This week on After the Frame, we start with The End of Oak Street, a throwback summer adventure built on dinosaurs, old-school escapism, and strong technical craft. We break down the Amblin-style energy, the performances, the brisk pacing, and why the movie works as a fun popcorn thriller, even if it never quite captures the soul of the classics it’s chasing.

From there, we widen the conversation to one of the most frustrating things in movies: when the idea is way better than the final product.

We dig into films with killer premises, huge potential, and the kind of concepts that immediately make you want to buy a ticket, only to leave us wondering how so much promise turned into something merely okay. Some needed deeper world-building, some took the wrong story path, and others simply never capitalized on the thing that made the concept exciting in the first place.

One solid dinosaur adventure, plenty of missed opportunities, and a whole lot of “how did you have THAT idea and make THIS movie?” energy.

This week on After the Frame, we swing into the next chapter of Tom Holland’s Spider-Man before stepping directly into one of the most dangerous debates in comic-book movie history.

We begin with our review of Spider-Man: Brand New Day, a grounded, street-level reset that gives Peter Parker’s emotional journey room to breathe. We break down the fresh direction, striking comic-book style, carefully timed humor, and how the movie builds on the consequences of No Way Home without feeling trapped by the past. We also discuss the expanded cast, the new character dynamics, and why this feels like the confident beginning of a new era for Spider-Man.

Then we turn our attention to the casting choices that still leave Marvel and DC fans asking one question: What were they thinking? We count down our ten worst superhero castings, judging the biggest gaps between performer and character, not simply the weakest acting. Some were damaged by bad scripts, some fundamentally misunderstood the role, and others became distractions from the heroes and villains they were supposed to embody.

One of the strongest Spider-Man movies in years, ten casting decisions we’re still arguing about, and enough comic-book hot takes to guarantee a completely calm and reasonable response online.

This week on After the Frame, the superhero news cycle is working overtime as DC and Marvel reveal more of what’s coming next.

We break down the new trailers for Lanterns and Clayface, two projects taking the DC Universe in dramatically different directions. One brings an intergalactic mythology down to Earth for a dark detective story, while the other pushes Gotham into full body-horror territory. We discuss what worked, what has us cautious, and whether DC’s willingness to jump between genres is becoming its greatest advantage.

Then we swing over to Marvel for the latest on Spider-Man: Brand New Day and Avengers: Doomsday. We unpack the new footage, story possibilities, character reveals, and the growing expectations surrounding Marvel’s next major crossover event.

We also recap the biggest wins, surprises, and unanswered questions from DC and Marvel’s appearances at San Diego Comic-Con before closing with an Avengers: Doomsday activity that forces us to lock in our predictions before the multiverse inevitably proves us wrong.

Trailers, theories, Comic-Con reactions, and enough superhero speculation to get us cooked online by opening weekend.

This week on After the Frame, we’re reviewing three movies operating at completely different scales: a monumental theatrical epic, an intimate relationship comedy, and a vicious horror sequel soaked in blood.

We begin with The Odyssey, Christopher Nolan’s staggering big-screen achievement. From Matt Damon’s commanding lead performance and jaw-dropping set pieces to the cinematography, score, and razor-sharp editing, we break down how the film managed to meet nearly impossible expectations and why it may stand as one of the defining theatrical experiences of the decade.

Then we trade mythical seas for one increasingly uncomfortable apartment in The Invite. Powered by one of the year’s sharpest scripts and four outstanding performances, Olivia Wilde’s adult relationship comedy turns an outrageous proposal into a hilarious, painfully relatable examination of marriage, aging, desire, and everything couples leave unsaid.

Finally, we descend into the cruelty of Evil Dead Burn, a technically accomplished but deeply divisive franchise entry. We discuss its intriguing emotional setup, inventive practical horror, and relentless gore, as well as why its mean-spirited tone and lack of the series’ playful creativity make the violence feel more exhausting than entertaining.

Three films, three wildly different experiences: mythic spectacle, social anxiety, and a family reunion straight from hell.

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.

This episode on After the Frame, we’re covering three very different franchise swings: a campy fantasy reboot, a surprisingly purposeful Pixar sequel, and a spoof comedy trying to recapture old magic.

We start with Masters of the Universe, a messy but entertaining adventure that leans into the camp, delivers some impressive practical character work, and somehow gives us a pretty strong Jared Leto Skeletor. It’s overlong and uneven, but there’s enough weird fantasy fun here to make the ride worthwhile.

Then we jump into Toy Story 5, a late Disney/Pixar sequel that actually clears the most important bar: it feels like it exists for a reason. With strong animation, familiar voice work, and a modern story about screens, childhood, and connection, this one proves there’s still some heart left in the toy box.

Finally, we dig into Scary Movie, a franchise return that reminds us how hard good parody actually is. We talk about why the early entries worked, why this one feels like it stops dead for references, and how spoof comedy falls apart when the jokes become the whole movie instead of serving the story.

Three franchise plays, three different outcomes: one campy surprise, one heartfelt sequel, and one comedy that needed sharper knives.