It’s the first What The Hell Should I Watch of the year, and I’m opening things up with a stacked slate of new releases, some wildly different genre swings, and a solid round of reminders as we look ahead to what’s coming next.
I kick things off with Marty Supreme, digging into where it lands for me and why it didn’t quite connect the way I hoped. From there, I dive into the latest reboot attempt with Anaconda, followed by the grim, heavy atmosphere of We Bury the Dead. I also spend time with The SpongeBob Movie: Search for Squarepants, breaking down how it plays for longtime fans versus newer audiences, and wrap up my reviews with The Housemaid, a thriller that gave me plenty to react to.
This week’s Butting In segment belongs to Chloe, and she tackles her homework pick Train Dreams, along with thoughts on Anniversary and the Netflix series Boots, bringing her own perspective to a very different set of titles than mine.
We also run through a few reminders worth flagging: Big Bold Beautiful Journey, The Black Phone 2, and Bugonia, all of which are inching closer and firmly on our radar.
And looking ahead to next week, we tease what’s coming up with Dead Man’s Wire, Is This Thing On, The Testament of Ann Lee, The Choral, and maybe even Primate, depending on how the release calendar shakes out.
Thanks for sticking with us through another year of movie chaos. You can catch the full episode now!
It’s a special Boxing Day episode of What The Hell Should I Watch, and we’re closing out the year in a big way.
I lead things off with my full review of Avatar: Fire and Ash, digging into where this chapter lands in James Cameron’s ever-expanding Pandora saga. I get into the scale, the storytelling choices, what worked for me, what didn’t, and whether this entry deepens the franchise or starts to show some cracks as it grows.
From there, Chloe and I wrap up 2025 the only way that makes sense — by counting down our Top 10 Films of the Year. We break down the movies that stuck with us, surprised us, challenged us, and flat-out ruled, comparing lists, arguing rankings, and reflecting on what kind of year 2025 turned out to be at the movies.
It’s part celebration, part debate, and part look back at a stacked year for film — and a perfect way to send off 2025 before we jump headfirst into whatever chaos next year brings.
It’s that time of year again on The Night Shift with Shane Hewitt — welcome to the 5th Annual Stebbie Awards, my completely unofficial, deeply subjective, and wildly personal look back at the movies and performances that defined my year in film.
This isn’t about box office numbers, campaign buzz, or playing awards-season politics. The Stebbies exist to celebrate the films, performances, and creative swings that stuck with me — the ones I couldn’t shake, couldn’t stop thinking about, and couldn’t wait to talk about on the show.
From unforgettable lead performances and breakout turns, to my favourite genre entries, overlooked gems, and the films that absolutely wrecked me emotionally, the Stebbies are my chance to give credit where I think it’s due — whether the industry agrees or not.
As always, this is a solo ride, filled with passion, honesty, and a little bit of snark. Some picks will be obvious, some will be controversial, and a few might leave you wondering what the hell I was thinking — which, frankly, is the point.
Thanks for listening all year, for arguing with me online, and for sticking around through another season of What The Hell Should I Watch. Now let’s hand out some Stebbies.
The holiday season is officially here, which means this week’s episode leans festive… but still sharp, still feral, and still very much What The Hell Should I Watch–coded. Chloe’s sitting this one out, but she’ll be back next week for the final episode of 2025 — and before we get there, there’s horror Santa carnage, a surprisingly emotional Neil Diamond tribute story, some of my backlog that has now made it to streaming, and a few hard truths about when genre swings do not connect.
🎄 NEW IN THEATRES
Silent Night, Deadly Night Yes, that one — remade. This new take leans harder into vigilante mythology than pure slasher stupidity, giving its Santa-suited killer a warped moral compass and just enough purpose to separate it from the original’s grindhouse roots. It’s B-horror through and through, filmed in Winnipeg, splattered with blood, and oddly more thoughtful than expected. Not everything lands, but it’s far from the throwaway mess it could’ve been — and yes, the Nazi Christmas party sequence is as gleefully inflammatory as advertised.
Song Sung Blue A mystery screening that turned into one of the episode’s biggest surprises. Hugh Jackman and Kate Hudson star as a real-life Neil Diamond tribute duo whose partnership brings both joy and heartbreak. Directed by Craig Brewer, this isn’t a glossy jukebox movie — it’s a sincere, bittersweet character study anchored by two genuinely strong performances. Even if you’re not a Neil Diamond person going in, this one earns its emotional weight.
