January has long been Hollywood’s testing ground—a month where studios quietly release genre films, prestige experiments, and international imports to see what connects—and this weekend’s lineup reflects that tradition with striking variety. From globe-spanning disaster and stripped-down survival horror to intimate drama, flamboyant fantasy, and true-crime tension, the new releases arriving in theaters offer a snapshot of how contemporary cinema continues to balance spectacle with introspection. What follows is a closer look at the five films opening this weekend, each approaching fear, survival, and human pressure from a distinctly different angle.
By Allan R. Ellenberger
Greenland 2: Migration picks up after the apocalyptic devastation of the first film, following the Garrity family as they attempt a desperate migration across a frozen, destabilized world in search of long-term survival. Where Greenland emphasized immediacy and panic, the sequel broadens its scope, leaning into endurance, moral compromise, and the grinding toll of prolonged catastrophe. Early critics note that while the film delivers muscular action and large-scale disaster set pieces, its strongest moments come in quieter passages that explore family strain and human resilience, even as some argue the sequel struggles to recapture the raw urgency that made the original so effective.
Primate offers a back-to-basics survival horror premise, trapping a group of vacationers on a remote tropical island where they are stalked by a relentless and increasingly uncanny predator. The film leans heavily on atmosphere—dense jungle settings, creeping dread, and isolation—rather than elaborate mythology, evoking earlier man-vs-nature horror with a modern, bloodier edge. Critics have been divided, praising its commitment to tension and practical menace while noting that its thin characterization and familiar structure may limit its staying power beyond genre devotees.
I Was a Stranger weaves together several intersecting stories of individuals confronting loss, displacement, and moral reckoning during a period of collective crisis. Quiet, intimate, and deliberately paced, the film favors emotional accumulation over plot twists, allowing small choices and chance encounters to shape its narrative arc. Early reviews have been largely respectful, highlighting its empathetic performances and humanist intent, though some critics feel its subtlety occasionally drifts into restraint at the expense of dramatic momentum.
The Raja Saab showcases star Prabhas in a genre-blending spectacle that mixes supernatural horror, fantasy elements, and broad comedy into a flamboyant commercial package. Set around a cursed royal estate, the film balances eerie set-pieces with tongue-in-cheek humor and action-oriented star moments designed for mass appeal. Early critical reaction in India has been mixed but engaged, with reviewers praising Prabhas’s screen presence and the film’s visual ambition while questioning whether its tonal shifts always cohere.
Dead Man’s Wire dramatizes a notorious real-life hostage crisis, centering on a volatile standoff that spirals into national spectacle. Anchored by intense performances from Dacre Montgomery and Bill Skarsgård, the film emphasizes psychological tension over sensationalism, unfolding largely through negotiation, desperation, and media pressure. Critics have responded positively to its claustrophobic focus and acting, even as some note that its restrained style may frustrate viewers expecting a more conventional, action-heavy crime thriller.