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28 Years Later: The Bone Temple

by Hope Madden & George Wolf

Maybe you enjoyed last year’s coming-of-age survival story masquerading as horror, 28 Years Later. Respect. But if you believe the film lacked the genuine terror required for this franchise, director Nia DaCosta has you covered.

She delivers the first great horror film of the year with 28 Years Later: The Bone Temple, also written by Alex Garland. It picks up the most intriguing threads left untied last time: those of the band of Clockwork Orange-esque marauders who saved young Spike (Alfie Williams) from the infected, and the beautiful soul covered in iodine and living amongst the bones, Dr. Ian Kelson (Ralph Fiennes).

There is more visceral horror in the first three scenes of DaCosta’s film than in the entire hour and fifty-five minutes of the previous installment.

Spike finds himself unwittingly and unwillingly one of the Jimmys, the seven blond-wigged disciples of Sir Jimmy Crystal (O’Connell). Meanwhile, die-hard Duran Duran fan (hell yeah!) Dr. Kelson might be making friends with Samson (Chi Lewis-Parry), the pantsless alfa-infected who left such an impression in the last film.

As the two stories lead toward inevitable collision, Garland, who wrote the 2000 genre masterpiece 28 Days Later before writing and directing some of the best genre films of the 2000s (Ex Machina, Annihilation, Men, Civil War), delivers smart storytelling, impeccable world building, and scares aplenty.

And again, Garland is able to display an intense social conscience, with timely and relevant nods to humanity fighting cruelty for survival, and the desperate allure of demagogues.

O’Connell’s never given a bad performance, and thanks to Sinners, the world knows what he can do with a villain role. But the man’s been doing the charismatic sadist better than any actor since his 2008 breakout, Eden Lake. His performance here is diabolical and unsettlingly funny.

Fiennes is again in wonderous form, soulful, earnest and dear. DaCosta surrounds them both with a strong ensemble that more than sells this story.

The filmmaker (Little Woods, Candyman, The Marvels, Hedda) returns to horror with aplomb, expertly weaving from the grimmest horrors the Jimmys can muster to the tender bromance blossoming over at the bone temple. And the climactic musical number she stages there is a thing for the ages.

Back in the summer of 2002, Danny Boyle released the single scariest movie to hit screens in a decade or more. The next two sequels are solid films. But credit DaCosta and her game and gamey cast for upping the ante to deliver everything a horror fan hoped to get last time out.

Fright Club

Fright Club: New Latino Horror

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The last decade has seen an explosion in Spanish language horror—so many incredible options that we went fuzzy math for this list and still had to leave off some incredible movies, including Amigo, Veronica, The Platform, Terrified, Luz: The Flower of Evil, La Llorona, Huesera: The Bone Woman, and The Untamed. So, make sure you check every one of those out, but first, you should peruse the films that did make our list.

Thanks as always to a great crowd at Gateway Film Center!

6. El Conde (2023, Chile)

On Netflix
Pablo Larraín has a particular gift for poetic historical retellings grounded in a singular woman’s perspective: Spencer, Jackie. But his passion for the political history of his native Chile rings through most of his films, including Naruda and No. But did we see a vampire movie coming?

El Conde reimagines Augusto Pinochet as a vampire weary of his many years on earth and ready to leave his bickering family in squalor and finally die – until the church sends a vampire slayer after him. What follows is a near-slapstick political satire, sort of The Death of Stalin meets What We Do in the Shadows.

Every moment’s a delight, and a late-film reveal is a cynical and biting reward for a gloriously spent couple of hours.

5. Tigers Are Not Afraid (2019, Mexico)

On Shudder, Prime and AMC+

Lopez’s fable of children and war brandishes the same themes as Guillermo del Toro’s masterpiece Pan’s Labyrinth, but grounds the magic with a rugged street style.

Tigers follows Estrella, a child studying fairy tales—or, she was until her school is temporarily closed due to the stray bullets that make it unsafe for students. As Estrella and her classmates hide beneath desks to avoid gunfire, her teacher hands her three broken pieces of chalk and tells her these are her three wishes.

But wishes never turn out the way you want them to.

4. Piggy (2022, Spain)

On Hulu, HBO Max, Prime, AMC+

Mean girls are a fixture in cinema, from Mean Girls to Carrie, Heathers to Jawbreaker to Napoleon Dynamite and countless others. Why is that? It’s because we like to see mean girls taken down.