📺 NOW STREAMING
Roofman (Paramount+) Channing Tatum plays a charismatic real-life criminal who hides out inside a toy store after escaping prison — and somehow turns that setup into a warm, human crime drama. Directed by Derek Cianfrance, this feels like a proper movie movie: charming, sad, funny, and quietly devastating. Kirsten Dunst is excellent, Peter Dinklage is deeply unpleasant (compliment), and the whole thing sneaks up on you in the best way.
The Home (Paramount+) James DeMonaco (The Purge) tries something smaller and stranger… and it mostly collapses under its own weight. Pete Davidson brings almost nothing to a role that desperately needs emotional grounding, and while there are flashes of violence and intrigue, the film never earns them. A waste of a solid premise and a cast that deserved better.
The Thursday Murder Club (Netflix) A glossy, charming, very Netflix murder mystery featuring Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie. It plays like Knives Out on decaf — pleasant, well-cast, and clearly designed to launch a franchise. Not particularly daring, but entertaining enough to justify a cozy holiday watch.
Evil Does Not Exist (Criterion Channel) Quiet, precise, and quietly devastating. Ryusuke Hamaguchi follows a rural Japanese community threatened by corporate “glamping,” crafting a film that’s funny, tense, and deeply unsettling in its restraint. One of the most thoughtful releases of the year — and a reminder of why the Criterion Channel is worth your money.
📡 SERIES WATCH
It: Welcome to Derry (Crave) The It prequel series starts strong, stumbles hard in episode three, then recovers just enough to keep things interesting. There’s real promise here — especially in how it expands Stephen King’s world beyond Pennywise — but it’ll need a proper season-wide breakdown once Chloe’s caught up.
Murdaugh: Death in the Family (Disney+) A dramatized take on one of the most disturbing true-crime sagas in recent memory. Jason Clarke excels at playing deeply unlikable men, and Patricia Arquette once again finds herself trapped in a morally rotten marriage. Still in progress, but grimly compelling so far.
📀 ADDITIONS TO THE LIBRARY
The Handmaid’s Tale — Complete Series (DVD)
Back to the Future: 40th Anniversary Trilogy (4K UHD)
🦇 FINAL WORD
With the series officially wrapped, it’s time to say it plainly: What We Do in the Shadows is one of the best TV comedies of the modern era. Smart, absurd, endlessly rewatchable — and Laszlo Cravensworth remains undefeated.
Next week: the final episode of 2025. Chloe returns, Avatar: Fire and Ash gets its reckoning, and we count down our Top 10 Films of the Year.
It’s another loaded week on What The Hell Should I Watch and we’re kicking things off with a huge sequel: Five Nights at Freddy’s 2. The first movie I already thought was pretty meh — and surprise, I still don’t really get the appeal. The fandom is huge, the lore is sprawling, the animatronics are doing whatever they do, but this franchise continues to be one of those things that just isn’t for me.
From there, I finally get into Hamnet, the film that absolutely floored me. Jessie Buckley and Paul Mescal deliver devastating, career-best work, the filmmaking is top-tier, and it immediately shot into my awards-season must-watch list. Chloe hasn’t seen it yet — but I’m determined to fix that.
Next up is Dust Bunny, Bryan Fuller’s long-awaited feature directorial debut. It’s bold, grimy, neon-lit creature-feature madness with Mads Mikkelsen in full menace mode, and I had a blast with just how weird and stylized this thing gets.
We also roll through Jay Kelly, Noah Baumbach’s new meta actor drama starring George Clooney and Adam Sandler, and we dig into where it lands in his very self-reflective filmography. And on the opposite tonal end, we cover Beast of War, a tense, grounded, gritty piece that doesn’t need any festival hype to make an impact — it just hits hard on its own.
This week’s Butting In segment belongs to Chloe, and she brings the heat with her review of Bugonia — a wild, sharp, bold piece of filmmaking that gave her plenty to chew on.
New to the Library this week:
Good Fortune (Blu-ray)
The Strangers: Chapter 2 (Blu-ray)
And as always, we wrap things up with reminders and updates as we roll deeper into awards season and the holiday release stretch.
