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The Killing (1956) is a Stanley Kubrick classic currently available on Amazon Prime and YouTube. This film helped shape the style that would later inspire Reservoir Dogs and Pulp Fiction.

The story follows a recently released thief who masterminds a racetrack heist, assembling a team of insiders, shooters, and planners. But when one of the crew spills the plan to his unfaithful wife, her lover decides to cut in on the action—with his own crew. What was meant to be the perfect heist begins to unravel.

Directed by the legendary Stanley Kubrick (The Shining, Full Metal Jacket, A Clockwork Orange), the film stars Sterling Hayden (The Godfather), Coleen Gray (The Vampire), Vince Edwards (The Devil’s Brigade), Elisha Cook Jr. (Rosemary’s Baby), and Joe Turkel (The Shining).

When The Killing was released, it broke new ground with its non-linear storytelling—multiple timelines that all converge seamlessly by the end. It’s masterfully done. The cast delivers strong performances, and the writing is sharp throughout. While not a horror film, it plays more like The Town—a gritty, character-driven crime thriller.

The story feels authentic and grounded, with believable characters who evolve naturally. The ending is both unexpected and brilliant.

In short, The Killing is a must-see from a young Kubrick on the rise. I’d strongly recommend it and rate it a 9/10.

I recently rewatched Sausage Party (2016) on Prime. The story follows the groceries at a supermarket who believe that being purchased means entering a blissful utopia. But when a sausage and his soul mate, a bun, fall out of their package on the way to “paradise,” they set out on a wild journey to uncover the truth—and figure out if they can still make it to utopia.

Co-directed by Greg Tiernan (Thomas & Friends) and Conrad Vernon (Shrek 2), the film features the voices of Seth Rogen (Superbad), Jonah Hill (21 Jump Street), Michael Cera (Juno), Salma Hayek (Desperado), and James Franco (127 Hours).

This is a unique and brilliantly crafted film. The voice casting is spot-on and suits the characters and absurd universe perfectly. The storyline is clever and leans hard into comedic perversion. Having a literal douche as the villain is hilarious, and I especially loved the characters Firewater and the Taco. The dialogue is sharp, and the back-and-forth between the bagel and the pita bread had me cracking up. The humor is raunchy and crude throughout—but the infamous food orgy scene takes things to another level and is truly legendary. From start to finish, Sausage Party is memorable, ridiculous, and consistently funny.

In conclusion, Sausage Party is a brilliant animated comedy that’s an absolute must-see. I’d rate it an 8/10 and strongly recommend it.

I recently watched Bad Dreams (1988) on a random streaming service. The story follows a woman who was part of a cult that committed mass suicide, only to wake up from a coma thirteen years later and discover she somehow survived. As she acclimates to life in a psychiatric ward, people around her begin dying under mysterious circumstances.

Directed by Andrew Fleming (The Craft), the film stars Bruce Abbott (Re-Animator), Jennifer Rubin (Screamers), Richard Lynch (Halloween), and Harris Yulin (Ghostbusters II).

I was drawn to this movie after seeing it mentioned in the In Search of Darkness documentary. The premise carries some Nightmare on Elm Street vibes, with solid practical effects throughout. There’s some impressive fire work, and the makeup and prosthetics stand out. I couldn’t help but wish the villain had been played by Rutger Hauer—he might’ve made a stronger impact.

The film has that classic ’80s charm: carefree characters, fun dialogue, and a great soundtrack. The ending also leans into that familiar ’80s horror cliché territory.

In the end, Bad Dreams isn’t a great film, but it’s definitely worth a watch for fans of ’80s horror. I’d rate it a 5.5/10.

I recently rewatched Leaving Las Vegas (1995) on Tubi. The story follows a man, reeling from a recent divorce, who heads to Vegas with the intention of drinking himself to death. There, he meets a prostitute, and the two form an “entanglement” of sorts—an emotionally raw relationship where they accept each other exactly as they are. As their time together stretches on, the question becomes: can their bond save them, or is it just a fleeting escape from reality?

Directed by Mike Figgis (Cold Creek Manor), the film stars Nicolas Cage (Face/Off), Elisabeth Shue (Adventures in Babysitting), Julian Sands (Warlock), Richard Lewis (Robin Hood: Men in Tights), and Steven Weber (Single White Female).

This is an elite character piece. Both the lead and ing performances are outstanding. Cage completely disappears into the role of a self-destructive alcoholic (a portrayal that sadly mirrored his real-life struggles), while Shue is absolutely stunning—both in appearance and emotional depth. Their chemistry is raw, believable, and devastating.

Leaving Las Vegas is the definition of an anti–fairy tale. It’s heartbreaking from start to finish, capturing two deeply wounded people clinging to each other in a world full of pain, abuse, and self-loathing. Even as moments of hope flicker, reality always comes crashing back in, making for a soul-crushing but honest experience. I’ve always considered this film to be a masterpiece that never received the full recognition it deserves.

In conclusion, Leaving Las Vegas drowns the audience in realism, phenomenal character work, and emotional depth. I’d give it a 10/10 and strongly recommend it.

I recently watched the UK film 🇬🇧 Mouse of Horrors (2025) on Tubi. The story follows Dr. Rupert and his latest creation—a killer mouse—who stalks a coastal city’s amusement parks, collecting body parts in hopes that the doctor will build him a female companion.

Directed by Brendan Petrizzo (Devil’s Triangle), the film stars Lewis Santer (Winnie-the-Pooh: Blood and Honey 2), Stephen Staley (Curse of Bloody Mary), Natasha Tosini (Winnie-the-Pooh: Blood and Honey), and Allie Moreno (Don’t Blame Karma).

The premise, story, and overall execution are about as bad as you’d expect. That said, the kills and settings were exactly what I was hoping for. While there’s an overuse of intestines—especially characters playing with them—the kill scenes are surprisingly entertaining, executed with intensity and more solid gore than I anticipated. I also appreciated the nods to the Pooh horror universe. Yes, the CGI corpses and flies were awful, but the kill sequences held my attention.

In conclusion, Mouse of Horrors is a bad movie, but it has a few elements that dedicated horror fans might enjoy. I’d rate it a 3.5/10 and only recommend it with the right expectations.

Candy (2017) is a film I recently watched on Prime. It follows four best friends in Houston who smuggle drugs and rake in serious cash. As their operation grows, they plan their biggest move yet. But just as they’re on the verge of success, one of the women falls for a new boyfriend and spirals into heroin addiction—a dangerous time to lose focus.

Directed by Nahala Johnson (Dominos: The Game We Play), the film stars Sheneka Adams (Brotherly Love), Anthony Johnson (Friday), Kendrick Smith (Because I Love You), and rapper Scarface (Narc).

The opening strip club sequence and the lead actresses are visually striking. Dialogue is decent, and the main character’s narration is able but forgettable. The directing, production quality, and cinematography are all mediocre. The ending aims for a tragic punch but misses the mark—what could’ve been a strong twist falls flat due to poor execution.

With a better creative team, this film might’ve had potential. As it stands, Candy is a below-average entry in the genre. Score: 3/10. Skip it.

I finally watched Wolf Man (2025) on Peacock. The story follows a family en route to the countryside who are attacked by a werewolf along the way. As the father begins to transform, it becomes clear the creature has returned to finish what it started.

Directed by Leigh Whannell (Insidious: Chapter 3), the film stars Julia Garner (Ozark), Christopher Abbott (Possessor), Matilda Firth (Starve Acre), and Sam Jaeger (The Handmaid’s Tale).

Unfortunately, this was a frustrating viewing experience. The storyline is straightforward, unimaginative, and often dull. It leans heavily into the trappings of formulaic Hollywood horror, including an overreliance on CGI—yet ironically, it lacks the actual horror beats you’d expect. The werewolf’s point-of-view effects fall flat, and while the transformation scene offered a brief moment of excitement, it wasn’t enough to salvage the film. The so-called twist is predictable, and the journey leading to it is uninspired. The ending, like much of the movie, lands with a shrug.

