Adapting a beloved stage musical is never a quiet affair, especially when the source material is the hugely popular Wicked. With roots tangled in L. Frank Baum’s seminal 1900 novel, The Wonderful Wizard of Oz, and Gregory Maguire’s revisionist novel series, the adaptation has long held a strong grip on Broadway fans, many of whom hold passionate allegiances to the original cast’s vocal runs and iconic monologues. 

So when director Jon M. Chu (Crazy Rich Asians, In the Heights) took on the challenge of turning it into a two-part cinematic event, expectations were always going to be outsized. The first instalment, Wicked (2024), sparkled with the wide-eyed wonder of discovering a magical new world and delivered maximalist spectacle – lavish sets, talking goats, dancing mobs of munchkins – and introduced a new audience to the political underbelly of Oz. 

But the second chapter, subtitled Wicked: For Good, walks into more complicated territory. With Act 2 of the stage musical as its source, it trades poppy punchlines for political fallout, personal betrayal, and fractured ideals. Long-time fans know this act well as it’s the one that’s often been labelled as the messier half – rushed, emotionally dense, and occasionally incoherent. 

Set after the events of Wicked’s first act, the film picks up in a radically changed Oz. Elphaba (Cynthia Erivo, Harriet), now branded the Wicked Witch of the West, lives in exile. Glinda (Ariana Grande, Victorious), by contrast, has risen to become Oz’s golden figurehead – a symbol of order and carefully constructed truths. As the Wizard doubles down on authoritarian control, targeting animals and silencing dissent, Glinda and Elphaba find themselves on opposite sides. Their split is underscored by Jeff Goldblum’s (Jurassic Park, The Fly) eerily charming Wizard and Michelle Yeoh’s (Everything Everywhere All at Once, Crouching Tiger, Hidden Dragon) Madame Morrible, who tightens the screws with unnerving grace.

Re-entering Oz feels jarring at first, partly because the opening lacks the punch of ‘No One Mourns the Wicked’ and partly because so much has changed since the schoolgirl whimsy of Part 1. Gone is the sense of curiosity and mischief and in its place is an Oz hollowed out by propaganda, fear, and political theatre. As the story edges closer to the canonical events of the classic Judy Garland adaptation, The Wizard of Oz (1939), which Maguire also based his book on, recognisable threads begin to surface. 

But instead of simply connecting the dots, the film recalibrates familiar moments, reframing spectacle through the lens of character. Elphaba’s supposed descent into villainy is revealed to be less a fall and more a carefully orchestrated push, one delivered by the very institutions she once tried to work with. There are also pockets of power in the darker arcs involving supporting characters like Ethan Slater’s (Gen V) Boq, whose descent adds depth to the film’s moral grey zones. Wicked: For Good wants to be a more grown-up story, casting each character under a more melancholic light as they reckon with the weight of earlier choices.

It’s a compelling shift in focus, but the film inherits Act 2’s biggest problem: a pile of unanswered questions. Prince Fiyero’s (Jonathan Bailey, Jurassic World Rebirth) sudden ascent to Captain of the Guard and engagement to Glinda is barely unpacked in the stage musical, especially considering his pro-Elphaba leanings. Elphaba has been exiled for years, but what has she been up to? And Glinda’s eventual rise to power feels oddly convenient because if she was capable of outmanoeuvring Madame Morrible all along, what exactly held her back? These are threads that Chu seems eager to tie up in the film, but in doing so, he stretches Act 2 (already a shorter portion of the original stage musical) into a 2-hour 17-minute sequel that occasionally struggles to justify its own runtime. Perhaps that’s also why the team recruited veteran Wicked (musical) composer Stephen Schwartz (The Prince of Egypt, Enchanted) to pen two new songs for this adaptation – ‘No Place Like Home’ and ‘The Girl in the Bubble’, one for each of the film’s leads.

Yet for all its political drama and shadowy turns, the heart of the story never strays too far from the bond between Elphaba and Glinda. Whenever the two share the frame, whether in a hilarious cat fight or a swelling duet, the film remembers exactly what it’s meant to be about. ‘For Good’, the titular number, becomes the emotional centrepiece – a culmination of everything that’s passed between them. The performances are vocally pristine, of course (this is Erivo and Grande, after all), but what resonates is how clearly each note maps out everything unsaid between two women pulled in opposite paths, but tethered by love. 

Grande, who once promised to “take such good care of Glinda,” makes good on her word. Wicked: For Good shifts the focus toward the Good Witch’s evolution, and Grande leans into the role with striking clarity. Gone is the popular persona and in its place stands a Glinda who’s poised, precise, and poignantly human. Her new solo number, ‘The Girl in the Bubble’, charts a striking emotional self-discovery arc as she finally decides to try to be Glinda the Good and make a change in Oz. It’s a balancing act between performance and vulnerability, one that Grande executes with finesse.

Erivo, on the other hand, continues to blaze forward as Elphaba with a renewed, fiery edge. Her Elphaba has no more patience for Emerald City’s smoke and mirrors. Whether battling injustice or navigating heartbreak, Erivo makes each moment crackle. ‘No Good Deed’ transforms from a solo into a raw exorcism, brimming with frustration and fury. There’s no doubt that she owns the green girl now.

And then there’s Fiyero. People’s Sexiest Man Alive, Jonathan Bailey, reprises his role with effortless magnetism, injecting heart and unexpected sincerity into a character that could’ve easily remained a shallow love interest. His duet with Erivo in ‘As Long As You’re Mine’ hums with heated sexual tension and tenderness, and he lets the cracks show, revealing a man giving into the pull of something far more real.

Visuals have always been a strength for director Chu, and they’re taken several notches higher. Think of Glinda’s wedding to Fiyero – a scene so meticulously orchestrated, it calls to mind the lavish aesthetics of Crazy Rich Asians (2018), only dialled to operatic proportions. Every flourish, from Glinda’s regal dress and lengthy veil to butterflies, flowers, and the shining aisle, feels deliberate without being excessive, reminding us that the production and costume design teams have already swept awards season for a reason.

What truly sets the film apart, though, is how it handles its final act. The musical’s abrupt conclusion has long left fans yearning for more closure, and Chu provides it. Characters who once stood on opposite ends are given room to confront, reflect, and reckon with the choices that brought them there. There’s a stillness in these final scenes that dares to defy blockbuster pacing, letting sorrow and hope sit side by side for just a moment longer.

By the end, it’s the aching recognition between two people who saw each other fully and said, ‘Even when we part, I’ll carry you with me’. Because Wicked has always been about that kind of alchemy. Not transformation through spells, but through friendship. Through fierce, inconvenient love. You don’t leave the theatre with sparkles in your eyes, but with something heavier, quieter, and far more enduring. You leave knowing you’ve been changed. For once. For always. For good.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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In what could be the start of a new toy-to-movie craze, Sony Pictures has officially picked up the screen rights to the wildly popular plush toy brand Labubu, setting the stage for a potential franchise that may soon rival the likes of Barbie and Trolls, per THR. The project has no director or producer attached yet, and no confirmation on whether the film will be animated or live-action. Still, the acquisition signals Sony’s intent to ride the momentum of its recent animated success, KPop Demon Hunters, and cash in on a plush phenomenon that’s already taken Asia by storm.

While plot details are still under wraps, the film could draw from a wide cast of existing characters: Labubu, the mischievous fan-favourite; Zimomo, the high-energy leader; Mokoko, Labubu’s quirky companion; and Tycoco, the reliable boyfriend figure.

Labubu and its monster crew first found traction in Southeast Asia around 2019. Originally created by European-based artist Kasing Lung and manufactured by How2Work, the characters gained mass-market appeal after their distribution was picked up by Chinese retailer Pop Mart.

K-pop icon Lisa from BLACKPINK further pushed Labubu into popularity when she began attaching the dolls to her handbags. Not long after, other A-listers including Rihanna and Dua Lipa were seen accessorising with Labubu keychains, blurring the line between streetwear collectible and luxury statement piece. Their popularity translated to serious financial numbers. According to Pop Mart’s 2024 annual report, the toy line known as The Monsters brought in US$430 million, accounting for over 23% of total revenue. That figure skyrocketed in the first half of 2025, with The Monsters generating US$670 million, nearly 35% of the company’s total revenue.

Hollywood’s shift from toys-as-merchandise to toys-as-source-material is nothing new. Following the billion-dollar success of Barbie, toy companies and studios alike are scrambling to replicate the formula. Mattel has already greenlit projects for Hot Wheels, Polly Pocket, and He-Man. Hasbro’s slate includes Monopoly, Action Man, and Beyblade, while other unexpected titles like Uno and Barney are also on the way.

