By Robert Scucci
| Published 1 hour ago

Family vacations are always tough to plan and execute for a number of reasons. The kids swear they went to the bathroom at the last rest stop, only to complain that they have to go again five minutes after you get back on the road. The McDonald’s off the side of the highway are disproportionately expensive, and they always forget your ranch. And sometimes, just sometimes, the destination you plan to spend your company-allotted two weeks of PTO at is the home of a bunch of locals who are fast approaching the 200-year anniversary of what can only be described as a cannibal massacre.

2024’s Get Away focuses entirely on that third scenario, and it has so much fun pushing you into hostile territory that you’ll find no shortage of weird rituals and the kind of splatty, third-act violence any slasher comedy fan will appreciate. Written by Nick Frost of Shaun of the Dead in his first solo writing effort, Get Away boasts exactly the kind of irreverent humor you’d expect, specifically the kind that thrives on a suspicious level of nonchalance once things start to spiral out of control.

“We Really Need This”

Get Away starts out simply enough, but continually pushes itself into increasingly uncomfortable territory as it plays out. We’re introduced to Richard (Nick Frost) and his wife Susan (Aisling Bea), along with their son and daughter, Sam (Sebastian Croft) and Jessie (Maisie Ayres). The echoing sentiment we hear from Susan as the family travels to the Swedish island of Svalta is that she really needs this. The implication is clear. She and Richard have been grinding all year to support their family, and this is the only two-week window they have to get some genuine rest and relaxation before heading straight back into the rat race.

The primary reason they’ve chosen to travel to Svalta is to witness a play put on by the locals that commemorates the 200th anniversary of a British quarantine. That quarantine resulted in a small group of survivors who still live on the island today, largely because their ancestors resorted to cannibalism when their food supply dwindled and was never replenished. Whether the family has any direct connection to the islanders isn’t made clear, but it still feels like a strange place to spend your only family vacation.

Almost immediately upon arrival, the family is met with anger, hostility, and resentment, as if they’re intruding on something deeply personal. Dead animals are left at their bed and breakfast doorstep, it appears someone has been rummaging through their belongings while they’re out exploring, and Jessie begins to suspect there are hidden mirror doorways in the house, implying someone may be watching her while she sleeps.

Get Away hits its boiling point during the ceremony the family traveled to see, when it becomes clear that not everything on the island is what it seems. After a series of traumatizing incidents that are best left undescribed so you can experience them firsthand, the family realizes they’re grossly outnumbered by the locals and decides to reclaim their dignity through whatever means necessary before leaving the island for good.

Predictable Until It’s Not

During its first and second acts, Get Away plays out like a classic folk horror setup. A group of outsiders arrives somewhere they clearly shouldn’t be, and the people who already live there participate in increasingly bizarre rituals that would make most people leave before they’re sacrificed to some sort of blood demon. Get Away subverts those expectations through Richard and Susan’s family, because they seem oddly at peace with everything happening around them.

They know they aren’t welcome on the island of Svalta, but they don’t care. This is their vacation. This is their only chance to relax and spend time together before heading back to their everyday lives, and they refuse to let a bunch of strange locals ruin it. Most of the humor in Get Away comes from this tonal clash, and Nick Frost’s friendly, straight-faced approach to what most people would consider a nightmare scenario is oddly wholesome.

If you start to feel restless during what appears to be a lack of conflict, all you have to do is wait for the third act, when things go completely off the rails and the film turns into a violent battle of wills. It all builds toward one of the most out-of-pocket twist endings you’ve probably seen in a hot minute.

Get Away is a satisfying watch if you’re already a fan of Nick Frost’s screen presence and delivery, and his performance is further elevated by Aisling Bea, Sebastian Croft, and Maisie Ayres. On screen, they play the perfect English family trying to charm their way out of an insane situation, while also hinting that they’re not to be underestimated. Sometimes the most polite people are exactly the ones you don’t want to mess with.

As of this writing, Get Away is streaming for free on Tubi.

Recently, it was announced that HBO will adapt 2023’s Game of the Year, Baldur’s Gate 3. So far, it has been confirmed that Craig Mazin was tapped as showrunner and teased what the series would be about. While an official cast list has yet to be announced, another big name has been added to the team, not in television, but in the Dungeons & Dragons space.

