that all the thanks a selfless hero needs is the joy of seeing Parker happy. Dakota (Emma Pope), of course, wrongfully assumes that Ron is the mystery donor, a suggestion he is more than happy to let stand because it annoys Alex. Of all the pairings in St. Denis Medical , Alex and Ron remain the most consistently opposed yet entertaining, and this storyline highlights why. When Alex eventually caves and admits the donation was hers, the show delivers the kind of awkward confrontation it excels at. Parker is confused, bordering on suspicious, as just last week Alex donated $25 under her real name. It looks like she’s lost this week’s moral debate, too, until Ron manages to find himself on the wrong side of Serena. After hearing Harry complain that Ruben often lords favours over him, Ron smugly declares “behold the selflessness,” with his point proven yet again. Serena insists that it’s sad when bad stuff happens. Ron finds her optimism adorable and warns that in time, her light will die out. Determined to prove him wrong, Serena loudly announces that Ron is so generous and that there must be plenty of people around the hospital who could use his money. She then informs Holly that Ron would be thrilled to contribute to her church’s new bell. His face says the rest. Joyce’s (Wendi McLendon-Covey) storyline is smaller as the C plot, but consistently funny. The birthing centre is finally ready for inspection, but the inspector, Michael ( Al Madriga), turns out to be a man she is convinced she once dated. She spends the episode trying to jog his memory, first by quizzing him about the restaurant Enzo’s, then by launching into a brief rendition of No Scrubs , much to his confusion. The eventual reveal that he’s the wrong Michael entirely lands well, thanks to McLendon-Covey’s ability to play Joyce with equal parts earnestness and desperation. The centre ends up failing the inspection anyway due to structural and electrical issues, which feels exactly right for Joyce’s luck this episode. Al Madrigal as Michael in St. Denis Medical © NBC Back in the renal ward, Ron ends up right after all. He and Serena inform the brothers that Reuben is a match, prompting Harry to accept the offer despite their earlier argument. Reuben, however, wants a night to think about it because losing a kidney is, understandably, a big decision. By the end, Alex and Ron resort to handing over their bank statements to Parker, proving that Alex was the anonymous door. It still doesn’t earn her a refund, as Parker has already spent most of the money on a TV, though his dog’s surgery is at least paid for. Alex’s retaliation, assigning him six months of night shifts, is a brilliant touch of pettiness, even if it doesn’t feel like enough. Elsewhere, Bruce finally asks Matt to hang out at his place, where they will continue brainstorming who the perfect candidate to befriend is. He'll order some wings, a couple of six packs, and there might be a game on. Matt’s delight is palpable, and you can only hope that Bruce eventually realises that his ideal friend has been beside him the entire time. Lawson and Leeper continue to make an excellent pairing. “No Wonder His Kidney Wants Out” is a steady, good-natured episode that lets the ensemble bounce off one another in different pairings and groups without pushing too hard or too far. As the show prepares to head into its winter break after next week, it’s the sort of light, character-driven filler episode that makes St. Denis Medical  worth watching. St. Denis Medical . © NBC Universal About St. Denis Medical Premiere Date:  8 December 2025 Episode Count:  18 Showrunner: Eric Ledgin Executive Producers:   Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Distribution:   Universal Television, a division of Universal Studio Group, More Bees, Inc. and Spitzer Holding Company. Cast:   Wendi McLendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Kahyun Kim, Mekki Leeper, and Kaliko Kauahi. Synopsis: St. Denis Medical  is a mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. In season two, after receiving a large private donation, hospital administrator Joyce bites off more than she can chew while her employees navigate staff shortages, office conflicts and their own personal lives.

