Honestly, the "January dumping ground" trope feels like it's finally dying. We used to expect the first month of the year to be a wasteland of mediocre horror and studio rejects that didn't make the Oscar cut. But look at the marquee right now. You’ve got James Cameron still sitting on his throne, a gritty return to the world of 28 Days Later, and a 25th-anniversary re-issue that’s somehow out-earning new blockbusters. It's a weird time for the box office. It's also a great time to actually go to the cinema.
If you’re looking for the newest movies in theaters, the landscape right now is a mix of high-concept sequels and indie swings that are actually hitting. We aren't just talking about filler. We’re talking about movies that people are actually going to remember by the time the summer season rolls around.
The Current Heavyweights: What's Dominating the Screen
Right now, Avatar: Fire and Ash is the elephant in the room. It’s been out for over a month, yet it’s still pulling in millions every single weekend. People keep waiting for the "Avatar fatigue" to set in, but the domestic total just crossed $344 million. It’s not just about the blue people anymore; it’s about that theatrical experience that makes you feel like you aren’t sitting in a sticky-floored room in a suburban mall.
But the real story this week isn't Pandora.
It’s 28 Years Later: The Bone Temple.
Directed by Nia DaCosta and written by the legendary Alex Garland, this movie is doing something sequels rarely do: it’s making the genre feel dangerous again. Cillian Murphy is back as Jim, and the buzz is intense. The 4-day forecast is looking at a $20-25 million opening, which is massive for a R-rated horror-thriller in the dead of winter. It’s gritty, it’s bleak, and it’s a far cry from the glossy superhero stuff we’ve been fed for a decade.
Why the Lord of the Rings Re-release is a Big Deal
Fathom Events is doing something fascinating right now. To celebrate the 25th anniversary, they’ve brought back the original Lord of the Rings trilogy. You might think, "Why would I pay $15 to see a movie I own on 4K Blu-ray?"
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Well, apparently about 400,000 people had the same thought and decided the answer was "Yes."
The presales for The Fellowship of the Ring, The Two Towers, and The Return of the King have already topped $5 million. That is more than some brand-new wide releases like We Bury the Dead or I Was a Stranger. It’s a testament to the power of the theatrical experience. There is just something about seeing the Charge of the Rohirrim on a 60-foot screen that a home setup can’t replicate.
The Newest Movies in Theaters You Might Have Missed
While the big names grab the headlines, there are a few smaller titles that are actually worth the price of a large popcorn.
- Primate: This isn't your standard creature feature. Directed by Johannes Roberts, it follows a family trip to Hawaii that goes south when a pet chimpanzee named Ben becomes a primal nightmare. It’s currently sitting around $12 million at the box office, which is a solid win for a mid-budget horror flick.
- Greenland 2: Migration: Gerard Butler is back, and honestly, we should just let the man save the world every couple of years. The sequel to the surprisingly good Greenland (2020) finds the Garrity family leaving their bunker to trek across a frozen Europe. It’s a survival thriller that actually has a heart, which is rare for the "end of the world" subgenre.
- The Housemaid: This one is still holding strong in the top five. It’s a remake that actually manages to maintain the tension of the original, and it’s becoming a bit of a word-of-mouth sleeper hit.
The Horror Surge of 2026
If you’re a horror fan, you are eating well this month.
Beyond The Bone Temple, we have We Bury the Dead starring Daisy Ridley. It’s a zombie flick, sure, but it’s leaning much more into the "prestige horror" vibe that A24 popularized. Critics are a bit split, but audiences seem to dig the atmosphere.
Then there’s the niche stuff. Der Tiger (or The Tank) is doing its thing in limited release. It’s a Danish thriller that’s getting some "too familiar" reviews from critics like Roger Moore, but for genre purists, it’s a nice alternative to the big studio offerings.
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What’s Coming Next: The Late January Slate
If none of the newest movies in theaters right now are hitting the spot, just wait a week. The end of January is looking surprisingly stacked.
- Mercy (Jan 23): A wide-release thriller that’s been tracking well.
- Return to Silent Hill (Jan 23): Christophe Gans returns to the franchise he started back in 2006. This one is based on Silent Hill 2, which most gamers consider the peak of the series. If they get the atmosphere right, this could be the first big hit of the year for video game adaptations.
- Send Help (Jan 30): Sam Raimi. Survival thriller. Rachel McAdams. Need I say more? This is easily one of the most anticipated movies of the quarter. Raimi hasn't done a straight-up survival film in a long time, and the "castaway" vibe with a Raimi-esque twist is a huge draw.
- The Moment (Jan 30): This is the wild card. It’s a mockumentary starring Charli XCX as a fictionalized version of herself. It’s premiering at Sundance, but it’s getting a theatrical push too. It’s going to be weird, meta, and probably very loud.
The Reality of the Box Office Right Now
It’s easy to look at the numbers and think cinema is dying, but the reality is more nuanced. People are still going to theaters; they just aren't going for "just okay" movies anymore. They want the spectacle of Avatar, the nostalgia of Lord of the Rings, or the visceral tension of 28 Years Later.
The mid-budget drama is still struggling. I Was a Stranger, an Angel Studios release about families in war-torn Syria, is only hovering around $1.3 million. It's a tough sell in a market where people are being very selective about where they spend their $20.
That said, the total weekend forecast for the top 10 films is projected at over $75 million. That’s up about 8% from this same weekend last year. It’s not the heyday of 2019 where Glass was opening to $40 million, but it’s a healthy recovery.
How to Choose What to See
If you're staring at the Fandango app and can't decide, here’s the quick breakdown:
- Go see Avatar: Fire and Ash if you haven't yet and you have access to an IMAX or Dolby Cinema screen. It’s a visual flex that loses 50% of its power on a TV.
- Go see 28 Years Later: The Bone Temple if you want to remember what it feels like to be actually stressed out by a movie. It’s a high-stress, high-reward experience.
- Go see Lord of the Rings if you want a communal experience with people who know every line of the script. It’s basically church for nerds.
- Go see Greenland 2 if you just want a solid, "popcorn and soda" thriller that doesn't ask too much of you but delivers on the action.
Actionable Steps for Your Next Trip
Don't just show up at the theater and hope for the best.
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Check for "Premium Large Format" (PLF) screenings for The Bone Temple. Horror is better when the sound system can make your seat vibrate during the jump scares.
Also, keep an eye on the Tuesday discount days. Most major chains (AMC, Regal, Cinemark) still do $5-$7 tickets on Tuesdays. If you want to see something experimental like The Chronology of Water (Kristen Stewart’s directorial debut) without feeling like you’re gambling with your rent money, Tuesday is the move.
The theatrical landscape in 2026 is becoming more about the "event." Whether it's a 25-year-old classic or a brand-new vision of the apocalypse, the goal is to get you out of your house. Based on what's playing right now, they're doing a pretty decent job of it.
Get your tickets for 28 Years Later early if you’re planning on going this weekend; the MLK holiday frame is going to be crowded, especially with the NFL playoffs driving people toward the evening showings. If you want a quieter experience, the Sunday morning matinee for The Return of the King is likely your best bet for a focused, respectful crowd.
Check your local listings for any Q&A screenings if you live in a major city like LA or New York—Sundance season usually means a lot of these indie titles are doing limited runs with the directors present. It adds a level of depth you just can't get from a streaming service.