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Saying that Blumhouse had a bad year would be an understatement. Virtually every movie they released in 2025, whether it was Drop or M3GAN 2.0, underperformed at the box office, and audience response was generally tepid. Things just don’t seem to be going right for Blumhouse this year, but there was always going to be a light at the end of the tunnel for the beleaguered studio. After all, Five Nights at Freddy’s 2 was going to be released at the end of the year and rake in the cash.

So, Wicked was a pretty big hit last year, wasn’t it? It made over $750 million at the box office, won a plethora of awards, and earned a devoted following that revitalized the idea of what a movie musical could be. It’s still too soon to tell just how important Wicked will be in the annals of film history, but it certainly left an impact in the minds of musical lovers. Now, almost exactly one year later, John M. Chu is back with the second part of his adaptation, Wicked: For Good.

If you know me, then you’ll know I love Guillermo del Toro. If I ever see his name attached to a project, then I know a few things about it. I know the world building will simply be to die for, I know the production design will be one of the best things about the film, and I know that he’ll assemble a supporting cast he can mine for great emotional depth. It was true for Pinocchio, it was true for Nightmare Alley, and now, it’s true for Frankenstein. Frankenstein is a tricky book to adapt.

Chainsaw Man shouldn’t be as popular as it is. Compared to most other mainstream Shōnen action series, a lot of what makes Chainsaw Man stand out is how un-Shōnen it is. Many of its concepts are esoteric, the series doesn’t follow your typical Shōnen story structure, and devastating scenes kind of happen with little fanfare. That isn’t to say I don’t like the series, because I most certainly do.

If you like horror movies, you know what It is. It exploded onto the scene in 2017 and became the highest-grossing horror movie of all time. Now, with the original story wrapped up, Warner Bros and HBO Max are diving back into the well with It: Welcome to Derry.

Unless you were a kid growing up in the late 90s, you won’t understand just how bitter the rivalry between Digimon and Pokémon was. Both series were trying their damndest to appeal to kids, and while Pokémon inevitably won the war, Digimon didn’t die. In fact, it’s still going strong, with a new game, Digimon Story: Time Stranger, was released earlier this month, and a new entry in the anime series, Digimon Beatbreak, just debuted as well.

It’s still something of a shock that in 2025, Disney decided it would release another Tron movie. Titled Tron: Ares, the film had a long gestation period after the success of Tron: Legacy that saw it jump between multiple scripts, directors, and stars before landing upon the Jared Leto-starring vehicle we have now. One could read that as the project ultimately being doomed, but I guess Disney needs something for its streaming service amid years of controversy and dwindling profits.

I liked Hazbin Hotel well enough. It scratches all of the itches I look for in a show. It’s got solid animation, the adult humor is pretty enjoyable, and it’s a freaking musical as well. And yet, despite how much I should enjoy it, I don’t love it. It was still good, but I just wasn’t blown away by it. It happens. Going into the New York Comic Con’s Main Stage panel for Season 2, it felt weird for me to be there. Not because I wasn’t a fan, but because I felt like I wasn’t enough of a fan.

For many, The Running Man is one of those classic ’80s movies. They’re cheesy, just a bit stupid, but fully commit to Bing as entertaining as possible. Normally, I would be cautious about any Remake of a classic Arnold movie, especially after Total Recall, but I wasn’t. Why? Because Edgar Wright was involved.

Can you believe that there are eight V/H/S movies? Since the franchise debuted in 2012, the V/H/S series has become somewhat of a staple around the Halloween season, offering up a new assortment of scary short films. Some are hits, some are misses, but for the most part, I’m never disappointed in them, especially because since 2021 they’ve become a yearly release for Shudder. They’ve served as the proving grounds for plenty of interesting horror directors, and V/H/S/Halloween is no exception.