In conclusion, Wolf Man is a big-budget horror film that lacks scares, originality, and any truly redeeming qualities. I’d score it a 4/10 and recommend skipping it.

I recently rewatched Something’s Gotta Give (2003) on Tubi. The story follows a lifelong bachelor and music executive with a preference for younger women who begins experiencing heart issues—just as he meets a woman his own age who challenges and intrigues him. Could love be in the air, or will his health throw life one final curveball?

Written and directed by Nancy Meyers (The Parent Trap), the film stars Jack Nicholson (Chinatown), Diane Keaton (The Family Stone), Keanu Reeves (The Matrix), Amanda Peet (The Whole Nine Yards), and s McDormand (Fargo).

The cast is star-studded, and every performance feels authentic and nuanced. The writing is sharp and clever, grounding the story in realism and infusing it with wit. The dialogue strikes a great balance between emotional depth and comedy—the line “We’re not all doctors” is especially memorable. The film includes a few surprising moments, like the unexpected nude shower scene with Diane Keaton, and standout sequences such as the well-executed restaurant encounter. The romantic tension, emotional highs and lows, and clever cat-and-mouse dynamic all contribute to a film that unfolds beautifully.

In conclusion, Something’s Gotta Give is a unique and well-crafted romantic comedy with heart, humor, and intelligence. I’d give it an 8/10 and strongly recommend it.

I recently watched the 18-episode animated series Spawn on MAX. The story follows a former Army Ranger turned assassin who is betrayed and killed by his employer. After his death, his wife marries his best friend. Mysteriously resurrected as a Hellspawn—a warrior meant to lead Hell’s army—he returns to Earth in search of answers about his murder, while protecting the innocent and longing for the life and love he lost.

Created by Eric Radomski (Batman: The Animated Series), the series features standout voice work from Keith David (Requiem for a Dream), Ronny Cox (Total Recall), Richard Dysart (The Thing), and Dominique Jennings (Se7en).

Spawn is masterfully crafted in of animation, atmosphere, and voice casting. Keith David is absolutely perfect as Spawn, delivering his inner torment and moral conflict with depth and gravitas. The dark, gritty universe is both fascinating and well realized. The action sequences—ranging from gunfights to brutal melee combat—are intense, gory, and stylishly executed. The story offers a compelling blend of horror and superhero themes, reminiscent of The Crow, with some solid twists and a satisfying final reveal. My only gripe is Todd McFarlane’s introductions and narrations, which often feel cheesy and out of place.

In conclusion, Spawn is a standout ‘90s animated series that fans of antiheroes and horror shouldn’t miss. I’d give it an 8.5/10 and strongly recommend it.

My daughter and I recently watched Joe Dirt 2: Beautiful Loser (2015) on Tubi. The story follows our mullet-sporting hero, Joe Dirt, who is accidentally sent back in time, where he encounters Brandy’s mother and his old friends—years before he originally met them. He embarks on a bizarre journey to return to the present and reunite with his family.

Directed by Fred Wolf (The House Bunny), the film stars David Spade (Tommy Boy), Christopher Walken (The Deer Hunter), Dennis Miller (Murder at 1600), Brittany Daniel (Dawson’s Creek), and Patrick Warburton (The Emperor’s New Groove).

Unfortunately, this sequel feels entirely forced. The plot is an odd mash-up of Back to the Future and Forrest Gump—but without the heart or cleverness. The writing, dialogue, and comedic scenarios lack the charm and originality of the first film. Most of the humor falls flat, and the recycled jokes from the original are tired and uninspired. It’s a strange and disappointing direction for the series that just doesn’t work.

In conclusion, Joe Dirt 2 is a misfire—lacking in creativity, laughs, and anything worth revisiting. I’d score it a 2/10 and recommend skipping it.

Witchfinder General (1968) is currently available on Amazon Prime. The film follows a ruthless witch hunter who mercilessly pursues and executes those accused of witchcraft, along with anyone who dares to protect them. When a man’s fiancée is targeted and his uncle is killed defending her, he sets out on a mission of vengeance to stop the hunter.

Directed by Michael Reeves (The She Beast), the film stars Vincent Price (Edward Scissorhands), Ian Ogilvy (Death Becomes Her), Hilary Heath (Wuthering Heights), and Robert Russell (Sitting Target).

The landscapes, period settings, and costuming are all impressively done, adding to the film’s historical atmosphere.  Vincent Price delivers a strong performance, bringing a commanding presence and a chilling sense of rigidity and intensity to his role. However, the witch execution scenes fall flat—particularly the fire sequences, which are clearly staged with the flames in front of the action. On the other hand, the use of rag dolls during drowning scenes or when victims are tossed from buildings and bridges adds a certain eerie charm to the low-budget effects.

Overall, Witchfinder General has the setup and cast for something great, but it ultimately lands as a slightly above-average film. It’s worth seeing once, especially for Price fans, but doesn’t fully realize its potential.

Rating: 6/10

The Last King of Scotland (2006) is a film I recently rewatched on Amazon Prime. It tells the gripping story of a young Scottish doctor who travels to Uganda and ends up working for the country’s charismatic yet brutal dictator. At first, the leader seems jovial and friendly, but as time goes on, the doctor begins to see the terrifying reality of how he rules—and abuses—his power. As outside forces attempt to disrupt the regime, the doctor finds himself caught in a ruthless political storm that could cost him his life.

Directed by Kevin Macdonald (The Mauritanian), the film stars Forest Whitaker (Fast Times at Ridgemont High), James McAvoy (Split), Kerry Washington (Scandal), David Oyelowo (Interstellar), and Gillian Anderson (The X-Files).

The story is absolutely outstanding—brilliantly paced, emotionally charged, and unpredictable all the way to the end. It balances moments of humor, cultural depth, intense drama, and political tension with remarkable finesse. The evolving relationships and character arcs are compelling, and the Ugandan setting adds a rich layer of authenticity.

The performances are phenomenal, especially Forest Whitaker, who delivers what may be the greatest performance of his career. He fully disappears into the role, making Idi Amin both magnetic and terrifying.

Overall, The Last King of Scotland is a cinematic masterpiece. I’d give it a solid 10/10 and strongly recommend watching it.

I recently watched the Italian film 🇮🇹 Queens of Evil (1970) on Tubi. The story follows a motorcycle traveler who stumbles upon what seems like an oasis on his journey: three stunning sisters who eagerly welcome his company. At first, it feels like a utopia he hopes will never end—until their true intentions begin to unfold.

Directed by Tonino Cervi (Nest of Vipers), the film stars Silvia Monti (The Fifth Cord), Haydée Politoff (Bora Bora), Ray Lovelock (Fiddler on the Roof), and Ida Galli (The Psychic).

I really enjoyed the strong “hippie” vibes throughout—the outlook, the fashion, the free-spirited dialogue. The whole movie radiates flower child energy. The decor is top-tier, the settings are playful, and the women are absolutely captivating. While the acting is serviceable, the story is the real highlight, blending cult, witchcraft, and folklore in a way that keeps things interesting. The oddball tattoos had me cracking up, and the soundtrack and hairstyles are undeniably cool.

My main gripes are the lack of horror elements and the surprisingly tame approach to nudity, especially given the film’s concept. Still, it was an enjoyable ride in its own quirky way.

In conclusion, Queens of Evil is a modest but fun entry in the horror genre. It holds your attention, but doesn’t quite rise above the pack. I’d give it a 5/10 and recommend seeing it once.