Chloe is down sick this week, so it’s a solo Stevil episode — but there’s a mountain of movies to cover, including one gigantic Disney sequel, a sharp new Rian Johnson mystery, festival favorites, and some heavy disappointment from a filmmaker I usually adore.
We kick things off with Zootopia 2, a surprisingly fun follow-up that avoids the worst sequelitis traps. The returning voice cast clicks, Ke Huy Quan is delightful, and there are some genuinely great laughs — even if a few plot beats feel predictable. Kids will love it, parents will be fine, and it’s a solid return to Zootopia after nearly a decade.
Then we jump to the one you’ll see on Netflix next week: Wake Up Dead Man: A Knives Out Mystery. Rian Johnson delivers again — sharper, more character-driven, and pointedly political in a way that will absolutely piss off the right people. Josh O’Connor, Glenn Close, Josh Brolin and the ensemble are dynamite, and Benoit Blanc’s latest case is big-screen good… which is why it’s frustrating Netflix didn’t give it more theaters.
Up next is Merrily We Roll Along, a Broadway musical filmed with real cinematic intimacy. Jonathan Groff, Lindsay Mendez and Daniel Radcliffe are phenomenal, the performances soar, and the staging goes far beyond the usual “filmed on stage” vibe. Even as a self-described non-musical guy, I found myself really drawn in.
Then it’s back to VIFF with The Secret Agent, a vibrant, violent, darkly funny Brazilian thriller set against the political turmoil of the late ’70s. Wagner Moura continues to be the coolest human alive, Tania Maria steals scenes, and Udo Kier delivers one last unforgettable role. Brazil’s Oscar submission — and a damn good one.
We stay in the VIFF zone with Deathstalker, Steven Kostanski’s gloriously schlocky sword-and-sorcery remake. Rubber-mask monsters, creature effects, Frazetta vibes, Patton Oswalt voice work, and a cast clearly having the time of their lives. This is a midnight-movie riot waiting for a crowd.
In Streaming This Week, I dig into:
Left-Handed Girl (Netflix) — A gorgeously intimate Taipei-set family drama, shot on an iPhone with the scrappy beauty of Sean Baker’s best work lingering in memory. One of my favorite festival misses finally available to everyone.
After the Hunt (Prime Video) — Luca Guadagnino’s shockingly messy misfire. Great cast, frustrating script, baffling score, and nothing meaningful to say about the heavy topics it raises.
John Candy: I Like Me (Prime Video) — Colin Hanks directs a heartfelt, deeply human tribute to a Canadian legend. Funny, moving, and filled with love from friends, family, and collaborators. A must-watch for anyone who grew up quoting Uncle Buck.
New to the Library:
Gabby’s Dollhouse: Pawsome Edition (DVD)
The Gilded Age — Season 3 (DVD)
Yes, Gabby’s Dollhouse now lives on my shelf. Send help.
And finally, a reminder: the War of the Roses remake — starring Olivia Colman & Benedict Cumberbatch — is now out. I reviewed it back on September 5th, but here’s the short version: I liked it… right up until the part where I realized Kate McKinnon can actually be annoying.
🎥 Next Week:
Five Nights at Freddy’s 2
Hamnet (Chloé Zhao — massive awards buzz)
Jay Kelly (Noah Baumbach, Clooney, Sandler)
Oh. What. Fun. (Prime Video holiday comedy from Michael Showalter)
Welcome back to What The Hell Should I Watch, and this week’s lineup is stacked with big swings, intimate drama, brutal revenge, and one seriously wild true-story brawler. Let’s dive in.
We kick things off with Wicked: For Good, the long-awaited continuation of the Wicked saga. As someone who has never fully connected with this universe, I went in skeptical — and came out surprised at how well this one clicked. The performances land, the world expands in interesting ways, and even if the musical numbers aren’t always my thing, the film won me over more than expected.
Next up is Sisu: Road to Revenge, a sequel that turns up the carnage, grit, and chaos in the most gleefully absurd ways possible. If you’re onboard with this series, you’ll have a blast. If not… this franchise was never pretending to be subtle.
Then it’s Rental Family, an empathetic, grounded drama about loneliness, connection, and the strange reality of hiring people to play loved ones. Thoughtful, emotionally sharp, and surprisingly affecting.
