Directed by Francis Lawrence from a screenplay by Billy Ray, the film stars Joseph Zada as the young Haymitch, beginning on the morning of the reaping for the 50th Hunger Games, known as the Second Quarter Quell. The story follows Haymitch into the arena, where he forms an unlikely alliance with fellow tribute Maysilee Donner, played by Mckenna Grace, while joining a larger effort to challenge the Capitol and President Snow, portrayed by Ralph Fiennes.

As the Games become increasingly deadly, Haymitch begins looking for a way to fight the system from inside the arena. His actions will eventually help set the rebellion in motion, giving the new film a direct connection to the events that shaped Panem decades later.

The Hunger Games franchise remains one of the biggest properties in modern entertainment, with its five novels selling more than 100 million copies worldwide and five films earning over $3.4 billion globally. The Sunrise on the Reaping novel also became the biggest debut in Suzanne Collins’ series.

The Hunger Games: Sunrise on the Reaping arrives in theaters November 20.

Benedict Cumberbatch leads an impressive ensemble that includes Rosamund Pike, Cosmo Jarvis, James Norton, Paddy Considine, and Anthony Hopkins. At the center of the story is the Fairbank dynasty, whose obsession with wealth and control turns a battle over inheritance and corporate power into something far more violent.

The 60-second teaser keeps much of the story deliberately mysterious, but it establishes a revenge-driven atmosphere. Hopkins’ patriarch delivers an ominous story about a man trapped in a pit, while Cumberbatch appears to be the man who survives being left for dead and returns with revenge on his mind.

There is also plenty of Ritchie-style mayhem, including Cumberbatch wielding a pool cue and unleashing a shotgun during the escalating conflict. Following the world of The Gentlemen, Wife & Dog appears ready to explore another ruthless corner of British high society.

Wife & Dog is scheduled to hit cinemas in February 2027.

Ouazani gives Lisa the physical determination required for the role while keeping the character grounded in the emotional consequences of losing the person she loves. Kali is not simply another action heroine who suddenly becomes capable of fighting because the script requires it; her Special Forces background gives the character a believable reason to understand weapons, tactics, and close-quarters combat. That military experience becomes particularly important as her investigation takes her deeper into a criminal world where she is increasingly outnumbered and outgunned. The film’s villains are tied to the trafficking operation behind her husband’s murder, although the story is ultimately more interested in Kali’s relentless pursuit than in creating one dominant antagonist.

Director Julien Seri approaches Kali as a straightforward revenge thriller with an international scope. Seri is best known for Yamakasi, the 2001 French action film that helped establish his connection to physically driven cinema, and that background is noticeable in Kali’s emphasis on movement and action. The film moves between urban environments and the Brazilian wilderness, giving the story several different locations in which to stage confrontations and chase sequences.

The stunt work is one of the more important elements of Kali, particularly with Mathieu Lardot handling stunt coordination. His credits include the Furies TV series, The Gray Man, The Last Mercenary with Jean-Claude Van Damme, Mission: Impossible, and Jack Ryan, giving the action a coordinator with experience across both European productions and major international projects. That experience helps the film deliver the kind of physical action expected from a story about a trained Special Forces operative, with fights, gunplay, pursuits, and tactical encounters driving Kali’s journey forward.

The camera work also has to keep up with the film’s constantly changing environments. Instead of confining Lisa to a single location, Seri takes her through Rio’s favelas and into the Brazilian jungle, allowing the action to shift between close urban confrontations and larger outdoor sequences. This gives Kali a sense of movement that matches its revenge-driven story, while the physical performances remain central to the action rather than being completely hidden behind visual effects.

Kali will work best for viewers looking for a modern revenge thriller built around a female action lead, international locations, and a protagonist with a military background. Sabrina Ouazani brings determination to Lisa, while Julien Seri and Mathieu Lardot give the film a strong action foundation. If you enjoy straightforward revenge stories where the hero has to fight her way through an increasingly dangerous conspiracy, Kali is worth adding to your action-movie watchlist.