It’s too early to tell whether Labubu will roar its way into the hearts of global moviegoers or remain a niche success story, but one thing’s clear: Fans of the toothy little monster now have more than new toy drops to look forward to – they’ve got a movie to wait for.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle is carving out its own legend as it tears through U.S. theatres, officially claiming the title of the highest-grossing international film in American history. After just one month in release, the anime epic has earned over US$128.6 million in North America at the time of writing, edging past the long-standing record of Crouching Tiger, Hidden Dragon (2000), which held the crown for over two decades. What began as a niche manga has grown into a full-scale phenomenon, and now Demon Slayer stands shoulder to shoulder with the biggest cinematic imports ever screened in the United States.

This milestone puts Infinity Castle in rarefied air. Its current U.S. total nudges Life is Beautiful (1997) into third place, while Godzilla Minus One (2024), Parasite (2019), Hero (2002), and Pan’s Labyrinth (2006) continue to round out the top ten. As international films go, few have crossed into this kind of mainstream awareness, and fewer still have done it through animation. For Demon Slayer, this level of success is not a surprise but a continuation of its meteoric rise that began with Mugen Train in 2020.

Adapting the climactic Infinity Castle arc from Koyoharu Gotouge’s manga, the film finds Tanjiro Kamado diving into the heart of a demonic fortress. It’s here that the stakes escalate sharply, laying the foundation for a trilogy that will eventually bring the Demon Slayer saga to its conclusion. The sheer scale and intensity of the battles have resonated with fans, many of whom have followed Tanjiro’s journey from day one. That loyalty has translated into full-house screenings and repeat viewings, giving the film impressive staying power well beyond opening weekend.

Globally, Infinity Castle continues to dominate. It has pulled in approximately US$648 million worldwide according to Box Office Mojo, making it the fourth-highest-grossing film of 2025 and outpacing titles like How to Train Your Dragon. It now ranks as the eighth highest-grossing R-rated film of all time, even overtaking The Passion of the Christ (2004).

As it climbs these charts, the film is also redefining what’s possible for anime in the global mainstream. No longer confined to niche audiences or late-night screenings, anime has proven it can hold its own (and thrive!) next to Hollywood blockbusters. With two more instalments on the way, Demon Slayer shows no signs of letting up.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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Lock the doors and check your cameras — Freddy Fazbear’s back, and he’s not alone. Five Nights at Freddy’s 2 is gearing up for a December release, and Blumhouse has just dropped a new set of cast announcements that would make even Foxy pause mid-sprint. Megan Fox is stepping into the franchise to voice Toy Chica, joining a growing cast of fresh faces and franchise regulars in a sequel that promises to raise the stakes inside Freddy Fazbear’s Pizza.

Returning to the director’s chair is Emma Tammi, who helmed the first instalment to breakout success. Josh Hutcherson is also back as Mike, the night security guard who barely made it out the first time. Alongside him are Elizabeth Lail, Matthew Lillard, and young actor Piper Rubio, all reprising their roles. But it’s the new recruits that have fans buzzing: Wayne Knight, Mckenna Grace, Skeet Ulrich, and YouTuber-turned-actor MatPat, who will voice Toy Bonnie. Kellen Goff is confirmed as Toy Freddy, rounding out the twisted animatronic trio.

The original Five Nights at Freddy’s proved to be a box office juggernaut when it launched in October 2023, raking in nearly US$300 million globally and becoming Blumhouse’s highest-grossing film to date. That kind of success made a sequel all but inevitable. This time around, the story digs deeper into the animatronic horrors lurking inside the haunted pizzeria. While the exact plot remains under wraps, the film’s tagline: “Anyone can survive five nights. This time, there will be no second chances” suggests a more punishing ride for both characters and audience.

Fox’s casting comes with its own horror pedigree. After breaking expectations in Jennifer’s Body, she’s steadily carved out space in the genre, with roles in Till Death, Night Teeth, and Subservience.

The announcement was made during BlumFest at New York Comic-Con, where Jason Blum’s panel highlighted several projects on the studio’s slate, including The Black Phone 2, the upcoming video game Sleep Awake, and, of course, the FNAF sequel. With fan expectations already sky-high, thanks to both the original game’s legacy and the first film’s runaway success, Blumhouse is betting big on its animatronic nightmares once again.

Five Nights at Freddy’s 2 opens in cinemas on 5 December.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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This isn’t a drill, and no, you don’t need to run in slow-motion to believe it: Baywatch is heading back to the small screen. After years of speculation and the occasional wave of nostalgia, Fox has officially ordered a reboot of the iconic lifeguard drama, according to Variety. The upcoming series, greenlit for 12 episodes, will mark Baywatch’s return to television more than two decades after its original run came to a close. Set to air during the 2026–2027 broadcast season, the new version promises a familiar dose of beachside heroics, personal drama, and, of course, the signature red swimsuits.

Matt Nix, best known for creating Burn Notice (2007-2013) and The Gifted (2017-2019), is on board as showrunner and executive producer. He’ll be joined by some very familiar names: original creators Michael Berk, Greg Bonann, and Doug Schwartz are returning to steer the reboot.

“In its first run, Baywatch defined an entire era of beach life and elevated lifeguards to an iconic status. Now, with our partners at Fremantle, this television juggernaut is set for a modern-day comeback,” said Michael Thorn, President of FOX Television Network, in a press release statement. “Together, FOX and Fremantle, along with Matt Nix and original co-creator Greg Bonann, will bring the California dream to a whole new generation of fans with fresh stories, rising stars and all the spectacle that make the Baywatch franchise a global sensation.”

First launched in 1989 on NBC, Baywatch stumbled out of the gate and was cancelled after just one season. But a switch to syndication saved it, and what followed was an unlikely rise to global dominance. With more than a billion weekly viewers at its peak, Baywatch turned lifeguards into icons, and stars like David Hasselhoff (Knight Rider), Pamela Anderson (The Naked Gun), and Yasmine Bleeth (Nash Bridges) into household names. Despite tepid critical reviews, the show’s influence endured, riding a potent mix of sun-soaked visuals, dramatic rescues, and a universal escapism that struck a chord with audiences around the world.

Production details remain under wraps and there’s no word yet on casting, but with strong creative leads and a studio eager to reinvigorate its catalogue of recognisable IP, Baywatch stands a solid chance at finding its footing again. If it gets the casting right, finds its voice, and manages to honour what worked while evolving with the times, Baywatch 2.0 might just be the reboot nobody knew they needed… until now.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post ‘Baywatch’ TV Reboot Runs Toward 2026 Premiere At Fox appeared first on Geek Culture.

Formula 1 has been basking in its Drive to Survive (2019 – present) glow for years now, transforming what was once a niche motorsport into a global sporting obsession. Netflix’s slick docuseries introduced newcomers to the sound and fury of the paddock, giving the sport an emotional engine. In a sudden turnaround, names like Max Verstappen, Lewis Hamilton, Charles Leclerc, and Lando Norris were common parlance, even in households that couldn’t tell Monza from Monaco. The show didn’t need to explain what DRS (Drag Reduction System) was every episode, as it trusted viewers to catch up while feeding them the interpersonal drama that comes from a high-speed chess game played across 24 cities a year. For many, it was the gateway drug as Formula 1, once considered opaque and elitist, became dinner table conversation.

F1: The Movie knows that the audience is already onboard. Directed by Joseph Kosinski (Tron: Legacy) and produced by Jerry Bruckheimer (Bad Boys, Pirates of the Caribbean), both fresh off the mega successful Top Gun: Maverick (2022), the duo have once again built a world of roaring engines, grizzled veterans, and daredevils who mistake the edge of disaster for home. Brad Pitt (Fight Club, Troy) plays the ageing underdog (because of course he does) while British race champion driver Hamilton (Cars 2), serving as co-producer, ensures the technical details stay true to form. The result is a movie that doesn’t stop to hold your hand as it drops viewers straight onto the grid, where every tenth of a second is a career-defining margin and every decision at 300 kilometres per hour has consequences.

Pitt slips effortlessly into the racing boots of Sonny Hayes, a semi-mythical driver cut from the same cloth as Tom Cruise’s (Mission: Impossible) Maverick – weathered, stubborn, dangerously charismatic and a savant in the driver’s seat. When Hayes enters the 24 Hours of Daytona track for a one-off endurance race, he drives like a man shaking off ghosts, and wins. Then he leaves, no fanfare, back into obscurity.