The Abandons © Netflix Kurt Sutter made his name with Sons of Anarchy , a gritty, character-driven series that received both critical and audience love. Eleven years after the end of Sons of Anarchy , he is back with The Abandons , a new Netflix Western-Drama, which is unfortunately nowhere near the quality fans might expect from him. Set in the 1850s and following clashes between outlaw groups in the Old West, the series promises scale, style, and tension, yet delivers something closer to a cheap, soapy network Western dressed up with a bigger cast and bigger sets. The problems start immediately with what might be one of the worst pilots in recent memory. Predictable with a capital P , the opening episode sets the tone for a show that has no real depth, no emotional hook, and no sense of danger. The writing never gives you a reason to root for most of its characters. Aisling Franciosi’s Patricia Van Ness is perhaps the lone exception, but even she gets bogged down by poor writing. The show is full of half-baked subplots and inconsistent character motivations that take you out of the experience. Big names like Michiel Huisman and Nick Robinson are completely wasted, barely given anything meaningful to play. Gillian Anderson as Constance Van Ness and Michael Greyeyes as Jack Cree in The Abandons. © Netflix Gillian Anderson is the only cast member who appears genuinely invested, sinking her teeth into a character that’s easily the show’s most interesting, though that’s an admittedly low bar. Lena Headey, meanwhile, is saddled with a frustrating, unlikeable role that makes it nearly impossible to feel invested in her arc. Even when the acting isn’t outright bad, it rarely rises above bland, and the show’s self-serious tone only highlights the lack of charisma across the board. While the middle batch of episodes is marginally more watchable, The Abandons  never finds its footing. There’s a standout scene between Headey and Anderson in episode three that briefly sparks to life, hinting at the deeper, grittier drama the show could  have been. But it’s an exception in an otherwise forgettable stretch of television. The pacing is an ongoing issue, with the narrative meandering without building tension. And for a Western, the lack of action is baffling. What we get instead are half-hearted relationships that go nowhere and plot developments you can see coming from miles away. Visually, the show is surprisingly unimpressive. Despite Netflix’s budget, the cinematography lacks texture and atmosphere; nothing lingers, nothing immerses. The only real technical strengths are the costumes and the production design, which do a commendable job of capturing the era. But even those elements can’t make up for the flat direction and uninspired storytelling. Clayton Cardenas as Quentin Serra, Elle-Máijá Tailfeathers as Oma Serra, Katelyn Wells as Samara Alderton, Lena Headey as Fiona Nolan, Nick Robinson as Elias Teller, and Diana Silvers as Dahlia Teller in The Abandons. © Netflix At just seven episodes, The Abandons   sounds  like the kind of show built for a quick binge, but the silly, off-putting cliffhanger it ends on makes the journey feel even less worthwhile. It’s not the first time Netflix has tried a Western like this — the Australian series Territory  comes to mind, and that one was cancelled after a single season. This show might face a similar fate, and even its big-name cast might not be able to save it. It’s concerning to see Netflix moving in this direction: high-profile creators delivering low-effort, derivative projects that feel like algorithm-generated mashups of better shows. The Abandons  is dull, uninspired, and completely forgettable — a messy blend of recent Western and period dramas without the heart, grit, or originality needed to stand out. Don’t be surprised if it ends up on several “Worst TV Shows of the Year” lists. The Abandons © Netflix About The Abandons Premiere Date:  December 4, 2025 Episode Count:  7 Showrunner: Kurt Sutter Executive Producers:  Stephen Surjik, Otto Bathurst, Emmy Grinwis, Jon Paré Production:     Sutter Ink Distribution:  Netflix Cast:   Lena Headey, Gillian Anderson, Nick Robinson, Diana Silvers, Lamar Johnson, Natalia del Riego, Lucas Till, Aisling Franciosi, Toby Hemingway, Michael Greyeyes, Ryan Hurst, Katelyn Wells, Clayton Cardenas, Elle-Maija Tailfeathers, Brían F. O'Byrne, Marc Menchaca, Patton Oswalt, Michael Ornstein, Jonathan Koensgen, Jack Doolan, Michiel Huisman, Haig Sutherland and Sarah White.

