What To Watch This Weekend: 'The Running Man,' 'Now You See Me: Now You Don't,' 'Jay Kelly,' More Must-See

HOLLYWOOD, CA — From dystopian spectacle to suburban dread, this weekend’s watchlist dives into literary adaptation, psychological suspense and the fragile machinery of fame — all streaming now or arriving in select theaters.

“The Running Man” reimagines Stephen King’s brutal vision of televised death with Edgar Wright at the helm, starring Glen Powell as a desperate father navigating a bloodsport wrapped in reality-TV glitz.

“Now You See Me: Now You Don’t” brings back the Four Horsemen for a slick diamond heist, with Jesse Eisenberg, Woody Harrelson and Dave Franco joined by a new generation of illusionists in Ruben Fleischer’s tech-savvy third act.

“Jay Kelly” follows George Clooney as a fading movie star on a European press tour turned existential reckoning, with Adam Sandler and Laura Dern anchoring Noah Baumbach’s melancholic meditation on legacy and performance.

“All Her Fault” stars Sarah Snook in a taut suburban thriller about a missing child and unraveling secrets, with Dakota Fanning and Michael Peña rounding out the cast in Peacock’s eight-part adaptation of Andrea Mara’s novel.

“The Beast in Me” casts Claire Danes opposite Matthew Rhys in Netflix’s slow-burning psychological drama, where grief and obsession collide in a quiet neighborhood haunted by scandal and silence.

Ready to dive in? Scroll down for the full lineup — and step into the shimmering world of storytelling, where every frame is an escape.

Related:

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What To Watch This Weekend

“The Running Man”

Glen Powell, Lee Pace; directed by Edgar Wright

Edgar Wright’s “The Running Man” is a brutal, brainy reimagining of Stephen King’s dystopian novel — one that trades the 1987 film’s campy bravado for something far more sobering. Glen Powell stars as Ben Richards, a desperate father who enters a televised death game to save his gravely ill daughter. Forget the gladiators and one-liners. In their place, Wright delivers a kinetic, emotionally charged thriller that critiques media spectacle, class inequality and institutional cruelty.

The film’s first half brims with Wright’s signature satire and visual wit, skewering reality TV with sharp comedic flair. But as the tone darkens, the narrative pivots toward political disillusionment and existential dread — a shift that’s bold, if not entirely seamless. Powell anchors the film with a raw, restrained performance, while Lee Pace simmers as McCone, a relentless hunter with icy resolve. Josh Brolin and Colman Domingo round out the cast as the Network’s puppet masters, packaging human suffering as prime-time entertainment.

Though its ambition occasionally outpaces its execution, “The Running Man” remains a timely, unsettling vision of a society addicted to spectacle. Wright’s adaptation may divide audiences, but its urgency and thematic weight are hard to shake.

“Now You See Me: Now You Don’t”

Jesse Eisenberg, Woody Harrelson, Dave Franco; directed by Ruben Fleischer

In “Now You See Me: Now You Don’t,” the Four Horsemen return for another sleight-of-hand spectacle — this time joined by a new generation of illusionists. Jesse Eisenberg, Woody Harrelson and Dave Franco reprise their roles as the original trickster trio, while Ariana Greenblatt, Justice Smith and Dominic Sessa inject fresh energy into the franchise. Directed by Ruben Fleischer, the third installment trades the globe-trotting heists of its predecessors for a tighter, tech-savvy diamond caper that pits the Horsemen against a shadowy criminal syndicate.

The film leans into its signature blend of magic, misdirection and momentum, delivering crowd-pleasing set pieces that dazzle even when the plot occasionally overreaches. Eisenberg remains the cerebral anchor, grounding the chaos with sharp precision. Meanwhile, Harrelson doubles down on his dual role as twins with scene-stealing flair, slipping effortlessly between Merritt’s dry wit and Chase’s manic bravado. The newcomers hold their own, especially Greenblatt, who brings a sharp edge and youthful unpredictability to the ensemble.