Writer/director Carlota Pereda wants to challenge that base instinct. But first, she is going to make you hate Maca (Claudia Salas), Roci (Camille Aguilar) and Claudia (Irene Ferreiro). In one tiny Spanish town, the three girls make Sara’s (Laura Galán, remarkable) life utterly miserable. Like worse than Carrie White’s.

The filmmaker complicates every trope, all the one-dimensional victim/hero/villain ideas this genre and others feast on. Redemption doesn’t come easily to anyone. Pereda also seamlessly blends themes and ideas from across the genre, upending expectations but never skimping on brutal, visceral horror.

3. The Coffee Table (2022, Spain)

On Shudder, Prime, Tubi, AMC+

A remarkably well written script fleshed out by a stunning ensemble becomes utter torture as you want so badly for some other outcome. Co-writer/director Caye Casas ties threads, builds anxiety, plunges the depths of “what’s the worst that could happen?” and leaves you shaken.

David Pareja and Estefania de los Santos craft indelible, believable, beautifully flawed characters so convincing that their experience becomes painful for you. Casas salts the wounds with dark comedy, but the tenderness and tragedy collaborate toward something far more crushingly human.

2.  The Wolf House (2018, Chile)

On Prime, Tubi, Plex, Fawesome

Another Chilean horror, so you’re safe in assuming it has something to do with Pinochet. This breathtaking, incredibly creepy stop motion animated wonder tells of a true cult, Colonia Dignidad. One of its inhabitants escapes into the woods, has a near-miss catastrophe with a wolf, and hides in an abandoned house.

Directors/animators Cristobal León and Joaquín Cociña pull you into Maria’s dreamlike world, as her thoughts and reality blend before your eyes. Sets are painted, built, melted, and destroyed on the screen as Maria’s thoughts and the dangers she faces come and go. It’s an eerily beautiful and unforgettable fairy tale rooted in reality.

1. When Evil Lurks (2023, Argentina)

On Shudder, Hulu, Max, AMC+, Prime

Just when you thought no one could do anything fresh with a possession movie, Terrified filmmaker Demián Rugna surprises you. When Evil Lurks does sometimes feel familiar, its road trip to hell detouring through The Crazies, among others. But Rugna’s take on all the familiar elements feels new, in that you cannot and would not want to predict where he’s headed.

This is a magnificently written piece of horror, and Rugna’s expansive direction gives it an otherworldly yet dirty, earthy presence.

The inexplicable ugliness – this particularly foul presence of evil – is handled with enough distance, enough elegance to make the film almost beautiful, regardless of the truly awful nature of the footage. And Rugna never lets up. Each passing minute is more difficult than the last, to the very last, which is an absolute knife to the heart.

The Screening Room

Screening Room: Is This Thing On? Primate, Greenland 2 & More!

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Hope & George review this week’s new releases: Is This Thing On?, Primate, Greenland 2: Migration, Father Mother Sister Brother, The Chronology of Water, All That’s Left Behind, and Sleepwalker.

New In Theaters

Heartbreak and Displacement

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All That’s Left of You

by Rachel Willis

Opening with two teenagers swept up in a demonstration in the West Bank, writer/director Cherien Dabis drops us into a world of strife and sorrow with her film, All That’s Left of You.

After the tense opening, the film moves backward in time to 1948, Jaffa, Palestine. From here, we follow Sharif (Adam Bakri) as he struggles to hold onto his land and home amid ever worsening strikes in the region. His wife is less concerned with his ideals than she is with keeping her family safe.

As we follow Sharif and his family, and the decisions they have to make as Zionist troops close-in, we get a sense of the hopelessness of the situation. Whether or not you know the history, there is a sense of impending doom as the men in the region discuss their options—stay and resist or leave in hopes of a safer future.

The 1948 segment of the film is the shortest, but it gives a sense of what was lost for the people of Jaffa.

Jumping ahead 30 years to the occupied West Bank, Sharif is now an old man who lives with his son Salim (Saleh Bakri) and his family. Each moment we spend with this family shows how deeply the film cares about its subject matter.

One scene during the 1978 segment is so intense it’s nearly impossible to watch. As soldiers torture and humiliate Salim in front of his son, Noor (Sanad Alkabareti), their laughter only underscores the cruelty present when we dehumanize each other. Noor’s reaction to the event is heartbreaking, yet honest.