Baldur’s Gate 3 is a role-playing video game developed by Larian Studios, which takes place in the Dungeons & Dragons setting called the Forgotten Realms. After escaping a Mind Flayer ship, you and your companions attempt to find a solution to remove a parasitic tadpole before you turn into a Mind Flayer yourself. As you attempt to make your way to Baldur’s Gate, secrets and backstories are revealed, as well as uncovering a conspiracy that’s connected to a dangerous cult. What made Baldur’s Gate 3 beloved by many was the different outcomes it offered based on your actions and dialogue choices, the performance of its cast, how some of the game’s moments became internet memes, and how it’s reminiscent of playing actual D&D.

While Mazin has proven he can produce a good video game adaptation, as seen in The Last of Us, Baldur’s Gate 3 is different in terms of gameplay and storytelling, so it makes sense to tap someone with experience in the genre. According to Popverse, Chris Perkins, the former Head of Story at Wizards of the Coast and now part of Critical Role’s Darrington Press, has been tapped as a consultant. Perkins worked with Wizards of the Coast back in 1997 and was heavily involved with Dungeons & Dragons, serving as a senior producer, story manager, Lead story designer for 2016’s Curse of Strahd, and more. Knowing that Hasbro is also involved in the adaptation, it’s safe to say that this adaptation is in good hands, for now.

Will Larian Studios Also Be Involved With HBO’s ‘Baldur’s Gate 3’ Series?

HBO’s Baldur’s Gate 3 series is set to take place after the events of the 2023 video game. However, due to the multiple endings that Baldur’s Gate 3 has, it’s unknown which ending it’s going to follow, if any at all. It’s a similar issue that Fallout Season 2 had to overcome in how it would address the many endings of New Vegas. Mazin has expressed his passion for Baldur’s Gate 3, stating he has put “nearly 1,000 hours” into the game and praising Larian Studios’ CEO, Swen Vincke, and his team for bringing this story to life.

Unfortunately, Larian Studios isn’t involved in the upcoming series. Vincke released a statement on social media, saying he’s eager to see which direction Craig and his team will take, both creatively and narratively. But when asked if any of Larian’s writers were going to consult the show, he replied with:

“Not to my knowledge. But Craig did reach out to ask if he could come over to the studio to speak with us. From the conversation we had, I think he truly is a big fan, which gives me hope.”

This was also confirmed by The Game Awards host, Geoff Keighley, who revealed on social media that Larian Studios has “no involvement” in the series.

HBO’s adaptation of Baldur’s Gate 3 has yet to announce a release date. Follow Collider to stay up to date with the latest updates.

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Released

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August 3, 2023

ESRB

M

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Developer(s)

Larian Studios

Publisher(s)

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Larian Studios

Franchise

Baldur’s Gate

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Cody Rhodes
I Want To See Logan Paul Vs. Bad Bunny
… At WrestleMania!!!

Published
February 12, 2026
12:30 AM PST

34 years ago, Kevin Costner starred in this newly trending must-watch thriller, one of the movies that contributed to his prominence. As fans know, Costner has been in the industry since the 70s, appearing in a wide range of films across genres after making his film debut in the 1981 indie project Sizzle Beach, U.S.A. Of late, many recognize him from Taylor Sheridan’s acclaimed TV series Yellowstone, which ran from June 20, 2018, to December 15, 2024. Costner, who also executive-produced, portrayed John Dutton in the Western drama, marking the first regular TV series role of his career.

Speaking of the brilliant titles that contributed to Costner’s prominence, we have 1987’s The Untouchables, the sports comedy Bull Durham, released the following year, Field of Dreams (1989), and the 1992 romantic thriller The Bodyguard, which is making a surprise comeback on streaming. Directed by Mick Jackson and written by Lawrence Kasdan, The Bodyguard was the second-highest-grossing film of 1992, despite receiving mostly unfavorable reviews from critics. It also starred Whitney Houston in her movie acting debut, Gary Kemp, Bill Cobbs, Ralph Waite, Tomas Arana, Mike Starr, DeVaughn Nixon, and Gerry Bamman.