Braff stars as Sergeant Kevin Simmers, a Maryland law enforcement officer leading a task force targeting drug trafficking in Hagerstown, a major stop along the notorious “Heroin Highway.” But while Kevin spends his days fighting the drug trade, his greatest battle is happening at home.

His 19-year-old daughter Brooke, played by Esther McGregor, is struggling with an increasingly serious addiction that progresses from prescription pain medication to heroin. Forced to confront the crisis affecting his own family, Kevin begins questioning the system he has dedicated his life to defending.

The story follows father and daughter as they fight for recovery, redemption and hope while confronting the painful realities of addiction. Rather than presenting the issue solely through the perspective of law enforcement, Clean Hands explores how deeply the drug crisis can affect families and communities.

The film had its world premiere at the Tribeca Film Festival on June 7, 2026. The production was developed in partnership with Brooke’s House, the nonprofit women’s recovery home founded by the real-life Simmers in 2018 and still operating in Hagerstown.

Clean Hands brings a deeply personal true story to the screen.

Hwang Jung-min plays Bum-seok, the central figure of the first part of the story, and he is presented initially as exactly the kind of determined local hero you would expect to take control when things go wrong. He investigates the destruction, follows the sounds of gunfire and explosions, and repeatedly finds himself several steps behind whatever is responsible. Zo In-sung plays Sung-ki, his hunter cousin, who heads into the surrounding wilderness with other hunters searching for answers. Both characters are eventually stripped of the heroic image the movie initially gives them, and that transformation becomes one of the film’s most interesting ideas.

The supporting cast adds to the strange atmosphere, with Hoyeon playing Sung-ae, a level-headed police officer who proves surprisingly capable in the field, while other characters include a greedy trapper and an elderly forager who provide pieces of information about the mysterious creature. The film deliberately gives many of these people cartoonish qualities, creating an unusual combination of Korean action-movie humor and the traditional Western image of ordinary men grabbing weapons to defend their town.

Director Na Hong-jin is best known for The Wailing, another film that deliberately avoids conventional genre structure and constantly challenges the audience’s assumptions. That experience is clearly visible in Hope, where Na uses familiar action and science-fiction ideas but keeps shifting the perspective. The first hour is particularly impressive because the director allows the mystery to develop almost entirely through movement, sound, and the reactions of the characters rather than immediately showing the threat.

The camera work from Hong Kyung-pyo is one of the movie’s strongest elements. Tracking shots follow Bum-seok through the town as he hears gunfire, explosions, and screams without knowing exactly where the danger is coming from. Some of these movements are remarkably smooth, creating the sensation that the camera is physically hunting alongside him. The movie also changes its visual language as the story develops, moving away from heroic compositions and placing the characters farther away within increasingly empty landscapes. That change makes the humans appear smaller and more helpless against the world surrounding them.

The action is often brutal and energetic, with chases, shootouts, explosions, and creature attacks providing plenty of physical spectacle. The problem is that the movie’s second half does not maintain the momentum established during its extraordinary opening hour. Several action sequences continue for too long without providing enough new information, making some of the later confrontations feel repetitive. The decision to keep the creatures mysterious for so long is fascinating, although Taylor Russell, Alicia Vikander, and Michael Fassbender are deliberately underused, with their characters and motivations largely withheld until the final stages.

Korean cinema continues to surprise with action films that refuse to follow the usual formulas. While Korean television series have been delivering some impressive genre work recently, it feels like the movies are catching up and getting better and better, especially when filmmakers are willing to mix action with darker, stranger ideas. Hope is another example of that ambition, even if its second half does not maintain the same momentum as the opening.

The biggest question is where the story goes from here. There is clearly much more left to explore, and the final minutes leave enough unanswered to make a sequel feel natural rather than forced. I genuinely hope the filmmakers continue this story, because the world they have created has a lot more to tell. If Korean cinema keeps taking chances like this, the next chapter could be even more interesting.

Told largely in Tyson’s own words, the documentary follows his journey from a brutal childhood in Brooklyn to becoming the youngest heavyweight champion in boxing history. But behind the fame and championship belts was a far more complicated story involving addiction, prison, public breakdowns and the infamous 1997 fight with Evander Holyfield that ended with Tyson biting his opponent’s ear.