Enter Ruben Cervantes, Hayes’ longtime friend and former teammate played by Javier Bardem (Skyfall). Bardem leans into his trademark mix of unhinged charisma and wounded charm, playing an ex-racer turned desperate team boss with a half-smile and a mounting pile of debt. APXGP, the team he now runs, has grown far more familiar with the back of the pack than the winner’s podium, and with US$350 million on the line, he needs a miracle to survive and that miracle is Sonny Hayes. Once neck-and-neck with Ruben for Formula 1’s spotlight, Hayes flamed out after a brutal crash during a race against Brazilian motorsports racing legend Ayrton Senna. Rather than stage a fictional wreck, director Kosinski splices in real footage of Martin Donnelly’s horrifying 1990 Spanish Grand Prix crash, itself an audacious, borderline exploitative move that lends visceral power at the cost of taste. 

There’s something eerily meta about the way Hayes is written, as if Pitt is circling through echoes of his old roles: grimy charm in a trailer à la Cliff Booth in Once Upon a Time… in Hollywood (2019), a laid-back Vegas smoothness like Rusty Ryan in the Ocean’s franchise (2001-2007), and flashes of moody introspection from Roy Richard McBride in Ad Astra (2019). Hayes is a remix of archetypes who doesn’t just break rules; he cruises past them like they’re race markers that don’t apply to him. And somehow, the movie agrees.

But even a superstar comeback needs tension, which arrives in the form of Damson Idris’ (Snowfall) Joshua Pearce, a hotshot rookie with something to prove and no interest in sharing the spotlight. He’s put in the work, earned his place, and sees Hayes as a relic of a past he’s trying to surpass. The bravado feels earned, but you can see the cracks when no one’s looking. Idris plays those cracks with a kind of restrained grace, letting sarcasm and swagger slip into vulnerability at just the right moments.

What makes their relationship work is that Hayes sees it. Maybe for the first time in years, he recognises someone else walking the same razor-thin line between arrogance and doubt. As the races tick by, their relationship is built not on dramatic monologues, but on wariness, competition, and the kind of grudging respect that only forms when both men realise they’re chasing the same ghosts. Hayes sees in Pearce a younger version of himself – cocky, hungry, and terrified of losing it all before he ever really gets started. Pearce, in turn, watches Hayes with the suspicion of someone who’s had to fight for every inch and isn’t about to give up pole position. Their tension softens without ever vanishing, resulting in a partnership built on mutual recognition rather than contrived mentor-mentee sentiment.

Adding a different dynamic to the pit is Kate McKenna, played by Kerry Condon (The Banshees of Inisherin), who serves as APXGP’s sharp-edged technical director. She’s sceptical from the moment Hayes walks in, understandably so, since her job (and the team’s survival) depends on performance. Condon brings a steely intelligence to Kate, and she reads as the most competent person in any room she walks into, which makes the film’s choice to fold her into a romantic subplot all the more deflating. There’s an attempt to show mutual respect (two professionals finding a brief connection under pressure), but it ends up feeling like a reluctant box-tick for formulaic storytelling.

What’s frustrating is that McKenna represents a growing shift within motorsport, where more women are entering roles beyond the sidelines: engineers, strategists, team bosses. You can feel F1: The Movie trying to nod to that progress, especially with Condon’s presence and a few quick shots of women in the pit lane and grandstands but it’s clear intent only gets you so far. Formula 1’s gender imbalance remains glaring, and the movie gestures at change without committing to saying anything meaningful about it.

What makes it worse, for all the attention to realism in Formula 1’s mechanics, it stumbles when it comes to believability. Kosinski’s eye for speed and chaos hasn’t dulled, but when Hayes repeatedly pulls off stunts that would trigger immediate disqualification from the Fédération Internationale de l’Automobile (FIA) in real life, the film starts to veer dangerously close to parody. There’s one particularly egregious moment involving a purposeful crash that feels less like a daring move, and more like 2008’s Renault Formula One crash controversy, also known as Crashgate, minus any of the consequences. Any viewer remotely familiar with how tightly Formula 1 is regulated would find it hard to believe the FIA would let APXGP continue unchecked after that incident.

That being said, the film is at its strongest when it respects the visual grammar of the sport, even as it occasionally rewrites the rules. Kosinski smartly grounds the film by weaving his fictional team into real events, blurring the line between fabrication and fandom (drivers Verstappen, Leclerc, Norris, Carlos Sainz, Oscar Piastri, Fernando Alonso, and more appear in short cameos that add to the overall realism of the film). The pacing lifts with the hum of engines and squeal of tyres, elevated by Hans Zimmer’s (Inception, Interstellar) kinetic score fresh off his Days of Thunder (1990) legacy. His music pulses through each turn, feeding into the tension of a slick curve or a critical pit stop, where every second counts. 

And just when it feels like the engines can’t scream any louder, cinematographer Claudio Miranda’s (Oblivion) camera launches into overdrive. Mounted on cockpits, wedged into wheel wells, swinging under spoilers… with some shot using Apple’s iPhone camera technology, it captures every frame like it’s riding shotgun with a death wish. It’s bravura technical filmmaking that evokes Grand Prix (1967) and Le Mans (1971), but juiced with modern precision. If Top Gun (1986) made you feel like you were flying, F1: The Movie plants you in the driver’s seat and slams the pedal hard into the visceral rush of it all. 

That’s the formula Kosinski sticks to: grip, go, don’t over-explain. Where some sports dramas dig into soul-searching monologues or try to reinvent the wheel, F1: The Movie just wants to go fast in its 2 hours and 36 minutes runtime (roughly the time Ferrari needs to make a strategy call), and damn if it doesn’t look good doing it. The emotional beats may be familiar, the dialogue occasionally pre-programmed, but once the tyres screech and the camera dives, none of that really matters. Because sometimes, all you want is for the car to go so fast it starts to shake the screen and leave rubber marks on your retinas. And honestly? It might be onto something.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post F1: The Movie – Review appeared first on Geek Culture.

Live-action reboots have become Hollywood’s favourite lottery ticket – safe bets wrapped in expensive nostalgia. But How to Train Your Dragon arrives with a slightly different weight on its wings. Unlike Disney, which has practically made a factory line out of real-world reimaginings and even dropped its own Snow White (2025) and Lilo & Stitch (2025) remakes before the summer hits, DreamWorks is only now stepping into the fray, choosing one of its most critically acclaimed and emotionally resonant animated franchises as its first offering. It’s a bold move, but one that makes a certain kind of sense as the 2010 original was a critical darling and a generational touchstone, so why not aim for a little live-action magic of their own?

There’s something ironic about remaking a film that’s barely old enough to drive, but fifteen years seems to be just enough time for a nostalgia cycle to kick in. For many, 2010’s How to Train Your Dragon was an early cinematic love and those same kids are old enough to bring their own to the cinema. It’s a tightrope walk between appealing to longtime fans and introducing a new audience, and in an unexpected twist, DreamWorks has enlisted the very same filmmaker to drive that conversion. Dean DeBlois, who co-directed the original with Chris Sanders (and coincidentally, the pair worked on the original Lilo & Stitch movie as well), returns for this adaptation and doesn’t so much reimagine the story as re-stages it faithfully, almost reverently.

That directorial connectivity gives the film a curious duality, as a nostalgic retread and a showcase of just how well the bones of the original still hold up. Most people walking into the theatre already know how the story goes. Hiccup (Mason Thames, The Black Phone), a Viking teen from a dragon-hunting tribe, wounds a Night Fury in a bid to finally prove himself. But when he finds himself face to face with the creature, his instinct isn’t to kill but to understand. What follows is the formation of a bond that challenges every belief Hiccup has been raised with, including those held by his own father, the tribe’s imposing chief, Stoick, brought to life once again by Gerard Butler (300, Olympus Has Fallen), the only actor from the original who makes a return in the same role.

It’s told with such sincerity that it’s easy to overlook the fact that much of the material has been lifted wholesale. But that’s also the strength. The film doesn’t waste time trying to justify its existence, instead leaning on what already worked and letting the timeless emotional beats do the heavy lifting. Author Cressida Cowell’s (The Wizards of Once) source material still lends itself beautifully to the kind of storytelling that doesn’t need modern tweaks or tonal reinvention. 

