
Here are Cinephile Corner’s 10 recommendations for movies like Frankie Freako:
Cocaine Bear
Cocaine Bear reinvents the boundaries of cinema and what’s possible for the medium moving forward. An absolutely groundbreaking work that sets the tone for 2023. Just kidding. But it’s still goofy and wild. And a bear does cocaine, confirmed.
Evil Dead Rise
There aren’t many horror franchises able to reinvent themselves as often as Evil Dead does while still maintaining relevancy and quality. Maybe it’s because Sam Raimi holds his creation so close to his heart that only a select few are able to take on the premise, or maybe it’s because the premise seems simple and malleable enough to make nearly anything work. It can shoot for the downright zany and ludicrous with Evil Dead II or Army of Darkness, or it can strive to be like Lee Cronin’s newest spin Evil Dead Rise – a movie so sick and twisted that you can’t help but give it its dues by the time the credits roll.
Sting
Sting has its moments, but the genre has offered much better this year, and a premise like “growing killer spider gets loose” doesn’t do enough to tie the movie together and keep you engaged. It is worth the price of admission once, but it’s not much to write home about after the fact.
Lisa Frankenstein
I wasn’t really a fan of Lisa Frankenstein, and I checked out on the movie rather early on. Diablo Cody doesn’t write scripts that entertain me all too much, and this is such a hollow experience once you get past the neon wallpaper and cartoonish window dressing. Kathryn Newton stars as a hopeless romantic falling for Cole Sprouse’s corpse.
The Monkey
The Monkey is a middling but watchable entry in the 2025 horror slate. It doesn’t reach the high bar set by of Oz Perkin’s best films, nor does it fully honor the emotional undercurrents of King’s original story, but it’s never boring. If nothing else, it reaffirms Oz Perkins as a horror director worth watching—even when the material doesn’t quite land.
V/H/S/Halloween
V/H/S/Halloween feels like the most obvious swing this long-running Shudder anthology could take, and the holiday framing mostly works. After a few detours to specific years and even outer space, this film plants every vignette on October 31, stitching them together with a proper wraparound about The Octagon Corporation’s cursed “Diet Phantasma” soda that kills its taste testers in escalatingly nasty ways. Bryan M. Ferguson leans into splattery punch lines here, and the carnage sets the tone for a lineup that ricochets between gross-out mayhem and quieter, queasier terror.
Beetlejuice Beetlejuice
Tim Burton didn’t need to revisit the Beetlejuice universe—but here we are. In an era when nearly every beloved classic is revived, it was only a matter of time before Burton reached into his own catalog, which includes hits like Batman, Edward Scissorhands, and Sweeney Todd.
Venom: The Last Dance
It’s unfortunate to say, but Venom: The Last Dance, the concluding chapter of Sony’s Venom trilogy, feels like a misstep. Stripped of much of the charm and irreverence that made its predecessors enjoyable, this installment doubles down on dense exposition and formulaic storytelling, leaving little of the fun that defined the series’ earlier outings.
Five Nights at Freddy’s
The Five Nights at Freddy’s movie adaptation succumbs to the pitfalls of a poorly executed narrative, sidelining its potentially terrifying animatronic characters in favor of a tepid and uninspiring trauma story. Josh Hutcherson gives a commendable performance, but there’s not enough support around him to make this movie work.
M3GAN 2.0
M3GAN 2.0 swings for a full-on tonal reboot, the way The Terminator gave way to the splashier Terminator 2: Judgment Day. Where the first M3GAN flirted with straight-faced tech horror, this sequel leans into gonzo slapstick and meme-ready absurdity. It’s not remotely on T2’s level, but the embrace of outlandish fun suits this IP better than pretending it’s solemn. The result: a breezier, dumber, intermittently very entertaining sequel.
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