Well this is one way to come out swinging in the first days of the new year. Check out the wild new trailer for THEY WILL KILL YOU. The film unleashes a blood-soaked, high-octane horror-action-comedy in which a young woman must survive the night at the Virgil, a demonic cult’s mysterious and twisted death-trap of a lair, before becoming their next offering in a uniquely brazen, big screen battle of epic kills and wickedly dark humor.
THEY WILL KILL YOU stars Zazie Beetz, Myha’La, Paterson Joseph, Tom Felton, Heather Graham, and Patricia Arquette.
Directed by Kirill Sokolov and written by Sokolov & Alex Litvak, the film is produced by Andy Muschietti, Barbara Muschietti and Dan Kagan, and executive produced by Russell Ackerman, John Schoenfelder, Carl Hampe, Litvak and Sokolov.
Behind the camera, Sokolov is joined by director of photography Isaac Bauman, production designer Jeremy Reed, editor Luke Doolan, costume designer Neil McClean and visual effects supervisor Marc Smith. The composer is Carlos Rafael Rivera, the music supervisor is Andrea von Foerster and the casting director is Richard Delia.
New Line Cinema and Nocturna present THEY WILL KILL YOU, distributed by Warner Bros. Pictures, only in theaters in North America on March 27, 2026, and internationally beginning on 25 March 2026.
(L-R) HEATHER GRAHAM as Sharon, TOM FELTON as Kevin, and cast in New Line Cinema/Nocturna’s “They Will Kill You,” a Warner Bros. Pictures release.
GET READY FOR THE BADDEST COMEDY OF THE SUMMER! DREAMWORKS ANIMATION PRESENTS SAM ROCKWELL, MARC MARON, CRAIG ROBINSON, AWKWAFINA AND ANTHONY RAMOS IN THE BAD GUYS 2.
IN THEATERS AUGUST 1ST.
The special advance screening is at 11am on Saturday, July 26th @ Marcus Ronnie’s Cine (10am suggested arrival).
(from left) Mr. Snake (Marc Maron), Mr. Shark (Craig Robinson), Ms. Tarantula (Awkwafina), Chief Misty Luggins (Alex Borstein), Mr. Piranha (Anthony Ramos) and Mr. Wolf (Sam Rockwell) n DreamWorks Animation’s The Bad Guys 2, directed by Pierre Perifel. Photo Credit: Universal Pictures / DreamWorks Animation
Everyone’s favorite felons are back, and this time, they’ve got company.
In the new action-packed chapter from DreamWorks Animation’s acclaimed comedy smash about a crackerjack crew of animal outlaws, our now-reformed Bad Guys are trying (very, very hard) to be good, but instead find themselves hijacked into a high-stakes, globe-trotting heist, masterminded by a new team of criminals they never saw coming: The Bad Girls.
Based on the New York Times best-selling book series by Aaron Blabey, which has soared from 8 million to over 30 million copies sold since the first film’s release in 2022, The Bad Guys 2 stars the stellar original cast, led by Academy Award® winner Sam Rockwell as Mr. Wolf, SAG award nominee Marc Maron as safe-cracker Mr. Snake, SAG award nominee Craig Robinson as master-of disguise Mr. Shark, Grammy winner Anthony Ramos as Mr. Piranha and Emmy winner Awkwafina as hacker Ms. Tarantula, aka “Webs.”
The returning voice cast is joined by a new trio of comedic powerhouses as The Bad Girls: Oscar® nominee Danielle Brooks (The Color Purple) as Bad Girls leader Kitty Kat, a dangerously clever snow leopard; Oscar® nominee Maria Bakalova (Borat Subsequent Movie Film) as Pigtail, a brilliant Bulgarian wild boar engineer; and Emmy nominee and comedy icon Natasha Lyonne (Russian Doll, Poker Face) as Doom, a wry raven with a knack for deception.
From celebrated returning director Pierre Perifel and producer Damon Ross, The Bad Guys 2 also features the alumni voice talents of Emmy nominee Zazie Beetz as Governor Diane Foxington, BAFTA winner Richard Ayoade as Professor Marmalade, Emmy winner Alex Borstein as Police Chief (now Commissioner) Misty Luggins and Lilly Singh as sensationalist reporter Tiffany Fluffit.
