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.

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.