The Running Man
A fascinating remake of the 1987 cult‑action film of the same name, which starred Arnold Schwarzenegger at his peak. Why is it intriguing? Because it’s directed by Edgar Wright (of Shaun of the Dead and Hot Fuzz) who has already proved his action chops in Baby Driver. Glen Powel — one of American cinema’s “It boys” — stars as a working‑class man desperate to save his sick daughter. To succeed, he enters a violent reality‑show competition in which a single survivor wins a large sum.
Why “violent”? Because contestants must survive 30 days while being relentlessly hunted by professional assassins — and every move is broadcast to viewers. The 1987 version was loosely based on the novel by Stephen King, but Wright promises to stay much closer to the source. Will the satirical bite of the material have dulled over the years with the rise and fall (relatively speaking) of the reality‑TV genre? We’ll see. Opens Nov 13.
The Sea
Shai Carmeli-Pollak's film won the most awards at the recent Ophir ceremony (five in total, tied with Nandauri) and will be Israel’s submission to the Oscars. Not exactly welcome news for Miki Zohar, the culture minister who cut funding for the Ophirs following its wins.
The film follows Khaled, a 12‑year‑old from a Palestinian village near Ramallah, who gets a chance to see the sea for the first time on a school trip. At the checkpoint, his permit is found invalid, so he’s sent home while his classmates go on. Disappointed, he decides to reach the sea himself — without knowing the way or Hebrew. When his father, a labourer working in Israel without legal status, learns of his plan, he leaves his job and sets off to find his son despite the risk of detection and losing his livelihood. Opens Nov 13.
Wicked: For Good
Let’s start with an unpopular opinion: if you didn’t like Wicked, the mojo-filled, imaginative adaptation of the musical Wicked — well, you probably just haven’t seen it. Jon M. Chu’s virtuosic film may have left the Oscars ceremony underwhelmed with only two statues (for production design and costumes), but it deserved many more, including Best Actress for Cynthia Erivo, who was simply outstanding. And now comes the sequel, promising to be as lavish as the predecessor — and even more emotionally charged, if possible! Musical fans at ynet (and, let’s be honest, that’s practically everyone) argue that in Part 2 the songs may be a bit less memorable — but nonetheless, for many, this is the big Hollywood fall film, with all due respect to Avatar 3 and others. Peak excitement. Opens Nov 20.
Jay Kelly
Noah Baumbach’s new film is another link in his Netflix chain, and this time particularly intriguing for the pairing of George Clooney and Adam Sandler — the former playing a successful movie star, the latter his devoted manager. On a shared European trip, they face their past, their struggles and their hopes.
Baumbach’s Netflix track record has ranged from charming (The Meyerowitz Stories) and brilliant (Marriage Story) to exhausting and pretentious (both embodied in White Noise). Here, judging from the trailer, he leans into his sweeter side — with this star power, it’s really hard to mess up. Opens Nov 20.
Keeper
In impressively short order, Osgood Perkins — son of the late Psycho star Anthony Perkins — has become one of the most talked‑about horror directors around. With an impressive output: in 2024 he delivered Longlegs (a hit with $128 million gross on a $10 million budget) and in 2025 The Monkey (about $70 million on a $10 million budget). Now he returns with Keeper, about a couple vacationing in an isolated cabin where evil stalks the woman (Tatiana Maslany) while the husband (Rossif Sutherland — son of the late Donald Sutherland) must go back into the city for work.
Based on the trailer and the filmmaker’s history, there’s absolutely reason to expect something here — at least until his next film The Young People in 2026. Opens Nov 20.
Zootopia 2
The sequel to the 2016 Disney hit — which grossed over $1 billion — is arriving nine years later. That’s not something you often see for a major studio. The original voice cast returns: Ginnifer Goodwin, Jason Bateman, Idris Elba and Shakira — along with new additions including Andy Samberg and Ke Huy Quan (Oscar winner for Everything Everywhere All at Once), who voices the villain, a brilliant snake named Gary De'Snake. And again, one can reasonably guess this will do strong box‑office business — especially considering 2025 has been a weak year so far for animation (apart from the charming The Bad Guys 2). Opens Nov 27.