This review contains minor spoilers for 'It Was Just an Accident.' It Was Just an Accident © Memento Distribution It Was Just an Accident is a film about conflicting emotions. Sentiments like rancor and kindness, conviction and uncertainty, loathing and understanding should repel one another like oil and water, but in Jafar Panahi’s Palme d’Or Winner they converge in the messiest ways. Rather than defining themselves by their antagonism to one another, these ideas often find themselves under the same spotlight, where partial truths can become excuses, and mere accidents might mean so much more. The Iranian film follows a group of people with little in common, except for their shared traumatic past as political prisoners all tortured by the same intelligence officer, whose identity they must confirm, and whose fate they must decide together. Only able to identify their torturer, known as Eghbal (“Peg Leg”), by the sound of his squeaky prosthetic leg, the man they captured could be innocent, setting the stage for a political revenge tale full of doubt and contradiction. It Was Just an Accident is drenched in the same anxiety-inducing back-and-forths as the films of Asghar Farhadi such as The Salesman, A Hero, and A Separation , and examined through the documentarian-esque gaze historically inherited from the country’s influential Iranian New Wave. Vahid Mobasseri as Vahid and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution The writer-director Panahi is no stranger to art as political resistance. The Iranian government has imprisoned him and attempted to censor his art countless times. Clearly, that hasn’t stopped him, and that punk ethos is present here, as the film was produced without official government permission. The women here don't always wear a hijab, which is punishable with prison time in Iran. Panahi’s film is a clandestine exercise on protest in more ways than one, but his delicate political commentary is beautifully rendered. Similar to last year’s The Seed of the Sacred Fig , directed by Iranian filmmaker Mohammad Rasoulof, who’s also been arrested several times, Panahi’s story studies the consequences of individual acts by agents of a repressive state as parables for wider conflicts. Mariam Afshari’s phenomenal character, Shiva, wonders whether retaliating against individual agents of the State is enough to substantially fracture the broader socio-political structure in which they’re merely cogs. It most likely isn’t enough, but can that partial truth disarm the victims’ immediate need for justice and resolution? It doesn’t even seem to work for Shiva, whose own stance on violence changes later on. In the opening scene, we see the man believed to be Eghbal driving a car, accompanied by his pregnant wife and young daughter. It’s a pitch-black night outside. They run over something - we hear a whimpering dog, then silence. “It was just an accident”, the mother says. “Whatever will be, will be. God didn’t place him in our path for no reason.” But the child doesn’t buy it. Her father killed a dog. God had nothing to do with it. Who is to blame: the flawed driver or the path devoid of light? Can someone surrounded by blinding darkness be exonerated from the harm they bring to others? Who accounts for what is done in God’s name, but outside His light? Panahi’s film asks all of these questions, and in an act of artistic maturity, answers none of them. It Was Just an Accident is refreshingly uninterested in pedestrian statements on religion. It critiques the misuse of faith as a tool for political repression and dehumanisation. The film illustrates the dialectical relationship between forces like faith and suspicion, and how atrocities can happen in between. The intelligence agent believes that if the prisoners he tortured were guilty, their punishment was justified, but if innocent, they will receive justice in heaven. Almost as if, like the dog killed earlier, they couldn’t have been placed on his path “for no reason." In this belief, he’s comforted by a sense of righteous certainty, while the victims now deciding his fate must grapple with doubt. Vahid Mobasseri as Vahid in It Was Just an Accident. © Memento Distribution The narrative exposes the irony of the contradictions intrinsic to being human. Vahid, the car mechanic who serves as the closest thing to a protagonist in this near-ensemble cast, materialises the concurrent movements of opposing sentiments. The faceless torturer ruined Vahid’s life, permanently injuring his back and leading his wife to suicide. Eghbal scarred him in ways he can never heal. Vahid begins the day nearly burying alive this man he suspects to be Eghbal. Cut to nightfall, and he’s desperately driving his suspected torturer’s pregnant wife to the hospital. Vahid Mobasseri brings to the screen one of the strongest performances of the year, imbuing so much life to this fascinating character. He might kill you but would also buy cake to celebrate the birth of your child because it’s the considerate thing to do. That's not the film's only instance of accidental humour cemented by that disconnect between words and actions. Throughout the film, Shiva’s ex-lover Hamid is the most vocal about enacting the violent revenge the presumed torturer deserves. Haunted by nightmares, he’s desperate for resolution. Mohammad Ali Elyasmehr's fantastic acting injects every scene with tension, a human stick of dynamite that ironically fizzles out the moment his feelings are hurt. Much of the cast's most pivotal moments expand on this fundamental dichotomy between their need for revenge and their mundane preoccupations. Goli, exquisitely played by Hadis Pakbaten, is a bride-to-be running around in a wedding dress discussing murder. A brilliant visual gag that also advances the film’s powerful moral provocations. Vahid Mobasseri as Vahid, Majid Panahi as Ali, Mohamad Ali Elyasmehr as Hamid, and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution She makes it clear to her fiancé just how much revenge means to her, even if it costs them their wedding. She demands closure before starting a new life because, for the characters in It Was Just an Accident , revenge can mean several things. For Vahid, it's about payment for what was lost: a ruined life begets the end of another. For others in the group, it can mean new beginnings, though we can’t be certain they believe it themselves. The killing of the dog echoes through the final sequence of the film, as the alleged torturer awaits his judgement, tied to a tree while illuminated by the red lights from the car. The confrontation is lit with the same colour and contrast ratio as the scene in which the man examined the dog’s offscreen corpse earlier, a visual synonym that links the lives of the two and ties the film together. We remember the partial truths raised after the dog’s death. It is true, after all, that the path was dark - much like Iran’s political climate. It’s also true that the man couldn’t see what was ahead - similar to the individual agents that side with a status quo for which there are no alternatives in sight. But ultimately, the little girl’s words ring equally true: God had nothing to do with it. A man killed a dog. A man tortured people. All of these partial truths intertwine, and two questions are left: Is the truth enough? And can the light of forgiveness be found at the end of that dark road? It Was Just an Accident © Memento Distribution About It Was Just an Accident Premiere Date:  May 20, 2025 (Cannes Film Festival), October 1, 2025 (France) Writer: Jafar Panahi Director: Jafar Panahi Producers: Jafar Panahi, Phillippe Martin Production:   Jafar Panahi Productions, Les Films Pelléas, Bidibul Productions, Pio & Co, Arte France Cinéma Distribution:  Memento Distribution Cast:   Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr, Delnaz Najafi, Afssaneh Najmabadi, Georges Hashemzadeh Synopsis: A small mishap triggers a chain reaction of ever-growing problems.

