The dark comedy is one of the harder genres to nail because there’s a very fine line between “A dark joke” and “being a tasteless fuck” and it’s a line that’s incredibly easy to cross. Not only that but if you don’t actually push far enough with a joke it can just feel kind of dull, like in the movie How To Make A Killing which showed that you can have a dark comedic premise but fail at the actual comedy element. The idea of a couple trying to murder each other is a premise that can absolutely lead to some great dark comedy if done well, but can also lead to something kind of boring if it’s not committed to properly… fortunately, Over My Dead Body commits just enough to get the job done.
In 1985, Return of the Living Dead was released. Created by John Russo, the co-creator of Night Of The Living Dead, the film was a comedic follow-up to the deeply disturbing original that became a cult hit on its own and was the origin of the idea that Zombies specifically hunger for brains above all else. It spawned a bunch of sequels of varying quality but is still an important element of horror’s history… and Cold Storage is the knockoff brand version of that franchise, and hey considering it’s been 20 years since we got a Return of the Living Dead movie then someone might as well come up with an alternative for us to enjoy.
In 1979, Sam Raimi ran off into the forest with a bunch of his friends (including the chin-tastic Bruce Campbell) to make a feature length version of his short film Within The Woods. It was an insane idea made on a microbudget with effects that Sam made up on the fly, people got injured on set and for some reason they decided to strap a camera to a plank of wood and have two guys run through the swamp carrying it to get the shot. It was the kind of filmmaking that would make insurance agents weep and it ended up creating the 1981 film The Evil Dead.
In 2019, the filmmaking team known as Radio Silence graduated from making short films that were part of anthology features into making a feature-length film all of their own. That film was Ready Or Not which presented us with a young woman named Grace (Samara Weaving) who married into a rich family and had to take part in a little family ritual where they play a game on the night a new family member joins them. Unfortunately, she picks hide and seek and thus is required to hide while the family hunts her. It was a glorious romp of a film, very silly and campy at times but with enough tension, good characters and enough gore to satisfy any horror fan. It ended with a spectacular shower of blood flying everywhere as Grace won her little game and made her new family explode. It was a glorious film that probably didn’t need a sequel, but damn I’m glad it has one.
One of the most beloved stories that cinema keeps going back to is “Man interacts with aliens”. It’s a time-tested story that allows for so many variations, from the whimsical wonder of ET to the nightmarish horror of The Thing, cinema has run the gamut of ways to show a human having to deal with a creature from another planet, figure out how to communicate with said creature and either save or destroy it. It’s been done so many times that we’re almost out of new alien designs that we can use before repeating ourselves. So one would think that another film about a human going to space and spending the entire time interacting with an alien would feel at least a little rote, a little repetitive… somehow, Project Hail Mary manages to feel fresh while also being charming as all hell.
Roughly one year ago, Superman returned to us. After the absolute disaster that was the DCU, we were given a Superman who cares and there was much rejoicing. It was a genuinely charming movie with one of the best Superman actors we’ve had since the Christopher Reeve-era and I do not say that lightly. I named that film the second best film of 2025 and the performance of Superman was my third favourite performance in that same year. It was a genuinely great work of art that showed that there was space in the modern era for a kinder sweeter Superman. The ending of that film had a brief moment for Supergirl (Milly Alcock) who came to collect her dog Krypto and showed that this universe’s Supergirl was a bit of a drunken disaster who we would eventually get to spend an entire movie following. It was exciting, it seemed like it should be fun and now that film has come out and… it’s OK, it’s a genuinely OK movie but it should be so much better than OK.
Every few years we get a celebrity who is clearly being pitched as a leading man to the masses but, for some reason, just doesn’t seem to click. One of the more recent ones who has been undergoing this process is Glen Powell, it seemed to start around his appearance in Top Gun: Maverickand kept going with works like Hit Man, Anyone But You, Twisters (the image of him walking in the rain was almost scientifically designed to make audiences feral) and The Running Man. Each film basically just tried to give him star power, turn him into the affable, attractive leading man that anyone could root for. It’s clear that the industry wants him to be the next Tom Cruise-type but somehow they have yet to get him into a vehicle that puts him on that level. How To Make A Killing definitely wanted to be the thing that cemented him as that leading man but it flopped hard enough that it won’t be doing that, which is a shame because if it had hit it would’ve undoubtedly been the thing that made Glen into a generational star, even if the film itself isn’t great.
One of the big problems that people have with the modern film landscape is that it feels like most movies that make it to cinemas have to either be based on a pre-existing IP (book, TV show, Reddit story that inexplicably gets popular) or a sequel to a film that was a previous hit. This seems to be reflected in the box office, if you look at this year’s top 10 highest grossing films you’ll see sequels, movies based on books and even a film that heavily utilises the IP of one of the biggest popstars of all time. There are only 2 films in the top 10 highest-grossing films of 2026 (at the time of writing this review) that are not based on some already existing property. The first is the megahit Obsessionwhich exploded due to great word of mouth and the other is the subject of this review, Pixar’s first big film of this year, Hoppers.
The Toy Story franchise feels like a miracle at this point, it’s certainly a franchise that goes past any reasonable explanation in terms of quality. The first film was basically a test to see if you could even make a full-length feature film using CGI characters and make it interesting, it went on to be the second-highest-grossing film of 1995 (I know, I feel old too just realising it’s been 31 years) and effectively killed the hand-drawn animation genre. Toy Story 2 was almost deleted by accident and intended to go straight to DVD, it ended up as the third highest-grossing film of 1999 and is widely considered as good as, or better than the original. Toy Story 3 came out nearly a decade later in 2010, had a six-year production period and seemingly closed the story out. It would go on to make a billion dollars, be the highest-grossing film of that year and finally win this franchise the Best Animated Feature Oscar. Then in 2019 came Toy Story 4, a film that many people doubted because the story was finished pretty perfectly in part three but it proved us wrong, creating another nearly perfect movie that again made a billion dollars and won this franchise its second Best Animated Feature Oscar. It’s kind of wild just realizing that this franchise has somehow produced four absolute classics of the genre and keeps finding new ways to delight young audiences with its story about a bunch of toys that come to life whenever you aren’t looking… Well, looks like we’re gonna have to make that five absolute classics because the bastards did it again.
In 2019, a fun little horror film called Ready or Not came out and became a major hit, at least among Horror fans. The film itself revolved around a bride being introduced to her new family, who turn out to be Satan worshippers, who need to hunt her down and kill her by sunrise to give their dark lord a tribute to maintain their family’s wealth. It was a truly insane, blood-soaked ride full of dark comedy and some of the most insane action scenes. It was a film that was almost destined to have imitators, and now here comes They Will Kill You that gives a crash course in how to copy from other better films and still make something awesome.