The film jumps ahead another ten years as we follow an angry, teenage Noor (Muhammad Abed Elrahman) in an increasingly charged West Bank. The scene that opens the film comes full circle as the third section begins.   

This family’s trauma across generations is our gateway into this world. Events unfold around them that are almost incomprehensible. Protestors are gunned down in the street. Treatment for a medical emergency is delayed over bureaucratic red tape and a misplaced ID. All That’s Left of You is an impassioned portrayal of one family’s experiences of displacement and heartbreak in Palestine.

Outtakes

What a Snooze

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Sleepwalker

by Brandon Thomas

Horror has always used trauma as a foundation for some of the best of the genre. Films like The Changeling or Don’t Look Now wouldn’t be what they are without the emotional trauma haunting their characters. However, these films also had outstanding scripts, a top-notch cast, and directors who knew how to bring it all together. How does Sleepwalker fare as a new entry into Trauma Horror? Unfortunately, like a bad dream. 

Acclaimed artist Sarah (Hayden Panettiere of Scream 4 & 6, TV’s Heroes) is still in the throes of grief after the loss of her daughter in a car accident. This same accident left her estranged and abusive husband, Michael (Justin Chatwin of War of the Worlds), in a coma. As Sarah’s grief begins to manifest itself in sleepwalking, her grip on reality begins to loosen, putting those around her at risk.

Director Brandon Auman attempts to craft a psychological tale that works equally well as a dark drama as it does as a horror film. Think Ari Aster’s Hereditary. However, Auman’s script lacks the nuance, depth, and frankly, the scares, of Aster’s film. The very real topics of PTSD, domestic abuse, and grief get skimmed over with broad strokes instead of being given the attention and finesse needed to be effective. 

When Sleepwalker shifts into horror mode, it’s never really able to escape reliance on the dreaded jump scare and a score that telegraphs said jump scares a mile away. There’s a lack of visual flair during these scenes that robs the film of any kind of mood or atmosphere and ultimately hobbles Sleepwalker from the get-go.

Instead of being given a complex, nuanced character to play, Panettiere’s Sarah spends the entire film bouncing through a cornucopia of emotions. Her entire role boils down to “gaslit character”. Chatwin fares even worse. His Michael is a walking, talking (actually, yelling) stereotype. Having your two lead characters be such empty vessels keeps Sleepwalker from finding any kind of emotional traction. 

There are lofty goals to be found within Sleepwalker, but unfortunately, the film is ultimately DOA due to a poor script, uninspired direction, and a complete lack of scares.

New In Theaters

Bob’s Your Uncle

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Father Mother Sister Brother

by George Wolf

January is often regarded as a dumping ground for throwaway theater releases, featuring films not good enough to make into the holiday/award season push.

But this month is the perfect time to catch Father Mother Sister Brother, a richly human big screen triptych that explores the type of strained family get- togethers many of us experienced just weeks ago.

Writer/director Jim Jarmusch reportedly began writing the film as a way to cast Tom Waits as Adam Driver’s dad, and the opening “Father” sequence gives us just that. Jeff (Driver) and sister Emily (Mayim Bialik) don’t exactly seemed thrilled about visiting their father (Waits) at his place in very rural New Jersey. As the siblings converse in the car, we learn some things about Dad. But it isn’t long into their strained family reunion that we begin to doubt every one of these things.

The “Mother” chapter takes us to Dublin, Ireland, where Mom (Charlotte Rampling) is awaiting daughters Lilith (Vicky Krieps) and Timothea (Cate Blanchett) for their annual visit. Though life updates are spilled around a beautiful array of tea and cakes, only a few crumbs of truth actually get shared.

And in Paris for the “Sister Brother” finale, twins Skye (Indya Moore) and Billy (Luka Sabbat) meet after the recent plane crash that killed their parents. From a small cafe to an empty apartment, sister and brother sort through mementos and memories as they take a small step toward moving on.

Though Jarmusch films can sometimes be glacially paced (The Limits of Control) or deadpan enough (The Dead Don’t Die) to frustrate the uninitiated, FMSB finds him at perhaps his most tender and warmly funny.

The segments aren’t connected through these characters, but instead via beverages, watches, skateboarders and the old English phrase “Bob’s your uncle.” The camera lingers on old frames, photographs and empty rooms, making a subtle call to all that caused these recent moments to be less worthy of commemorating. Ultimately, what we don’t see happen begins to weigh as heavily as the things we do.

