HOLLYWOOD, CA — From kaiju fallout to Regency entanglements, and from a legacy slasher to a resurrected icon, this week’s watch list moves across monster mythology, romantic upheaval, franchise reinvention and a concert film built on pure spectacle.

“EPiC: Elvis Presley in Concert” resurrects Elvis Presley through a fusion of archival performance and modern staging, shaped with the maximalist flair of Baz Luhrmann. The film reframes Presley’s catalog with a scale and clarity that make the footage feel profoundly alive — a concert experience that plays like both tribute and reinvention.

“Scream 7” returns Sidney Prescott (Neve Campbell) to Woodsboro as a new Ghostface forces her back into the cycle she’s spent years trying to escape. The film leans on maternal stakes and franchise history as Sidney fights to protect her daughter.

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Netflix’s “Bridgerton” Season 4 Part 2 deepens the season’s emotional core as Benedict (Luke Thompson) and Sophie (Yerin Ha) finally settle into a connection that feels more vulnerable and lived‑in.

Apple TV+’s “Monarch: Legacy of Monsters” Season 2 widens the MonsterVerse while anchoring its story in the people forced to navigate its fallout. Lee Shaw (Kurt Russell as the older Shaw, Wyatt Russell as the younger) returns to the center as collapsing timelines and the arrival of Titan X push Monarch into darker, more volatile territory.

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Related:

‘Elvis Presley In Concert’ Review: Baz Luhrmann’s EPiC Delivers An Intimate, Electrifying Elvis ‘Wuthering Heights’ Review — A Classic Gothic Romance Sizzles With Margot Robbie And Jacob Elordi What To Watch: ‘Wuthering Heights,’ ‘Crime 101,’ ‘GOAT,’ ‘Nirvanna The Movie,’ ‘Pillion,’ ‘Good Luck, Have Fun, Don’t Die’ What To Watch: ‘How To Make A Killing,’ ‘The Night Agent,’ ‘The Last Thing He Told Me,’ ‘Midwinter Break’

Ready to dive in? Scroll down for the full lineup — and step into the shimmering world of storytelling, where every frame offers an escape, with deeper explorations below that unpack performances, themes and craft in greater detail.

What To Watch This Weekend

“EPiC: Elvis Presley in Concert”

Elvis Presley, Elvis Presley’s TCB Band; directed by Baz Luhrmann

“EPiC” Courtesy of Neon

Baz Luhrmann’s “Elvis Presley in Concert” (“EPiC”) plays less like a documentary and more like a controlled collapse of time. Instead of relying on modern commentary, Luhrmann builds the film entirely from restored concert footage and candid archival clips, letting Elvis Presley speak for himself. The approach creates a sealed, immersive space where Presley isn’t explained or contextualized but encountered in the present tense.

The restoration work is striking. Colors sharpen, sound deepens, and the performances regain the voltage that once made Presley a singular force onstage. Just as crucial are the offstage fragments — Presley laughing with bandmates, drifting into thought, teasing the camera. These moments give the portrait its emotional shape, revealing a performer who was both mythic and disarmingly human.

Luhrmann’s maximalist instincts are here, but they’re channeled into an unexpectedly intimate frame. By refusing to cut away to outside voices, the film trusts Presley’s presence to carry the narrative. That trust pays off. The result feels less like a retrospective and more like a summoning — a vivid encounter with the one‑and‑only Elvis Presley, brought startlingly close through the archive.

“Scream 7”

Neve Campbell, Courteney Cox; directed by Kevin Williamson

Neve Campbell in “Scream 7.” (Jessica Miglio/Paramount Pictures)

“Scream 7” returns to Woodsboro with the weight of three decades of legacy on its shoulders, and the result is a sequel that struggles to find a fresh angle inside its own mythology. Sidney Prescott (Neve Campbell) steps back into the story as a new Ghostface emerges, forcing her to confront the past she’s tried to outrun. The film leans heavily on franchise history, revisiting familiar beats and familiar fears, but often without the sharpness or invention that once defined the series.

The plot centers on Sidney’s attempt to protect her daughter as the killings escalate, a setup that should deepen the emotional stakes but instead highlights how often the film circles territory the franchise has already explored.

The meta‑commentary that once felt subversive now lands with less bite, and the twists unfold with a predictability that undercuts the tension. Still, the film delivers a handful of effective set pieces, and Campbell’s presence gives the story a grounding force it badly needs.

“Scream 7” aims to reset the franchise, but its reliance on nostalgia keeps it from carving out a new identity. It’s a familiar mask, worn a little too thin to truly surprise.

“Bridgerton” Season 4 Part 2

Luke Thompson, Yerin Ha; created by Chris Van Dusen

(L to R) Yerin Ha as Sophie Baek, Luke Thompson as Benedict Bridgerton in “Bridgerton” Season 4. (Liam Daniel/Netflix)

“Bridgerton” Season 4 Part 2 deepens the season’s emotional core, finally giving Benedict (Luke Thompson) and Sophie (Yerin Ha) the depth and definition that Part 1 only brushed against. Their romance, once painted in broad fairy‑tale strokes, settles into something more grounded — shaped by desire, class tension and the kind of hesitation that reveals what neither is ready to name.

That simmering uncertainty finally breaks in an ill‑fated moment when Benedict makes a romantically volatile overture for Sophie to be his “mistress.” The rupture becomes the emotional charge that drives Part 2, pushing both of them into more vulnerable, complicated territory.

The pacing, previously uneven, finds a steadier rhythm as the concluding half leans into character rather than spectacle. Benedict and Sophie’s connection gives the season a clearer spine, while the ensemble threads — the siblings’ shifting alliances, the social maneuvering, the lingering secrets — add texture without pulling focus from the central arc. The emotional stakes feel sharper, the romantic tension more lived‑in.

The finale lands with a jolt, introducing a new turn in the Lady Whistledown saga that reframes where the series might go next.

Part 2 doesn’t reinvent “Bridgerton.” It refines it — stylish, a little unruly, and anchored by characters who finally feel like they’re steering their own story.

“Monarch: Legacy of Monsters” Season 2

Kurt Russell, Wyatt Russell; created by Chris Black and Matt Fraction

Godzilla in “Monarch: Legacy of Monsters.” (Apple TV+)

Apple TV+’s “Monarch: Legacy of Monsters” Season 2 widens the MonsterVerse while grounding its story in the people caught inside it. The season picks up immediately after the Axis Mundi and Skull Island cliffhangers, bringing Lee Shaw (Kurt Russell as the older Shaw, Wyatt Russell as the younger) back into focus as the timelines begin to collapse into one another.

Titan X emerges as the new destabilizing force, a creature whose arrival pushes the show into darker, more horror‑leaning territory and ties the narrative more tightly to the larger MonsterVerse.

The series leans harder into serialized storytelling, threading the Randa family’s history through Monarch’s expanding mission. Cate (Anna Sawai), Kentaro (Ren Watabe), and Keiko (Mari Yamamoto) carry much of the emotional weight as the season examines the cost of living in a world shaped by Titans. The human drama occasionally swells toward melodrama, but it remains central to the show’s identity, giving the spectacle its purpose and its consequences.

Visually, the season delivers large‑scale Titan sequences and atmospheric environments, but its strongest moments come from the way those set pieces deepen the human stakes. Season 2 feels more confident and expansive, even when its pacing wobbles, pushing the MonsterVerse forward with a clearer sense of purpose.

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