Zazie Beetz in 'They Will Kill You' (2026) Warner Bros. New Line/Nocturna’s They Will Kill You generated $1 million in previews from Thursday 3 p.m. showtimes and Monday Mystery screenings, a figure slightly below the $1.2 million recorded for Ready or Not 2: Here I Come during its preview. The film, a $20 million production starring Zazie Beetz, is expected to open with a performance comparable to its predecessor. The film, directed by Kirill Sokolov and co-written by him, follows Beetz’s character as she rescues her sister from a wealthy satanic cult in a high-octane thriller. It premiered as the closing night film at SXSW on March 17, launching with a social media universe reach of 183 million, 18% higher than typical horror genre norms across platforms like TikTok, Facebook, X, YouTube, and Instagram. However, this figure falls short of the 294 million reach achieved by Ready or Not 2: Here I Come prior to its release. Key social media influencers for the film include Tom Felton with 26.7 million followers, Patricia Arquette (now activated with 1.1 million followers), Beetz with 827,000 followers, and Heather Graham with 748,000 followers. Critical reviews on Rotten Tomatoes currently stand at 72% fresh, slightly below the 75% score for Ready or Not 2. No audience score has been released yet. The film is set for international release in 65 territories, including France, Germany, Italy, Australia, Mexico, Spain, and the UK, with 7,000 screens booked. Amazon MGM Studio’s Project Hail Mary concluded its first week in 4,007 theaters with $109.7 million, following a $6.1 million opening Thursday, a 10% drop from Wednesday’s figures. The film’s second weekend is anticipated to mirror the performance of Dune: Part Two, which saw a 44% decline to $45 million.#ready_or_not_2 #sxsw #tom_felton #zazie_beetz #kirill_sokolov
They Will Kill You: A Bloodsoaked Satire of Wealth and Violence At the end of its chaotic, gory spectacle, a disbelieving detective confronts a survivor who mutters only two words: “Rich people.” This blunt, almost comically brief social critique is the extent of the commentary in They Will Kill You, an action-horror-comedy set in a Manhattan luxury building where Satan-worshipping tenants ritualistically murder their poor, marginalized staff. Writer-director Kirill Sokolov and co-writer Alex Litvak lean into the absurdity of their premise, delivering a film that thrives on over-the-top violence and stylistic flair, even if its deeper themes remain underexplored. The film’s plot centers on Asia (Zazie Beetz), a maid who infiltrates the exclusive Virgil apartments under false pretenses to rescue her estranged sister, Maria. Armed with an arsenal of weapons and a fierce fighting spirit honed in prison, Asia confronts the building’s wealthy residents, who have struck a literal deal with the Devil. The residents, clad in robes and masks, are more than willing to defend their privilege, aided by supernatural powers that tip the balance in their favor. The film’s opening sequence, in which Asia slices off a Satanist’s head with a sword in a closet, sets the tone for a series of increasingly grotesque set pieces. Sokolov’s direction leans into the film’s gonzo style, with slow-motion shots of furniture shattering, mattress stuffing raining down like snow, and Asia wielding flaming axes to set enemies ablaze. The action sequences are frenetic and stylish, blending horror, comedy, and over-the-top violence into a spectacle that prioritizes spectacle over substance.#heather_graham #tom_felton #zazie_beetz #kirill_sokolov #alex_litvak
They Will Kill You: A Fiery Revenge Farce Crashes and Burns Kirill Sokolov’s They Will Kill You opens with a chaotic premise: Zazie Beetz stars as Asia Reaves, a maid posing as a new employee at a luxury Manhattan hotel that secretly houses a satanic cult. The film’s initial promise is enticing—a midnight action thriller with bloodshed, violence, and a revenge plot. However, the execution quickly falters, turning the movie into a disjointed, exhausting experience. The story follows Asia, who infiltrates the hotel to rescue her sister, now a victim of the cult’s human sacrifice rituals. The film’s opening scenes are visually striking, with a rain-soaked prologue showing Asia escaping her abusive father and leaving her sister behind. The hotel, named The Virgil, is overtly satanic, its décor dripping with occult symbolism. Asia’s first night at the hotel is a violent spectacle: cultists in raincoats and pig masks invade her room, only for her to retaliate with a machete and a barrage of weapons. The action is frenetic, with crash-zooms, blood splatter, and a spaghetti Western-inspired score. Yet, the film’s premise takes a supernatural turn when the cultists’ injuries miraculously heal, hinting at their pact with the devil. This twist, while thematically intriguing, undermines the film’s tension, as the villains’ immortality robs the violence of its impact. The plot lacks coherence, with the hotel’s layout never fully explained and action scenes reduced to chaotic, repetitive sequences. Asia’s mission to rescue her sister becomes a series of increasingly absurd set pieces, each less satisfying than the last. The film’s reliance on derivative influences—such as Timur Bekmambetov’s action style, Quentin Tarantino’s revenge tropes, and Park Chan-wook’s Oldboy—fails to create a cohesive identity.#zazie_beetz #kirill_sokolov #the_virgil #heather_graham #tom_felton