Heated Rivalry © HBO Max/Crave Canada Heated Rivalry did something I did not expect to be done in the first season of a series and that was give one of its side characters from the first two episodes an entirely dedicated episode... And honestly, it worked for me. In this week’s episode, we finally dive into the backstory of François Arnaud’s character, Scott Hunter. As many viewers suspected back in episode one, it’s now confirmed that Scott is gay and keeping his sexuality a secret. Still reeling from his losses to Rozanov and Hollander in the previous episode, Scott throws himself into an intense training session. Afterwards, he stops by a smoothie shop, where he meets the charming Kip (played by Robbie G. K.). What begins as a casual encounter quickly turns into a series of regular ‘encounters’ that eventually leads to the two hooking up. Not long after their first intimate moment, Scott admits he genuinely likes Kip, though he also makes it clear he isn’t ready to come out. It’s a dynamic that will feel deeply familiar to many queer viewers: developing real feelings for someone who isn’t yet able to live openly. Scott and Kip begin seeing each other, and their early days together are so sweet and charming that it’s almost easy to forget the inevitable conversation looming over them: the secrecy of their relationship. They spend nights together, attend a gala, and share plenty of steamy moments. And if the last two episodes’ sex scenes had you feeling any type of way, this week’s episode turns up the heat even more.   Everything comes crashing down when Kip’s best friend confronts Scott at the gala. In a semi-intense exchange, she warns him that keeping the relationship hidden will only end up hurting Kip and by extension, Scott himself. She tells him they both “deserve the sun,” a reminder that their secrecy is forcing them to live in the shadows rather than embracing the possibility of something honest and open. After the confrontation at the gala, Kip begins to pull away from Scott, choosing instead to lean on his friends as he prepares for his birthday celebration. The episode ends with Scott watching from outside the window, quietly observing the joy inside a moment that shows how much he longs to openly celebrate the person he loves. This episode is an unexpected yet strong addition to the series, offering new depth and genuinely relatable moments. If Heated Rivalry  continues delivering episodes with this level of emotional complexity and character development, it’s well on its way to becoming one of my favorite shows of 2025. Heated Rivalry Season 1 Episode 3 is now streaming on HBO Max / Crave Canada. Heated Rivalry © Crave About Heated Rivalry Premiere Date:   November 28, 2025 Based on: Game Changers by Rachel Reid Episode Count: 6 Created by: Jacob Tierney Production:   Accent Aigu Entertainment in association with Bell Media’s Crave Distribution:  Crave, HBO Max Cast:   Hudson Williams, Connor Storrie, François Arnaud, Robbie G.K., Christina Chang, Dylan Walsh, Sophie Nélisse and Ksenia Daniela Kharlamova.