The Bad Guys 2 is co-directed by JP Sans, who served as head of character animation on the first film. The music is by Oscar®-nominated returning composer Daniel Pemberton.
Everyone’s favorite felons are back, and this time, they’ve got company.
In the new action-packed chapter from DreamWorks Animation’s acclaimed comedy smash about a crackerjack crew of animal outlaws, our now-reformed Bad Guys are trying (very, very hard) to be good, but instead find themselves hijacked into a high-stakes, globe-trotting heist, masterminded by a new team of criminals they never saw coming: The Bad Girls.
THE BAD GUYS (review) grossed $97.2 million in the United States and Canada, and $153.4 million in other territories, for a worldwide total of $250.4 million.
Based on the New York Times best-selling book series by Aaron Blabey, which has soared from 8 million to over 30 million copies sold since the first film’s release in 2022, The Bad Guys 2 stars the stellar original cast, led by Academy Award® winner Sam Rockwell as Mr. Wolf, SAG award nominee Marc Maron as safe-cracker Mr. Snake, SAG award nominee Craig Robinson as master-of disguise Mr. Shark, Grammy winner Anthony Ramos as Mr. Piranha and Emmy winner Awkwafina as hacker Ms. Tarantula, aka “Webs.”
The returning voice cast is joined by a new trio of comedic powerhouses as The Bad Girls: Oscar® nominee Danielle Brooks (The Color Purple) as Bad Girls leader Kitty Kat, a dangerously clever snow leopard; Oscar® nominee Maria Bakalova (Borat Subsequent Movie Film) as Pigtail, a brilliant Bulgarian wild boar engineer; and Emmy nominee and comedy icon Natasha Lyonne (Russian Doll, Poker Face) as Doom, a wry raven with a knack for deception.
From celebrated returning director Pierre Perifel and producer Damon Ross, The Bad Guys 2 also features the alumni voice talents of Emmy nominee Zazie Beetz as Governor Diane Foxington, BAFTA winner Richard Ayoade as Professor Marmalade, Emmy winner Alex Borstein as Police Chief (now Commissioner) Misty Luggins and Lilly Singh as sensationalist reporter Tiffany Fluffit.
The Bad Guys 2 is co-directed by JP Sans, who served as head of character animation on the first film. The music is by Oscar®-nominated returning composer Daniel Pemberton.
THE BAD GUYS 2 is in theaters AUGUST 1.
(from left) Pigtail (Maria Bakalova), Kitty Kat (Danielle Brooks) and Doom (Natasha Lyonne) in DreamWorks Animation’s The Bad Guys 2, directed by Pierre Perifel.(from left) Mr. Snake (Marc Maron) and Doom (Natasha Lyonne) in DreamWorks Animation’s The Bad Guys 2, directed by Pierre Perifel.
As Spring slowly arrives (really, April snow), the multiplex makes way for a new family-friendly animated feature film (and contrary to what the Academy said, that medium can tackle the more mature subject matter, like FLEE). Now, this one’s got an interesting twist, a “spin” on a firmly established trope of the “cartoon conflict’. Well, it’s not a “skewed’ satiric fairy tale or fable but rather goes further back, before the features, to those “much-missed” theatrical shorts. Very often they dealt with a chase, usually a pursuit with a predator animal trying to capture its (not so defenseless) prey. In the world of Looney Tunes, Sylvester is after Tweety while the Coyote was always several steps behind that Roadrunner. But what about shifting the focus from the “heroes” to the “villains”, to a team of “nogoodniks” who somehow want to change? Or do they? Can they really “flip” their “nature” or must they remain THE BAD GUYS?
