What To Watch This Labor Day Weekend: 'The Gentlemen' S2, 'Fall 2,' 'By Any Means,' 'The Runner,' And More

HOLLYWOOD, CA — This Labor Day Weekend’s picks trade cliffside peril for real‑time pursuit, and then slips into period crime and desert‑siege mayhem before landing in aristocratic chaos.

“Fall 2: Deadpoint” kicks things off with another vertigo‑inducing survival gauntlet, pushing its climbers into harsher, more perilous terrain. “The Runner” shifts the pace to street‑level urgency, following Gal Gadot through a ticking‑clock chase that never lets up.

“By Any Means” drops Mark Wahlberg into a world of old‑school grit and moral gray zones, a period‑crime tale where loyalty and violence collide.

“Onslaught” turns the heat up further, stranding Adria Arjona in a desert community under siege from engineered soldiers — a brutal, sand‑blasted fight for survival.

And “The Gentlemen” Season 2 closes out the lineup with Theo James and Kaya Scodelario navigating high‑class scheming, low‑class brutality, and the kind of dry wit only Guy Ritchie can deliver.

Scroll down for the full lineup and a deeper breakdowns of performances, themes and craft in each.

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What To Watch This Weekend

“Fall 2: Deadpoint”

Harriet Slater, Arsema Thomas, Tom Brittney; directed by Peter & Michael Spierig

Lionsgate’s high‑altitude survival sequel arrives in theaters this weekend, pushing the franchise into a new arena of vertiginous danger. The story follows two climbers (Harriet Slater and Arsema Thomas) whose ascent of Mount Kwan in Thailand turns catastrophic after a rockslide leaves them stranded on a narrow ledge thousands of feet above the valley floor. Under the Spierig brothers’ taut, precision‑minded direction, sweeping mountain vistas and cliffside platforms become engines of character‑driven tension as the duo confronts the elements and psychological unraveling that comes with isolation at impossible heights.

Expect tense, nail‑biting sequences anchored by riveting performances. With practical stunt work, vertigo‑inducing set pieces, and a focus on human endurance under extreme pressure, “Fall 2: Deadpoint” positions itself as a breath‑catching survival thriller built to make audiences grip their armrests and hold their breath.

“The Runner”

Gal Gadot, Damian Lewis, Rory Wilmot; directed by Kevin Macdonald

Gal Gadot pivots into grounded, intensity in Prime Video’s “The Runner,” an action‑thriller set across the streets of London. She stars as Maia Marten, a high-powered London-based attorney whose morning run is violently upended when she receives a call from her son’s phone — only to learn he’s been abducted. Forced to obey the kidnapper’s cryptic commands without ever breaking stride, Maia is thrust into a city‑wide chase that unfolds minute by minute. Directed by Kevin Macdonald, the film leans on Anthony Dod Mantle’s kinetic cinematography to capture the urgency of a mother racing against time.

The film promises a pressure‑cooker thriller built on psychological strain rather than spectacle, with Gadot delivering a physically demanding performance shaped by months of rigorous training. Damian Lewis brings icy precision as the mysterious caller orchestrating the ordeal, while Macdonald’s real‑time framing keeps the narrative locked to Maia’s perspective. With its muscular foot‑chase choreography and Mantle’s restless camera, “The Runner” aims to deliver a sharp, breath‑tightening sprint through London’s streets.

“By Any Means”

Mark Wahlberg, Yahya Abdul‑Mateen II; directed by Elegance Bratton

Set in 1966 Mississippi, “By Any Means” follows Gregory Scarpa (Mark Wahlberg), a real‑life Brooklyn mob enforcer turned FBI informant, as he’s paired with Wayne Strider (Yahya Abdul‑Mateen II), a young agent investigating a series of murders targeting civil‑rights leaders — a fictionalized extension of Scarpa’s real‑world entanglements with federal agents during stalled investigations. Their uneasy alliance gives the film its moral tension, forging a partnership defined by volatility and mistrust.

Elegance Bratton, making a significant leap after “The Inspection,” directs with an emphasis on period pressure, institutional friction, and the fraught calculus of blurring lines between justice and vengeance. Terence Blanchard’s score, meanwhile, adds a simmering, noir‑shaded weight.

Wahlberg’s transformation into Scarpa is marked by a severe physicality — a roughened, unsentimental presence that aligns with the real Scarpa’s reputation and the era’s brutality. In all, the movie promises a hard‑edged crime thriller built on the collision between Strider’s procedural discipline and Scarpa’s off‑the‑books brutality.

“Onslaught”

Adria Arjona, Dan Stevens, Eric Wareheim; directed by Adam Wingard

Adam Wingard’s “Onslaught” taps a grindhouse B‑film pulse, staging a desert‑set siege that pits Celeste (Adria Arjona), an Army sniper, against three genetically engineered super‑soldiers who descend on her trailer park in a blur of blood and sand.

Arjona anchors the film with a fierce, physically committed performance that gives the chaos a human center; she plays Celeste with a mix of exhaustion, grit, and protective instinct that keeps the story grounded even as the violence escalates.

Wingard leans hard into tactile action — practical gore, crunching impacts, and a synth‑driven score that recalls John Carpenter’s stripped‑down, high‑tension style. The widescreen framing, the pulsing electronic cues, and the pressure‑cooker setup all nod toward Carpenter’s siege classics, giving the film a clear genre lineage and a confident sense of identity.

As the assault intensifies, the film’s momentum becomes both its engine and its limitation. The action is slick, giddy, and often exhilarating, but the narrative beneath it thins, scattering character beats and leaving some of the emotional stakes underdeveloped. Familiar siege patterns return in the form of a barricaded refuge, relentless intruders, and a lone defender pushed to the brink, though they don’t all land with equal weight.

Still, Arjona’s performance and Wingard’s stylistic commitment give “Onslaught” a muscular, midnight‑movie charge. It’s a compact, blood‑spattered survival tale: visually bold, energetically mounted, and ultimately more satisfying as a visceral experience than a fully shaped story.

“The Gentlemen” – Season 2

Theo James, Kaya Scodelario, Daniel Ings, Ray Winstone; created and directed by Guy Ritchie

Netflix’s swaggering crime‑aristocracy saga returns with “The Gentlemen” Season 2, picking up one year after Eddie (Theo James) and Susie (Kaya Scodelario) joined forces to run Bobby Glass’s (Ray Winstone) empire. The new season pushes the duo beyond the estate walls, expanding their operation into Italy’s lakeside villas and deeper into the British establishment. Eddie’s ambitions sharpen as he steps further into the criminal hierarchy, drawing the attention of a powerful new adversary played by Hugh Bonneville.

With Guy Ritchie back at the helm and a broadened international canvas, the series leans into its blend of aristocratic maneuvering, underworld politics, and sharply comic tension.

The season promises a wider, more volatile power game, with Eddie and Susie navigating shifting loyalties, escalating stakes, and the question of whether to remain under Bobby’s rule or carve out their own dominion.

Returning cast members — including Daniel Ings,Vinnie Jones, and Giancarlo Esposito — anchor the familiar grit, while newcomers like Benedetta Porcaroli, Michele Morrone, and Sergio Castellitto add fresh pressure points. With eight new episodes dropping at once, “The Gentlemen” Season 2 positions itself as a stylish, high‑stakes expansion of Ritchie’s ever‑growing, signature underworld — the one he’s been refining since “Lock, Stock,” “Snatch,” and “RocknRolla.”