That said, the film takes a while to find its footing. The opening act struggles most, weighed down by cartoonish slapstick that doesn’t translate smoothly to live-action. Some of the comedy that charmed in animation feels overly broad in this new format, occasionally clashing with the film’s more sincere undercurrents. Fortunately, Thames’ performance as Hiccup serves as a stabilising force. His awkward charm helps smooth the tonal bumps, grounding scenes that might otherwise feel too silly or jarring. Thames is clearly drawing inspiration from Jay Baruchel’s (The Sorcerer’s Apprentice) original and now iconic voice work, even mimicking his inflexions at times, but he brings a welcome youthfulness and emotional vulnerability that make the role feel fresh rather than imitative.

Thames plays Hiccup as skinny, unsure of himself, and achingly genuine – a boy entirely unfit for the brutal Viking mould his village demands of him. Nowhere is that more apparent than in the moment that defines the franchise – his refusal to kill a wounded dragon. As Hiccup tentatively offers fish to the wary creature he’ll soon name Toothless, the film reaches a delicate turning point. It’s a nearly silent scene, wordless but emotionally charged, where mutual trust is negotiated one nervous breath at a time. For a story hinging on a bond between human and digital beast, this moment has to sell the magic. And thankfully, it does. There’s a tenderness to their tentative connection, a feeling made all the more powerful by John Powell’s (Wicked) returning score, which once again supplies Toothless with a musical soul.

Toothless himself walks a fine line between familiar and reimagined. Slight design tweaks make him feel more physically imposing than his animated counterpart, but his essential expressiveness remains. The balance between predator and pet, awe-inspiring beast and bashful friend, is still intact. Animator Nico Marlet’s (Kung Fu Panda) original character design, which once blended the sleek menace of a panther with the size and awkward charm of a large dog, is honoured here, even if the live-action aesthetic pares back some of the exaggeration. The choice to resist leaning too far into photorealism works in the film’s favour. Toothless still feels like a creature from myth, not an animal from a documentary, and that’s precisely what makes his friendship with Hiccup feel magical rather than mechanical.

Once the bond is formed and flight becomes possible, the film gains lift visually and emotionally. Virtual tools take over much of the heavy lifting, and the story slips more comfortably into its fantasy rhythm with the human actors largely rising to the challenge of selling it. Nico Parker (The Last of Us), stepping into Astrid’s boots, brings just enough edge and warmth to make her more than a stock love interest. She captures Astrid’s no-nonsense strength, and her rapport with Hiccup carries just enough flirtation to feel sweet, never saccharine. When they soar together, it plays less like a teenage fantasy and more like two equals figuring each other out in midair.

Butler returns as Stoick with surprising gravitas, grounding the film’s emotional stakes beneath all the fur and bravado. There’s a weariness to his performance that wasn’t present in the animated version, as though Stoick now bears the full weight of being both warrior and father. He and Thames bounce off each other with a tension that feels lived-in, their disagreements over dragons crackling with frustration, care, and unspoken grief. Their dynamic anchors the film’s broader themes about tradition and change, and when reconciliation finally arrives, it feels earned. Butler’s growl softens just enough to reveal Stoick’s love for his son, not through words, but in the way he finally chooses to listen.

Much of that emotional payoff works because DeBlois, now guiding his first live-action feature, knows exactly where those moments sit and how to preserve their rhythm. Action scenes, especially the aerial sequences with Hiccup and Toothless, remain as stirring as ever – grand, sweeping, but also intimate. Credit goes to cinematographer Bill Pope (The Matrix, Shang-Chi and the Legend of the Ten Rings), whose collaboration with DeBlois results in one of the most visually rich family films of the year. Berk feels tactile and lived-in, bathed in earthy warmth and misty light. Even the interiors, often cluttered with wood, smoke, and old iron, exude a sense of place that never felt as essential in the animated version.

That extra care becomes most evident once Hiccup and Toothless take to the skies. Their first successful flight remains the emotional high point, and in IMAX, it’s everything you’d hope for: sweeping, vertigo-inducing, utterly joyful. There’s restraint in how these sequences are handled; they’re not loaded with spectacle for spectacle’s sake. Every swoop, stall, and dive feels purposeful, grounded in trust between boy and dragon. Powell’s returning score, ‘Test Drive’, still hits with the emotional velocity of a rollercoaster crest, precisely because it earns its crescendo.

By the final act, the film swings with unexpected weight, dialling into something primal and painterly. Flaming skies, dragon wings, and the raw defiance of a boy choosing compassion over violence all crash together in a climax that feels less like a family movie and more like a metal album cover come to life. The world may already know where this story goes. Doesn’t matter. When Hiccup leaps and Toothless follows without a doubt, it hits you again, hard.

Maybe that’s the magic trick. No plot twists, no reinventions. Just belief. In flying. In risking. In rewriting what war means with kindness instead of conquest, DeBlois not only brought How to Train Your Dragon into the real world, but also reminded us why we ever believed in dragons in the first place.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post How to Train Your Dragon (2025) – Review appeared first on Geek Culture.

Watching any Final Destination movie has always carried a certain morbid appeal, like thumbing through a Rube Goldberg machine built by a twisted serial killer high on drugs. Yet, there’s an irresistible tension baked into every frame, as audiences scan every background object and surroundings like a hawk, wondering which innocuous item, from coffee mug, shower curtain, or loose screw will initiate the next fatal domino effect. In this franchise, horror fans don’t show up for mere jump scares or creepy masks – they remain fixated as Death acts like a petty, vindictive bastard with a flair for the dramatic.

After a 14-year hiatus, Final Destination Bloodlines picks up the scythe and runs on the premise of initially escaping death, but suffering a subsequent gory death. The five-film series, long known for its deadly chain reactions and creative demise sequences, finds new momentum not by reinventing the wheel, but by rewinding it. Director Zach Lipovsky and Adam B. Stein (both of 2018 sci-fi thriller Freaks fame) take a bold structural swing by setting the opening disaster in the 1960s and revisiting the fallout five decades later, as a new group of doomed descendants uncover they were basically born to die. 

Instead of relying on a familiar premonition-accident-chase formula, there’s a renewed sense of patience in how Bloodlines draws out the kills, baiting the audience with false leads and fake-outs before snapping into shockingly gory payoffs with a slightly sadistic smile and some of the best practical effects in the series to date. We open in 1968 with a view from the top… literally. A sky-rise restaurant perched like a glass bulb atop a narrow stalk sets the scene for a high-society celebration, complete with champagne flutes, brittle pleasantries, and Iris (Brec Bassinger, Stargirl) fielding a marriage proposal she’s not quite ready to answer. 

Johnny Cash’s “Ring of Fire” crackles through the speakers, setting an ominous tone that the audience, seasoned by now in Final Destination’s twisted foreplay, knows not to ignore. Cracks begin to spiderweb across windows, elevators stall, and within minutes, an architectural marvel turns into a meat grinder. It’s a spectacular opening, maybe the most viscerally satisfying since the freeway pileup of 2003’s Final Destination 2. Directors Lipovsky and Stein orchestrate the chaos with gleeful precision, building tension with fake-outs and camera feints before unleashing a disaster so over-the-top it practically begs for applause.

Fifty-seven years later, the only survivor of that ill-fated dinner is Iris again, now played with brittle determination by Gabrielle Rose (Virgin River), who has spent decades hiding out in what’s supposed to be a fortified “safe house.” In reality, it looks like a Pinterest board of OSHA (Occupational Safety and Health Administration) violations – too many sharp corners, gas lines in questionable places, and more glass than good sense. Still, she’s alive, and convinced that her survival was earned, not stolen. The 1968 premonition she once had saved her life, and now, as a cruel joke, her granddaughter Stefani (Kaitlyn Santa Juana, The Flash) is seeing it, too. The dreams are vivid and repetitive, pulling her into a tragedy she’s never experienced but can feel down to her bones.

Stefani, a college student desperate for rest and clarity, returns to her estranged family in search of answers. What she finds is silence, resentment, and a gaping hole in the family story. Her father and uncle urge her to forget Iris entirely, warning that everything she touches ends in blood. Naturally, Stefani doesn’t listen and curiosity leads her deeper into the past, where she uncovers a generational feud with Death itself that never really ended, only waited.