Tyson goes beyond the headlines, featuring never-before-seen material and rare access to the people who knew the boxing legend throughout his career, including family members, friends and former adversaries.

The series examines the pressures that accompanied Tyson’s transformation from troubled young fighter to global superstar, while allowing him to confront the decisions and consequences that shaped his legacy.

Floyd Russ directs the four-part documentary, with Jenna Millman, Jacob Miller and Alexa Ginsburg producing. David Bolen and Jacob Moller serve as directors of photography, while Wax Taber and Dan Duran handle editing.

Tyson premieres October 13, offering viewers a deeply personal look at the man behind one of boxing’s most recognizable names.

Ritchson proves once again that he can handle action at the highest level, and much of that confidence clearly comes from the experience he gained playing Jack Reacher. As Hank, he combines the physical power audiences expect with a more restrained performance that gives the character genuine humanity. Hank is not looking for trouble, but once the chase begins, he knows exactly how to deal with it. Whether he is fighting through an ambush, escaping a pursuit, or protecting the liver at all costs, Ritchson looks completely comfortable carrying a movie built around constant action.

Owen Wilson is perfectly suited to Ben, giving the character the fast-talking personality and comic timing needed to balance Ritchson’s more serious presence. Wilson has played variations of this energetic, slightly chaotic personality before, but that familiarity works here because Ben is exactly the kind of character who can keep the movie entertaining between the explosions and fights. His chemistry with Ritchson gives Runner the feel of a classic action-comedy partnership without allowing the humor to completely undermine the danger.

Rodrigo Santoro provides the film’s primary threat as Damian Zaldívar, a ruthless criminal determined to obtain the liver for his dying family member. While Damian is not the most complex villain in the genre, Santoro gives him enough authority and menace to keep the chase moving, particularly as his men begin closing in on Hank and Ben.

Director Scott Waugh understands the assignment perfectly. Having previously worked on films including Act of Valor, Need for Speed, 6 Below: Miracle on the Mountain, and The Expendables 4, Waugh has considerable experience with action, and Runner allows him to concentrate on what he does best. The result is one of the better action films to arrive recently, particularly because it does not bury its best material beneath unnecessary subplots.

The Australian setting is another major advantage. Brisbane and the surrounding locations are not simply interchangeable backgrounds; the film uses Australia’s roads, urban environments, coastlines, and distinctive landscapes to give the chase its own identity. Runner is a great example of how Australia can be used as an action-movie setting without trying to make it look like another American city.

The stunt work is strong throughout, with vehicle chases, shootouts, crashes, and hand-to-hand fights delivering the physical impact expected from a modern action thriller. Waugh’s camera generally keeps the action readable, allowing Ritchson’s physical performance and the practical movement of the vehicles to remain the focus rather than hiding everything behind excessive editing or digital effects.

For anyone looking for a genuinely entertaining action movie, Runner deserves attention. Alan Ritchson demonstrates that his Reacher experience has prepared him for leading action at the highest level, Owen Wilson is perfectly cast as his unlikely partner, and Scott Waugh makes excellent use of Australia as a cinematic playground. It may not have the budget of a major blockbuster, but in terms of action, chemistry, pacing, and sheer entertainment value, Runner is one of the strongest action films seen recently.

Based on Jack Carr’s bestselling novels, the series follows Reece as he battles powerful conspiratorial forces while struggling with the psychological damage left by his previous missions. Season 2 adapts Carr’s second novel, True Believer, and shifts the story from the revenge-driven thriller of the first season into a globe-spanning espionage adventure.

After completing his deadly list, Reece is searching for a new purpose when he discovers a conspiracy stretching from Moscow to Langley and reaching deep into his own family history. His investigation will take him across the Indian Ocean, Africa, the Middle East and Europe, putting him against enemies operating at the highest levels of power.

Pratt returns alongside Tom Hopper as Raife Hastings, Constance Wu as Katie Buranek, Dar Salim as Mohammed Farooq and Luke Hemsworth as Jules Landry. Gabriel Luna joins the cast as newcomer Freddy Strain.

