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.

This week on After the Frame, we dive into Emerald Fennell’s Wuthering Heights (2026) — a bold retelling that looks stunning, feels soaked in atmosphere, and swings hard for gothic intensity. For a lot of its runtime, it’s gripping in that “can’t look away” way… and then the final stretch gets shaky.

We break down what worked and what didn’t: the film’s striking visual language, the heavy tone, and the clear directorial point of view, alongside a third act that struggles to stick the emotional landing. We talk about what the movie is trying to say about obsession and cruelty, where the storytelling pulls its punches, and why it ends up being more compelling in pieces than as a whole.

If you’re into messy romance, bleak vibes, and ambitious adaptations that spark debate, this one’s for you.

This week on After the Frame, we’re keeping it loose - breaking down the latest entertainment headlines, arguing over our favorite topics, and letting the takes fly.

We start with quick reactions to what’s happening in movies and pop culture right now, then jump into a few games that instantly spiral into debate. From guessing lists to ranking on the fly to “winner stays on” chaos, it’s competitive, ridiculous, and way more heated than it should be.

We close out with a round of hot takes - the kind that either look genius in six months or get us dragged online by tomorrow.

Sam Raimi kicks off 2026 with Send Help a movie that somehow mashes up survival thriller tension with workplace comedy chaos, and actually makes it work. It’s fast, funny, sharp, and packed with the kind of horror-comedy-suspense blend that feels unmistakably Raimi.

In this episode of After the Frame, we break down what worked and what didn’t: the smart setup, the instantly punchy character dynamic, the way the film slowly shifts empathy and power between its leads, and why Rachel McAdams and Dylan O’Brien make the premise feel grounded instead of gimmicky. We also talk about the rough CGI moments, what makes this stand out from typical deserted-island stories, and why getting a crowd-pleaser like this this early in the year feels like a gift.

Whether you’re looking for a date-night movie, a friends-night-out pick, or just a fun ride at the theater this one’s worth the ticket.

Awards season is here — and the gloves are off. In this episode of After the Frame, we dive headfirst into the 2026 Oscars conversation, breaking down the nominations, the biggest snubs, and where we think the Academy got it right — and very wrong.

We kick things off with a cold open on the latest entertainment headlines before jumping into activities like Tenable, Blind Rankings, and a round of rapid-fire entertainment hot takes. From there, it’s full Oscars mode: reacting to nominations, calling out omissions, and locking in our predictions across the major categories.

To close the episode, Matt brings a full review of 28 Years Later: The Bone Temple, breaking down what worked and what didn’t in one of the smartest, most character-driven entries the zombie genre has seen in years. We discuss the standout performances, the thoughtful storytelling, how it stacks up within the franchise, and where it might fit into the larger awards conversation.

It’s an episode packed with predictions, debates, and takes that will absolutely be revisited once the envelopes are opened.

A new year means new takes. In this special After the Frame episode, we kick off 2026 by looking ahead, locking in our boldest predictions for the movies, franchises, and industry trends that will define the year.

We start in full 2026 Preview mode, running through Over/Under predictions on everything from billion-dollar movies and superhero critical scores to streaming shakeups and sequel performance. From there, we each plant a Prediction Lock we’re not allowed to walk back, debate which franchises we’re buying or fading, and call our early Oscar long shots.

We then hit our 2026 categories: the most anticipated movies of the year, box office winners and flops, underdogs, breakout actors, directors with the most at stake, potential franchise revivals (or final nails in the coffin), and the movies we’re irrationally excited, or weirdly skeptical, about. We close the preview with final bold predictions and New Year’s resolutions, including the takes we fully expect to get cooked for online.

To wrap things up, we pivot to a quick review of Primate, an early-year horror release that leans hard into absurdity and gore. Even if it’s not everyone’s lane, it sparks a conversation about niche appeal, January releases, and why committing fully to a wild premise can still make for an entertaining watch.

It’s a forward-looking episode packed with confident takes, questionable bets, and at least one movie destined to age poorly.