I recently watched Joe (2013) on Tubi. The story follows a teenager struggling to survive with his alcoholic father in their remote forest home. With little guidance or access to food, the boy meets a man named Joe, who works in the woods and reluctantly hires him for odd jobs. As Joe gets to know the kid and sees the signs of abuse from his father, he’s forced to make some difficult decisions about whether—and how—to intervene.

Directed by David Gordon Green (Halloween Kills), Joe stars Nicolas Cage (Face/Off), Tye Sheridan (Mud), Ronnie Gene Blevins (The Dark Knight Rises), and Adriene Mishler (Fall to Grace).

This is one of those films where the acting is perfectly complemented by the setting, costumes, and backdrop, fully immersing you in its gritty world. Every scene and character interaction feels authentic. The performances make it easy to relate to the characters and clearly establish who you’re rooting for—and against. The action and violence are intense, with excellent practical effects. The storyline holds your attention throughout; you know things won’t end well, but you’re compelled to see just how dark it gets.

As for the ending—I’m not sure I loved it. It felt more fun than good, but the journey was absolutely worth it.

In conclusion, Joe is a gripping character piece with strong performances and solid writing. I’d give it a 7.5/10 and recommend watching it at least once.

I recently rewatched The Exorcist III (1990) on Tubi. The story follows a detective in Georgetown, Washington, D.C., who is investigating a series of brutal murders that mirror the work of a long-dead serial killer. The trail leads him to a psychiatric ward, where a mysterious inmate seems to hold all the answers—including a possible connection to the demon that once possessed Regan MacNeil.

Written and directed by William Peter Blatty (The Ninth Configuration), the film stars George C. Scott (Patton), Brad Dourif (Child’s Play), Scott Wilson (The Walking Dead), and Ed Flanders (St. Elsewhere).

This is a phenomenal horror sequel—especially rare for a third installment. I loved that it returned to Georgetown, capturing a similar atmosphere and tone to the original Exorcist. The performances are top-tier, with George C. Scott and Brad Dourif absolutely owning their roles. Scott’s early scenes, like the carp story and the crucified boy monologue, are standout moments. And Dourif’s chilling jail cell monologue is unforgettable. The writing, especially in those sequences, is exceptional.

The horror elements are strong throughout. There’s creative use of smoke effects, some unsettling possession scenes, and a finale that really goes off the rails in the best way. The soundtrack adds to the eerie mood, elevating the overall impact.

In conclusion, The Exorcist III ranks alongside Day of the Dead as one of the rare horror trilogies where the third film truly delivers. I’d give it a 7.5 to 8/10 and strongly recommend it.

Rollerball (1975) is a film I recently watched on Amazon Prime. Set in a futuristic society where nations have been replaced by corporations, the story explores a world in which the population is controlled through a violent sport called Rollerball—designed to promote conformity and suppress individuality. One man, however, becomes a problem: a star player who refuses to step aside, challenging the very system meant to control him.

Directed by Norman Jewison (Moonstruck) and starring James Caan (Misery), John Houseman (The Fog), Maud Adams (Octopussy), John Beck (Audrey Rose), and Pamela Hensley (Buck Rogers).

 The film starts strong. The opening sequence is excellent, clearly establishing the rules of the game and drawing the viewer in. But after that explosive beginning, the movie hits a wall and drags for nearly an hour.  There’s a political undertone throughout, and the film reminded me at times of Death Race 2000—just not nearly as effective. While there are some solid action moments and a few creative kills, they could’ve used more intensity and gore to truly land. The final act, which kicks in with about 50 minutes to go, picks up considerably and ends on a high note. Still, for much of the runtime, I kept thinking: this didn’t need to be 125 minutes.

Overall, Rollerball is an above-average film that falls short of its potential. I’d give it a 6.5/10—and I fully expect to get booed for that.

Jennifer’s Body (2009) is a film I recently watched on Amazon Prime, and it’s also available on Tubi. The storyline follows two childhood best friends who are now navigating high school and attracting attention from boys. One night, while attending a concert, Jennifer—one of the friends—spends some time with the band. When she returns, something about her is completely different. The once-close friendship begins to fracture, and it becomes clear that Jennifer has developed a disturbing new obsession. What exactly happened to her that night?

Directed by Karyn Kusama (Aeon Flux), the film stars Megan Fox (Transformers), Amanda Seyfried (Mean Girls), Adam Brody (Ready or Not), Johnny Simmons (Scott Pilgrim vs. the World), J.K. Simmons (Juno), and Chris Pratt (Guardians of the Galaxy).

The dialogue and chemistry between Fox and Seyfried is actually one of the film’s strengths—they play off each other well, and the performances across the board fit the characters perfectly. I especially liked the first act: the setup through the concert sequence is strong, and Jennifer’s eerie return home is effectively done. Up until that point, the movie shows promise.

But from there, things go downhill. The CGI used to depict Jennifer’s transformation is awkward and cartoonish—more like something from a Resident Evil cutscene than a serious horror film. The kill scenes rely too heavily on CGI and often cut away too quickly, undercutting any real tension or payoff. For a movie titled Jennifer’s Body, we don’t actually see much of Jennifer’s transformation in a meaningful or terrifying way.

The film had the potential to be a horror version of Mean Girls, but it ultimately falls flat. That said, the soundtrack isn’t bad.

Overall, Jennifer’s Body is a disappointing film that fails to live up to its potential. I’d give it a 4/10.

I recently rewatched My Baby’s Daddy (2004) on Tubi. The story follows three best friends, each dealing with different relationship issues, who all become fathers around the same time. The arrival of their babies forces them to reevaluate their priorities, shift their perspectives, and rely on their friendship in ways they never have before.

Directed by Cheryl Dunye (The Watermelon Woman), the film stars Eddie Griffin (John Q), Anthony Anderson (The Departed), Method Man (How High), Michael Imperioli (The Sopranos), and Bai Ling (The Crow).

The opening animation and the soundtrack are easily the highlights of the movie—and the character 2Pac had me laughing out loud. I also enjoyed the “Asian name” segments more than I probably should have. That said, the overall concept feels a bit lazy and recycled. Method Man, despite his charisma, didn’t land the comedic beats as well as expected, and the narration felt pretty flat. Ultimately, there just wasn’t enough here to make it stand out in the crowded comedy genre.

In conclusion, My Baby’s Daddy isn’t a total waste of time, but it’s far from a must-watch. I’d score it a 3/10 and only recommend it if you go in with the right expectations.

My wife and I recently watched the Hulu documentary The Perfect Wife: The Mysterious Disappearance of Sherri Papini (2024). The story follows a married woman with two kids who goes out for a jog one day and mysteriously disappears, leaving her family behind. After 22 days of a frantic and seemingly hopeless search, she’s found chained and badly beaten. But as she recounts what happened, something feels off—from her behavior to the details of her story. What really happened?

This series is created by Michael Beach Nichols (Wrinkles the Clown), and it’s one of those documentaries where, from the very beginning, everyone seems somehow involved. Most of the people featured come across as a little strange—awkward, intense, or just plain unpredictable. But as the story unfolds, and more of the characters past is revealed, the events themselves stop seeming so unbelievable. It’s the lengths “they” went that make it so wild. The storyline definitely holds your attention.

In of presentation, the interviews are compelling, the use of real news clips is well-timed, and the retrospective elements work well. I especially liked the psychedelic visual effects used during certain moments—they helped connect the audience emotionally and psychologically to the story being told. It was a creative way to enhance the narrative. By the end, I found myself thinking: some people’s lives are so chaotic and layered that it’s hard to imagine what “normal” could even look like afterward.

In conclusion, The Perfect Wife: The Mysterious Disappearance of Sherri Papini is another well-crafted and gripping docies from Michael Beach Nichols. I strongly recommend it and would score it an 8/10.

