Defining the Strangers movie franchise is no easy task. The original 2008 film, “The Strangers” was truly chilling, and over time it became a cult classic. Its clunker 2018 sequel, “Prey at Night” didn’t fare near as well. But the real confusion came in 2024 with the release of “The Strangers – Chapter 1”, the first film in a new trilogy from director Renny Harlin. “Chapter 2” followed in 2025, and now here we are in early 2026 with “Chapter 3”.

It takes some research to figure out what the trilogy is meant to be. It’s not a prequel trilogy as many of us first thought, but it’s not necessarily a reboot or a rematch either. Instead its creators consider it a “relaunch” and have said that it exists within the same universe as the original two films. That may explain it in words, but finding a concrete connection between the older movies and the newer ones is easier said than done.

Regardless, the trilogy has been quite the rollercoaster ride. “Chapter 1” played like 30 minutes worth of content stretched into a 90-minute movie. But “Chapter 2” was a surprising step up despite a few problems of its own. As with its predecessors, “Chapter 3″ has its own set of issues. Yet it manages to do a serviceable job tying the trilogy together and bringing it to decent conclusion.

“Chapter 3” begins exactly where the previous film left off. After spending the last movie fleeing from the three masked psychopathic strangers, Maya (Madelaine Petsch) managed to kill the one called Pin-Up Girl just before the credits rolled. Now the remaining two, Scarecrow and Dollface, mourn her in their own twisted way before continuing their pursuit of Maya in and around the rural timber town of Venus, Oregon.

Elsewhere the prowling Sheriff Rotter (played by the wonderfully unsettling Richard Brake) patrols the forest-lined country roads with motivations that could be called sketchy at best. Meanwhile Maya’s sister, Debbie (Rachel Shenton) and her husband Howard (George Young) arrive in Venus with a hired bodyguard (Miles Yekinni) after learning Maya was never picked up by the ambulance sent to bring her back home to Portland. Their investigation intersects with the good sheriff while Maya tries to get a leg up on her maniacal pursuers.

Harlin breaks up the current day mayhem with several flashbacks that not only reveal the identities of the deranged serial-killing trio, but how they came together and how they’ve managed to continue murdering for years. These scenes add some disturbing context to the strangers, as well as the townsfolk of Venus. We end up learning more through them than any other part of the movie.

As for our protagonist, much of “Chapter 3” emphasizes the evolution of Maya whose trauma makes her increasingly cold and calloused. It’s a tricky task for the committed Petsch whose performances throughout the trilogy have come in three phases. Each film asks her to do something different, yet all three performances are distinctly connected. So it’s impossible to fairly judge what she’s doing in “Chapter 3” without factoring in the previous movies. When you do, it’s easy to appreciate what she accomplishes.

The Strangers trilogy has become a cheap critical punching bag for many, but it’s far from the cataclysmic disaster it’s made out to be. It’s hard to justify spreading the story out into three feature length films and their strict dependency on seeing the other movies are somewhat of a handicap. As for “Chapter 3”, it may succeed in wrapping things up, but it’s not without its lapses in logic. Still, it manages to do what it needs to do as a final chapter. And judging by its box office performance, it could very well be the FINAL chapter.

VERDICT – 3 STARS

Horror fans can rejoice! For the first time in seventeen years Sam Raimi returns to the genre he cut his teeth on. Well, sort of. His latest film, “Send Help” could easily be categorized as a survival thriller. But it’s Sam Raimi, the director of the original three Evil Dead movies. So to no surprise, “Send Help” has its share of grisly horror and pitch-black comedy. And I kinda loved every moment.

“Send Help” goes down like a cocktail of ”Horrible Bosses”, “Castaway”, and “Misery” but seasoned with Raimi’s own special sauce. Written by Damian Shannon and Mark Swift, the story gives a deliciously meaty role to Rachel McAdams who relishes every twisted second she’s given. Dylan O’Brien is wonderfully detestable as a smarmy privileged slimeball. Together they breathe fire into this bonkers mashup that goes in some delirious directions.

McAdams plays Linda Liddle, a homely and awkward accountant working for a prominent consulting firm. Linda is a numbers guru who is hardworking and a valuable behind-the-scenes asset to the company. So much so that the CEO had promised to promote her to the vice president position. But after he unexpectedly dies, his entitled son Bradley (O’Brien) takes the reins and immediately promotes his college buddy Donovan (Xavier Samuel) to VP.

As for Linda (who Bradley is repulsed by), he secretly plans to have her transferred to an obscure go-nowhere position. But before he does, Bradley agrees to take Linda along on an overseas business trip to finalize a major merger. But as their private jet passes through a severe storm, its engines fail which sends the plane crashing into the ocean. Linda miraculously survives, washing ashore on a remote island somewhere in the Gulf of Thailand.