This “cartoon caper” begins with a casual diner conversation between the gang’s leader, Wolf (voice of Sam Rockwell), and his “second in command” and BFF Snake (Marc Maron). After exiting the “greasy spoon”, the duo begins a “bank heist’ with the help of the rest of the “crew”: computer-hacking whiz Tarantula (Awkwafina), master of disguise Shark (Craig Robinson), and the tiny but powerful Piranha (Anthony Ramos). After barely escaping capture by their arch-nemesis, Police Chief Luggins (Alex Borstein), the gang return to their secret lair and begin to plan their next “job”. A TV news report informs them that the valuable Golden Dolphin award for Samaritan of the Year will be presented to Professor Marmalade (Richard Ayoade) at a “fancy-schmancy” museum event. For Wolf, the “icing on the cake” is that the award will be given by newly elected Governor Foxington (Zazie Beetz). The gang complains that many criminals have failed to nab the Dolphin, but Wolf insists that this will be their greatest “score”. Of course, the plan doesn’t quite go smoothly, as Wolf helps a much-older matron who nearly trips down a staircase. He has an odd sensation, a twinge of euphoria inside sparked by doing good and causing his tail to wag. This helps lead to the gang’s capture, but security footage of Wolf’s selfless act inspires the Prof to plead for the gang, insisting that he can change their ways and do a better job of reforming them than any prison. Can the “bad guys” go good or is this just part of a bigger scheme? And what about that spark between Wolf and the Guv?
Dreamworks Animation theatrical features have been “hit and miss” of late, often releasing uninspired sequels (the last SPIRIT horse-flick was true horse…y’know) and tepid original ideas, but put this effort in the plus category. This may be due to the source material, a popular series of children’s books by Aaron Blabey, adapted with playful glee by screenwriters Etan Cohen and Yonni Brenner who have included several nods to the old “let’s steal something in the most intricate way possible” movies. The familiar setting of the first scene gives us a “head’s up’ as they recreate the eatery from the “bookends” of PULP FICTION. The other plus is the inspired direction of first-time feature director Pierre Perifel who balances the engaging character interchanges with action sequences that take a welcome satiric swing at the excesses of many blockbusters (consider this a “palette cleanser” to the insufferable AMBULANCE). Cameras swoop above and around the speeding vehicles before slowing down for us to appreciate a subtle visual “nugget”, then “revving up’ for some bit of F&F gravity-defying nonsense. Happily the flick also employs some really inspired, funny character designs, “filling-out” Blabey’s comic-strip imagery, while not going overboard on the “too busy” detailing of many CGI renderings, though I did enjoy the darkened lines about the eyes and lips which bring out the expressions. Now, this is a bit of a human/animal mix, unlike say ZOOTOPIA or the KUNG FU PANDA series, humans interact with the critters on the same level, much like Elmer Fudd and Bugs Bunny, so there’s the “fur-less folk” who are every bit as exaggerated but seem to owe much to the “anime” wide-eyed and “open-mouth” tropes we’re seeing more frequently, from LUCA to TURNING RED. Perhaps this is done to make the animals “stand out” a bit more, though I wish the Police Chief and her crew looked as appealing. What does work is the use of this terrific vocal cast led by Rockwell who is pure laid-back “Clooney cool” as Wolf while Maron conveys a different side to his wiseguy stand-up comic (and podcaster) persona as the irritable, curmudgeonly Snake (thinking his “bucket hat” is a nod to Carl Reiner in the OCEANS trilogy) . Oh,, and extra kudos to the artisans who have recreated the sun-drenched LA streets that are a backdrop to the frenetic mayhem. With so much to offer in the way of animated entertainment, audiences of any age should have fun spending a good 100 minutes with THE BAD GUYS.
3 out of 4
THE BAD GUYS opens in theaters everywhere on April 22, 2022
What say we saddle up and mosey’ down to the ole’ multiplex, pardner’? Or something like that since we’ve got an opportunity to take in a true cinematic rarity. Several decades ago the Western (or as the Variety “trade paper’ called them “Oaters”) was a staple at the local “Bijou”, just like comedies, musicals, romances, and horror flicks. And TV “rode alongside’ with the genre encompassing over half of network primetime fare. Oh, but now…(cue the tumbleweeds). Sure, there have been modern Westerns like the recent LET HIM GO and CRY MACHO, but they’re pretty much set in modern times (yes, I know Clint’s last entry was a 1980s story). No, this new one takes place near the tail end of the 19th century and its cast is mainly black (I’d say African-American but many of the actors hail from foreign lands), But this isn’t a first as it follows in the “boot-steps’ of ADIOS AMIGO, BUCK AND THE PREACHER, and POSSE (that’s nearly 30 years ago). And before you ask, this isn’t a remake of Bogie’s last flick, though it’s also called THE HARDER THEY FALL. Giddeyup’!