High-Rise (2015) is a film I recently watched on Tubi. The story is set in a futuristic society where an entire class system exists within a single, self-contained high-rise building. The higher up you live, the higher your status. The building includes everything—food, animals, sex rings, and various forms of entertainment. As tensions rise between the wealthy elite and the struggling lower levels, a violent revolt becomes inevitable.

Directed by Ben Wheatley (Free Fire), the film stars Tom Hiddleston (Thor), Jeremy Irons (Dead Ringers), Elisabeth Moss (The Handmaid’s Tale), Luke Evans (The Alienist), Sienna Miller (Layer Cake), and James Purefoy (Resident Evil).

The story has definite Snowpiercer vibes, with a similarly stark portrayal of class warfare, though this time it’s vertical instead of horizontal. The film presents some fascinating and bizarre scenarios—many of the action and sex scenes feel random and chaotic, which fits the overall mood. One of the more interesting themes is how freedom is depicted almost as a destructive force, and how achieving what you think you want can lead to disillusionment.

The cast is strong, and the performances are solid across the board. However, the story feels scattered and could have been executed with more coherence. It has style and ideas, but the payoff doesn’t quite land.

Overall, High-Rise is an ambitious film that’s worth a watch for the concept and performances, but it doesn’t fully deliver. I’d score it a 4/10 and only recommend it if you’re out of better options.

Lord of Illusions (1995) is a film I recently watched on Amazon Prime. The story follows a private detective who’s hired to protect an illusionist from a dangerous cult. Not long after taking the job, the illusionist dies during a stunt gone wrong. As the detective investigates, he uncovers the disturbing truth behind the illusionist’s magic—and the cult that may be responsible.

Directed by Clive Barker (Hellraiser), the film stars Scott Bakula (Quantum Leap), Kevin J. O’Connor (Deep Rising), J. Trevor Edmond (Return of the Living Dead 3), and Daniel von Bargen (Robocop 3).

The premise—blending noir-style detective work with dark magic and cult horror—had potential. Unfortunately, the execution falls short. The casting didn’t work for me; Bakula and O’Connor, in particular, felt miscast and lacked chemistry. The special effects, especially the CGI (notably the fire), were underwhelming, even by ’90s standards. The makeup effects were also weak.

That said, there are a few bright spots. The torture and kill scenes were effectively done, and I appreciated the creepy villain with the wild eyes. The use of holograms was also a creative touch that stood out.

Overall, this is a disappointing effort from Barker. I’d give Lord of Illusions a below-average 4/10 and recommend skipping it.

We went as a family last night to see LILO & Stitch (2025) in theaters. The storyline follows an alien-created experiment that escapes to Earth, disguising itself as a pet. The alien scientist who created it, along with an Earth expert, are sent to retrieve the rogue creature. Meanwhile, two sisters—who have lost their parents and are struggling to make ends meet—discover and adopt the experiment, unknowingly setting in motion a chain of events that changes their lives forever… but is it for better or worse?

Directed by Dean Fleischer Camp (Marcel the Shell with Shoes On), the film stars Sydney Agudong (At Her Feet), Zach Galifianakis (The Hangover), Courtney B. Vance (Dangerous Minds), Maia Kealoha, and Tia Carrere (Wayne’s World).

This movie far exceeded my expectations. While about 90% of the storyline mirrors the original animated film, there are several unique twists that help it stand on its own. The depiction of Hawaiian culture and lifestyle is even more authentic and vivid here than in the cartoon. The bond between the sisters is as moving as ever—not just because of their relationship, but because of how it captures the everyday struggle of life. Their connection and emotional journey are brilliantly portrayed and deeply affecting.

The performances are outstanding, with strong chemistry among the cast. My only casting complaints are Courtney B. Vance as Bubbles—I’m not sure he was the right fit; someone with the physical presence of Ving Rhames might have been more fitting—and David’s casting didn’t quite land for me either. That said, the sisters absolutely shine in their roles; both performances are authentic and heartfelt.

The CGI is top-tier, and the alien designs are incredibly well executed—they feel tangible and alive. I also really enjoyed Zach Galifianakis as the villain, and the warp gun scenes were a lot of fun. While it doesn’t quite sur the charm of the original animated film, there’s still a lot to enjoy here.

In conclusion, LILO & Stitch is a fun, heartfelt, and well-crafted addition to Disney’s live-action collection. I’d give it an 8/10 and recommend seeing it at least once.

I recently watched the Canadian film 🇨🇦 Into the Forest (2015) on Tubi. The story takes place in a world where a mysterious outbreak has wiped out much of the population, leaving behind only scavengers and survivalists. Two sisters navigate this bleak landscape together—one clings to hope and love, dreaming of a safer society, while the other remains grounded in the harsh realities they face. It’s a grim world, especially for two young women trying to survive on their own.

Directed by Patricia Rozema (Mansfield Park), the film stars Elliot Page (Juno), Evan Rachel Wood (Thirteen), Max Minghella (The Handmaid’s Tale), and Callum Keith Rennie (The Umbrella Academy).

While the premise is familiar, it’s handled with authenticity. The world feels believable, the circumstances are grounded, and the performances—especially from Page and Wood—are strong and emotionally resonant. Their dynamic as sisters feels lived-in and compelling. That said, I was a bit taken aback by a brief topless scene involving Page, and while the rape scene was disturbing, it was portrayed with a sense of realism and weight that fit the film’s tone.

Despite a solid setup and some strong moments, I kept waiting for the story to go deeper or land with more emotional impact. The ending, in particular, didn’t quite deliver the payoff I was hoping for.

In conclusion, Into the Forest has strong acting and a convincing setup, but it didn’t fully live up to its potential. I’d give it a 5/10 and only recommend it if you’ve run out of better options.

I recently watched Hot Sex in Bangkok (1976) on a random streaming service. The storyline follows a group of friends who travel to Bangkok in search of sex and fun. However, they soon realize that finding willing partners isn’t as easy as they expected—and one of them might just stumble into love along the way.

Written and directed by Erwin C. Dietrich (Caged Women), the film stars Michel Jacot (Disco Fever), Claude Martin (Bed Hostesses), Heinz Kopitz (Teenage Intimacies), and Beate Hasenau (Gorilla Gang).

This is one of those softcore films that clearly isn’t meant to be taken seriously. It features plenty of fully nude, beautiful women, but beyond that, there’s not much to praise. The dialogue is cringe-worthy, and the acting feels like a group of friends awkwardly making a movie over a long weekend. The sex scenes are clumsy at best—especially anything involving the big, muscular guy. That said, the soundtrack is oddly fun, the bathtub scenes are unintentionally hilarious, and there’s one cigar scene you definitely won’t forget…

In conclusion, Hot Sex in Bangkok is a typical 1970s softcore film that exists solely to showcase nudity. I’d give it a 3/10 and recommend skipping it.

Predator (1987) is currently available on Prime through the end of the month—and it’s also a staple in my DVD collection. The story follows a group of elite soldiers sent on a rescue mission in the Guatemalan jungle to save government officials supposedly held hostage. But shortly after arriving, they realize they’re not the hunters—they’re the hunted. Something in the forest is stalking them, something unlike anything they’ve ever encountered.

Directed by John McTiernan (Die Hard), the film stars Arnold Schwarzenegger (The Terminator), Carl Weathers (Action Jackson), Jesse Ventura (The Running Man), and Bill Duke (Commando).

What isn’t awesome about this movie? The soundtrack, the dialogue, the one-liners, the jungle setting, the intense military shootouts, the trap-building ingenuity, the infrared vision sequences, the unforgettable Predator design, the gore, the practical effects, the cast chemistry, and that epic conclusion—all of it is a 10/10.

Predator is the perfect blend of action and horror. There’s absolutely nothing I’d change. It’s an all-time classic and easily one of my favorite Arnold films.