In the U.S., The Bodyguard surfaced on MGM+ charts a few hours ago, marking the first time in months since the cult classic has appeared on streaming charts. The romantic thriller is the tenth most-watched title on the streamer as of this writing, right behind Mission: Impossible – The Final Reckoning. Meanwhile, leading the list is Kaley Cuoco and Sam Claflin’s miniseries Vanished. Additionally, The Bodyguard is trending on the iTunes chart in Lebanon.

What Is ‘The Bodyguard’ About?

In The Bodyguard, Costner portrays Frank Farmer, a former Secret Service agent who served on the Jimmy Carter and Ronald Reagan presidential details. Farmer is also a professional bodyguard whom Bill Devaney (Cobbs) engages when best-selling pop diva Rachel Marron (Houston) is threatened by an obsessive, dangerous stalker. Initially resented and treated with disdain for his hard-nosed security procedures, Farmer soon becomes an integral part of Rachel’s inner circle, and as they spend more time together, the client and protector grow closer. The Bodyguard grossed $411 million worldwide but holds a critics’ rating of 38% on Rotten Tomatoes and received multiple Golden Raspberry Awards nominations, including for Worst Picture. Still, that didn’t stop the classic drama from developing a cult following over time.

The Bodyguard streams on MGM+. Stick with Collider for more information.

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Release Date

November 25, 1992

Runtime

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129 Minutes

Director

Mick Jackson

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Early Presidents’ Day Deals
Fitness Gear
That Won’t Break the Bank 💸

Published
February 12, 2026
12:05 AM PST

By Robert Scucci
| Published 1 second ago

Have you ever woken up the day after a crazy night out with little recollection of what happened the night before, how you got home, or who you interacted with? This is a safe place. It’s okay to admit that we’ve all been irresponsible at one point or another, and this is a pretty common story. You check your bank account and cringe at how much the surge-priced Uber ride home cost, then feel physically sick when you realize that despite your inebriated state you still ordered pizza for delivery. The same pizza that’s now sitting at your front door, untouched and uneaten.

While what I’m describing sounds like a college student blacking out after going a little too hard on a bar crawl, it’s not far off from what happens in 2025’s Ash, a sci-fi horror thriller centered on a disoriented protagonist who wakes up with no memory of what happened to her crew, why they’re all dead and she’s not, or what she did to end up in this situation. In this case, though, there was no party. Instead, there’s a mind-controlling alien infection that pushes its hosts toward violence. The anxiety is exactly the same, though. She was living her life, blacked out, woke up, and now has to deal with the consequences of whatever the hell happened at her station.

The Worst Kind Of Blackout

Ash does an excellent job forcing Riya’s (Eiza Gonzalez) anxiety onto the audience through her fractured memories and disoriented state as she wakes up to discover that everyone aboard her ship is dead. She doesn’t know who killed her crew, but she has flashes of violent confrontations that feel like out-of-body experiences. She digs through ship logs and crew notes, trying to piece together a chain of events that makes sense, but there’s simply too much missing information for her to form a coherent narrative.

When Riya is greeted by Brion (Aaron Paul), things begin to fall into place, at least on the surface. Brion explains that they’re stationed on a mysterious, Earth-like planet known as K.O.I-442, nicknamed Ash, and that the crew succumbed to a deadly alien substance that compromised the mission by overriding their behavior. Brion claims he observed the chaos from a distance, but now needs to understand exactly what Riya saw or did in order to reconstruct the sequence of events that led to this outcome.

Brion knows the crew died violently, but still has no clear explanation for how Adhi (Iko Uwais), Kevin (Beulah Koale), Catherine Clarke (Kate Elliott), and Shawn Davis (Flying Lotus) met their bloody ends. Brain scans and memory tests slowly suggest that Riya herself is responsible for the carnage, though the evidence points toward defensive actions rather than premeditated violence. The crew had been infected, and the infection makes its hosts unpredictable and aggressive.

As more memories resurface in Ash, Riya grows increasingly unsure whether Brion’s version of events is reliable. She becomes fixated on the fact that he only arrives after everyone else is already dead, which raises uncomfortable questions about his timing and motives. Unsure whether she can trust Brion or even her own fractured mind, Riya is left to piece together the previous days on her own, spiraling further as the details refuse to lock into place.