This “sagebrush saga’ opens with a flashback, showing us a decade-old attack on a frontier family by notorious outlaw Rufus Buck (Idris Elba). The tale jumps forward as a survivor (no, he didn’t become Batman or even the Lone Ranger), Nat Love (Jonathan Majors) exacts his revenge on one of the Buck gang in a deserted church. Meanwhile two members of the “Love crew”, “crack” rifle “shot” Bill Pickett (Edi Gathegi) and cocky confident “quick draw” kid Jim Beckworth (RJ Cyler) ambush the “Vermillion Gang” (they wear colored hoods now closer to pink) and relieve them of their stolen bank loot, which was intended for the Buck gang, though he’s “rotting” in jail. Or is he? Far away a locomotive is stopped and bordered by “Treacherous” Trudy Smith (Regina King) and “fast-draw” killer Cherokee Bill (LaKeth Stanfield). And what is the train’s treasure? Cash? Gold? No, it’s their boss, Buck himself who was being transported to another “facility” (it seems that the gang has an unlikely ally high up in the government). Meanwhile, Nat visits a high-class saloon, after checking his gunbelt with the tough bouncer/ bodyguard “Cuffee” (Danielle Deadwyler) and reunites with its owner, and “lost flame”, “Stagecoach” Marie (Zazie Beets). Later, the saloon hosts another reunion as Love is approached by famed lawman Bass Reeves (Delroy Lindo), who delivers the news of Buck’s escape. The next morning the two are joined by Pickett and Beckworth on the trail to Redwood City, where, much to Love’s surprise, they are joined by Mary and Cuffee. Over in their destination, Buck re-establishes himself as the town’s “kingpin”, tossing off the law, acting Sheriff Wiley (Deon Cole), and levying a hefty “protection tax” (to make up for the earlier “ripoff”) on its poor citizens. When Love’s crew arrives, Mary insists that she go into town “incognito” to “scope out” the situation. When things go awry, Nat and his gang are caught in a jam. Do they become outlaws to rescue Mary? Either way, the Buck Gang could triumph and make the town a stronghold for the lawless. Sounds like a “showdown” is a-comin’!
An excellent ensemble helps make the West very wild indeed. Heading up the forces of good (well, not as bad as the other “sidewinders”) as Love is the very compelling Major (so great in the recent Disney+ streaming show “Loki”) who proves to be one confident cowbo…er…man. His Love is an excellent leader who backs up his six-gun skills while somehow being several steps ahead of anyone else. His fighting and romantic partner is played with equal part allure and danger by the radiant Beetz (there’s a lady worthy of their “ride into Hell”). Lindo is filed with righteous gravitas as the somber Reeves. Luckily the mood is lightened somewhat by the comic sparring of Gathegi as the usually pessimistic Bill and Cyler’s full of motor-mouthed swagger Jim. Rounding out the “heroic six” is Deadwyler whose Cuffee has a fierce sense of loyalty to offset her often awkward social skills. They’re all “put through the wringer” by the enigmatic Elba as the hulking Buck who quietly hovers over his victims, waiting to strike with unbridled fury, like a simmering powderkeg. King as Trudy seems to be his good “right hand” as she does his bidding while barely suppressing a sadistic smile. Her cohort Cherokee Bill as portrayed by Stanfield is a cold, dead-eyed one-man army, whose banal stare is almost as deadly as his trigger finger (and it’s so itchy). Cole also provides a bit of levity as the ineffectual Wiley whose bellowing bark is much more painful than his bite (even with those shiny gold choppers).