With eight episodes arriving at once, Season 2 looks set to expand The Terminal List from a personal revenge story into a much broader geopolitical thriller, while keeping Reece at its center.

All eight episodes of The Terminal List Season 2 premiere October 21 exclusively on Prime Video in more than 240 countries and territories worldwide.

Branagh is easily the biggest surprise. Nikolai is fascinated by American culture, with Top Gun, Bruce Springsteen, and even McDonald’s representing everything he believes exists on the other side of the Iron Curtain. The character could have become a simple Russian stereotype, but Branagh gives him enough warmth, humor, and personality to make him genuinely entertaining. He looks completely comfortable mixing comedy with physical action, and there is something refreshing about watching an actor of his stature embrace this kind of material without taking himself too seriously.

Reynolds plays Troy in a way that naturally fits his established persona, although the character sometimes feels more like Ryan Reynolds than a fully developed Cold War operative. His sarcastic American attitude works well opposite Branagh’s more enthusiastic Nikolai, creating the necessary oil-and-water relationship. The movie could have pushed Troy’s Ugly American personality further, because that contrast would have made their partnership even stronger, but there is still enough friction between the two to recreate the spirit of classic 1980s buddy movies.

The film comes from writer-directors Jonathan Goldstein and John Francis Daley, the team behind Vacation, Game Night, and Dungeons & Dragons: Honor Among Thieves. Their affection for the 1980s is obvious, but Mayday works because the filmmakers understand that nostalgia alone is not enough. They build the movie around the rhythm, humor, music, and character dynamics of that era while keeping the production modern and polished.

The action is another major strength. Once Nikolai saves Troy during a fight in a Russian bar, the relationship changes completely, and the two are forced onto the road together. The stunt work has the energy expected from an old-fashioned action comedy, while Barry Peterson’s cinematography gives the movie a remarkably fluid visual style. The camera rarely feels static, and the transitions between action sequences and quieter character moments maintain a consistent sense of movement. For a 111-minute buddy movie, that rhythm is extremely important, and Mayday rarely feels like it is dragging.

There are weaknesses, particularly in the supporting cast. Maria Bakalova’s role as Nikolai’s daughter and David Morse’s appearance as Troy’s father feel underdeveloped, while some of the humor becomes too self-aware about the fact that the movie is deliberately recreating an 1980s formula. The nostalgia occasionally becomes more important than the characters themselves.

Still, Mayday is the kind of action comedy that understands why the movies of that period remain so entertaining. It has two mismatched heroes, a Cold War backdrop, practical action, humor, memorable music, and a journey that keeps moving. Branagh is the standout, Reynolds fits comfortably into the buddy-comedy role, and Goldstein and Daley demonstrate once again that their affection for older Hollywood genres comes with genuine filmmaking ability.

If you miss the era of Top Gun, Cold War thrillers, and 1980s buddy action movies, Mayday is an easy recommendation. It does not reinvent the formula, but it understands the formula well enough to deliver an entertaining ride that feels increasingly rare in today’s streaming landscape.

The trailer immediately creates a mystery, showing Assane Diop apparently trapped inside a glass box while another mysterious figure appears to be operating in his name. As police scramble to uncover the truth, Assane returns to his familiar tricks, changing identities, creating confusion and staying several steps ahead of everyone chasing him.

Part 4 begins four years after the events of the previous season. Assane is determined to serve his sentence and keep a promise to his son: reunite with their family in Senegal. However, those plans collapse when a mysterious announcement signed by “Lupin” reveals that multiple museums are about to be targeted in simultaneous robberies.

Sy returns as Assane, joined by Ludivine Sagnier, Antoine Gouy, Soufiane Guerrab, Shirine Boutella, Théo Christine and Laïka Blanc-Francard.

Created by George Kay in collaboration with François Uzan, Lupin continues to blend classic gentleman-thief mythology with modern Parisian crime and elaborate twists.

With Assane seemingly behind bars but the Lupin legend still active, Part 4 looks ready to deliver another stylish cat-and-mouse adventure when it arrives October 23.