A Fistful of Dollars (1964) is a film I recently revisited on Amazon Prime—and it’s also proudly part of my DVD collection. The story follows a wandering gunslinger who arrives in a small Mexican town just across the American border. He quickly befriends the local bar owner, but soon discovers the town is under the grip of a ruthless gang. One night at the bar, things spiral out of control, and the gunslinger is badly beaten and left for dead. He eventually returns, driven by vengeance.

Directed by Sergio Leone (The Good, the Bad and the Ugly), the film stars Clint Eastwood (Unforgiven), Gian Maria Volontè (For a Few Dollars More), Marianne Koch (The Devil’s General), and Sieghardt Rupp (The Lightship).

The storyline is absolutely gripping, and Clint Eastwood is the perfect anti-hero. He brings the ideal blend of charisma, grit, stoicism, and intensity. The dialogue is sharp, and Eastwood is effortlessly easy to root for. The music—composed by Ennio Morricone—is iconic and might just be the greatest western soundtrack of all time. The shootouts are intense and thoroughly entertaining, with the final sequence standing out: the rolling smoke, close-up shots, and dramatic tension are cinematic magic.

If the final shootout had been a bit more grounded in realism, this would be a 10/10. But even with that one nitpick, it remains a 9/10 and an absolute must-see.

I finally watched Fall (2022) on Tubi. The story follows two best friends who climb a towering, abandoned radio tower to overcome personal loss and rebuild their bond. But once they reach the top, the ladder breaks off, leaving them stranded with no way down. The question becomes: how can they find help and make it home?

Directed by Scott Mann (Heist), the film stars Grace Caroline Currey (Shazam), Virginia Gardner (Halloween [2018]), Jeffrey Dean Morgan (The Walking Dead), and Mason Gooding (Scream).

The setup is strong, with a believable chain of events that builds tension early on. I was impressed by the character development, and Jeffrey Dean Morgan’s cameo—though unexpected—was well played. The acting overall hits the mark, and the cinematography, especially the use of camera angles and height, is very smart and anxiety-inducing.

That said, the story does become a bit bland and predictable at times from a survival-thriller standpoint. However, the twist ending was clever and well executed. One minor gripe: the use of vultures as a threat felt a bit unrealistic given the height they’re at.

In conclusion, Fall has enough going for it to keep your attention, even if it could’ve been more creative and emotionally gripping. I’d score it a 6/10.

I recently watched Dragon Fist (1979) on Prime. The story follows a young man whose parents are murdered, leading to his adoption by another family. He grows up training in martial arts and sets out to avenge his parents’ deaths. Meanwhile, a gang begins to take over his town, threatening to distract him from his mission.

The film is directed by Wei Lo (Fist of Fury) and stars Jackie Chan (Drunken Master), James Tien (The Big Boss), Nora Miao (Fist of Fury), Hsu Hsia (Drunken Master), and Shi-Kwan Yen (Once Upon a Time in China).

Dragon Fist is a fun and satisfying addition to the martial arts genre, featuring elite choreography, striking backdrops, and a strong dramatic tone throughout. The period sets and costumes really pull you into the era, and Jackie Chan is—as always—charming, skilled, and easy to root for. The plot follows a fairly traditional revenge arc with a few comedic touches that shift the tone in just the right places. There are moments where Chan channels Bruce Lee so closely—both in look and execution—that it’s genuinely impressive. Plus, the facial expressions throughout are hilariously entertaining.

In conclusion, Dragon Fist is a classic-style, above-average martial arts film. I’d give it a 6/10 and strongly recommend it.

I recently watched They Call Her Death (2024) on Shudder. The story follows a woman living peacefully in the West until a group of men invade her home, kill her husband, and rape her. After recovering, she grabs her husband’s guns and sets out on a path of revenge.

The film is written and directed by Austin Snell (Exposure) and stars Sheri Rippel (Blackstone: Hand of God), Devan R. Garcia, Shawn Nyberg (Erasure), and Patrick Poe (Zoink).

This was more fun than I anticipated. The opening sequence—both the visuals and the song—was excellent. I loved how the film captured the look and feel of a 70s grindhouse picture, though it worked better in some scenes than others. The acting was a bit uneven, and the costuming occasionally felt off, but the cinematography more than made up for it.

The kills are standout: stylish, bloody, and heavy on the intestines—which worked for me. There are also some solid stab-and-slash sequences that were a lot of fun to watch.

In conclusion, They Call Her Death is a modern, gritty blend of western, horror, and grindhouse. I’d give it a 6/10 and recommend seeing it once.

Camelot (1967) is a film I recently watched on HBO Max. The story follows King Arthur’s rise to power, the founding of the Knights of the Round Table, his marriage to Guinevere, her affair with Lancelot, and the eventual downfall of Arthur’s dream. 

Directed by Joshua Logan (Picnic), the film stars Richard Harris (Gladiator), Vanessa Redgrave (Atonement), Franco Nero (Django), and David Hemmings (Barbarella).

There’s a lot to appreciate here—the cast delivers strong performances, the settings are visually striking, the cinematography is solid, and the props and costumes are impressively detailed. I especially enjoyed the lighting, which added depth and mood to several key scenes.

That said, the storyline drags at times, and the pacing could have been tighter. The songs, while central to the musical format, felt dated and occasionally awkward, detracting from the overall experience. Still, the film’s conclusion is powerful and brings everything to a satisfying close, making for a memorable ending.

Overall, Camelot is an average to slightly above-average film that’s worth watching if you have the patience for a slower pace and classic musical style. I’d rate it a 6/10.

A Werewolf in England (2020) is currently streaming on Tubi, Vudu, and Prime. The story follows a police officer tasked with transferring a prisoner to death row. One night, they stop at a remote hotel and soon discover that there’s much more going on than just bed service.

Directed by Charlie Steeds (Winterskin), the film stars Tim Cartwright (The Barge People), Natalie Martins (Cruel Summer), Rory Wilton (An English Haunting), and Derek Nelson (Vampire Virus).

The setting and wardrobe are serviceable, but the werewolf costumes are absolutely atrocious—borderline laughable. The performances often veer into overacting, giving the film the feel of a dinner theater production.

That said, the film doesn’t take itself too seriously and throws in plenty of comedic elements. Some of the dialogue lands well, and there are definitely some off-the-rails moments—including bizarre sex scenes and an unforgettable defecation scene.

Ultimately, this is one of those films where the poster is cooler than the movie itself. It’s a below-average entry in the genre, but if you’re in the mood for something absurd and over-the-top, it might be worth watching once—for the defecation scene alone. I’d score it a 2/10.

I recently rewatched Showtime (2002) on Tubi. The storyline follows an assertive, by-the-books detective and an awkward, overzealous patrol officer who dreams of becoming a detective. The two are unexpectedly paired for a reality TV show about cops. Their contrasting styles couldn’t be more different—which makes every interaction feel like it should be must-see TV.

Directed by Tom Dey (Shanghai Noon), the film stars Robert De Niro (Cape Fear), Eddie Murphy (Coming to America), Rene Russo (Ransom), and Alex Borstein (Family Guy).

This is one of those buddy cop films that had all the ingredients but just didn’t land. It probably needed to lean more into parody—something in the vein of The Naked Gun—and not take itself seriously at all. I will say I enjoyed the opening scene with Mos Def; that shootout was fun and had energy. But after that, the comedy feels forced, and the chemistry between De Niro and Murphy just isn’t there. There’s no spark, no rhythm. Most of the jokes fall flat, and their interactions come off as cliché and forgettable. There’s just not much here.