Director Jeymes Samuel, helming the script he co-wrote with Boaz Yakin, brings a lot of kinetic energy to this “horse opera”, mixing the visuals of Sergio Leone with some of the ultra-violent snark of Tarantino (if only his THE HATEFUL EIGHT had this sense of style and brevity). Samuel takes all that we love about the genre and makes it feel somewhat fresh. And there’s a nice sense of history as he uses the names of real Western icons for this fictional fable (I only knew about Reeves via the recent HBO sequel to “The Watchmen”). Yes, some of the humor is hammered into a pulp (the color of a very unfriendly town) and a few scenes seem too weird for the time period (a saloon entertainer painted blue ala’ Mystique from the X-Men would not have “played” well with thirsty cowpokes). Oh, and the carnage of the final “throwdown” is more than a bit mind and backside numbing. However, the cast seems to be having a terrific time ( no matter how old we get, playing “cowboy’ is a blast), and the art direction is top-notch from the saloons and side shops to the wardrobe. Any fans of SILVERADO and THE MAGNIFICENT SEVEN should get that same rawhide rush from watching the “souped-up”, hip hop, shoot-em-up’ spectacle of THE HARDER THEY FALL. And when they topple, look out for those popping “blood squibs”.
3 Out of 4
THE HARDER THEY FALL is now playing in select theatres and is streaming exclusively on Netflix
In the Sundance hit NINE DAYS, a serious, melancholy man interviews candidates in a nine-day process to pick one to be born, in a supernatural drama. NINE DAYS takes a different, more existential approach to a concept that has long fascinated Hollywood, movies about reincarnation, rebirth and other worldly characters watching over people on earth. NINE DAYS leaves any theological or philosophical interpretation of who, what or where these characters are up to the audience, only providing some basic information, and focuses on questions of humanity and life itself, an exploration it grounds in a real-world, contemporary situation, as candidates are put though an extended job interview in which souls are put through a series of tests to determine who gets to be born.
Will’s (Winston Duke) job is to keep an eye on a group of people on Earth. He lives alone in a little house that is isolated in a desert-like expanse, and spends his days watching old-fashioned TVs with POV feeds of these people’s lives. Serious, reserved and slightly sad, Will meticulously takes notes on what he sees, makes VHS tapes of parts of their lives, and carefully files those tapes and notes in folders in steel filing cabinets. The buttoned-down Will has a frequent visitor, chatty Kyo (Benedict Wong), whose friendly demeanor contrasts starkly with Will’s quiet reserve. Kyo shows up with supplies and a request to watch Will’s TVs. They chat about the people on the TVs like they are characters in TV shows they enjoy, particularly anticipating upcoming highlights like one woman’s wedding and another’s concert, which they watch together.
When one of Will’s charges, a favorite named Amanda, suddenly dies in an auto accident, it hits him hard. It also creates an opening in Will’s charges, which he must fill with a new soul. Will gets to work quickly, selecting seven candidates, newly-born souls, to fill the slot.
This is writer/director Edson Oda’s first feature film and it is an impressive debut. The intriguing premise and the characters draw you in immediately, and Oda presents these diverse personalities in a kaleidoscope fashion framed by the interviews and Will’s discussions with Kyo. The Japanese Brazilian writer/director uses the extended job interview premise as a way for people to connect with the story and get to know the characters. The primary focus of the film is on the characters, especially Will, exploring human dreams and human differences, with gentle, indirect reflections on life and human nature in all its form.
Will selects seven candidates to interview and test over a maximum of nine days, new-born souls whose existence will end shortly if they are eliminated from consideration. Each is told he/she will be born into a loving family and a comfortable life, so these are prime life assignments. We later learn that others are doing work similar to Will’s, making their own selections from pool of souls, like picking from a group of job applicants.
The seven candidates, Emma (Zazie Beetz), Kane (Bill Skarsgård), Alexander (Tony Hale), Maria (Arianna Ortiz), Mike (David Rysdahl), Anne (Perry Smith) and Colleen (Geraldine Hughes), are a wide range of personalities, which director Oda uses as a kind of snap shot of humanity. The mix and their differing reactions are fascinating, as is how Will responses, while maintaining his poker-face demeanor.
Most of the invited candidates are on time but one, Emma (Zazie Beetz), shows up much later. Will does not even want to talk to her, but Kyo lets her in, forcing Will to consider her. She is so unique, always inquisitive and with an independent streak, that he adds her to his list anyway.