Still, let’s not pretend anyone is here for the genealogy. Final Destination Bloodlines, which serves as a direct sequel to 2009’s original The Final Destination, understands exactly what franchise devotees crave – death with style. Where subsequent entries leaned on spectacle (plane crashes, roller coaster accidents, flaming tanning beds, etc), this one dials the chaos into mundanity. Everyday objects become weapons as innocent actions snowball into carnage. One particularly memorable set piece, staged during a suburban garden party, weaponises party favours and patio furniture with such gleeful malice that it could double as an accidental PSA (Public Service Announcement). It’s safe to say that audiences can never look at a compost bin the same way again. And that MRI (Magnetic Resonance Imaging) scene? Let’s just say it’s no advertisement for preventive healthcare.

Even as the film doubles down on grotesque fatalities, it never loses its wicked sense of humour because there’s something delightfully mean-spirited about how it toys with audience expectations. You might think you’ve identified the next unlucky victim, but Final Destination Bloodlines enjoys nothing more than misdirecting you into a false sense of security before snapping a wire, swinging a beam, or igniting a gas leak. It’s a reminder that in this franchise, no one is safe, and nothing is too ridiculous to kill you. That’s the charm.

More surprising is how Final Destination Bloodlines resists the reboot trap of over-explaining itself as it doesn’t try to untangle franchise lore or deliver some convoluted canon reshuffle. There are blink-and-you’ll-miss-it references to prior disasters, but they’re never intrusive. In fact, the only direct connection to the earlier films is the appearance of the late Tony Todd’s (Candyman) William Bludworth, the mysterious mortician whose presence has always hinted at something deeper behind the curtain.

Frail but commanding, Todd delivers a monologue that momentarily quiets the chaos. It’s a scene that hits harder than expected, because it’s clear we’re watching a farewell. The rasp in his voice, the flash of that sly grin, the heaviness behind every word – it’s all haunting in a way no death trap could match. As a tribute to Todd’s legacy, the moment is understated, elegant, and genuinely moving.

Among the rest of the cast, there are no obvious weak links, but Richard Harmon (The 100) stands out with just the right dose of gallows humour. Playing Stefani’s cousin Erik, he struts in with the energy of someone who’s seen every horror movie ever made and is more amused than afraid. His sardonic commentary might feel like it wandered over from Scream (1996), but it fits surprisingly well with Final Destination Bloodlines’ tonal approach that’s similar to 2011’s Final Destination 5: a little self-aware, a little unhinged, and very ready to crack wise before someone loses their head (often literally).

The film closes with a nod so twisted it feels like a dare. Yes, you’ve seen it before but no, you won’t be any less horrified. Final Destination Bloodlines is horror’s greasy spoon, offering no nutritional value, but somehow filled with exactly what your stomach desires. Deliciously gruesome, shamelessly inventive, and grotesquely satisfying, it’s the cinematic equivalent of watching someone fall face-first into a bear trap and wondering how they got there. The answer? Who cares. Roll credits.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post Final Destination Bloodlines – Review appeared first on Geek Culture.

Lightweight but powerful, sleek yet packed with features — today’s laptop users demand more than just portability and power. They need a device that can keep up with their pace of life, whether it’s jumping between Zoom meetings, crafting presentations on the go, or taking a midday break to stream a favourite show, and a modern laptop needs to deliver performance without bulk, security without friction, and battery life that goes the distance. And when all of that comes wrapped in a minimal, travel-ready form that feels just as good in your hands as it looks on your desk? That’s when a device stops being just a tool and starts becoming a companion.

The ASUS Vivobook S series brings everyday computing into a smarter, lighter, and longer-lasting arena with the ASUS Vivobook S14 (S3407) and ASUS Vivobook S16 (S3607). Built to meet the evolving needs of students, professionals, and creatives on the go, the Vivobook S lineup is designed to be more than just a productivity, tool but also a sleek, intelligent companion built to match the pace and demands of modern life. With cutting-edge performance, refined design, and thoughtful features, the Vivobook S14 and S16 serves as the go-to laptops for users who expect more without compromising style or convenience.

Weighing a mere 1.39 kg (3.06 lbs) and measuring just 1.59 cm (0.63 inches) at its thinnest point, the ASUS Vivobook S14 boasts an ultra-slim, metallic chassis that blends minimalist elegance with everyday practicality. Its larger sibling, the ASUS Vivobook S16, offers the same design ethos in a 1.59 cm thin form factor, while still staying incredibly light at just 1.80 kg (3.97 lbs). 

Under the hood, both machines are powered by the Intel Core Ultra 7 Processor 255H (Series 2), delivering responsive multitasking and efficient power management. Whether you’re working across multiple browser tabs, editing large video files, or switching between creative and productivity tools, the Vivobook S series keeps up effortlessly. A standout feature is the energy-efficient 70 WHrs battery, which supports up to 20 hours of use – more than enough to last through back-to-back meetings, study sessions, or long-haul flights, and if there is a need,  fast-charging support gets the unit back up to 60% battery capacity in under 50 minutes.

Each model includes a dedicated Microsoft Copilot key, offering one-click access to AI-powered assistance. It’s part of ASUS’s broader integration of intelligent features, such as an AI-powered camera that dims the screen when the user looks away, and Windows Hello for secure, password-free login. There’s also a built-in privacy shutter on the front-facing camera, giving users peace of mind during downtime or virtual meetings.

The ASUS Vivobook S14 features a vibrant FHD IPS display, while the ASUS Vivobook S16 adds an edge with a 144 Hz refresh rate and expansive 16:10 ratio. Both are designed with anti-glare and low blue light certifications to ensure eye comfort during extended use, which means these screens are perfect for work and play, be it a spreadsheet marathon or a binge-watch session.

ASUS has also refined everyday interactions, with a larger touchpad and smart gesture support that simplifies navigation. Meanwhile, full-sized I/O ports reduce the need for dongles, making both models excellent travel companions. File access and cross-device functionality are made seamless with Microsoft Phone Link, letting users handle calls, messages, and media across devices without missing a beat.

Starting at S$1,599 for both the ASUS Vivobook S14 and ASUS Vivobook S16, these laptops deliver significant value for those seeking premium design and powerful performance in a portable package. Whether you prefer the compact ASUS Vivobook S14 or the immersive ASUS Vivobook S16, both models are ready to meet the demands of daily life with style, intelligence, and reliability at their core.

More information and product specifications can be found on ASUS’ official website for the ASUS Vivobook S14 and ASUS Vivobook S16.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post ASUS Vivobook S Series’ Ultra-Slim, Lightweight Design Presents The Perfect Portable Companion appeared first on Geek Culture.

Love it or not, shared cinematic universes from Star Wars, the Marvel Cinematic Universe to Jurassic Park and Godzilla (aka MonsterVerse) are here to stay.

While they are nothing new, the concept of a shared narrative across multiple movies told by different writers and directors into one massive narrative has overtaken Hollywood, with more emerging to provide a brand offering that includes various mediums and is even told across decades.

Just to be clear, the concept of a shared universe extends beyond films such as crossovers or spin-offs, but now includes streaming series, potentially even in books and video games (though in some cases, events that occur in these mediums can be subsequently regarded as non-canon).

For simplicity though, this article will cover two main mediums – film and TV, which means there has to be more than a shared narrative beyond TV or movies alone (apologies to television universes). Some are very new, and not all of them have stood the test of time, or even figured out what kind of stories they want to tell, but more are being developed as being linked. 

Recent examples include Amazon’s recent control over the James Bond property, where it wants to inject connected streaming content to complement the new movies it wants to make. The John Wick universe is also looking to do the same and more recently, a shared universe also provides a requiem for the brand owner, to maintain the popularity of the franchise across another medium to satisfy fans, and not build franchise fatigue. 

Case in point? With The Conjuring franchise now shifting toward television and its original leads Patrick Wilson and Vera Farmiga moving into observer roles, it’s clear that Warner Bros. sees more value in expanding than concluding with The Conjuring: Last Rites. A Max drama series is already in the works, and though details remain scarce, it signals a pivot from the self-contained horror tales of the Warrens to a broader universe-style format. It also places The Conjuring among a long list of franchises that grew from a single hit into sprawling cinematic ecosystems.

While The Conjuring Universe may be one of the newest additions to this club, it’s far from the first to try building interconnected stories across films. Marvel Studios made the term “cinematic universe” part of pop culture with the MCU, but long before Nick Fury showed up in Tony Stark’s living room, other franchises had already laid the groundwork. From monsters to mobsters, and wizards to warriors, Hollywood has always flirted with the idea of shared worlds. Some did it better. Others, just earlier. And some are only now figuring out how to bring their branches together under one cohesive roof.

