Sam Raimi's latest is the ultimate “revenge on a horrible boss” comedy, one far nastier than Horrible Bosses itself, and like 9 to 5's empowered kidnappers, Rachel McAdams' marginalized, fed-up office drone is eminently worth cheering. Ma-a-aybe not when holding a knife dangerously close to her paralyzed employer's privates, but … . Oh, who am I kidding? Especially then.

The mildly futuristic, vaguely sci-fi thriller Mercy is a rather confused movie, which, of course, isn't the same thing as a confusing one.

The biggest story regarding contenders for the 98th Oscars, which were revealed this morning by Danielle Brooks and Lewis Pullman at 7:30 a.m. CT, is Sinners. And it's quite literally The Biggest Story, as Ryan Coogler's period vampire musical flew away with 16 nods – the most citations for one movie in Academy Awards history.

I couldn't wait for last year's 28 Years Later to end. I was disappointed when this one did, as another half-hour or so would've been totally fine by me.

This year, One Battle After Another and Sinners appear poised to not only tie but update the most-Oscar-nods-ever stat … and their tallies might not even end at 15.

One can only hope that director/co-writer Johannes Roberts' Primate remains the worst 2026 horror flick to feature a previous Oscar winner. It should be said, however, that Troy Kotsur, who earned a deserved Best Supporting Actor trophy for 2021's CODA, is the finest thing that could've happened to a dopey, rather repugnant shocker about a chimp gone ape.

As has become a common ritual, the first weekend of the new year brought with it a low-budget horror movie. Unlike releases of the M3GAN/Night Swim variety, however, this most recent release doesn't appear all that interested in being a horror movie – which is largely to its credit.

Thanks for turning my favorite movie of the year – of many, many years – into the financial, cultural, and awards-season behemoth it's become.

I found this latest showcase for “hilarious” abhorrent behavior grossly self-satisfied and almost unfailingly obnoxious. The opening credits, though, are a hoot.

James Cameron can always be counted on to deliver visual wonders the likes of which we've never seen before. No, wait: I take that back. I meant to say that James Cameron could always be counted on to deliver visual wonders the likes of which we've never seen before.

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