The cast – full of Jarmusch favorites old and new – is uniformly terrific. Each character is weary with obligations and regrets that seem as authentic as they are relatable, and each reacts to breaks of humor in ways that are different yet still feel very much like family.

And those people you were with over the holidays – would you have hung out even if they weren’t your family? Father Mother Sister Brother might make you consider the answer a bit longer.

Just find a screening, and you know, Bob’s your uncle.

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To Live or to Drown

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The Chronology of Water

by Hope Madden

Since becoming the reluctant icon of a franchise equally adored and loathed, Kristen Stewart has made a career out of fascinating decisions.

As an actor, Stewart’s veered from dark comedy (American Ultra) to awards contenders (Still Alice, The Clouds of Sils Maria) to genre (Lizzie, Underwater). She worked with some of the greatest indie filmmakers in the business (David Cronenberg’s Crimes of the Future, Olivier Assayas’s Personal Shopper, Kelly Reichardt’s Certain Women, Rose Glass’s Love Lies Bleeding) and finally shook that angsty adolescent image with an Oscar nomination for her stunning work in Pablo Larraín’s 2021 film, Spencer.

Since becoming an undisputed acting heavyweight, Stewart’s moved on to a new challenge: filmmaker. Her leap to the big screen feature format is an adaptation of Lidia Yuknavitch’s memoir, The Chronology of Water.

Imogen Poots plays Lidia. It’s the kind of a role that would simultaneously entice and worry an actor—survivor of abuse who numbs her trauma with self-destructive behavior. And for Stewart, Lidia’s is a tale told in close-up. The filmmaker has apparently never met a wide shot she liked. Her approach creates a wild intimacy, taking a story told in flashback and requiring us to see every second’s urgent immediacy.

It’s also a choice that disallows any kind of acting cheat. No matter, because Poots is no cheat. The actor has impressed in a wide range of characters but never has she brought such raw agony to the screen.

Stewart’s made a punishing film, and in Poots’s more ferocious moments, it’s difficult to watch. The actor externalizes pain as rage brilliantly, making her moments of vulnerability that much more heartbreaking.

A supporting cast goes often nameless, existing as fragments of Lidia’s reality. Still, Stewart draws wonderful performances from everyone. Thora Birch is understated excellence, a perfect counterpoint to Poots’s explosive passion. And Jim Belushi offers an affable, caring turn as Ken Kesey.

Together, cast and filmmaker find beauty in Yuknavitch’s tale, though at times The Chronolog of Water feels like it’s wallowing. Still, Stewart’s touch is lyrical, offsetting the brutality of the film’s content with images that are delicately wondrous, contradictorily peaceful, sometimes even lightly but discordantly funny.

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Take My Wife, Please

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Is This Thing On?

by Hope Madden

Back when Bradley Cooper forgot stealing Mike Tyson’s tiger, few would have guessed that he would go on to collect a dozen Oscar nominations for writing, directing, producing, and acting. His first two adventures behind the camera, 2019’s A Star Is Born and 2024’s Maestro, each earned him nominations for picture, screenplay, and performance. They also showcased a director of real power.

So obviously his latest is a comedy.

Cooper co-writes and directs Is This Thing On?, a midlife crisis disguised as a rom-com.

Alex (Will Arnett, who co-writes) and Tess (the ever-incandescent Laura Dern) are ending their 20-year marriage. No hard feelings, no infidelities, both just decided it was time to call it.

On his first night out of the house, in need of a beer and lacking the $15 cash to pay the cover, Alex puts his name on “the list” for a comedy club’s open mic night. He doesn’t bomb, gets some stuff off his chest, and finds that he kind of loves stand-up.

Because men will do anything to avoid therapy.

A supporting cast keeps things chaotic. Cooper plays Alex’s dumbass stoner actor brother whose wife (Andra Day) needs to stay high just to tolerate him. His parents (an inspired Christine Ebersol and Ciarán Hinds) mean well, Cooper directing their cacophony of advice, dismay, rebukes, and requests for juice boxes for giddy, exhausting mayhem.

Dern is characteristically wonderous, crafting a character who’s raw and on-edge and absolutely never the clichéd put-upon supportive partner. Her chemistry with Arnett breathes, bristles, and laughs as easily as a lived-in relationship rooted somewhere or other in love.