Some franchises, like Star Trek, arguably the earliest example of world-building across media that has continued on to this day, set the groundwork through television, but what matters here is not just who linked titles together first, but who did it with dedicated purpose, narrative coherence, and a sense that each new entry added something worth returning for.

Here are the top 10 (current) shared cinematic universes, in order of age.

1) The Rocky Franchise & Creed-Verse (1976 – present)

Rocky Balboa started out chasing chickens and climbing the steps of the Philadelphia Museum of Art, but nearly 50 years later, the franchise he launched has grown into a full-blown cinematic universe with its own family tree. Kicking off in 1976 with Rocky, Sylvester Stallone (First Blood) wrote himself into film history as the underdog who turned a one-shot fight into a lifetime of sequels. Across six films, Rocky battled opponents, inner demons, and even Cold War tensions, while building a loyal fanbase that stayed with him from the gritty streets of Philly to the quiet contemplation of Rocky Balboa in 2006.

The franchise found new momentum with spin-off Creed in 2015, pivoting to the next generation through the eyes of Adonis Creed, son of Apollo (Carl Weathers, Predator). Michael B. Jordan (Sinners) brought fresh energy to the series, and with Stallone stepping into a mentor role, the story found new emotional beats. Under the direction of Ryan Coogler (Black Panther) and later Jordan himself, the Creed films explored legacy, identity, and personal growth without ever losing sight of the gloves. 

Now poised to expand into a “Creed-verse” with spin-offs, prequels, and even animated projects on the table, this universe proves there’s still plenty of fight left outside the ring.

2) Star Wars (1977 – present)

Long before post-credit scenes and crossover roadmaps became the Hollywood norm, Star Wars quietly laid the groundwork for what a shared cinematic universe could be. Starting with Star Wars: Episode IV – A New Hope in 1977, George Lucas launched a galaxy that didn’t just contain a single story but hinted at entire worlds beyond the screen. While the original trilogy focused on the Skywalker family saga, it also planted the seeds for spin-offs, side characters, and historical backfill. Over time, this universe expanded into prequels, sequels, anthologies, and now Disney+ series, making Star Wars one of the earliest and most enduring examples of a sprawling, interconnected film world.

What makes Star Wars unique in the shared universe conversation is its ability to pivot. From space opera to political thriller to samurai western, the franchise has housed wildly different tones and timelines within the same canon. Projects like Rogue One: A Star Wars Story (2016), Solo: A Star Wars Story (2018), and the more recent Andor (2022 – 2025) show a willingness to explore corners of the galaxy that don’t always involve Jedi or Sith, while still feeling recognisably Star Wars. 

Even as it oscillates between nostalgia and reinvention, the franchise remains a model of how a cinematic universe can evolve across generations without losing its identity.

3) The Alien & Predator Cinematic Universe (1979 – present)

Xenomorphs and Yautja haven’t shared a screen in over a decade, but traces of their entangled history continue to ripple through the franchise. What began with Alien (1979) and Predator (1987) as standalone sci-fi horror films grew into sprawling mythologies populated by corporate greed, interstellar hunters, and synthetic lifeforms. While Aliens vs. Predator (2004) and its 2007 sequel drew the two species into direct confrontation, neither film is considered canon today.

Now, with Alien: Romulus (2024) and the upcoming Predator: Badlands pushing their respective timelines forward, the connections are starting to resurface. A blink-and-you’ll-miss-it shot in Predator: Badlands reveals Elle Fanning’s character Thia is a Weyland-Yutani synthetic, marking the first direct acknowledgment of the Alien universe since the AVP films. There’s also the upcoming Alien: Earth prequel streaming series that could potential expand on the concept. 

If these new installments stick the landing, it may not be long before a new generation of fans sees these franchises collide again – hopefully with better outcomes than their last official encounter.

4) The Karate Kid Franchise (1984 – present)

Wax on, wax off isn’t just a catchphrase, but the foundation of a franchise that’s quietly built one of the most enduring shared cinematic universes in Hollywood. The Karate Kid kicked things off in 1984 with Daniel LaRusso’s (Ralph Macchio, The Outsiders) underdog journey, guided by Mr. Miyagi’s (Pat Morita, M*A*S*H) unorthodox wisdom. Its success sparked a full trilogy, each installment deepening the mentor-student bond while evolving the emotional stakes. A brief detour in 1994’s The Next Karate Kid introduced a new protégé in Julie Pierce (Hilary Swank, Million Dollar Baby), proving the Miyagi legacy could extend beyond Daniel.

What really gave the franchise a second wind, though, was Cobra Kai (2018 – 2025). First launched as a streaming series, it recontextualised the original films for a new generation while rewarding longtime fans with surprising character turns, expanded lore, and fresh rivalries. While the 2010 reboot with Jackie Chan (Rush Hour) and Jaden Smith (After Earth) explored similar themes with a modern backdrop, continuity-wise, it remained  separate from the core saga, until plans were made to tie it all together like a swift kick to the face. 

The upcoming Karate Kid: Legends is set to reunite both film series (or at least acknowledge them) creating what may be the franchise’s most ambitious crossover yet. Karate was the hook, but character and continuity have kept this universe kicking.

5) The Jurassic Park Franchise (1993 – present)

Dinosaurs don’t stay extinct for long in Hollywood, and few franchises have managed to evolve their concept across decades quite like Jurassic Park. What began in 1993 as a cautionary tale about cloning and corporate ambition has grown into a sprawling cinematic universe that spans six feature films, several short films, and multiple animated series. Steven Spielberg’s original film still stands as the crown jewel, but each subsequent installment has added on new ideas (some more successfully than others) about how humanity grapples with its own hubris.

Jurassic World revived the brand in 2015, reimagining the park as a functioning tourist destination before letting chaos predictably run wild. Its sequels – Jurassic World: Fallen Kingdom (2018) and Jurassic World: Dominion (2022) – pushed the concept further, with dinosaurs escaping into the broader world and coexisting (or not) with humans. 

Alongside this, animated shows like Jurassic World: Camp Cretaceous (2020 – 2022) and Jurassic World: Chaos Theory (2024 – present) continue to expand the universe from different angles and age demographics. With Jurassic World Rebirth on the horizon, the franchise shows no signs of slowing. It may not always be subtle, but it knows how to build anticipation, deliver spectacle, and keep audiences coming back for more.

6) The Marvel Cinematic Universe (2008 – present)

Before the Marvel Cinematic Universe turned franchise-building into a billion-dollar blueprint, shared cinematic universes were more a curiosity than a cornerstone of modern filmmaking. But once Marvel Studios dropped Iron Man in 2008 and followed it up with a bold post-credits promise – a bigger universe waiting just around the corner – the rules changed. No longer were audiences getting standalone blockbusters. They were watching chapters in an unfolding mega-saga. With each release, from Captain America: The First Avenger (2011) to Avengers: Endgame (2019), Marvel redefined long-form storytelling in cinema, turning crossover events and character arcs spanning a decade into mainstream expectations.

What set the MCU apart wasn’t just the volume of content or its polished synergy between films and streaming series. It was the confidence to plant seeds early by introducing Thanos (Josh Brolin, Dune) years before he became a major threat, making an obscure team like the Guardians of the Galaxy into household names, and pulling in Spider-Man and the Netflix Defenders into the fold with the Tom Holland-led Spider-Man trilogy (2017 – 2021) and Daredevil: Born Again (2025). 

By 2025, the franchise includes  36 films (and counting) and multiple Disney+ series all linked, transforming the MCU into a franchise ecosystem that has fundamentally reshaped what audiences expect from blockbusters and how studios plan them. Every new attempt at a shared universe since has either chased this model or tried to avoid direct comparison, but few have managed to do either well.

7) The MonsterVerse (2014 – present)

Godzilla and King Kong didn’t need decades of lore to smash their way into a shared cinematic universe. Though each iconic monster had cinematic origins in different countries and cultures,  2014’s Godzilla from  Legendary Pictures set the stage for what would become the MonsterVerse: an interconnected world of towering creatures, secret organisations, and increasingly chaotic showdowns. It expanded quickly with Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), Godzilla vs. Kong (2021), and Godzilla x Kong: The New Empire (2024), each film layering in mythology while delivering the kind of city-leveling action that audiences expect.

Apple TV+ joined the party with Monarch: Legacy of Monsters (2023), giving the universe a grounded, character-driven extension that played in the same sandbox without requiring the same budget. By anchoring the series in a post-G-Day world, it added context and consequence to the monster mayhem, something the films only occasionally paused to explore. The MonsterVerse may not chase the prestige of other franchises, but it never promised nuance – it promised spectacle, and consistently delivered on that front. It’s a universe where titans rule, and humans are mostly there to survive the fallout.

