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.

This week on After the Frame, we’re covering two very different superhero shows in one episode: one loud, bloody, and apocalyptic; the other gritty, grounded, and locked back into what makes its hero work.

We start with The Boys Season 5, the final ride for a series built on violence, satire, and superhero corruption. We break down whether the show sticks the landing, how Homelander remains one of TV’s most terrifying villains, and why the chaos still works even when the season feels bloated, blunt, or familiar. It may not be the sharpest the show has ever been, but it still goes out angry, nasty, and unmistakably itself.

Then we shift to Daredevil: Born Again Season 2, a major step in the right direction for Matt Murdock’s return. We talk about the improved confidence, the stronger action, the Matt/Fisk rivalry, and why the season works best when it embraces legal drama, street-level crime, Catholic guilt, and brutal moral conflict. There’s still some franchise baggage, but this feels much closer to the Daredevil fans wanted from the start.

Two superhero shows, two very different missions: one closing the book in blood and satire, the other finding its footing in the shadows of Hell’s Kitchen.

This episode on After the Frame, we’re covering three wildly different movies in one episode - a loose, charming Pixar original, a messy horror reboot, and a technically impressive trip into liminal-space dread.

We start with Hoppers, a refreshing win for Pixar that feels original, playful, and genuinely fun. Instead of forcing a heavy message, it leads with charm, imagination, and off-the-wall energy - the kind of movie that reminds you Pixar can still create new worlds worth revisiting.

Then we unwrap Lee Cronin’s The Mummy, a darker horror-leaning reboot with flashes of creepy imagery and strange ideas… but not enough story logic to hold itself together. We talk about where the horror elements work, why the movie feels bizarre in the wrong way, and how a promising franchise reset turns into a messy swing-and-miss.

Finally, we enter Backrooms, a movie built on mood, sound design, production design, and pure uncanny discomfort. Kane Parsons delivers an impressively crafted experience with strong performances and a lingering sense of dread, even if the story feels incomplete by the end.

Three movies, three completely different vibes: Pixar charm, cursed bandages, and fluorescent nightmare fuel.

This week on After the Frame, we’re packing four very different reviews into one episode, from big-screen sci-fi spectacle, to grimy internet-age horror, to absurd comedy, to one of the scariest indie horror swings of the year.

We start with Project Hail Mary, a massive crowd-pleaser powered by Ryan Gosling’s charm, breathtaking visual effects, and the emotional punch of Rocky. It comes incredibly close to greatness, even if a shaky final stretch keeps it from fully sticking the landing.

Then we dig into Faces of Death, a disturbing and timely horror film about voyeurism, exploitation, and the way real-world fear gets consumed as content. It’s nasty, uncomfortable, and driven by a strong Dacre Montgomery performance, even when the story starts to wobble.

From there, we lighten the mood with Over Your Dead Body, another confident comedy from the Lonely Island world. Jorma Taccone brings the absurdity, the movie commits to the bit, and your mileage will probably depend on how much that specific comedic lane works for you.

Finally, we close with Obsession, a terrifying indie horror breakout that turns a simple wish-gone-wrong premise into something cruel, anxious, and genuinely scary. With Curry Barker’s confident debut direction and a star-making performance from Inde Navarrette, this one may be the horror movie to beat in 2026.

Four movies, four wildly different tones, and one episode bouncing from space survival to online nightmares, ridiculous comedy, and full-body dread.

This week on After the Frame, we’re packing three reviews into one episode, moving from franchise disappointment, to atmospheric dread, to a sequel that’s fun but maybe a little too safe.

We start with Scream 7, a frustrating entry in a franchise that usually knows how to balance mystery, nostalgia, and sharp horror satire. This time, the villain reveal, callback-heavy storytelling, and lack of real suspense leave us wondering if Scream has finally drifted closer to Stab than its own best entries.

Then we shift into Undertone, a slower, stranger horror film that builds fear through mood, camerawork, and an incredible sound mix. We talk about why it works best as a Dolby dread experience, how Nina Kiri carries the film, and why the thin plot and shaky ending keep it from fully landing.

Finally, we close with Ready or Not 2: Here I Come, a sequel that keeps the dark comedy chaos alive without really raising the stakes. It’s still a fun time, but for a franchise with this much room to get weird, we wanted it to push harder, swing bigger, and go more unhinged.

Three horror-adjacent movies. Three very different levels of success. One episode full of sequels, scares, and missed opportunities.