From there we hit Meadowlarks, a beautifully shot, meditative slow burn about grief, heartbreak, and the fragile threads holding people together. It’s quiet, visual, and deeply human — a film that rewards patience.
And then there’s The Smashing Machine, a raw, punishing, brilliantly performed look at the life of Mark Kerr during the chaotic early days of MMA. Addiction, dominance, personal collapse — it’s a heavy watch, and the filmmaking never flinches.
For Streaming Picks, I’m highlighting two very different vibes:
• Train Dreams — a lyrical frontier story blending myth and memory across the rugged American landscape. Poetic and harsh in equal measure. • The Beatles Anthology — a monumental deep dive into the band’s origin, evolution, and cultural impact. Essential for music lovers and a stunning archival achievement in its own right.
Chloe jumps in this week with her review of Predator: Badlands, digging into its pulpy world-building, pacing, and the gnarly creature-feature swings it takes.
In New to the Library, I’m adding: • The Conjuring: Last Rites (4K UHD) • Oh, Hi! (DVD)
And as a reminder, The Long Walk remains on the radar.
🎧 New episodes drop Fridays at 9 AM PT on stevestebbing.ca and YouTube. 👍 Like, comment, subscribe — it makes a huge difference.
📱 Follow me on Twitter, Instagram, Letterboxd, Threads & Bluesky — @TheStevilDead 🎞 Chloe on Letterboxd — @HoneybunChloe
🎙 Catch me on: • After The Credits – atcpod.ca • Tremble – threeangrynerds.com • Shiftheads – shiftheads.ca • The Night Shift with Shane Hewitt – Fridays @ 8 PM ET on NewsTalk 1010 / iHeartRadio
Welcome back to What The Hell Should I Watch. This week’s lineup spans dystopian violence, magic-heist fatigue, creeping psychological terror, neon-lit sci-fi, small-town paranoia, and a Western misfire that did not land for me. Let’s get into it.
We kick things off with The Running Man, Edgar Wright’s adaptation of the original Stephen King/Richard Bachman novel. I was ready to love this one — Glen Powell is great and the film has real visual bite — but the back half leans on a couple of narrative shortcuts that undercut its emotional impact. There’s strong craft here, but this ultimately lands as my least favourite Wright film, which genuinely surprised me.
Next up is Now You See Me: Now You Don’t, the third outing for a franchise that didn’t need another chapter. There are a few fun performances, but the plot is thin, the twists are loud instead of clever, and the movie never justifies its existence. Unless you’re already deeply invested, this one is a skip.
Then we head into Keeper, Osgood Perkins’ second film of the year and an unsettling, insidious slow-burn anchored by an incredible performance from Tatiana Maslany. Perkins leans into eerie visual experimentation and suffocating atmosphere, and there’s one moment here that hit me with genuine full-body revulsion — easily one of the most disturbing shots of the year. Despite mixed chatter online, I came out solidly positive on this one.
From there, it’s Tron: Ares, and while the internet seems determined to bury this movie, I genuinely didn’t hate it. Yes, it’s the dumbest Tron film — absolutely — but it’s fun, stylish, full of bold design work, and driven by a great Atticus Ross & Trent Reznor score. The Depeche Mode “humanity lesson” is hilariously on-the-nose, but the movie never pretends it’s deeper than it is. Chloe and I caught the press screening together, and overall, we had a good time with it.
On disc this week, I took a look at The Unholy Trinity, and according to the transcript, this one really didn’t work for me. Despite a stacked cast — Pierce Brosnan, Samuel L. Jackson, Brandon Lessard, Q’orianka Kilcher, Veronica Ferres — the pacing drags, the character work doesn’t land, and the whole thing just never comes together. A disappointing Western, especially for a genre that deserves stronger entries.
For TV, I checked out Wayward on Netflix, a dark, eerie limited series set in 2003 Vermont and circling a troubled teen academy with cult-like secrets simmering beneath the surface. Mae Martin leads and co-created the show, Toni Collette is perfectly unpredictable, and the whole thing plays like a slow-burn mystery soaked in paranoia. If you’re in the mood for something moody and unsettling, it’s worth your time.
