What To Watch This Weekend: 'Supergirl,' 'The Invite,' 'Jackass,' New 'The Bear' And 'House of the Dragon'

HOLLYWOOD, CA — This weekend’s “what to watch” picks zero in on characters pushed into new versions of themselves, with “Supergirl” kicking things off, following a young woman pulled into an interstellar quest.

Looking for something intriguing? “The Invite” starts warm and familiar before sliding into strange territory.

Meanwhile, “The Get Out” turns up the pressure with a lean, gripping thriller about a man running out of options — and excuses.

Then “House of the Dragon” Season 3 widens the frame, where rival factions close in as the realm edges toward open war.

And finally, “The Bear” Season 5 sharpens the week’s final note with kitchen chaos distilled into a culminating gauntlet defined by precision and pressure.

Ready to dive in? Scroll down for the full lineup, with deeper explorations below that unpack performances, themes and craft in greater detail.

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What To Watch This Weekend

“Supergirl”

Milly Alcock, Bruna Marquezine, David Harewood, Frances Fisher; directed by Craig Gillespie

Craig Gillespie’s “Supergirl” arrives as a stark departure from the DC universe’s usual maximalism, trading skyscraper collisions for a bruised, cosmic western about grief, rage and the uneasy search for meaning.

The film opens on Kara Zor-El drifting through deep space, numbed by Krypton’s destruction and shaped by years of survival. Her isolation fractures when she encounters Ruthye (Bruna Marquezine), a determined young girl seeking vengeance for her father’s murder.

What follows is a revenge odyssey built on tactile harshness: sun-blasted planets, dust-choked outposts and starfields that feel more like frontier skies than superhero spectacle. Gillespie leans into the genre’s moral ambiguity, letting themes of anger, purpose and the cost of survival surface through tone and texture rather than exposition. Alcock anchors the film with a fierce, wounded performance, her Supergirl less a symbol than a survivor trying to outrun her own fury.

The supporting cast sharpens the film’s emotional edges. Marquezine brings a flinty resolve that keeps Kara off balance, while David Harewood and Frances Fisher add weight in smaller but pointed roles. The script occasionally slips into familiar superhero rhythms, but its strongest moments resist the genre’s tidy resolutions.

In the end, “Supergirl” is visually assured, emotionally raw and thematically focused — a character study wrapped in a revenge western, and a rare superhero film willing to sit with the ache of what its hero has lost.

“The Invite”

Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton; directed by Olivia Wilde

Olivia Wilde’s “The Invite” reimagines the Spanish film “The People Upstairs” as a tense, sharply observed comedy about marriage, desire and the fragile etiquette that holds relationships together. The film opens on Joe (Seth Rogen) and Angela (Wilde), a couple drifting through a stale routine. Hoping to jolt themselves awake, they invite their upstairs neighbors — the magnetic Piña (Penélope Cruz) and the unreadable Hawk (Edward Norton) — for what’s meant to be a simple dinner. The evening quickly tilts into a night of confessions, provocations and emotional misfires.

Wilde directs with a close‑quarters intensity, letting awkward silences and half‑finished thoughts do as much work as the dialogue. The film plays like a contemporary chamber piece, its single setting giving every gesture an amplified, slightly unpredictable charge. Rogen plays Joe with a bruised, self‑effacing warmth, while Wilde leans into Angela’s restless dissatisfaction. Cruz and Norton glide through the film with a destabilizing ease, their presence exposing the cracks Joe and Angela have learned to ignore.

Devonté Hynes’ score adds a cool, unsettled pulse, and the script by Will McCormack and Rashida Jones keeps the emotional stakes grounded even as the night spirals. Shot in 23 days and largely in chronological order, the film carries a lived‑in immediacy that suits its escalating tensions.

“The Invite” is funny, needling and unexpectedly humane — a dinner party that becomes a slow unmasking, revealing the truths couples dodge until someone else forces them into the light.

“Jackass: Best and Last”

Johnny Knoxville, Steve‑O, Chris Pontius, Wee Man, Dave England, Danger Ehren; directed by Jeff Tremaine

Jeff Tremaine closes out a 25‑year pop‑culture institution with “Jackass: Best and Last,” a 92‑minute farewell that mixes new stunts with franchise‑defining classics. The film reunites Johnny Knoxville, Steve‑O, Chris Pontius, Wee Man, Dave England, Danger Ehren and Preston Lacy alongside the newer cohort introduced in “Jackass Forever” — Poopies, Zach Holmes, Jasper Dolphin, Rachel Wolfson and Dark Shark, now a full cast member. It’s positioned as the final main installment, a last lap for a crew that built an empire on self‑inflicted chaos.

