Dust Bunny (2025). A little girl hires a hit man (Mads Mikkelsen) who lives across the hall to kill a monster under her bed. Or, Roald Dahl meets John Wick.

This is listed as a "horror thriller," which I guess is true in the same sense that the Barbie movie is a "political drama." I would be more inclined to call this a dark fantasy/action movie. It's also rated R, and I legitimately do not know why; this is like a mid-tier PG-13. I kept waiting for things to get gory and justify the rating, and they never did, so I recommend managing your expectations on that front.

The aesthetic here goes extremely hard. Their apartment building is an absolutely incredible art nouveau confection. We visit other locales with similarly heightened decor, but honestly nothing is nearly as visually stunning, which I think is fine, because the apartment building is the heart of the movie.

The acting here is all extremely good. In addition to Mikkelsen and the child actress, who is fantastic, we also have Sigourney Weaver, David Dastmalchian, and someone I didn't know named Sheila Atim who is delightful.

This is fun ride and great time. I spent most of the movie having absolutely no idea where it would go next. If any of this piques your interest, I definitely recommend it.

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Wicked: For Good (2025). First, props, the subtitling is clever. Anyway, this is the second half of the story of a good witch and a bad witch fighting/collaborating with the machine while pining for each other and also some guy who's just kind of there.

Honestly, "just kind of there" describes a lot of this movie. It doesn't really expand on any of the political motivation from the first movie, so I had trouble remembering exactly WHY the wizard and his henchwoman have decided to demonize the animals and by extension their defender Elphaba. Fiyero the awkward third wheel, whom I actually found quite charming in the first movie, got almost nothing to do here. No animal character got any kind of significant development; the closest we got was one of the flying monkeys, who didn't even get any lines for plot reasons. There's a subplot involving Elphaba's disabled sister becoming increasingly more unhinged and embittered by her romantic disappointment and probably ableist society at large, but then, you know, she dies from a house falling on her, so that's the end of that. There's a Big Reveal about Elphaba's parentage that literally everyone saw coming, but which Elphaba herself doesn't even get to find out about or react to. There are barely even any big musical set pieces and basically no dance choreography at all. The only song that made a real impression on me was Elphaba's big heel turn song No Good Deed, and I hear from the theater folks that it was kind of weaksauce compared to the live musical version.

All that said, this is the Elphaba and Glinda show, and they're great, honestly. Ariana Grande's comic timing is impeccable. The pining truly is spectacular; there's an amazing scene towards the end that must be seen to be believed. The shippers feasted.