Though the narrative sometimes strains under the weight of its twists, “Now You See Me: Now You Don’t” stays true to its core illusion: keeping audiences guessing — and grinning — until the final reveal. It’s a slick, stylish return to form that proves the franchise still has a few tricks up its sleeve.

“Jay Kelly”

George Clooney, Adam Sandler, Laura Dern; directed by Noah Baumbach

In “Jay Kelly,” director Noah Baumbach crafts a poignant, globe-trotting character study anchored by George Clooney as a fading movie star confronting the wreckage of fame. Adam Sandler plays Ron, his loyal manager and emotional ballast, as the two embark on a reflective journey across Europe. What begins as a publicity tour morphs into a reckoning with legacy, regret and the cost of performance — both on and off screen.

Baumbach’s script blends dry humor with aching introspection, offering Clooney one of his most vulnerable roles to date. Sandler, in a career-highlight turn, sheds his comedic persona to deliver a quietly devastating performance. Laura Dern adds sharpness as Liz, the publicist who knows how the game is played. The ensemble cast — including Billy Crudup, Riley Keough, Greta Gerwig and Jim Broadbent — enriches the film’s emotional texture without crowding its core.

Shot on 35mm and steeped in melancholy, “Jay Kelly” is less a satire of celebrity than a meditation on identity and aging. It’s a slow burn, but one that rewards patience with moments of startling honesty. Baumbach’s latest may not dazzle like his earlier work, but it lingers — wistful, wounded and wise.

The Beast in Me

Claire Danes, Matthew Rhys, Brittany Snow; directed by Tyne Rafaeli and Antonio Campos

In “The Beast in Me,” Netflix’s haunting eight-part thriller, Claire Danes stars as Aggie Wiggs, a grieving author whose quiet suburban life is upended by the arrival of Nile Jarvis, a scandal-shadowed real estate mogul played by Matthew Rhys. Directed by Tyne Rafaeli and Antonio Campos, the series explores the thin line between curiosity and obsession as Aggie begins to unravel Nile’s past — and her own.

Danes delivers a raw, introspective performance, portraying Aggie as a woman haunted by personal tragedy and paralyzed by writer’s block. Rhys matches her intensity with a brooding, enigmatic turn that keeps viewers guessing. Brittany Snow adds emotional depth as Aggie’s sister, while Natalie Morales and Leonard Gerome Cooper round out the ensemble with sharp supporting roles.

Created by Gabe Rotter and showrun by Howard Gordon, “The Beast in Me” blends psychological suspense with character-driven drama. The pacing is deliberate, the tone somber and the atmosphere thick with dread. It’s not a whodunit — it’s a meditation on grief, guilt and the stories we tell ourselves to survive. Executive produced by Jodie Foster and Conan O’Brien, the series is eerily compelling and hard to shake.

“All Her Fault”

Sarah Snook, Dakota Fanning, Michael Peña; directed by Minkie Spiro and Kate Dennis

In “All Her Fault,” a gripping eight-part mystery family-drama thriller based on Andrea Mara’s novel, Sarah Snook stars as Marissa Irvine, a mother whose life unravels after her son goes missing during a routine playdate. Directed by Minkie Spiro and Kate Dennis, the Peacock limited series blends domestic suspense with psychological tension, unraveling secrets in a tightly wound suburban setting.

Sarah Snook delivers a layered performance, balancing panic and resolve as she navigates a maze of lies, betrayals and buried trauma. Dakota Fanning plays Jenny Kaminski, a neighbor with ties to the case, while Michael Peña brings gravitas and nuance to his role as a detective tasked with untangling the truth — and a father caring for a special-needs son. The ensemble — including Jake Lacy, Sophia Lillis, Abby Elliott and Jay Ellis — deepens the emotional stakes without distracting from the central mystery.

Created for television by Megan Gallagher, “All Her Fault” explores themes of motherhood, trust and the fragility of appearances. Its pacing is deliberate, favoring character over spectacle, but the tension rarely lets up. With sharp writing and atmospheric direction, the series builds to a finale that’s both devastating and cathartic. It’s a haunting portrait of a woman pushed to the edge — and a reminder that the truth is rarely simple.