To Arnett’s credit, he goes head-to-head with the veteran Oscar winner and charms. Muddled but earnest and effortlessly likeable, Alex is the dad you want kids to know and the floundering ex you root for, if not to get back together, at least to just get it together.

Aside from one or two convenient plot beats, Is This Thing On? benefits immeasurably from authenticity. That emotional honesty drives the laughter and the tension, and elevates the relatively light film (given Cooper’s previous two efforts) above easy comedy or indie dramedy. The film is a unique beast, natural and messy but still totally sold on love.

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Damn Dirty Ape

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Primate

by Hope Madden

My working theory is that Johannes Roberts saw Nope and thought, when does Gordy get his own movie? IP being what it is, Primate is likely the closest the co-writer/director could come.

The film follows Lucy (Johnny Sequoyah) home from college. She’s summering with family—dad (Troy Kotsur, CODA), little sister (Gia Hunter), and Ben, the family’s beloved chimpanzee in their incredibly impressive compound on the side of a cliff in Hawaii.

But Dad’s off to a work event Lucy’s first weekend home, so friends crash to drink beer, smoke weed, eat pizza, and get picked off one by one when Ben turns super feral.

Roberts (47 Meters Down, 47 Meters Down: Uncaged, Strangers: Prey at Night, Resident Evil: Welcome to Raccoon City) has not built a career on nuance. He makes fun, obvious monster movies. The telegraphed scares are at least goretastic, and what he lacks in subtlety he makes up for with macabre humor.

Like any monster movie worth its chlorine, Primate is a survival tale. Quickly, the partiers assess the danger and jump into the pool because chimps can’t swim. Did you know that? I didn’t know it. Is it even true?

Google says it’s true.

There you go. Johannes Roberts taught me something today.

Superficial character development feeds into teen horror cliche as Sequoyah and her supporting players, including Jess Alexander (A Banquet) and Victoria Wyant, struggle with insipid dialog. The writing is pretty awful, and aside from jumping into the pool, the kids’ behavior is consistently dumb.

Some of the gore is inspired, though, particularly one jaw-related injury. The creature design is a little more touch and go. At times Ben’s look is passably realistic, but not always. But Kudos to Roberts for going practical, and Miguel Torres Umba inside the suit moves with menace.

There’s also an effective device made of Lucy’s dad’s deafness, handled with minimal manipulation and landing some authentic tension.

In the end, Gordy Meets Cujo delivers exactly what you should expect: jump scares, cliché, young adults behaving stupidly, and plenty of blood. Is it a great movie? It is not. Nope, definitely not. But it might be what you’re in the mood for.

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Shark Infested Waters

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The Plague

by George Wolf

2025 was yet another year with an impressive list of great performances from young film actors. Ana Sophia Heger (She Rides Shotgun), Cary Christopher (Weapons), and Nina Ye (Left-Handed Girl) were among those seasoned beyond their years. Now, The Plague‘s Everett Blunck leads a terrific ensemble of youngsters to join this group of standout turns.

Blunck (last year’s Griffin in Summer) is 12 year-old Ben, one of the young athletes spending the summer at a boys’ water polo camp in New England. A bit shy and awkward, Ben still finds a way to be accepted at the cool kids’ table.

And led by the smug, sarcastic Jake (Kayo Martin, also stellar), those kids target Eli (Kenny Rasmussen, just wonderful) – the weird kid with the rash – for taunts and bullying. Dubbing Eli’s skin condition as a “plague” that’s contagious, the boys are not shy about the finger pointing and mocking laughter.

Ben goes along to get along. But when he dares to show Eli some sympathy, he crosses an unpopular line. Jake and the King Bees decide it is Ben who now has the plague and must be cast out.

Writer/director Charlie Polinger’s feature debut bursts with vision and craftsmanship. He wanders the confines of the swimming pool, locker room and the campus buildings with a probing, studious eye, unveiling some gorgeously shot sequences with a cold detachment that fuels the mood of alienation.

Polinger’s writing is also urgent enough to make this more than just a chlorinated Lord of the Flies. Joel Edgerton’s coach character is aware of some of what’s going on in camp, but he’s purposely kept on the fringes, as Polinger explores how the boys navigate their cruelty around the adults’ anti-bullying sit downs.

Working equally as a microcosm and a singular coming-of-age narrative, The Plague is fascinating, heartbreaking and often quite beautiful. It’s a major debut for a gifted filmmaker, and an emotional showcase for a talented group of young performers.

Hope Madden and George Wolf … get it?