Here are Cinephile Corner’s 10 recommendations for movies like M3GAN 2.0:
Companion
I went into Companion completely blind, and that’s the best way to experience it. Drew Hancock’s directorial debut thrives on twists, constantly reinventing itself in ways that keep the audience on edge. The film shares DNA with Barbarian, which makes sense given that Barbarian director Zach Cregger serves as a producer here. Both films pull the rug out from under viewers, placing their protagonists in escalating danger with seemingly no way out. But as was the case with Barbarian, discussing Companion without spoilers is nearly impossible—so consider this your warning.
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.
The Adam Project
It has a heaping amount of heart and a dash of whit, but The Adam Project failed to deliver the breathtaking science fiction blockbuster that Netflix was hoping it would. The action vehicle for Ryan Reynolds lands with a soft thud.
M3GAN
Don’t mistaken M3GAN as another Child’s Play. Yes, it does have a similar narrative pattern and killer doll, but aspects of M3GAN beyond that separate it from an idea done numerous times in Hollywood before. James Wan and Gerard Johnstone team up for a relatively fun start to 2023.
The Creator
Gareth Edwards’ latest movie, The Creator, blasts onto the screen with the force of a nuclear warhead, throwing audiences into a sprawling sci-fi epic that’s equal parts awe-inspiring and occasionally frustratingly shallow. Like a perfectly sculpted sandcastle frailly built on a windy beach, The Creator boasts breathtaking visuals and an ambitious scope, only to slightly crumble under the weight of its own narrative shortcomings.
The Electric State
It’s becoming increasingly unclear whether the Marvel Cinematic Universe needs Joe and Anthony Russo more, or if the Russo brothers need the MCU. Since directing Avengers: Endgame, the highest-grossing film of all time at its peak, the duo has struggled to find their footing outside the franchise. Their post-MCU projects, including Cherry and The Gray Man, failed to impress, yet Netflix decided to double down with them for The Electric State—a costly gamble that ultimately doesn’t pay off.
Superman
I had mixed feelings heading into James Gunn’s 2025 Superman, his latest take on one of the most iconic superheroes in popular culture. Early trailers and previews left me underwhelmed, with so-so CGI and dialogue that didn’t land. Die-hard Superman fans seemed intrigued by Gunn’s approach, especially since this film effectively ends the DCEU and launches a newly defined DCU.
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.
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.
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.
