This week on After the Frame, we’re reviewing three movies built for very different audiences: an action-heavy genre swing, a colorful Nintendo adventure, and a polished nostalgia sequel that knows exactly what fans came to see.

We start with They Will Kill You, a movie with plenty of action, energy, and self-aware intent, but not nearly enough story underneath it. We break down why the set pieces work in the moment, why the lack of character development hurts, and how far action can carry a movie before the missing foundation starts to show.

Then we head into The Super Mario Galaxy Movie, a bright, chaotic, beautifully animated kids’ movie that delivers plenty of color, characters, and Nintendo spectacle. It’s fun and it serves its audience, but we talk about why family movies can still offer more story, more emotion, and more meat on the bone.

Finally, we close with The Devil Wears Prada 2, a safe but satisfying nostalgia sequel powered by Anne Hathaway, Meryl Streep, and the eternal truth that Stanley Tucci is all this franchise needs from its male characters. It doesn’t take many risks, but it understands the assignment and gives fans a polished return to a world they already love.

Three movies, three lanes: action without enough story, animation without enough depth, and nostalgia that knows how to please.

This week on After the Frame, we dive into Supergirl, the latest chapter in the new DCU and a movie that leaves us feeling mixed, but still hopeful for the character’s future.

Milly Alcock is the clear win here, bringing a messy, damaged, party-girl-with-a-heart-of-gold energy that makes Kara feel distinct from Superman while still fitting into the larger DC world. Her scenes with David Corenswet only reinforce how much potential this version of Supergirl has, and David Krumholtz delivers one of the movie’s strongest emotional moments.

But the movie around Alcock doesn’t always rise to her level. We break down the bland screenplay, the forgettable villain, the underwhelming use of Lobo, and why the sidekick dynamic distracts from the character we actually came to see. We also talk about the space setting, the third-act song choice, and why this feels like a noticeable drop-off from Superman without being a full-on disaster.

The good news? The foundation works. Alcock feels like Supergirl. Now the DCU just needs to give her a sharper story, stronger supporting pieces, and the confidence to let Kara fully take flight.

This episode on After the Frame, we’re covering a trio of movies that all surprised us in different ways: one with Spielberg-sized spectacle, one with sheep solving a mystery way better than expected, and one with enough cringe, comedy, and dramatic intensity to make you physically uncomfortable.

We start with Disclosure Day, a movie packed with wonder, scale, and that unmistakable Spielberg “wow factor.” There’s a lot of greatness on screen, but we break down how the script and underbaked characters keep pulling the movie back down every time it starts to fully take off.

Then we move to The Sheep Detectives, one of the year’s biggest surprises. What looked like a goofy talking-sheep movie turns out to be a clever, heartfelt, genuinely engaging mystery with smart writing and real emotional weight. We talk about why it works, how the mystery keeps you invested, and why it’s way better than it had any right to be.

Finally, we dive into The Drama, a sharp, uncomfortable, and wildly impressive blend of cringe comedy and emotional chaos. Zendaya and Robert Pattinson are operating at the top of their game, Alana Haim deserves real supporting recognition, and A24 deserves credit for marketing the movie without giving away the ride.

Three movies, three distinct flavors: cinematic wonder, barnyard mystery, and full-body social anxiety.