And returning to Godolkin University, Gen V: Season 2 comes in sharper, darker, and more politically charged. With a new authoritarian dean tightening control and Homelander’s influence creeping into everything, the stakes feel bigger than ever. The season digs into indoctrination, institutional rot, and the cost of power — and the way it honours the late Chance Perdomo adds real emotional resonance. If you’re invested in The Boys universe, this season is absolutely worth watching.
In New to the Library, I’m adding: • St. Denis Medical • Curb Your Enthusiasm: The Complete Series • Cheyenne: The Complete Series • CODA (4K UHD) • The Curse of Frankenstein (4K UHD)
Next week, I’m taking on Wicked: For Good and Sisu: Road to Revenge.
🎧 New episodes drop Fridays at 9 AM PT on YouTube. 👍 Like, comment, subscribe — it really helps.
📱 Follow me on Twitter, Instagram, Letterboxd, Threads & Bluesky — @TheStevilDead 🎞 Chloe on Letterboxd — @HoneybunChloe
🎙 Catch me on: • After The Credits – atcpod.ca • Tremble – threeangrynerds.com • Shiftheads – shiftheads.ca • The Night Shift with Shane Hewitt – Fridays @ 8 PM ET on NewsTalk 1010 / iHeartRadio
Hey everyone — Steve Stebbing here with another episode of What The Hell Should I Watch, and this week we’re running the gamut from alien bloodsport to emotional breakdowns, bizarre satire, and one creepy found-footage nightmare.
We start with Dan Trachtenberg’s Predator: Badlands — a bold reinvention that takes the franchise off-world and onto a brutal alien planet. The story follows Dek, a young Predator exiled from his clan, and Thia, a damaged Weyland-Yutani synth played by Elle Fanning, as they fight to survive a planet designed to kill them both. It’s intense, beautifully shot, and the most exciting the series has felt in decades — Trachtenberg absolutely gets what makes Predator tick.
Next, Joachim Trier’s Sentimental Value — an elegant, deeply felt drama starring Renate Reinsve, Stellan Skarsgård, and Inga Ibsdotter Lilleaas. After their mother’s death, two sisters reunite with their estranged father, a once-great filmmaker who decides to mine their shared pain for his next project. Trier’s touch is both gentle and piercing, balancing humor and heartbreak in one of the most grounded family films of the year.
Then it’s David Freyne’s Eternity — a romantic fantasy starring Elizabeth Olsen, Miles Teller, and Callum Turner. In a dreamlike afterlife, Olsen’s Joan must choose where — and with whom — she’ll spend eternity: with the husband she left behind or the first love she lost decades earlier. It’s heartfelt, visually stunning, and emotionally resonant, turning cosmic romance into something beautifully human.
Yorgos Lanthimos’s Bugonia follows, and it’s just as unhinged as you’d expect. A remake of Save the Green Planet!, it stars Emma Stone as a pharmaceutical CEO kidnapped by two conspiracy-obsessed brothers (Jesse Plemons and Aidan Delbis) who believe she’s an alien here to destroy Earth. It’s sharp, disturbing, and wickedly funny — Lanthimos in peak form, skewering human delusion and moral panic.
Then we plug in for Rob Reiner’s Spinal Tap II: The End Continues — forty years later, the loudest band in rock is back. Christopher Guest, Michael McKean, and Harry Shearer return alongside Paul McCartney, Elton John, and a stack of other cameos. It’s a loving, ridiculous encore that riffs on aging, ego, and rock legacy — and yes, it still goes to eleven.
Finally, Hulu’s Chad Powers — the viral Eli Manning bit turned full-fledged comedy from Glen Powell and Michael Waldron. Powell plays Russ Holliday, a disgraced quarterback who disguises himself as “Chad Powers” to sneak onto a struggling college team. It’s goofy, self-aware, and totally watchable — Powell’s charm alone carries this one across the goal line.
In New to the Library, I spotlight five great additions:
Corpse Bride (4K UHD) – Tim Burton’s gothic romance restored in dazzling detail.
One Flew Over the Cuckoo’s Nest (4K UHD) – the definitive edition of a masterpiece.
The Newsroom: The Complete Series – Aaron Sorkin’s rapid-fire newsroom drama, all together at last.
Alfred Hitchcock Presents: The Complete Series – classic anthology brilliance in full.