In conclusion, Showtime is a frustrating watch because it occasionally hints at potential it never fulfills. I’d score this a 4/10

Insidious (2010), currently streaming on HBO Max, tells the story of a family seeking a fresh start who move into a new house—only to find themselves facing a terrifying supernatural force. Soon after settling in, their young son falls into an inexplicable coma after encountering a sinister spirit that ultimately takes over his body.

Directed by James Wan (The Conjuring), the film stars Patrick Wilson (The Conjuring), Rose Byrne (Bridesmaids), Lin Shaye (Ouija), and Ty Simpkins (Revolutionary Road).

While the premise may seem familiar, the execution is anything but. The performances are exceptional, capturing the emotional strain and trauma the family experiences—particularly the dynamic between husband and wife, as well as the intense stress of parenting in a crisis. The film makes powerful use of its musical score to build tension and deliver scares, and the special effects are top-tier. I especially appreciated the eerie and memorable depiction of the demon, the well-paced narrative, and the consistent delivery of horror elements throughout.

The finale is both intense and satisfying, offering a strong conclusion to an already gripping story. I’d consider Insidious a modern horror classic and give it a 10/10.

Freedomland (2006) is a film I recently watched on Tubi. The story follows a detective from a predominantly Black neighborhood who’s assigned to a high-profile case involving a white woman who claims her car was stolen—and her son kidnapped—while leaving work one night. Tensions quickly rise when the community points out that three recent missing Black children didn’t receive nearly the same level of attention. As the investigation unfolds, the detective begins to uncover holes in the woman’s story, adding further pressure to an already volatile situation.

Directed by Joe Roth (Revenge of the Nerds II), the film stars Samuel L. Jackson (Pulp Fiction), Julianne Moore (The Forgotten), William Forsythe (Raising Arizona), Anthony Mackie (Avengers), and Edie Falco (The Sopranos).

The plot keeps you guessing right up until the end, with several well-placed twists and turns. It does a decent, though not exceptional, job capturing the intensity of the situation. The acting is a standout—Jackson and Moore have strong chemistry, and Jackson’s portrayal of a man wrestling with his own inner demons adds depth to the film. His analogies and philosophical outlook are some of the more compelling parts of the movie.

That said, there are moments where the film feels like it’s missing something—some scenes lack emotional or narrative punch. It’s a mix of sad, frustrating, and solid moments, but the conclusion is impactful and worth the journey. This is an uneven film, but it has several strong elements that make it worth a watch.

I’d give it a 6.5/10 and recommend seeing it once.

I recently watched the Canadian film 🇨🇦 The Monster (2016) on Tubi. The story follows a single mother and her daughter, whose strained relationship has worsened following a recent divorce. While on their way to visit the father, they’re involved in a car crash. As they search for help, they soon realize they’re not alone in the woods…

Written and directed by Bryan Bertino (The Strangers), the film stars Zoe SwicKazan (Ruby Sparks), Ella Ballentine (The Dark and the Wicked), Aaron Douglas (Battlestar Galactica), and Christine Ebadi (Paper Year).

The setup feels a bit cliché—a car hits a wolf, and it turns out to be a werewolf-like creature. Unfortunately, the creature design and the way those scenes are shot (mostly in the dark) didn’t do much for me. The early attack scenes are serviceable but not memorable. That said, the acting is strong across the board, the mother-daughter dynamic feels genuine, and the final attack sequence is excellent—so much so that it made me wish the entire film had been shot with the same energy and clarity.

In conclusion, The Monster is a very average entry in the werewolf genre. I’d give it a 5/10 and wouldn’t recommend it.

I recently rewatched The 6th Day (2000) on Tubi. The story is set in a near future where cloning has become a widespread phenomenon. After the family dog dies, a man reluctantly agrees to clone it for his daughter. But when he returns home, he discovers that a clone of himself has taken his place—and now a secretive organization is out to silence him. Can he uncover the truth behind his replacement and the real motives of the cloning company?

Directed by Roger Spottiswoode (Terror Train) and starring Arnold Schwarzenegger (The Terminator), Michael Rapaport (True Romance), Michael Rooker (Henry: Portrait of a Serial Killer), Tony Goldwyn (Ghost), and Terry Crews (The Expendables), this film had a lot of potential on paper.

Unfortunately, it feels like it’s desperately trying to be another Total Recall—and falls flat in the attempt. Every time I revisit it, I find it more frustrating. The CGI is painfully outdated, and while the movie checks all the boxes for sci-fi, it never delivers a meaningful message or an engaging journey. I will it that the creepy doll Schwarzenegger carries around is unsettling in a good way. As for the cast, Arnold does what Arnold does, but Michael Rapaport’s hair is… confusing, and Tony Goldwyn doesn’t make for a very compelling villain. The final showdown is weak and completely lacking in tension or creativity.

In conclusion, The 6th Day is a sci-fi misfire—a disappointment in the same vein as The Adventures of Pluto Nash. I’d give it a 4/10 and recommend skipping it.

The Lair of the White Worm (1988) is currently available on Tubi, Amazon Prime, and Vudu. The story follows an archaeologist who discovers a bizarre skull in a remote town near a set of eerie, long-abandoned mines—rumored by locals to be haunted. Soon after the discovery, people begin to go missing, including the parents of a young man whose family is deeply connected to the town’s dark folklore. Can he and the archaeologist uncover the truth behind the disappearances?

Directed by Ken Russell (Tommy), the film stars Amanda Donohoe (Liar Liar), Hugh Grant (Notting Hill), Catherine Oxenberg (The Omega Code), and Peter Capaldi (World War Zone). Donohoe is a magnificent and captivating villain—both sinister and stylish. The storyline is compelling, driven by its eerie setting and unique mythological premise. The serpent effects, makeup, and Donohoe’s costume work are all striking, and the accents add an extra layer of charm.

There’s even a wildly entertaining girl fight on a plane that adds to the film’s offbeat appeal, and the ending lands perfectly. This is a cult horror gem I’d highly recommend. I’d score it a 9/10.

Big Fish (2003) is a film I recently watched on Amazon Prime. It tells the story of a man grappling with his father’s impending death from cancer. Throughout his life, he has felt distant from his father—a traveling salesman known more for his grand, embellished stories than for honest, straightforward communication. As his father nears the end, the son revisits these tales, trying to uncover the truth behind them so he can one day share a more complete picture of the man with his own children.

Directed by Tim Burton (Edward Scissorhands), the film stars Ewan McGregor (Trainspotting), Albert Finney (Murder on the Orient Express), Steve Buscemi (Reservoir Dogs), Danny DeVito (Batman Returns), Jessica Lange (Tootsie), Helena Bonham Carter (Sweeney Todd), and Matthew McGrory (House of 1,000 Corpses).

The narration is fantastic, and the storytelling is rich and imaginative. The film takes you through whimsical settings, surreal scenarios, larger-than-life characters, and moments of quiet magic that make you constantly wonder what will happen next. I especially appreciated the analogies and metaphors woven throughout the story—it’s a smart and thoughtfully written script.

The cast is outstanding, with everyone delivering heartfelt and memorable performances. The film explores meaningful relationships between father and son, husband and wife, and lifelong friends, while touching on how being genuine and kind can be interpreted differently depending on the audience.

Overall, Big Fish is filled with poignant messages and emotional depth. It’s a beautifully crafted, underrated gem in Burton’s filmography. I would strongly recommend watching it. I’d give it a 9/10.

I recently watched the Spanish film 🇪🇸 Assignment Terror (1970) on Tubi. The storyline follows a group of aliens attempting to take over Earth by resurrecting infamous monsters—including vampires, werewolves, mummies, and Frankenstein’s monster. Can humanity stop them before it’s too late?

Directed by Tulio Demicheli (To Love Ophelia), the film stars Michael Rennie (The Lost World), Karin Dor (You Only Live Twice), Craig Hill (All About Eve), and Paul Naschy (The Night of the Werewolf).