© Disney We recently launched our Nexus Off The Record segment, which covers news we cannot fully confirm or stories that are still developing. Entertainment industry changes constantly. Deals fall apart, shortlists shift, scheduling conflicts happen, and so on… The point is that you can report something that is accurate at the time, but by the time it becomes public, the situation may have changed and it can look as though the initial report was incorrect. A clear example occurred last year when we reported that Rodo Sayagues was set to write DC Studios’ The Brave and the Bold. DC Studios head James Gunn immediately refuted the claim. His response was valid based on the situation at that time, but the information we received had been accurate earlier in the process. The project’s status shifted, as is common in development, and the result was a discrepancy between what we knew then and what was true later. Experiences like this, along with several stories we held back that were eventually confirmed, led us to launch this segment, which brings us to today’s subject: Tangled. A live-action version of Tangled has been in development for several years. The project first gained traction internally but was reported to be placed on indefinite hold this past April. In early October, new information emerged indicating that the film had quietly resumed development and that Scarlett Johansson was attached to portray Mother Gothel. These details were not surprising given Disney’s interest in revisiting its animated catalogue. What followed was an extensive search for Rapunzel, a process that remains active. Screen tests and audition sessions are underway, but no definitive choices have been made, which has naturally led to speculation regarding potential candidates. We have gathered several names that are being eyed. One of the most prominently mentioned names is Sadie Sink, who gained widespread recognition through her breakout role in Stranger Things. Sink has spent the past year filming the Disney and Sony collaboration Spider-Man: Brand New Day, and she previously starred in Searchlight Pictures’ O’Dessa, which premiered earlier this year on Hulu. Given these collaborations, it is clear that Sink has been within Disney’s orbit for some time, which gives weight to the idea that she would be considered for one of the studio’s most iconic princess roles. Another name we have heard is Mckenna Grace. Grace appeared in Five Nights at Freddy’s 2 and Regretting You this year, and she recently completed filming Sunrise on the Reaping, the highly anticipated Hunger Games prequel. Grace was the go-to choice for studios seeking a child actor to portray younger versions of blonde characters, and she has already worked with Disney in that capacity through her portrayal of young Carol Danvers in Captain Marvel. Visually, she aligns closely with traditional interpretations of Rapunzel, which has led many to describe her as a natural fit. Emma Myers is also in consideration. Myers had her breakout role in Netflix’s global phenomenon Wednesday, where she became an immediate fan favorite. Following her success on that series, Myers secured the lead role in A Good Girl’s Guide to Murder, a Netflix adaptation that has already been greenlit for a second season. She has also starred in A Minecraft Movie, the second-highest-grossing video game film of all time . The final name on our list is Isabel May, known for her roles in Taylor Sheridan’s 1883 and 1923 series. She can next be seen in Scream 7 as the daughter of Sidney Prescott, played by Neve Campbell. At this time, it remains unclear whether any of these actresses have formally screen tested for the role of Rapunzel. What we can confirm is that all four have been discussed internally and are among the names circulating through various channels. Of the names shared with us, Sadie Sink was referenced most consistently, with several independent sources mentioning her in relation to the project. As is always the case with Nexus Off The Record, the details we present reflect the state of conversations at the time of publication. These situations evolve quickly, and what is accurate today may shift tomorrow.

© DC Studios Pre-production on the highly anticipated sequel to The Batman  finally ramps up with the first bit of casting news. Sources tell Nexus Point News that Scarlett Johansson is in talks to join The Batman - Part II . Details on who Johansson would potentially portray are being kept under wraps, but the role may be a new love interest to Bruce Wayne. Like the first film, Matt Reeves returns to direct with a script co-written by him and Mattson Tomlin ( Project Power , Terminator Zero ). Reeves will produce through his 6th & Idaho production company alongside producing partner Lynn Harris. Dylan Clark, who produced the first film, will produce the sequel as well. With the film now being under DC Studios, co-heads, James Gunn and Peter Safran, will serve as producers on the project as well. Confirmed cast returning for the sequel are Robert Pattinson, Jeffrey Wright, Andy Serkis, and Colin Farrell as Bruce Wayne / Batman, Jim Gordon, Alfred Pennyworth, and Oswald “Oz” Cobb / The Penguin. At the moment, Zoe Kravitz is not expected to return as Selina Kyle / Catwoman. Production is expected to begin in late April 2026 and continue into Fall at Warner Bros.’ Leavesden studio. Potential characters that Johannson could be portraying are Andrea Beaumont / The Phantasm, Pamela Isley / Poison Ivy, Vicki Vale, or Julie Madison.  Beaumont made her debut in the animated film, Batman: The Mask of the Phantasm in 1993 and was created by Alan Burnett, Paul Dini, and Bruce Timm. Beaumont was a past love interest to Bruce who later breaks off her engagement to him to go into hiding with her father to escape Gotham’s mobs. Years later, she reappears in Bruce’s life alongside the mysterious vigilante, the Phantasm who is revealed to be Beaumont, who is now on a mission to hunt down her father’s enemies. Beaumont would later debut in the comics in Tom King’s Batman/Catwoman series.  Poison Ivy debuted in Batman #181 in 1966 and was created by Robert Kanigher, Carmine Infantino, and Sheldon Moldoff. Ivy is a former botanist turned super-powered ecoterrorist. Over the years she’s been portrayed by a variety of actresses in several forms of media. Vicki Vale debuted in Batman  #49 in 1948 and was created by Bill Finger, Bob Kane, and Lew Schwartz. Vicki is a reporter for the Gotham Gazette and an occasional love interest to Bruce. Vale has been portrayed by Jane Adams and Kim Bassinger in Batman and Robin  (1949) and Batman (1989), respectively.  Julie Madison debuted in Detective Comics  #31 in 1939 and was created by Gardner Fox, Bob Kane, and Sheldon Moldoff. Madison is often depicted as a socialite or actress and is known for being Bruce’s first love interest in the comics. Madison has been portrayed by Elle Macpherson in Batman & Robin  (1997). Johansson is best known for her role as Natasha Romanoff/Black Widow in the Marvel Cinematic Universe, which she has portrayed in nine films across the franchise. Her other credits include Her , Under the Skin , Lucy , Jojo Rabbit , and Marriage Story . She was most recently seen starring in the latest entry in the Jurassic Park  franchise, Jurassic World Rebirth  and will next be seen leading Mike Flanagan’s upcoming The Exorcist  film. Johansson is repped by CAA and Yorn Levine LLC. The Batman - Part II is scheduled to be released on October 1, 2027 by DC Studios and Warner Bros. Pictures.

© Marvel After two decades of appearing in comic books, Wiccan is finally headlining a story of his own with Wiccan: Witches’ Road by writer Wyatt Kennedy and artist Andy Pereira. The pressure is on for this comic to deliver, as longtime fans have been asking for this for years, and many new fans are eager for a jumping-on point to start reading comics after Wiccan’s live-action debut in Marvel Studios’ Agatha All Along . The basic premise of Wiccan: Witches’ Road #1 is that Wiccan, aka Billy Kaplan-Altman, and Hulkling aka Teddy Kaplan-Altman are injured and crash down from space after the events of Imperial . This signifies a larger status-quo shift for these two as Marvel is bringing them back to Earth after their time as the Kings of Space. Time is of the essence to heal Hulkling as our heroes fight to overcome their new dangerous environment. More importantly, Wiccan and Hulkling are written extremely authentically. Wyatt Kennedy’s dialogue is the standout here as he builds on Billy and Teddy’s honest, playful, loving relationship that Allan Heinberg set the foundation for long ago in Young Avengers that writers like Kieron Gillen, Al Ewing, and Anthony Oliveira have shepherded forward. I particularly enjoy how Kennedy isn’t afraid to have Billy and Teddy verbally jab each other just a bit, in a way any longtime couple would. But there is no maliciousness or bitterness to be found, their love shines through as bright as ever. On top of that, this book has a few great jokes that made me actually laugh… or maybe groan with a smile –yes, one was the line about a tent, you’ll know when you see it. Wiccan himself feels very familiar. He has his kindness, his confidence, a touch of arrogance, his talkativeness, and an eagerness that feels appropriate for a 20-something year old. Kennedy’s writing and Pereira’s drawing work in tandem here, always making it clear how Billy feels. Billy is definitely at a disadvantage in the story given his lack of magic, but his quickness to adapt to things like using a sword just feels right for an Avenger who has years of battle experience under his belt at this point. And, it’s just plain cool. However, this comic isn’t just for longtime fans; it works well as a jumping-on point for new readers too. Kennedy starts by quickly catching readers up on the background you need to know – with a creative way of explaining Wiccan’s complicated origin – and then drops you right into a new, fresh story. Sure, there are details that longtime fans will appreciate, but this story intentionally stands on its own and does not require any prior knowledge