8) Sonic the Hedgehog Cinematic Universe (2020 – present)

Sonic sprinted past modest expectations in 2020 and launched a shared universe that has quietly become one of Paramount’s most consistent performers. What began as a straightforward adaptation of Sega’s iconic video game character quickly grew into a broader cinematic world, with Sonic the Hedgehog 2 (2022) and Sonic the Hedgehog 3 (2024) expanding the cast to include fan favourites like Tails, Knuckles, and Shadow. 

By 2024, the Knuckles spin-off series marked the franchise’s expansion into streaming, showing that there’s room for character spotlights alongside theatrical tentpoles. It helps that the Sonic Cinematic Universe strikes a balance between nostalgia and reinvention, staying true to the tone of the games while giving longtime fans enough Easter eggs to stay engaged. Unlike other universes scrambling to reboot or course correct, Sonic’s world feels surprisingly stable, powered by clear vision, strong voice casting, and a hedgehog who knows when to hit the gas and when to let the jokes breathe.

9) Dune (2021 – present)

Denis Villeneuve’s Dune revival has done what many sci-fi adaptations struggle with: translating dense world-building into accessible, visually striking cinema. Starting with Dune: Part One in 2021, the franchise took Frank Herbert’s universe and delivered a patient, confident adaptation that didn’t shy away from how complex the 1965 novel was. Dune: Part Two (2024) expanded that scope with stronger character arcs and sharper pacing, proving there’s real longevity in this iteration. With Dune Messiah now in development and Dune: Prophecy (2024 – present) exploring the Bene Gesserit’s roots through streaming, the franchise is firmly planting its flag as both prestige cinema and shared universe.

Even as it branches into TV, Dune avoids the scattershot feel of many multimedia franchises, keeping a strong sense of identity. It may not have the decades of interconnected stories like Marvel or Star Wars, but it’s building something rarer: coherence. If Villeneuve continues to steer the ship, this universe might trade box office scale for long-term critical respect, which is exactly what Dune has always been about.

10) The DC Universe (2024 – present) 

James Gunn’s DC Universe might still be in its infancy, but it arrives with a level of intent and creative cohesion that DC’s previous efforts rarely enjoyed. After years of starts, stops, and tonal whiplash from Zack Snyder’s grim spectacle to more light-hearted detours like The Suicide Squad (2021), Gunn’s vision marks a hard reset. Beginning with the animated Creature Commandos (2024) and followed by Superman in 2025, this new era is designed to align films, television, and even animation under a unified storytelling banner. Unlike the Marvel model, where television often played catch-up to the movies, DCU’s streaming components like Peacemaker (2022 – present) are essential chapters.

What sets Gunn’s approach apart is his focus on character-first storytelling, even in the weirdest corners of the roster. It’s a universe where no hero (or antihero) is too obscure to matter, and where continuity is guided by tone, personality, and thematic clarity more than strict chronology. Whether this rebuild will deliver the consistency fans have long hoped for remains to be seen, but it’s already doing what previous iterations couldn’t: starting from a clean slate, with a plan that puts story ahead of spectacle.

Bonus: Star Trek (1966 – present) 

Star Trek didn’t just pioneer the idea of a shared universe – it’s the reason the concept continues to exists at all. Nearly sixty years after it first aired, Gene Roddenberry’s sci-fi juggernaut continues to evolve, morphing across formats and generations without ever losing sight of its roots. What began in 1966 as a modestly-budgeted network series grew into an enduring media ecosystem spanning feature films, Saturday morning cartoons, syndicated dramas, streaming originals, and multiple animated revivals. No franchise has jumped between formats with such agility while maintaining a consistent continuity that honours both past canon and future expansion.

Even the 2009 film reboot, often misunderstood as a clean slate, was cleverly framed as an alternate timeline, preserving the Star Trek Prime Universe while introducing a new generation of viewers to familiar characters in unfamiliar ways. Every era of Star Trek, from the idealism of Star Trek: The Next Generation (1987 – 1994) to the moral complexity of Star Trek: Deep Space Nine (1993 – 1999) to the high-stakes diplomacy of prequel series Star Trek: Strange New Worlds (2022 – present) has contributed to a larger universe built on ideas, not just intellectual property. With more films and shows still on the way, Star Trek remains the blueprint for how to build a universe that spans decades without losing its core identity.

As more studios chase interconnected glory, it’s clear that not every universe needs to be endlessly expansive, just thoughtfully constructed. Whether it’s Marvel refining its multiverse, the MonsterVerse finding new ground with streaming tie-ins, or The Conjuring moving into serialised horror, the key to longevity lies not in sheer volume, but in consistency and evolution. Audiences may love familiar worlds, but they’ll only stay invested if each return feels earned.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post The MCU Wasn’t the First: Top 10 Shared Cinematic Universes We Love appeared first on Geek Culture.

Middle-earth is calling once again, and this time, it’s Gollum who takes center stage. Warner Bros. and New Line Cinema have officially announced (per Variety) that The Lord of the Rings: The Hunt for Gollum will arrive in cinemas on 17 December 2027. Andy Serkis, long synonymous with the twisted, tormented figure of Gollum, will both direct and star in the film. He’s joined by Peter Jackson, Fran Walsh, and Philippa Boyens, the powerhouse team behind the Oscar-winning Lord of the Rings trilogy, now returning to shape a new chapter of Middle-earth.

Set during the events of The Fellowship of the Ring, The Hunt for Gollum aims to explore a lesser-known thread from Tolkien’s lore: Gandalf and Aragorn’s secret efforts to locate the creature who once possessed the One Ring. Though not officially confirmed, speculation has naturally turned to whether actors like Ian McKellen and Viggo Mortensen could return to reprise their iconic roles. Nothing is set in stone, but the creative team’s history of loyalty to its original cast keeps the possibility very much alive.

This return to Middle-earth also continues a tradition: every live-action Lord of the Rings film has premiered in December. The original trilogy began with The Fellowship of the Ring on 19 December 2001, and concluded with The Return of the King on 17 December 2003, the same date The Hunt for Gollum now occupies. Thirteen years will have passed since The Hobbit: The Battle of the Five Armies wrapped up the last live-action trilogy. That span, coupled with recent disappointment from the anime prequel The War of the Rohirrim, gives this new film an opportunity to reignite enthusiasm in a franchise still beloved by many.

That holiday season spot also plants a flag in a competitive release corridor currently also claimed by Disney for a yet-untitled Star Wars film. Warner Bros.’ willingness to place The Hunt for Gollum head-to-head with a franchise of that scale signals confidence in its potential draw, especially for audiences eager to return to the world of hobbits, rangers, and ancient evils.

Though The Hunt for Gollum is just one of two planned films overseen by Jackson, Walsh, and Boyens, this first instalment already carries the weight of audience expectation. Hopefully this won’t just be another nostalgic add-on, but the beginning of a new chapter for Middle-earth.

The Lord of the Rings: The Hunt for Gollum opens in cinemas on 17 December 2027.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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Evil Dead fans won’t have to wait much longer for their next trip into the woods… or in this case, somewhere even more hellish. Directed by Sébastien Vaniček and co-written with Florent Bernard, the sequel Evil Dead Burn will star Souheila Yacoub, bringing a new lead to a series known for putting its heroes through relentless torment (per Variety).

Yacoub, who portrayed Fremen warrior Shishakli in Denis Villeneuve’s Dune sequel, has carved a place for herself in genre cinema with a blend of grit and presence. With her character not expected to return in Dune: Messiah, Evil Dead Burn offers a new showcase for her talents. Her previous credits include Climax, Savages, and the horror comedy The Balconettes.

Vaniček, best known for directing the 2023 French horror film Infested, was first linked to the Evil Dead franchise in early 2024. Long before the official announcement, he hinted that his film would be titled Evil Dead Burn. That cryptic tease has now been confirmed, adding a fiery edge to a franchise better known for blood than flame. Rob Tapert and Sam Raimi will return to produce. Bruce Campbell, Romel Adam, Jose Canas, and Evil Dead Rise director Lee Cronin are also attached as executive producers.