The story is a bit all over the place, and the opening song feels oddly mismatched with the film’s tone. That said, the acting fits the mold of classic ’70s horror, and Karin Dor is particularly striking on screen. While the costumes leave a lot to be desired, the monsters themselves are actually pretty cool and visually interesting. I do wish there had been more kills to raise the stakes, and the ending, while serviceable, doesn’t leave a lasting impact.

In conclusion, Assignment Terror is an average entry in the classic monster horror genre. It’s mostly worth watching for die-hard fans of vintage horror. I’d give it a 5/10.

I recently rewatched The Devil at 4 O’Clock (1961) on Tubi. The story follows a priest who cares for the native population on a remote Pacific island. To help with various tasks around the island, he arranges for prisoners to be brought in through a deal with local law enforcement. When a volcano 🌋 erupts, the priest and the prisoners head up the mountainside on a dangerous mission to rescue children trapped near the summit.

Directed by Mervyn LeRoy (Big City Blues), the film stars Spencer Tracy (Father of the Bride), Frank Sinatra (High Society), Kerwin Mathews (The 7th Voyage of Sinbad), Barbara Luna (Ship of Fools), and Bernie Hamilton (Bucktown).

This movie is smarter than it gets credit for. It does a great job establishing its characters and their interdependence for survival. There’s even a compelling love story tucked into the narrative that worked for me. The performances are solid across the board. The jungle adventure elements are engaging, the volcano sequences are surprisingly intense and well-executed, and the characters are easy to root for—making the story fun and meaningful to watch unfold.

In conclusion, The Devil at 4 O’Clock is a unique jungle adventure with a strong cast and a satisfying journey. I’d give it a solid 7/10.

Wicked Little Things (2006), currently available on Tubi, tells the story of a family that moves into a secluded house in the woods of Pennsylvania—unaware that the nearby forest is haunted by the restless spirits of children who died tragically in the local mines.

Directed by J.S. Cardone (The Forsaken, 8MM 2), the film stars Chloë Grace Moretz (Kick-Ass), Geoffrey Lewis (The Way of the Gun), Ben Cross (Star Trek), Lori Heuring (Mulholland Drive), and Scout Taylor-Compton (Halloween I & II).

I originally saw this at one of the After Dark HorrorFest screenings that used to tour theaters, and it stood out as one of my favorites from that year’s lineup. For a film with a limited budget, it’s impressively well done. It’s also fun to look back at a young Chloë Grace Moretz, who gives a solid early performance.

The filmmakers do a great job of creating and sustaining an eerie, atmospheric tone. The ghostly children are especially effective—well-designed, creepy, and menacing in their presence. The makeup work is solid, even if the kill scenes themselves are just okay. Still, the backstory unfolds at a satisfying pace, and you genuinely want to uncover the mystery behind the hauntings.

Overall, Wicked Little Things is an underrated gem that maintains your interest from start to finish. It’s a worthwhile addition to the ghost/folk-horror subgenre. I’d give it a 7/10 and recommend checking it out.

Ghosts of Mississippi (1996) is a film I recently watched on HBO Max. It tells the powerful true story of a white supremacist in Mississippi who, in broad daylight, grabs a rifle, drives down the street, and shoots a Black man in front of his wife and children. Despite multiple eyewitnesses, he is found not guilty and released. Nearly 30 years later, an ambitious prosecutor decides to reopen the case and seek justice. At that time, no white man in Mississippi had ever been convicted of murdering a Black person—something the prosecutor is determined to change.

Directed by Rob Reiner (A Few Good Men), the film features a strong cast, including Alec Baldwin (The Departed), James Woods (Vampires), Whoopi Goldberg (The Color Purple), Virginia Madsen (Candyman), Lucas Black (Friday Night Lights), and William H. Macy (Shameless).

The storyline is gripping and captures the intensity and injustice of the era with conviction. The acting is excellent across the board, with Baldwin delivering a particularly committed and heartfelt performance. The Southern setting is authentically portrayed, from the visual backdrops to the dialogue and social dynamics of the time.

Overall, Ghosts of Mississippi is an above-average courtroom drama that offers a strong depiction of a significant civil rights case. While it may not be a masterpiece, it’s a compelling and meaningful watch. I’d give it a 7/10 and recommend seeing it at least once.

I recently finished watching the 9-episode series Monsters: The Lyle and Erik Menendez Story (2024) on Netflix. The storyline follows two wealthy brothers who murder their parents despite their privileged upbringing. Was it a premeditated act driven by greed—or a story of long-term abuse that tragically spiraled into violence?

This season was created by Ryan Murphy and Ian Brennan, known for their work on Glee, and stars Javier Bardem (Dune), Chloë Sevigny (American Psycho), Cooper Koch (They/Them), and Nicholas Alexander Chavez (I Know What You Did Last Summer, 2025).

Much like season one, which focused on Jeffrey Dahmer, season two does an exceptional job of immersing you in the era. From the news footage and wardrobe to the television shows and soundtrack, you feel transported back to the ’80s. The makeup, costume design, and overall atmosphere scream authenticity.

The acting and writing are outstanding, creating a constant mental tug-of-war as you try to discern truth from manipulation. The story doesn’t feel like it belongs strictly on one side of the spectrum—it lives in the gray area. And yet, there are moments where it almost convinces you that it could be entirely one-sided. Ultimately, we’re left to decide which version of the truth we align with.

I especially appreciated how other national trials and key figures briefly intersect with the brothers’ story, adding even more depth. Lyle and Erik are fascinating, complicated characters. This may well be a case where internal trauma led to external violence. There’s a lot to unpack here—but no matter how you interpret it, the story is brilliantly told.

In conclusion, Monsters: The Lyle and Erik Menendez Story is a top-tier retelling of a haunting case. I’d rate it an 8.5-9/10 and strongly recommend it.

Kung Fu Panda (2008) is a movie my daughter and I recently watched together on HBO Max. The story follows a clumsy but lovable panda who works in his father’s noodle shop and dreams of doing something greater with his life. One day, by a twist of fate, he’s unexpectedly chosen to be the Dragon Warrior—despite having no martial arts training—to stop a powerful villain bent on world domination. Can this unlikely hero rise to the challenge and fulfill his destiny?

The film is co-directed by Mark Osborne (The Little Prince) and John Stevenson (Sherlock Gnomes), and features an all-star voice cast including Jack Black (Nacho Libre), Angelina Jolie (Mr. & Mrs. Smith), Dustin Hoffman (Rain Man), Jackie Chan (Rush Hour), Ian McShane (Pirates of the Caribbean), and Lucy Liu (Charlie’s Angels).

While the movie is packed with humor (the turtle character always cracks me up), it also carries meaningful themes about self-confidence, embracing who you are, and recognizing your worth. I especially appreciated the portrayal of the father/son and teacher/student relationships, which added emotional depth. The animation is vibrant, and the variety of characters and animal species adds to its charm and inclusiveness.

Overall, this is a fantastic entry in the animated genre—one that has rightfully become a modern classic. I’d give it a solid 9/10.

I recently watched The Surrender (2025) on Shudder. The story centers on a mother and daughter caring for their dying husband and father. After his ing, the mother surprises her daughter with a resurrection ritual—one the daughter reluctantly agrees to participate in, only to quickly regret.

Written and directed by Julia Max in her directorial debut, the film stars Colby Minifie (The Boys), Katerina Burton (Big Trouble in Little China), Vaughn Armstrong (The Net), and Riley Rose Critchlow (The Jessica Cabin).

This one caught me off guard. It’s the kind of film that feels draped in a dark, heavy atmosphere from start to finish. The setup—both in of relationships and mood—is pitch-perfect. Colby Minifie and Katerina Burton give standout performances, playing off each other with great tension and emotional weight. The horror elements are well executed, with impressive practical effects and makeup. There’s also a memorable old-man-running scene that’s fun. The film really takes off once the ritual begins, and the final stretch is intense and effective. I didn’t love the very last 30 seconds, but the journey leading up to it made the film worth watching.