outside of what is told to you in the exposition. Wiccan: Witches’ Road #1 is a strong Marvel Comics debut for artist Andy Pereira. Billy and Teddy are drawn in a visually pleasing way with detailed emotion and expression packed into each panel. The settings and environments are given lots of care too, successfully setting the mood for this witchy story. The action sequences in particular are top-notch and feel like a step up from a lot of the medium right now. Bryan Valenza’s colors feel painterly, properly supporting a fairy tale-esque story. The way that he does warm, gradient skies and lighting that contrast with spooky environments feels especially unique here and helps this comic stand out. Ariana Maher’s letters are strong, giving appropriate emphasis and dramatizing lines where impactful. I am curious to see how she will depict Billy’s magic later in the story. Note that the following sections contain heavy plot spoilers. The very initial setup of the plot does contradict the ending of Imperial , confirmed to be due to a communication error between the teams. Teddy is injured, not Billy, and they appear to have crashed rather than America Chavez portaling them as the ending of Imperial suggests. The plot also hinges on Wiccan and Hulkling being in a pretty weakened and injured state. Reality warpers like Wiccan being limited is a common trope in comics. While this is narratively important for the story at hand and the arc Kennedy is crafting, I do hope this does not last the entire series, as I really felt the absence of Billy’s spellcasting and reality warping in this issue. When we only have five issues, visual and narrative real estate is limited. Kennedy still provides the magic both with the setting, and an intriguing antagonist at the end in Baba Yaga, who shows off some unique and exciting witchy action. Her words about Wiccan having a responsibility to Earth’s elements are perhaps the most relevant for Wiccan’s future. I suspect Kennedy may be weaving a throughline between Billy’s past elemental affinity in lightning and his overall reality warping and destiny as the Demiurge. About Wiccan: Witchesʼ Road #1 Release Date:  December 03, 2025 Written by:  Wyatt Kennedy Art by: Andy Pereira Cover by: Lucas Werneck Page Count: 28 Synopsis:  SOMETHING WICCAN THIS WAY COMES! A dark, macabre adventure awaits down the Witches' Road that will reshape Wiccan- and the magical fabric of the Marvel Universe- forever… Wiccan and Hulkling arrive back on Earth…but nothing can ever be easy for Marvel's favorite (former) space emperors! With Hulkling grievously wounded, it's up to Wiccan to save the day - but what lengths will he be willing to go to do so?

© Marvel Comics Peach Momoko’s Ultimate X-Men  run has been a standout, impressive even among the bold reinventions across the Ultimate line’s four core titles. The book’s distinctive Japanese setting and all-female cast already set it apart, but Momoko handling both writing and art has allowed her to craft something unmistakably her own. The result feels uniquely “Momoko,” yet remains accessible and entertaining for longtime X-Men fans and newcomers alike. In Ultimate X-Men #22 , Momoko circles back to the core conflict that hooked readers from the very beginning: the tension between Hisako and Kageyama. Last issue pitted the X-Men against the Children of the Atom, empowered by the MY-X biological weapon. The children proved an issue until Kageyama, the Shadow King, arrived and neutralized their powers. Since the MY-X formula originated from his abilities, he was able to clear the battlefield of everyone, but Armor and the X-Men. Kageyama’s fixation on Hisako is as unsettling as ever, and their clash dominates the issue, echoing their confrontation in Ultimate X-Men #1 . Back then, Hisako’s armor gave her the edge she needed to survive. But both she and the boy who became the Shadow King have evolved since that first encounter, and the outcome this time is far from certain. Hisako may have her friends beside her, but Kageyama continues to show just how overwhelming his power can be. Ultimate X-Men #22 © Marvel Comics The final pages of the battle land with a ton of force – shocking, but clearly foreshadowed if you revisit the series’ opening issue. It’s an emotional chapter, and Momoko delivers on every level. The art is stunning, especially during the climactic showdown between Armor and the Shadow King, and the writing and panel layouts amplify each emotional beat, even when the palette turns muted and gray. Though this issue feels like an ending, the story isn’t over yet as the Ultimate Universe carries on for a few more months. While I’m eager to see how far our heroines are pushed, I do hope they survive the experience. Ultimate X-Men #22  © Marvel Comics About Ultimate X-Men #22 Release Date:  December 03, 2025 Written by:  Peach Momoko Art by: Peach Momoko Cover by: Peach Momoko Page Count: 27 Synopsis :  THE FINAL SHOWDOWN BETWEEN ARMOR AND SHADOW KING! Kageyama has proclaimed death to Hisako! But the X-Men aren't going to go down without a fight!