While Evil Dead has never been a blockbuster juggernaut, it has enjoyed a rare kind of longevity. Beginning with Sam Raimi’s 1981 cult classic, the franchise has grown to include sequels, a reboot, a spin-off TV show, and an army of fans who know their Necronomicon lore by heart. Most entries were modest box office performers until Evil Dead Rise defied expectations in 2023 with a US$147 million global haul. That film, a standalone chapter with no Ash Williams in sight, proved there’s still plenty of life (and death) in this franchise.

Riding the momentum of Evil Dead Rise, Warner Bros. and New Line have doubled down. Evil Dead Burn is just one of multiple projects in development. Another instalment, helmed by The Last Stop in Yuma County director Francis Galluppi, is also moving forward, though details remain tightly guarded. For now, Evil Dead Burn takes center stage. Whether it ends up in a cabin, a city, or someplace entirely new, one thing’s certain: Deadites are coming back, and they’re not coming quietly.

Evil Dead Burn opens in cinemas on 24 July 2026.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post Sébastien Vaniček’s ‘Evil Dead Burn’ Sequel Sets July 2026 Release appeared first on Geek Culture.

It took decades, a corporate acquisition, and an R-rated team-up between Deadpool and Wolverine, but Marvel’s mutants are finally clawing their way into the MCU. With production underway on Avengers: Doomsday and the Multiverse Saga hurtling toward its climax, Marvel Studios appears ready to lay the foundation for its next major chapter centred around the X-Men. According to Deadline, Jake Schreier, fresh off directing Thunderbolts*, is being lined up to helm Marvel’s long-anticipated X-Men reboot.

No official announcement has been made about the film, but sources say Schreier met with Marvel last week about the project, which is being written by Michael Lesslie. Known for his work on The Hunger Games: The Ballad of Songbirds and Snakes and Assassin’s Creed, Lesslie is expected to script the first MCU iteration of the beloved mutant team.

Schreier’s name has gained significant momentum following the early praise for Thunderbolts* (also billed as The New Avengers) which has been received as a creative win for the studio’s pivot toward smaller, more focused storytelling. It’s a move reminiscent of past MCU strategies, like the Russos’ leap from Captain America: The Winter Soldier to Avengers: Infinity War, or Destin Daniel Cretton’s jump from Shang-Chi and the Legend of the Ten Rings to Spider-Man: Brand New Day.

While Marvel Studios hasn’t committed to a specific timeline for the X-Men’s mainline debut, the groundwork is already in motion. The multiverse has allowed the studio to honor past iterations, bringing in legacy characters such as Patrick Stewart’s Professor X in Doctor Strange in the Multiverse of Madness, Kelsey Grammer’s Beast in The Marvels, and Hugh Jackman’s Wolverine in Deadpool & Wolverine. Avengers: Doomsday will deepen that connection, with actors from Fox’s X-Men era, including Ian McKellen, Rebecca Romijn, Alan Cumming, and James Marsden, joining the battle.

What sets the X-Men apart within Marvel’s world is the allegorical weight they carry. Their stories have always reflected real-world social struggles: identity, discrimination, the search for belonging. Schreier’s ability to find emotional clarity in ensemble storytelling could help ensure these themes land with both longtime fans and newcomers. His recent Marvel debut showcased his ability to elevate a team storyline while maintaining individual arcs, something essential to bringing the mutant metaphor to life.

And while a full X-Men reboot may still be a couple of years out, the road to Xavier’s School is finally open, and all signs point to Schreier leading the class in 2027.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post ‘Thunderbolts*’ Director Eyed For Marvel’s ‘X-Men’ Film appeared first on Geek Culture.

Disney is aiming to reclaim its box office throne, and Bob Iger is making sure everyone knows it. On a recent earnings call with media analysts, the CEO laid out what he described as one of the studio’s strongest film lineups since 2019 — a year that produced six billion-dollar hits and crowned Disney as the global box office leader. Now, Iger is looking to repeat that success with a slate he believes will mark a return to form.

Leading the charge is the upcoming live-action adaptation of Lilo & Stitch, which is tracking for a domestic four-day opening of US$120 million, according to data shared with The Hollywood Reporter. Analysts from the National Research Group place its range between US$110 million and US$130 million, setting the stage for one of the biggest domestic debuts for Disney’s live-action reimaginings.

Pixar’s Elio, Marvel’s The Fantastic Four: First Steps, and returning properties like Tron: Ares, Zootopia 2, and Avatar 3: Fire and Ash are also part of Disney’s 2025 pipeline. Iger didn’t just name-check these titles, but underlined them as critical markers in a strategy shift focused on fewer, better films. “That’s quite a lineup,” he said on the call, before outlining what’s coming next.

Looking into 2026, Iger touted an even heavier roster. Audiences can expect Avengers: Doomsday, The Mandalorian and Grogu, Toy Story 5, and a live-action Moana. Comparing this lineup to Disney’s record-breaking 2019 slate, Iger said it’s the strongest he’s seen since that era. That year, films like Avengers: Endgame, Frozen 2, The Lion King, and Captain Marvel helped drive over US$11 billion in global box office revenue for the company.

But Iger isn’t just leaning on nostalgia or sequels. He pointed to Marvel’s Thunderbolts* as a sign of the studio’s new direction. With US$165.5 million in international earnings so far, the film is both a financial success and a creative reset.

“We all know that in our zeal to flood our streaming platform with more content, we turned to all our creative engines, including Marvel, and had them produce a lot more,” Bob Iger said. “We’ve also learned over time that quantity does not necessarily beget quality. And frankly, we’ve all admitted to ourselves that we lost a little focus by making too much, and … by consolidating a bit and having Marvel focus much more on their films, we believe that will result in better quality. And I think the first and best example is Thunderbolts*. I feel very good about that.”

With upcoming tentpoles already generating buzz, and Iger signaling a clear course correction, Disney seems poised to once again dominate both theaters and headlines. Whether the magic returns to its 2019 levels remains to be seen, but Iger is confident that Disney’s biggest stories are far from over.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

The post Bob Iger Declares Disney’s Film Slate In Next 18 Months The Best Since 2019 appeared first on Geek Culture.

H.E.R.B.I.E. is finally getting his moment in the spotlight, and Star Wars fans will likely recognise the voice bringing him to life. Marvel Studios has confirmed that Matthew Wood, best known for voicing General Grievous across various Star Wars projects, will lend his voice to the lovable robot in The Fantastic Four: First Steps.

According to director Matt Shakman, production made use of a wooden puppet and a functioning animatronic version of the character to give the cast something real to interact with. Shakman emphasised H.E.R.B.I.E.’s importance to the story, describing him as Reed Richards’ “right hand” and a regular fixture at the family dinner table. His words suggest a role that goes far beyond background comic relief. One moment teased in promotional images even shows H.E.R.B.I.E. assembling a baby crib, hinting at the robot’s emotional investment in the team’s domestic life as well.

Wood’s casting comes after months of speculation. Rumours initially suggested Natasha Lyonne might voice the character, but those whispers were put to rest with Empire Magazine’s coverage of the film. Lyonne is still in the mix, though her role in The Fantastic Four: First Steps remains under wraps, following her appearance as Byrdie in What If…? Season 3.

Joining Pedro Pascal’s Reed Richards and Vanessa Kirby’s Sue Storm, H.E.R.B.I.E. becomes part of a new take on the iconic team. Ebon Moss-Bachrach and Joseph Quinn round out the quartet as Ben Grimm and Johnny Storm. The cast also includes Julia Garner as the Silver Surfer, Ralph Ineson as Galactus, and supporting roles for Paul Walter Hauser, Sarah Niles, and John Malkovich.

H.E.R.B.I.E.’s inclusion ties back to classic Fantastic Four lore, originally created by Stan Lee and Jack Kirby in 1978 as a child-friendly alternative when the Human Torch was unavailable for animation rights. This new film appears to embrace that legacy while giving H.E.R.B.I.E. more agency and emotional nuance than before.

Plot specifics remain guarded, but with Galactus and Shalla-Bal set as the primary antagonists, and growing theories that the team may be multiverse refugees from a destroyed dimension, there’s potential for real stakes. Whatever the outcome, H.E.R.B.I.E.’s role in The Fantastic Four: First Steps looks to be both charming and surprisingly emotional, ensuring his place as more than just a mechanical sidekick.

The Fantastic Four: First Steps opens in cinemas on 25 July 2025.

Natalie

Natalie is a big fan of anything related to movies, TV shows, and anime — you name it. When she’s not reading or being a dedicated cinephile, she’s probably playing gacha and tabletop games, or daydreaming of Caleb from Love and Deepspace.

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