One of the few things we learn about Will is that he was once alive, a requirement for his job. Kyo, we learn, has never been alive but is Will’s supervisor, overseeing his work and advising occasionally but the decision is ultimately Will’s. The candidates, the souls, are a variety of types and most, but not all, present as younger adults.
The candidates are winnowed down over the nine days, though a series of tests and assignments. One big assignment is to watch the POV feeds of other lives and take notes, and share thoughts with Will. The candidates do not interact with each other, just Will and sometimes Kyo, until very late in the film. Will does not share with any of them what he is looking for, telling them only “there are no right or wrong answers” in the manner of psychologist, But his conversations with Kyo reveals he is looking for a certain resilience to face life and also perhaps uniqueness.
Will’s own existence is very circumscribed, limited to his house and the immediate surroundings. It is a comfortable little house with a sort-of 40s decor and a little white picket fenced yard, but it is isolated, with no other buildings in sight on the flat desert-like landscape. People walk to the house from unseen locations. The house seems to act like a protective shell for Will, as does his reserved demeanor and rigid routines, and there is a sense of mystery and melancholy around him. We learn little of Will’s previous life but the quizzical, curious Emma challenges and upends Will’s well-worn pattern, forcing him to reflect on his life and reveal a bit.
Oda draws on observations of life and humanity for his innovative, involving film, He edits it masterfully, cutting from candidate to candidate as Will goes through his interview questions and challenges, which gives us a glimpse of each person’s reaction to the problem. Some characters we get to know better than others, as the group is narrowed every day. As candidates are winnowed down, some just disappear but for others, we get to see a final experience drawn from what they have watched of life, a kindness provided by Will. These final thoughtful gestures reveal a deep sensitivity beneath Will’s reserved, formal manner.
Some are eliminated quickly, and we don’t really get to know them much. But Will offers each a chance to experience a little of the life they have observed on the POV feeds but will not have, a kindness that other interviewers don’t offer. We witness a few of those, some of the drama’s most poignant moments.
The acting is impressive to say the least, particularly Winston Duke as Will, but extending to all the cast. Duke slowly peels back layers of the closed-in Will, showing us hints of the reason for the pain and sadness we sense beneath his rigid veneer. Benedict Wong provides the perfect foil for Will’s reserve but it is the questioning Emma who really cracks his glassy surface.
While the whole story takes place in various rooms of Will’s house and the surrounding barren but bracing landscape, the film is opened up by beautiful, sweeping photography by cinematographer Wyatt Garfield which creates the perfect setting for Oda’s thoughtful, involving drama.
NINE DAYS offers an intriguing premise to explore human life, featuring impressive acting performance, skillful direction and striking photography, all woven into an affecting, thought provoking drama, in an impressive directorial debut. If you like good drama, good acting, and are intrigued by how differently people see the same thing, this excellent film should be on your list of ones to see.
NINE DAYS opens Friday, August 6, at Landmark’s Plaza Frontenac Cinema and other theaters.
Small-town pizza delivery is about to get dangerous when Slice arrives on DVD January 29 from Lionsgate. Grammy Award® winner Chance the Rapper makes his acting debut alongside Primetime Emmy nominee Zazie Beetz (Best Supporting Actress, TV’s “Atlanta,” 2018) in a horror-comedy from Austin Vesely (longtime director of Chance the Rapper’s music videos), who makes his directorial debut. Hilariously spooky and unlike anything you’ve seen before, the Slice DVD will be available for the suggested retail price of $19.98.
When a slew of pizza delivery boys are slain on the job in a spooky small town, two daring survivors (Zazie Beetz of TV’s “Atlanta,” and Chance the Rapper in a wild film debut) set out to catch the culprits behind the cryptic crime spree.
DVD SPECIAL FEATURES
Deleted Scenes
Audio Commentary with Director Austin Vesely, Producer Elijah Alvarado, and Actor Paul Scheer
CAST
Zazie Beetz Deadpool 2, Dead Pigs, TV’s “Atlanta”
Chance the Rapper Feature Film Debut
Rae Gray TV’s “Fear the Walking Dead,” Dismissed
Chris Parnell TV’s “Archer,” Goosebumps 2: Haunted Halloween,