Low-Budget Sci-Fi Horror Done Right

Though the exact financials are not widely available, Ash has been reported to have been produced on a modest budget of around $500,000, and that restraint works in its favor. The film tells a harrowing, isolated story with very few locations, effectively functioning as a bottle movie set in deep space. Limited environments, flashing warning lights, and malfunctioning computer systems do much of the heavy lifting when it comes to generating tension and dread as Riya struggles to understand how her entire crew was wiped out.

Eiza Gonzalez and Aaron Paul elevate the premise through their effortlessly uneasy on-screen chemistry. They’re forced to operate as allies even though Riya has every reason to be suspicious of Brion, the only other person she can interact with. Communications are down, the station is compromised, oxygen is running low, and Brion seems far more interested in sedating her and running tests than in finding a clear escape plan. That imbalance keeps the tension simmering in every shared scene.

The violence in Ash is sparse but effective. Most of the bloodshed appears in fleeting fragments through Riya’s resurfacing memories, letting the audience imagine what happened rather than laying it all out explicitly. It’s a smart low-budget decision. You don’t need to show the monster in full until it’s absolutely necessary, and that restraint keeps the illusion intact.

Ash follows familiar genre rhythms seen in films like Alien and Underwater, but it never feels like a carbon copy. Its claustrophobic dread comes from uncertainty rather than constant action, forcing the viewer to sit with unanswered questions. As Riya slowly reconstructs the truth behind her situation, you’re left to determine what actually happened, who can be trusted, and whether there’s even a viable way home once the dust settles.

Ash is currently streaming on Hulu.

By Joshua Tyler
| Updated 1 minute ago

Roger Avary is a well-known Hollywood producer and director who got his start co-writing Pulp Fiction with Quentin Tarantino. He now co-hosts Tarantino’s film podcast, The Video Archives, but in addition to all of that, he’s also a major Star Trek fan.

How big a fan is he? Avary claims his family watches two or three Star Trek episodes nearly every day. He loves Star Trek so much that he offered to work on it, basically for free, when current Trek overlord Alex Kurtzman began launching new Star Trek television shows in the 2010s. What Avary learned after meeting with Kurtzman is the nightmare scenario every Trekkie has always suspected.

Avary told his story this week on The Joe Rogan Experience, saying of Alex Kurtzman, “I went in and met with the guy, I was like, I will write for scale. I will write on your new show. I just want to be part of it.”

If the writer of Reservoir Dogs, True Romance, Pulp Fiction, and Beowulf wants to work on your project for nothing, that would seem like a win. There was one problem, though: Roger Avary isn’t just an acclaimed writer; he’s also a huge Star Trek fan.

Kurtzman’s response was a hard no, and as Avary explains it, “He didn’t want anybody who had any kind of fondness for the original show. He wanted to do something new and create something new.”

Roger Avary has worked in Hollywood and helped write and direct some of the biggest, most successful movies of all time. Like his friend Tarantino, he has an encyclopedic knowledge of film and television. Because of that keen awareness of what’s good and what isn’t, he’s destroyed by what’s come of Star Trek in the wake of Kurtzman’s decisions.

Or as Avary put it: “This dweeb Alex Kurtzman just comes along and s**ts all over everything… Starfleet Academy is an abomination. I could not get through three episodes of Discovery. It’s just awful, awful storytelling… Picard was terrible.”

Roger Avary says he believes all film and television is, in some form, propaganda. Or as we sometimes phrase it on this site, screenwashing. The best movies, he suggests, are those that are personal propaganda in which a filmmaker has something personal or interesting he wants to say and delivers that message to the audience.

However, according to Avary, Alex Kurtzman’s Star Trek is corporate propaganda. Corporate propaganda is a form of screenwashing designed to deliver a pre-programmed message assigned by your overlords. Avary says of modern Star Trek, “They’re more interested in the corporate propaganda than they are any kind of personal propaganda.“

HGTV Star Nicole Curtis
I’m Sorry I Blurted The N-Word
… Comeback Canned

Published
February 11, 2026
4:52 PM PST
|
Updated
February 11, 2026
5:53 PM PST