Dreams
The latest from Norwegian director Dag Johan Haugerud won the Golden Bear at Berlin 2025. It is a delicate coming‑of‑age drama about a 17‑year‑old girl falling in love with her French teacher, a romance which also uncovers hidden secrets and desires within her family — especially from her mother and grandmother.
The film is the third in Haugerud’s Sex–Love–Dreams trilogy, which explores intimacy, identity and emotional boundaries. Because fans of sophisticated European cinema deserve something, too. Opens Nov 27.
Wake Up Dead Man: A Knives Out Mystery
Good heavens, what a clunky title. But that won’t stop you from heading to the new film by Rian Johnson — the third in his Netflix Knives Out‑style series of whodunits. This time, the plot promises to be darker than ever, as detective Benoit Blanc investigates... well… let’s say the darkest case so far. No need to elaborate beyond this generic description: Johnson knows his game, and for that, he gathered the likes of Daniel Craig, Josh O’Connor (who, according to critics, ‘stole the show’), Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny and more. How can you refuse a slate like that? Opens Nov 27.
Five Nights at Freddy's 2
The sequel to the horror hit from two years ago, which grossed nearly $300 million on a modest $20 million budget and proved that video‑game adaptations don’t have to flop at the box office. This time, the creators hope to replicate the sensation — and indeed the budget has risen above $50 million.
The original team is back: director Emma Tammi, together with actors Josh Hutcherson, Elizabeth Lail and Matthew Lillard — plus additions like Mckenna Grace, Wayne Knight (from Seinfeld), Skeet Ulrich and Megan Fox who lends her voice to Chica. It’s a yes from us. Opens Dec 4.
The SpongeBob Movie: Search for SquarePants
In the new film of the beloved SpongeBob franchise, SpongeBob and Patrick embark on a mission to rescue Gary the pet snail, who has been abducted by King Poseidon. Along the way, they encounter surprising adventures, new characters, and they learn about friendship and loyalty.
But forget the details — this is a new SpongeBob film, for heaven’s sake, and this time it mixes 3‑D animation with live action and features a cameo by Keanu Reeves. What more do you need? Opens Dec 18.
Avatar: Fire and Ash
The third chapter in the blockbuster franchise from James Cameron arrives three years after its predecessor, Avatar: The Way of Water, which itself followed the first film after a 13‑year gap. This time, if you wondered what exactly happens, Cameron takes us to new regions on the planet Pandora — let’s call them the “volcanic zones” for now — and a new Na’vi tribe that looks, from first glance, decidedly less friendly than the ones we met earlier.
And no, there’s no reason to expect Cameron to wrap up the saga with this installment — there are more Avatar films in the pipeline. And no, you shouldn’t assume the third installment won’t smash mega‑box‑office records — even if matching the almost $3 billion of the original (and the $2.3 billion of The Way of Water) is unlikely. Opens Dec 18.
Anaconda
No, this isn’t about the 1997 adventure/horror camp film starring Jennifer Lopez — but maybe it is. And maybe not. How do you explain this brilliant concept: take the meta idea further into unexplored terrain? Let’s attempt it: In the 2025 Anaconda, two friends played by Jack Black and Paul Rudd, at the height of their mid‑life crises, decide to fly to the jungle where the 1997 Anaconda was shot — yes, that terrible one, which has arguably become a cult classic — to film a sequel.
Then things, of course, go wrong, and they find themselves in their own “Anaconda”. Or in the words of one YouTube commenter: “Okay, so it’s a reboot of Anaconda, where they make a reboot of Anaconda, then their reboot of Anaconda goes wrong, and the story becomes a reboot of Anaconda. Did I get that right?” — You got it, dear commenter. See you at the theater. Large popcorn and no regrets, please and thank you. Opens Jan 25.
Yes
At the heart of Nadav Lapid’s film — already one of the most talked‑about of the year before it has even reached our screens — is a story that “echoes our current, grim and frightening reality,” as we described here: “what begins as wild hedonistic parties in vile villas in Tel Aviv merges into mass murder occurring just beyond the fence in the Gaza Strip, becoming through the personal experience of a damaged and mentally (and sometimes physically) scarred Israeli man.”
Sounds tough, demanding and challenging? Yes. It’s a film by Nadav Lapid. And there’s absolutely no question you should see it in cinema. Opens Jan 1.