Oh. What. Fun. © Amazon MGM Studios Christmas time often maintains the illusion of the perfect a holiday; great food, reuniting with family, celebration, and best of all, presents. Every year a palpable anticipation builds around late September, as supermarkets start stocking seasonal varieties of their usual goods, spawning the usual “but it’s not even Halloween yet!” comments from nearby shoppers. Eventually, this chaotic madness spreads like a plague, each victim coming down with a head-bobbing inducing fever as Mariah Carey inevitably returns to the charts and households are driven to their wits' end with music repeats and stress. Oh. What. Fun.  harnesses this anarchy with a terrifying realism. Claire Clauster (Michelle Pfeiffer) is the core of her orderless family, with children at wildly different stages of life, some even having their own kids, she manages to reunite the family tree over the holiday period. Her loving contributions are endless, from perfected baked goods to beautifully wrapped presents and an overly competitive feud with the neighbour across the road, Christmas wouldn’t be the same without Claire and her non-stop festivities. With many mothers guaranteed to relate, Claire feels underappreciated and forgotten, a feeling that becomes reality when her family leave her behind on a special outing she organised. Taking this in her stride, Claire embarks on an adventure to rekindle her spark and discover the wonders of an unplanned Christmas alone.  Oh. What. Fun. ©Amazon MGM Studios Beginning with a slower tempo (the calm before the storm), Oh. What. Fun. allows audiences to gel with family-feuds and relationships before the drama occurs. Perhaps this elongated build up is unconventional in a Christmas flick, of which are usually snappy and carry an energetic bounce, but this ultimately lends a hand to the narrative that otherwise struggles. The foundation of success within Amazon MGM Studio’s latest release stems from these dynamics, in the duller moments audiences will remain intrigued thanks to the delightful comedy sewn throughout, even if they are unable to cover up the flaws of a muddled script. Due to a relaxed opening, the later minutes carry a cumbersome challenge occuring at a heart attack inducing pace, unable to wrap individual sub-plots in ways that feel unique and deserving for each character, resulting in a somewhat generic and unearned conclusion.  Accompanying the legendary Michelle Pfieffer ( Batman Returns ) within the film is her on-screen children; Sammy (Dominic Sessa), Channing (Felicity Jones) and Taylor (Chloë Grace Mortez), as well as recognizable stars within Jason Schwartzman  (Spider-Man: Across the Spiderverse),  Eva Longoria ( Brooklyn Nine-Nine)  and Denis Leary  (Ice Age ). Together the cast blend together seamlessly, portraying a belligerently bickering cohort of relatives that deliver an outstandingly accurate depiction of a panicked, stressed and hungry family over this festive period. Unexpectedly, Pfieffer ( Scarface ) furnishes the film with a stunning performance as an overworked mother, yet Dominic Sessa brings an equally brilliant and much welcome witty charm and zing to the picture. One similar to that of his role as schoolboy Angus Tully in 2024’s Academy Award nominated The Holdovers .  Frustratingly, as Oh. What. Fun. progresses it becomes evidently clear that the Christmas excitement relies heavily on the cast’s delectable chemistry and unearned relatability for achievement, as the actual narrative of adventure and deeper discovery of purpose becomes entirely lost around the halfway mark. Clocking in with a runtime of 1 hour 46 minutes, Oh. What. Fun. possesses enough opportunity for further exploration of Michelle Pfieffer’s Claire outside the familial setting, yet this never occurs.  Instead, a hasty storyline involving her connection to a beloved talk show replaces any potential. As this gains traction, audiences may find themselves relying more on the secondary events and people Claire meets for entertainment, rather than the film’s main plot. Instead, the scriptwriters focus on not straying too far from obvious source inspiration within Christmas classics, such as Home Alone  (1990), attempting, and failing, to replicate their magic.  Oh. What. Fun.  © Amazon MGM Studios Overall, Oh. What. Fun. carries enough charisma and laughs to cross the finish line and deliver a fun entry to the library of modern Christmas entertainment. Unfortunately, however, rather than removing training wheels as the plot progresses, it adds even more stabilizers, afraid of offering a final product too unconventional, stinking of ‘streaming safety’ - the concept of avoiding anything ambitious and thus falling into genericity. This isn't helped by bland cinematography and colour grading equivalent to a Hallmark movie. Thankfully, the first half establishes likeable enough characters and relationships that carry the picture through, even if it never gives illustrious stars, such as Academy Award nominee Felicity Jones ( The Brutalist ), enough meat in their writing to match the incredible talent they possess.  Oh. What. Fun. © Amazon MGM Studios About Oh. What. Fun. Premiere Date:  December 3, 2025 Writer: Chandler Baker & Michael Showalter Director: Chandler Baker & Michael Showalter Production:   Metro-Goldwyn-Mayer,Semi Formal Productions, TriBeCa Productions Distribution:  Amazon MGM Studios Cast:   Michelle Pfeiffer, Felicity Jones, Chloë Grace Moretz, Denis Leary, Dominic Sessa, Danielle Brooks, Devery Jacobs, Havana Rose Liu, Maude Apatow, with Jason Schwartzman with Eva Longoria and Joan Chen.