In conclusion, The Surrender is a flawed but compelling addition to the horror genre. I’d give it a 6.5/10.

I recently rewatched Black Caesar (1973) on Prime. The story follows a kid from the streets who rises to power, running his own territory in New York. As he gains influence, he finds himself in tense negotiations with the Italian mob while trying to fend off crooked cops, rival gangs, and personal drama with both family and women. Staying alive—and on top—won’t come easy.

Written and directed by Larry Cohen (The Stuff), the film stars Fred Williamson (From Dusk Till Dawn), Art Lund (Bucktown), D’Urville Martin (Sheba, Baby), Julius Harris (Live and Let Die), and Gloria Hendry (Live and Let Die).

What always surprises me is how intricate the storyline is for this genre and era. The film does a strong job of developing its characters and exploring family dynamics. Reverend Rufus is wild, and D’Urville Martin—an icon in this genre—is a standout. It’s a real shame he ed at just 45. The acting overall is solid, though the opening child performance falls flat. And yes, all the women in this film are absolutely stunning. The narrative goes deeper than expected, with some clever full-circle moments, a killer soundtrack, and an ending that still hits like a brick.

In conclusion, Black Caesar is an iconic entry in the blaxploitation genre. I’d rate it a solid 7/10 and strongly recommend it.

I recently rewatched Justice League: Throne of Atlantis (2015) on MAX. The story picks up in Atlantis shortly after the death of its king. With the true heir missing somewhere on Earth, his ruthless brother blames the surface world and launches a war—forcing the Justice League to intervene. Can the rightful king rise and restore balance to the underwater kingdom?

Directed by Ethan Spaulding (Son of Batman), the film features voice work by Sean Astin (The Lord of the Rings), Rosario Dawson (Rent), Nathan Fillion (Castle), and Jerry O’Connell (Stand by Me).

The animation is excellent, especially in its depiction of character powers and action sequences. The opening ship attack sets the tone perfectly, and the underwater kingdom of Atlantis is brought to life with vivid detail. The classic origin story of Aquaman is handled well, and Cyborg’s subplot adds emotional and narrative depth. I also appreciated the inclusion of actual kill scenes—Black Manta is a formidable villain, and the film doesn’t hold back. The final battle delivers on every level.

In conclusion, Justice League: Throne of Atlantis is another strong entry in the DC animated universe. I’d rate it a solid 7.5 to 8 out of 10.

Vampire Circus (1972) is currently available on Tubi and Amazon Prime. The story follows a mysterious traveling circus that arrives in a small town. Soon after their arrival, children begin to disappear, prompting the townspeople to investigate the circus—whether they’re responsible or not.

Directed by Robert Young (Hostage), the film stars Thorley Walters (The Adventure of Sherlock Holmes), Adrienne Corri (A Clockwork Orange), Anthony Higgins (Indiana Jones), and Richard Owens (Sense and Sensibility).

The circus setting, props, and backdrops are fantastic, and the film makes good use of them to create eerie and effective horror moments. While the kills—especially those involving animals—are pretty underwhelming, the overall atmosphere makes up for some of that. The cast is solid, with particularly strong work from the actor playing the clown, who adds a memorable creepy edge.

There are also some well-executed nudity and sex scenes that are in line with the tone of ’70s Euro-horror.

Overall, Vampire Circus is an uneven film, but it stands out as an above-average entry in the genre. It’s worth watching at least once for horror enthusiasts. I’d give it a solid 6.5/10.

Fear Street: Prom Queen (2025) is a film I recently watched on Netflix. The story returns to Shadyside High School, where its dark and tragic past once again takes center stage. As prom approaches, tensions rise in the battle for prom queen. On one side, the popular “Wolfpack” girls; on the other, a quiet student with a haunting personal tragedy that still echoes through the school’s halls. When prom night arrives, chaos erupts in an explosive night of bloodshed and horror.

Directed by Matt Palmer (Calibre), the film stars India Fowler (The Strangers: Chapter 1), Suzanna Son (Red Rocket), Fina Strazza (A Little Game), and Lili Taylor (The Conjuring).

While far from perfect, this is a fun and visually slick horror flick. It has a polished, Stranger Things-like vibe across the board—from the soundtrack and cinematography to the characters and tone. The world-building is strong, and the horror effects are top-tier. The kill scenes are standout moments: gory, great blood splatter, and consistently creative. One decapitation scene is particularly well-executed, and the final kill genuinely caught me off guard.

The acting and storyline are just okay—fairly predictable and straightforward—but the film more than makes up for that with its energy and memorable kills.

In conclusion, Fear Street: Prom Queen is a worthwhile addition to the franchise, packed with slick visuals, strong atmosphere, and some of the best kills in the series. I’d give it a solid 7/10 and strongly recommend checking it out.

I recently rewatched Den of Thieves (2018) on Netflix. The storyline follows a rogue detective who doesn’t play by the rules—either on the job or in his personal life—which often makes things more complicated than they need to be. Meanwhile, he’s determined to stop a major heist in the works, while the crew behind the robbery works just as hard to stay one step ahead.

This film is directed by Christian Gudegast (Den of Thieves 2), in his directorial debut, and stars Gerard Butler (300), O’Shea Jackson Jr. (Straight Outta Compton), Pablo Schreiber (Orange Is the New Black), and 50 Cent (Power).

This is an uneven crime drama that clearly aims to be the next Heat—but falls short. The opening bank robbery stats in Los Angeles are wild. That said, Jackson and Butler give strong performances and there are some solid cat-and-mouse sequences, where you’re never quite sure who’s chasing whom. Unfortunately, most of 50 Cent’s scenes feel inauthentic, cheesy, and cliché. The action scenes are solid, and the film builds tension steadily, but the actual robbery and shootout climax feel like a less effective version of Heat—complete with a twist ending you’ll likely see coming a mile away.

In conclusion, Den of Thieves is a serviceable but overrated addition to the action-crime genre. I’d score it a 5.5/10 and only recommend it with the right expectations.

• Bring Her Back
• Sinners
• The Ugly Stepsister
• Companion
• The Woman in the Yard
• Ash
• Until Dawn
• Fear Street: Prom Queen
• Clown in a Cornfield
• Marshmallow

...plus 11 more. View the full list on Letterboxd.

• The Tale of Zatoichi Continues
• The Tale of Zatoichi
• Zatoichi the Fugitive
• New Tale of Zatoichi

1. Longlegs
2. The Substance
3. Smile 2
4. Terrifier 3
5. MaXXXine
6. V/H/S/Beyond
7. Speak No Evil
8. The First Omen
9. I Saw the TV Glow
10. The Devil's Bath

...plus 53 more. View the full list on Letterboxd.

1. Stopmotion
2. Evil Dead Rise
3. Late Night with the Devil
4. Swarm
5. Thanksgiving
6. When Evil Lurks
7. Malum
8. Strange Darling
9. Infinity Pool
10. Divinity

...plus 76 more. View the full list on Letterboxd.

• The Devil's Rejects
• 31
• House of 1000 Corpses
• The Haunted World of El Superbeasto
• Halloween
• Halloween II
• 3 from Hell
• The Lords of Salem
• The Munsters

1. Puppet Master
2. Puppet Master II
3. Puppet Master III
4. Puppet Master: Doktor Death
5. Puppet Master 4
6. Puppet Master X: Axis Rising
7. Puppet Master vs Demonic Toys
8. Puppet Master 5
9. Retro Puppet Master
10. Curse of the Puppet Master

...plus 4 more. View the full list on Letterboxd.