Structured as a blend of fresh material, archival footage and on‑set interviews, the film plays like a scrapbook of bruises and bravado. Familiar bits return — “Brad Pitt’s Abduction,” “High Five,” “Poo Cocktail Supreme,” “Magic Trick” and “Silence of the Lambs,” the latter featuring previously unseen Bam Margera footage — intercut with new punishments that push the aging cast’s bodies further than they probably should. Among the additions: Steve‑O undergoing a prostate exam from a robot named Larry, Poopies attempting a balance‑beam walk.

The film’s wistful tone can turn faintly flavorless whenever it leans on older stunts, moments that once felt anarchic but now play more like echoes. Still, the camaraderie remains the franchise’s secret engine. “Jackass: Best and Last” is messy, juvenile and often very funny — a chaotic group hug disguised as a finale, and a reminder of the fraternal bond that’s somehow grown out of decades of shared idiocy.

“The Get Out”

Russell Crowe, Luke Evans, Teresa Palmer, Aaron Paul, Danny Zovatto; directed by Derrick Borte

Derrick Borte’s “The Get Out” adapts Thomas Perry’s 2010 novel “Strip” into a sun‑bleached crime thriller about a man trying — and failing — to walk away clean. Russell Crowe plays Marco Kapak, a Los Angeles nightclub owner whose retirement plans evaporate when masked gunmen rob his club and leave him owing explanations to the cartel he’s been quietly entangled with for years. Crowe leans into the character’s mix of swagger and exhaustion, playing Kapak as a man who’s spent too long pretending he’s in control of anything.

Luke Evans brings a cool, needling presence as Joe Carver, an undercover federal agent posing as a buyer with an offer that might be salvation or another trap. Teresa Palmer, Aaron Paul and Danny Zovatto round out the ensemble, each orbiting Kapak’s unraveling with their own motives and levels of desperation. Shot in Queensland, Australia, with the Gold Coast doubling convincingly for Los Angeles, the film has a slick, heat‑haze sheen that suits its mix of noir fatalism and pulp momentum.

Borte maintains momentum, even if the swings between sardonic crime comedy and bruised action thriller occasionally snap the film’s rhythm. The narrative can feel overcrowded, but Crowe’s highly entertaining performance gives the film a center of gravity it otherwise lacks.

“The Get Out” isn’t reinventing the genre, but it delivers a tight, occasionally chaotic ride anchored by a star who knows exactly how to play a man in the throes of mounting pressure.

“House of the Dragon” Season 3

Emma D’Arcy, Olivia Cooke, Matt Smith, Tom Glynn‑Carney, Ewan Mitchell; created by Ryan Condal and George R.R. Martin

By its third season, HBO's “House of the Dragon” no longer feels like a prelude to catastrophe but the catastrophe itself. The series is now fully inside the Dance of the Dragons, the Targaryen civil war that has shaped every decision since the pilot, and the story moves with the clarity of factions breaking apart and loyalties turning into open conflict.

The returning ensemble — Emma D’Arcy, Matt Smith, Olivia Cooke, Tom Glynn‑Carney, Ewan Mitchell and others — carries the story with a steadiness that reflects the show’s growing command of its own scale. Production stretches across the U.K. and Spain, giving the season a wider, more unsettled geography, while the visual texture grows harsher, as if the world itself is bracing for the choices its rulers refuse to unmake.

The season’s main tension comes from the show’s attempt to turn a chronicle into character drama. ‘House of the Dragon’ remains crowded with strategy and maneuvering, which can narrow the emotional space — a constraint Season 3 handles more smoothly than earlier years.

“The Bear” Season 5

Jeremy Allen White, Ayo Edebiri, Ebon Moss‑Bachrach, Lionel Boyce, Liza Colón‑Zayas; created by Christopher Storer

Hulu's “The Bear” returns for its final season with the steadiness of a show that knows exactly what it is. While the restaurant remains central in the saga, Season 5 approaches its characters with a clearer, more measured eye, tracing the pressures that have shaped them without leaning on melodrama or mythmaking.

Jeremy Allen White, Ayo Edebiri and Ebon Moss‑Bachrach continue to anchor the series with performances that feel lived‑in rather than heightened. Chicago’s winter light gives the season a sharper, more grounded texture, and Christopher Storer’s direction keeps the focus tight — conversations in cramped spaces, the rhythms of work, the small collisions that accumulate into something larger. It’s in these choices that the show’s precision feels most apparent.

The show’s tendency to pack its characters’ lives into tight, overlapping bursts of work, conflict and adjustment remains a familiar tension. Even so, Season 5 handles that dynamic with greater confidence.

“The Bear” closes on the terms it has always favored — attentive to craft, attuned to character, and uninterested in overstating its own stakes. It’s a final season that keeps its focus tight, making the series memorable and clear in its intentions.