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It was a packed end of the year, but we’re getting started on 2026. In this week’s review roundup, I look at a couple late 2025 releases I caught up with in addition to the first wide releases of 2026. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

Anaconda (Theaters)
Starring: Paul Rudd, Jack Black, Steve Zahn, and Thandiwe Newton
Synopsis: This is a re-imaging of the classic 1997 film starring Jennifer Lopez and Ice Cube that saw a group of filmmakers battling a giant snake on the Amazon river. In this new film, a group of friends (Rudd, Black, Zahn, and Newton) team up to try and film a new take on one of their favorite films. They head to the Amazon to film and, predictably, get more than they bargain for when a real giant snake makes them a target, among other issues. This was everything I would want from a film tackling the concept. The original film, though it has its fans and charms, is not an iconic classic. And while other horror films of the period have been re-made in a somewhat serious attempt, this is pure comedy. It respects the original. It pays homage to the original. But it aims to do something different, and in that it succeeds. Black and Rudd are a delight, but the whole cast does a great job of bringing this story to life. I had a blast and I would suspect that most everyone that attends will, too.
Rating: Rated PG-13 for violence/action, strong language, some drug use and suggestive references.
Verdict: Three and a half stars out of five

The Housemaid (Theaters)
Starring: Amanda Seyfried, Sydney Sweeney, and Brandon Sklenar
Synopsis: This new thriller and black comedy from Paul Feig is based on the popular novel from Frieda McFadden, which is the first in a series. Will this inspire a series of films? It’s certainly possible, though the jury is still out on that. But what is clear is that this first installment sizzles and is a lot of fun. It follows a young woman (Sweeney) who is desperate as she forges a resume to apply for a live-in housekeeper job with a wealthy couple (Seyfried and Sklenar). When she gets the job it feels like a dream, but soon it turns into something else as long-hidden secrets bubble to the surface. This film gets off to a slow start. I felt like the first act and beginning of the second act took a while to get going. But once it does, buckle up. The three leads are great here, but I particularly enjoyed Seyfried and Sweeney. Both of them do a great job and they do well playing off one-another. It ends up being a lot of fun and quite compelling. If you’re looking for a good story, it’s worth seeking out.
Rating: Rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language.
Verdict: Three and a half stars out of five

The Plague (Theaters)
Starring: Joel Edgerton and Everett Blunck
Synopsis: Those teen years can be rough, especially if you’re not part of the “cool crowd.” Being the subject of exclusion, bullying, and more can take a heavy mental toll. Many can’t rise above it all to learn too just be themselves. But a lucky few are made of tougher stuff. The new film The Plague, which opened in limited on Christmas Day and went wide January 2, is focused on that idea. Writer/director Charlie Polinger brings the story of boys at a camp to life, making anyone who has ever struggled to fit in feel seen. The film is set at a water polo camp in the summer of 2003. We’re quickly introduced to Ben (Blunck), who is a bit socially awkward. He’s been dropped at the camp and just wants to fit in. But it isn’t easy. He tries to befriend Jake (Kayo Martin), who is the leader of the group in the camp. Jake has his sights set on another camper, Eli (Kenny Rasmussen), who is dubbed The Plague by Jake because of a skin condition. At first, Ben goes along with the harassment as a means of staying with the cool crowd. But when Jake pushes it further, humiliating Eli in front of all the campers, including a group of girls, Ben feels guilty. Ben reaches out to befriend Eli. His act of kindness puts him on Jake’s list, and soon enough Ben finds himself the focus of their bullying and exclusion as well. While Eli manages to brush it off and remain himself, Ben is tormented by his exclusion. He finds himself angry at being left out and resentful of Eli’s ability to brush it off. This is an interesting and slow-paced film. Despite the name, there isn’t really an exploration of illness, or even the skin condition plaguing Eli. It’s easy to say the actual plague is self-doubt and the war that we wage with ourselves and those that try to belittle us for differences or kindness. That’s a powerful idea and at times presents a powerful message. The film is 98 minutes, but it feels a bit thin. We don’t really get to know much about Eli or Jake, or the rest of the boys. Edgerton, a fine actor, shows up as the boys’ coach. He has a few nice scenes, but he’s not given enough depth of character, either. Even Blunck isn’t given a lot of depth as Ben, though his strong anchoring performance keeps you grounded. This is an interesting idea to be explored and Blunck does a nice job in the lead role. Some of the shots—particularly the sequences in the pool, are captivating, too. But I wish there had been a bit more depth and a bit more to some of these interactions to add a bit more power to a nice closing sequence.
Rating: Rated R for language, sexual material, selfharm/bloody images, and some drug and alcohol use - all involving children.
Verdict: Three stars out of five

We Bury the Dead (Theaters)
Starring: Daisy Ridley
Synopsis: We all have unresolved issues with someone. There are things we need to say, or wish we’d said. But how far would you go to get closure with someone you loved? In the new film We Bury the Dead, which opened on January 2, a woman is moved to go to the site of a disaster. She does it because her husband was at the site where it occurred. She does it to get answers. But, mostly, she does it to get closure. The film is set in a world where the United States was testing a new weapon that broke containment and hit Tunisia. It instantly wiped out the population of the island. It leads to a great deal of fear and outrage, but also a need for help. Ava (Ridley) is one of the many volunteers who arrive there to help with the cleanup. That specifically means removing the dead inhabitants. Except, they didn’t all die right away. That makes the efforts slow, as the military must first clear areas, then escort those who arrive to help. But Ava is motivated by something personal. It turns out when the accident happened, her husband was in a coastal region. Now, she’s desperate for some answers and some closure. She makes a connection with Clay (Brenton Thwaites), a fellow volunteer, who agrees to help her break from the group and search for her husband. But the journey is more difficult and perilous than either expects. We’ve seen plenty of this type of disaster film. The virus wipes out the population, turning some into what seem very much like zombies. But, as in all these type of disaster films, the biggest threat often turns out to be fellow human survivors who have nothing left to lose. That’s the case here in this quick-moving horror film. Ridley is the most recognizable performer and serves as the anchor. She’s a talented actress who does a nice job in the role. Her Ava is one of the few characters with depth and a backstory that’s explored. And she carries the narrative through a few different harrowing sequences. Writer/director Zak Hilditch does a nice job of creating a setting and atmosphere. A couple of the sequences are chilling, and the look of the undead works decently, too. But there are some wild swings in the story. One in the closing sequence will certainly remind audiences of 28 Years Later, but it feels a bit more out-of-place here. There aren’t enough scares and tension built into these sequences. Additionally, the characters mostly feel too thin. While I appreciated Ridley, even Ava’s character and backstory lacks some depth. That helps the whole thing to feel a little underwhelming. This isn’t a bad film. It’s an interesting premise and has some interesting moments. But it doesn’t capitalize on all its potential. Still, for fans of the genre it will be a nice change up from some of the holiday releases.
Rating: Rated R for strong violent content, gore, language and brief drug use.
Verdict: Two and a half stars out of five