Gerard Butler returns to keep his family safe from post-apocalyptic chaos in a glum and misjudged follow-up to the superior 2020 adventure

Gerard Butler has made his fair share of sequels, but few have held as much potential as Greenland 2: Migration. The original Greenland wasn’t even a traditional hit; it was released in theaters and on VOD at the end of 2020, when plenty of cinemas remained closed due to the Covid-19 pandemic, but it garnered some attention for being an unusually sober and thoughtful apocalypse movie, especially given that Butler previously starred in the likes of Geostorm. Because Greenland was about surviving a global apocalypse rather than averting one, any sequel would have to venture into the unknown with a drastically different status quo.

Greenland 2 obliges for a little while, though it also walks back some of the hope that ended the first film. The story rejoins engineer John Garrity (Gerard Butler), his administrator wife Allison (Morena Baccarin) and their now-teenage son Nathan (recast as Roman Griffin Davis) as residents of a Greenland bunker. They’re lucky to have been government-selected for entry when the Earth was rendered largely uninhabitable by comet fragments five years earlier; they’re also chafing at the loss of freedom, tough decisions and overall claustrophobia that comes with cohabitating underground with hundreds of others. (Curiously, none of them seem to have made many friends despite the close quarters.)

Chalamet’s nogoodnik ping-pong hustler character is the latest in cinema’s rich history of protagonists with shabby morals. So why the backlash?

In the new hit movie Marty Supreme, the story is pushed forward by how lead character Marty Mauser keeps making messes then, rather than cleaning them up, manages to expand their scope beyond reason. Marty is attempting to prove himself as the world’s greatest table-tennis champion, to escape his meagre mid-century New York City circumstances and achieve a dream he’s locked on to, seemingly more out of desire to achieve it than a particular love for the sport.

And just as he’s presumably blown up some natural athleticism into a monomaniacal quest, all of Marty’s misdeeds across the film escalate. He cajoles, then lies. He quickly turns a pushy request to borrow money into petty theft, which then becomes armed robbery. At one point, a little ping-pong hustle at a New Jersey bowling alley literally blows up into a gas-station fire. Marty will not accept anything less than ultimate victory, which means he will especially not accept responsibility for his actions. And we, in the audience, are invited to like him anyway, at least in part because he is played by Timothée Chalamet.

Netflix’s big-screen release of the Stranger Things finale is estimated to have made over $25m at the US box office, the latest example of event cinema proving popular

It was a lucrative holiday period at the North American box office these past two weeks, with titles like Avatar: Fire and Ash, The Housemaid, Marty Supreme, Anaconda and Zootopia 2 bringing a welcome diversity of hit movies after an underwhelming fall. But during that period, the biggest single-day gross posted by any release wasn’t really a gross – or a movie. It was the series finale of the Netflix TV show Stranger Things.

Netflix made a deal to put the feature-length episode in theaters simultaneously with its streaming debut, and estimates put the numbers for the 24 hours’ worth of shows, beginning at 8pm on New Year’s Eve and continuing throughout New Year’s Day, around $25m. That’s bigger than any single day of Avatar: Fire and Ash after its opening weekend. In fact, if the Stranger Things release banked over $30m, as some estimated, that would make it the second-biggest 24 hours for any release in December, beaten only by Avatar 3’s opening day.

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I doubt very much that 2026 will see anything in the Marty Supreme league, but here’s hoping one of the most bizarre side-steps of the decade turns out as interesting as it hopes. Short of Christopher Nolan signing on to the new Mr Men movie, I didn’t think much would throw the industry a loop as when Greta Gerwig decided to follow up bubblegum blockbuster Barbie with …… a Narnia movie. More specifically, Gerwig – previously a skilled purveyor of achingly hip alt-indie comedy with Lady Bird, Frances Ha and Damsels in Distress – is restarting the Narnia series, which had got through three of CS Lewis’s series before Netflix took over the rights. To my mind, though, The Magician’s Nephew, Lewis’s origins/prequel to the Wardrobe/Caspian/Dawn Treader narrative, is the most interesting of the entire Narnia canon, with its Edenic fall, “deplorable word” and mystical apple. We know some of the cast: Emma Mackey is the future White Witch, Carey Mulligan the terminally ill mother of one of the main kids, and Daniel Craig might be Aslan or mad inventor Uncle Andrew – or both, or neither. All eyes will be naturally be on Gerwig, but I have confidence she will pull it off in style. Andrew Pulver