The Day of the Jackal: Season 1 – Peacock’s sharp, modern spy thriller reboot.
In Butting In, Chloe reviews Dream Eater — a found-footage horror from Jay Drakulic, Mallory Drumm, and Alex Lee Williams that blends parasomnia, trauma, and occult horror. It follows a couple documenting a sleep disorder that slowly unravels into something much darker and ancient. It’s creepy, slow-burning, and unnervingly effective — one of those indie horrors that gets under your skin and stays there.
Next week, we’re diving into The Running Man, Keeper, Now You See Me: Now You Don’t, and Lynne Ramsey’s Die My Love — plus whatever else claws its way onto the release list.
New episodes drop every Friday at 9 AM PT right here or on YouTube. 👍 Like, comment, and subscribe — it really helps keep this rolling.
Hey everyone — Steve Stebbing here with another episode of What The Hell Should I Watch, and this week’s packed with awards-season contenders, dark biopics, auteur passion projects, and a few deep dives into cinematic obsession.
We start with James Vanderbilt’s Nuremberg — a tense, talk-heavy post-WWII drama starring Rami Malek as Army psychiatrist Douglas Kelley, trying to understand the psychology behind Nazi leadership. Russell Crowe is magnetic as Hermann Göring, making this one of the most engrossing and unsettling prestige dramas of the year.
Next up, David Michôd’s Christy — Sydney Sweeney is a knockout as real-life boxer Christy Martin, delivering a fierce, emotionally raw performance in a biopic that refuses to pull its punches. It’s bruising, heartfelt, and unforgettable.
Then there’s Jan Komasa’s Anniversary, a blistering domestic-political meltdown starring Diane Lane and Kyle Chandler. It’s a slow-motion family implosion that hits disturbingly close to home, smartly skewering American privilege and denial.
Richard Linklater’s Nouvelle Vague is next — a stylish, black-and-white, French-language love letter to the French New Wave. Zoey Deutch dazzles as Jean Seberg in a film that celebrates rebellion, wit, and the joy of creation.
We also look at Chris Stuckmann’s Shelby Oaks — a grief-soaked horror debut that blends found footage and psychological dread. It’s flawed but deeply sincere, and a promising first outing from a filmmaker who clearly loves the genre.
Then comes Paul Thomas Anderson’s One Battle After Another — a sprawling, feverish, politically charged epic starring Leonardo DiCaprio, Sean Penn, and Benicio del Toro. It’s wild, ambitious, and deeply human — PTA firing on every chaotic cylinder.
Next up, Brian Kirk’s Dead of Winter — Emma Thompson leads a tight, brutal survival thriller set in the frozen north, pulled into a kidnapping that quickly becomes a fight for her life. It’s cold, tense, and refreshingly adult filmmaking.
Then we hit Guillermo del Toro’s Frankenstein — the master’s long-awaited gothic take on Mary Shelley’s classic. Oscar Isaac, Jacob Elordi, and Mia Goth bring heartbreaking emotion to a film that’s less horror and more tragedy. Del Toro turns the monster story into a haunting meditation on creation and isolation — visually stunning and emotionally devastating.
We also dive into Fire and Water: Making the Avatar Films, a new Disney+ doc exploring the artistry and obsession behind James Cameron’s underwater epic. It’s equal parts filmmaking clinic and pure madness — a fascinating watch for anyone who loves the craft (or chaos) of blockbuster production.
In New to the Library, I spotlight David Cronenberg’s The Shrouds and Macon Blair’s The Toxic Avenger 4K Steelbook — two wild visions of death, rebirth, and rot worth adding to your shelf.
And in Butting In, Chloe takes on Kiah Roache-Turner’s Beast of War — an Aussie WWII survival horror about stranded soldiers and a shark that’s more relentless than the enemy. She breaks down why this gnarly, practical-effects-driven creature flick is way smarter (and bloodier) than it sounds.
Next week, we’re looking at Lynne Ramsey’s Die My Love, Sentimental Value, and Predator: Badlands, plus some lingering VIFF leftovers.
🎧 New episodes drop every Friday at 9 AM PT on stevestebbing.ca and YouTube. 👍 Like, comment, and subscribe — it really helps keep this going.
Steve Stebbing 