As Linda gets her bearings, she discovers an injured and unconscious Bradley on the beach. Lucky for him, Linda is a survival enthusiast with a load of skills she learned as an avid watcher of the television show “Survivor” (one of my favorite early gags). When Bradley finally comes to, he wastes no time belittling Linda’s efforts and asserting himself as her boss. But he quickly learns this isn’t the same “Linda from accounting” and they aren’t in the office any more. Madcap blood-soaked hijinks ensue.

Raimi has a blast playing around with the multi-faceted dynamic between Linda and Bradley. He uses aspects from their professional and personal lives to define our hero and our villain. But one of the great joys of “Send Help” is its unpredictability. And we get good taste of it once Raimi starts blurring the lines between who’s good and who’s bad. We can’t help but root for Linda as she turns the tables on her douche of a boss. But “Send Help” has more up its sleeve than just that. And the moral ambiguity that arises from the primal chaos adds to the entertainment.

As some biting social commentary percolates amid the psychological mind games and physical savagery, Raimi never loses sight of the premise’s B-movie appeal. He giddily unloads some crazy action, gobs of gore, and warped humor with a nasty edge. Its biggest weakness is an ending that’s a tad too tidy. But the overall film is so insanely fun that it’s hard getting hung up on minor quibbles. Instead you’ll be amped to see it again. And you’ll once again be wondering why Rachel McAdams isn’t a bigger star.

VERDICT – 4 STARS

The romantic comedy has had its ups and downs like any other genre. But more than most, its films often find themselves so beholden to formula that they come across as uninspired retreads. Perhaps that’s why “Solo Mio” is such a breath of fresh air. Set around Rome and Tuscany, “Solo Mio” has a big heart, likable characters, plenty of well-delivered laughs, and more maturity than the standard-issue, run-of-the-mill romcoms of today.

Now don’t get me wrong, I’m not saying it’s “Roman Holiday”. But much liked that beloved William Wyler classic, “Solo Mio” features a similar charm and effervescence while being set to the same vibrant Italian backdrop. Of course the scenery is gorgeous and transporting without becoming a crutch. More surprising is the script which is brimming with humor, warmth, and pathos. But its biggest strengths are its two top performances from Kevin James and Nicole Grimaudo.

The movie comes from the Rhode Island filmmaking collective known as the Kinnane Brothers. Charles and Daniel serve as co-directors and work from a screenplay written by their siblings, Patrick and John. Kevin James pitched in with the script in addition to playing the lead role. Here he moves away from the slapstick silliness that has defined much of his career and gives us something endearing and heartfelt. It’s some career-best work.

James plays Matt Taylor, a 4th grade art teacher engaged to the sprightly love of his life, Heather (Julie Ann Emery). The two plan a storybook wedding in Rome with a lavish Italian honeymoon to follow. But on their wedding day everything falls apart when Heather leaves Matt at the alter. Heartbroken, Matt tries to cancel their big honeymoon plans only to find their “package” is nonrefundable. So he decides to stay in Rome, taking their honeymoon alone with hopes that Heather comes back.

As Matt tries coping with his sadness, he meets two nosy and intrusive newlywed couples at his hotel who take it upon themselves to get Matt back on his feet (much to his chagrin). There’s the well-meaning but overly assertive Julian (Kim Coates) who is celebrating his third marriage to Meghan (Allyson Hannigan). And there’s the henpecked Neil (Jonathan Roumie) who just married his therapist Donna (Julee Cerda). Yep, his therapist.

The oddball couples have good intentions. But it’s a fateful visit to a local coffee shop that turns things around for Matt. It’s there that he meets an outgoing barista named Gia (a fabulous Nicole Grimaudo) who notices he is a bit out of sorts. Gia has an infectious personality and an irresistible charm which doesn’t go unnoticed by Matt. But he doesn’t give it much thought. After all, Heather may come to her senses. And how can a man in his 50s start a new relationship from scratch?

But as Matt and Gia keep bumping into each other, a romance blossoms. Sure it’s a predictable turn, but the Kinnanes manage it unexpectedly well. It’s sweet without being schmaltzy and it’s playful without being silly. It’s a grownup relationship with authentic characters we genuinely care about. The lively Gia is a wonderful balance to the listless Matt. And when together, they come to life thanks to the natural, easy-flowing chemistry between James and Grimaudo.

As with any romantic comedy, there is a tension that threatens to uproot the central romance. Here it happens to be secrets that both are holding onto. Yet to the film’s credit, it’s handled in a refreshingly unique and mature way. It’s another welcomed surprise from a movie that speaks about relationships with such honesty – about how old ones can end and new ones can begin, no matter what stage of life you’re in.

“Solo Mio” may not cause a seismic shift in the romantic comedy landscape. But it does show that the genre isn’t out of gas just yet. It doesn’t veer too far away from the popular romcom blueprint. It simply livens things up by telling its own story rather than mimicking other films that came before it. James has never been better and Grimaudo should immediately be put on everyone’s radar. In the end, nearly all the pieces fall into place, making this a delightful, refreshing, and life-affirming crowd-pleaser.

VERDICT – 4 STARS