Let these lyrics wash over you as the latest examination of office toxicity plays out in a modern milieu: “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.” Sam Raimi’s buoyant horror/comedy Send Help (A-) functions as both a delirious deserted island escapade and also a twisted battle of the sexes, with pulp friction aplenty to scratch the itch, feed the beast and satisfy the gods of carnage attuned to his particular directorial sensibilities. Rachel McAdams brilliantly creates a singular character: an undervalued cubicle denizen with mad coping skills who finds herself on shipwrecked shores with a boss most boorish, played with a dashing grimace by the ever-more-fascinating Dylan O’Brien. This deeply entertaining two-hander traces the peculiar power dynamics of two incredibly committed actors, all the while steeped in the tropes of a survival story. This adventurous allegory offers continuous fresh takes and mixed genres, with plentiful splashes of giddiness and gore. Bill Pope’s crystalline cinematography and Danny Elfman’s understated score add zest to the demented dynamics. It’s watercolor meets watercooler as corporate culture get an epic seaside skewering.
Strap onto your seats, not out of a promise of actual cinematic intensity, but because only literal harnesses or handcuffs will keep anticipatory viewers sufficiently locked in for this misbegotten A.I. justice thriller. Timur Bekmambetov’s Mercy (F) tethers career-worst performances by both Chris Pratt and Rebecca Ferguson to a belabored plot, accompanied by a constant countdown which incessantly reminds viewers it’s almost over. The story places Pratt in a literal chair from which he must defend himself against a crime of passion before Ferguson’s monotone cyber judge with the assistance of computer files, municipal cloud recordings, location records and phone-a-friend technologies. This data dump boasts all the thrills of overnight mainframe maintenance. None of the film’s preposterous characters bears resemblance to any found naturally in reality, and the stakes are rotten from the get-go. The film’s format robs a generally charismatic actor of his charm and the actress of her nuance. Even a final act showdown is thwarted by mind-numbing dialogue and baffling answers to an already shaky thesis. This hour and a half of cheesy effects and weasely affectations is akin to an escape room where every participant simply wants out. It redefines “edge of your seat” in that you’ll find yourself rearing to slither away to any other place.
What happens when a battle-tested boy, an isolated physician, a naked and sedated alpha zombie and a gang of miscreants encounter one another for the second part of an inventive film trilogy in a long-running series? It’s bloody interesting, when that film installment is Nia DaCosta’s 28 Years Later: The Bone Temple (B). Ralph Fiennes’ kindly physician character takes center stage, and his “bone temple” memorial to lost lives in an uncertain future becomes a veritable amphitheater for this movie’s showdown with some unlikely villains. This film amps up the gore, brutality and existential dread about true evil in the world, and Fiennes anchors the film with grace notes of humanity mixed with a hint of the unhinged. As the teen who came of age in the previous installment, Alfie Williams is again wonderfully emotive but a little sidelined in a majority of the story. Jack O’Connell is dynamite as a menacing leader of a band of renegades including an effective Erin Kellyman. Even Chi Lewis-Parry brings humanity to his hulking infected character. This latest trilogy upends many of the tropes of the undead genre, with conversation and contemplation featured more often than straightforward action. It’s still very engrossing, even if the myth-making in Danny Boyle’s previous movie was more revelatory than the religious angles of DaCosta’s. This is a delightful and delicate mash-up of genres and one of the most offbeat Hollywood tentpole films to be released in some time. Again, it’s exciting and insightful.
We are on the precipice of a very early Golden Globes weekend this Sunday (before Oscars, months away on 3/15/26 – and oh, do we have a viewing party in the works down at Trilith come the ides of March!) Expect parental anxiety and monsters (both literal and human!) to reign supreme for the wins! Timothee Chalamet as a ping pong champion (“Marty Supreme” now a hit in theatres), Michael B. Jordan as twin gangsters fighting the supernatural (“Sinners”), Rose Byrne and Jesse Buckley as parents facing unbearable crucibles (“If I Had Legs I’d Kick You” and “Hamnet”), Jacob Elordi as a patchwork creature (“Frankenstein” on Netflix) and Amy Madigan wielding witchery and micro-bangs (one of my faves, “Weapons” now on HBO Max) are my predictions to triumph. Brazil’s “Secret Agent” could also be an acting spoiler, with big fans in the international voting wing. Expect “One Battle After Another” and “Sinners,” both now on HBO Max for those catching up, to clinch top prizes. Nikki Glaser hosts Sunday night on CBS and Paramount+. Expect it all to be as “Golden” as The Outsiders in their heyday or the ubiquitous “K Pop Demon Hunters” song.
