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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 The CGI is painfully outdated, and while the movie checks all the boxes for sci-fi, it never delivers a meaningful message or an engaging journey.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.

Prom Night II (1987) is a film I recently watched on Tubi. The story centers on Mary Lou Maloney, who was tragically killed by her boyfriend on prom night in the 1950s. Decades later, her former boyfriend is now the high school principal. When an object in the school basement is disturbed, Mary Lou’s vengeful spirit returns—possessing a teenage girl who, coincidentally, is dating the principal’s son. Now, the question is: can the principal stop Mary Lou before she gets her revenge?

The film is directed by Bruce Pittman (The Last Movie) and stars Lisa Schrage (The Twilight Zone), Michael Ironside (Total Recall), Wendy Lyon (The Shape of Water), and Louis Ferreira (Saw IV).

The storyline is fairly straightforward, with the haunted high school setting working well to create some entertaining and eerie moments. There are a few humorous scenes, some effective visuals, and a handful of steamy shower scenes sprinkled throughout. The acting is uneven—some performances are decent while others fall flat—but the film has a certain charm. At times, it even channels a Nightmare on Elm Street vibe, with surreal horror elements and inventive kills.

Overall, Prom Night II is an average but entertaining supernatural slasher. I’d give it a 5.5/10 and recommend seeing it once.

I recently watched Blue Steel (1934) on Tubi. The story follows a U.S. Marshal who witnesses a robbery and tries to work with the local sheriff to bring the criminals to justice. The twist? The sheriff suspects the Marshal might be the culprit. Meanwhile, a hidden plot involving a wealthy local slowly comes to light.

This film was written and directed by Robert N. Bradbury (West of the Divide) and stars John Wayne (True Grit), Eleanor Hunt (Yellow Cargo), and George “Gabby” Hayes (Randy Rides Alone).

This is a very average Western. I watched a colorized version, though it was clearly originally shot in black and white. It has all the hallmarks of a classic Western from the era—cheesy dialogue, exaggerated mannerisms, and action sequences that are often sped up for dramatic effect. The pacing is clumsy at times, and the plot is fairly unimaginative. That said, John Wayne brings a solid presence as the hero, and the acting overall is decent for what it is. The settings, props, and costumes do a good job of delivering an authentic period feel.

In conclusion, Blue Steel is a able Western that’s best suited for die-hard fans of the genre. I’d score it a 5/10.

I recently watched Until Dawn (2025) in theaters. The story follows a group of friends searching for one of their missing sisters on a rainy night. Their search leads them to a house—possibly the right one to uncover what happened, but definitely the wrong one to survive, as the house has no intention of letting them leave.

Directed by David F. Sandberg (Shazam!), the film stars Ella Rubin (Anora), Michael Cimino (Never Have I Ever), Odessa A’zion (Hellraiser), Ji-young Yoo (Smoking Tigers), and Maia Mitchell (After the Dark).

I definitely enjoyed this more than I expected. As a PlayStation production, it’s shot with a polished, clean style. It reminded me a bit of V/H/S with its layered storytelling—different plots and scenarios folded into an overarching narrative. From an entertainment perspective, it also gave off House of Wax vibes: original kills, satisfying gore, and a straightforward storyline that somehow works despite occasional rough patches in the acting.

I especially loved the kill scenes. There’s a great mix of practical effects and CGI. The old lady character was creepy and well executed. There’s body detonation and deterioration scenes that are brilliantly done, a nasty throat slash, and an excellent possession scene that stands out. Each villain brought something fresh, and the video sequence toward the end was a highlight. There’s a lot happening in this film, and most of it works really well—even if the ending dips into cheesy territory.

In conclusion, Until Dawn feels a bit underrated and is a solid addition to the horror genre. I’d recommend giving it a watch and score it a 6.5–7/10.

I recently rewatched Quicksilver (1986) on Tubi. The story follows a successful stockbroker who loses everything and decides to start over as a bicycle messenger. Just as he begins to adjust to his new life, the chaos of the stock market—and his old world—start creeping back in.

Written and directed by Thomas Michael Donnelly (The Garden of Redemption) in his directorial debut, the film stars Kevin Bacon (Friday the 13th), Jami Gertz (Twister), Paul Rodriguez (DC Cab), and Laurence Fishburne (The Matrix).

This film is packed with classic ’80s elements: over-the-top circumstances, lighthearted yet relatable characters, a training montage, and a climactic all-or-nothing finale. The cast is stacked with ’80s icons, and the family dynamics are nicely portrayed. That New York apartment? Absolutely bomb. The bike ride/dance routine inside the apartment veers into cheesy territory, but it’s part of the film’s charm. The final bar scene is a strong, satisfying conclusion, and the soundtrack is a standout—it oozes that irresistible ’80s vibe.

In conclusion, Quicksilver is a lighthearted ride full of charm, likable characters, and nostalgic ’80s energy. I’d give it a 6.5/10.

I watched The Ruse (2024) in theaters last night. The story follows a woman desperate for work who lands a recently vacated caretaker position. She soon discovers that the woman she’s caring for is far more than she bargained for—and may be connected to the mysterious disappearance of the previous caretaker.

The film is written and directed by Stevan Mena (Malevolence) and stars Veronica Cartwright (Alien), Michael Steger (90210), Madelyn Dundon (Lucky Louie), and Drew Moerlein (Bloodline Killer).

This is a movie that feels uneven in just about every way. Veronica Cartwright delivers a fantastic performance, keeping the film intense, unpredictable, and charged with uncertainty. Her dialogue, mannerisms, and delivery are consistently strong. Unfortunately, Madelyn Dundon’s performance is noticeably stiff, often coming across as inauthentic. Her facial expressions and body language frequently don’t align with what’s happening in the scene, though it’s hard to say how much of that stems from her acting versus the writing.

I did enjoy the cinematography—there are some clever uses of black-and-white visuals and well-chosen camera angles that effectively build tension. However, the kill scenes rely on cutaways, which I always find frustrating. That said, the ending is pretty fun and left me wishing the rest of the film had taken more kills along the way.

In conclusion, The Ruse has enough worthwhile elements to hold your attention, but not enough to stand out in the genre. I’d give it a 5/10 and recommend seeing it once.

I recently watched the UK film 🇬🇧 Piglet (2025) on Tubi. The story follows a man who escapes captivity and takes refuge in the woods, leaving behind a pattern of disturbing acts. When a 21-year-old woman decides that a birthday camping trip with her friend is just what she needs, she soon realizes she’s chosen the wrong woods to celebrate in…

Directed by Andrea M. Catinella (Mouseboat Massacre), the film stars Alexander Butler (All Roads Lead Home), Alina Desmond (Winnie-the-Pooh: Blood and Honey 2), and Shayli Reagan (Mouseboat Massacre).

At first, Piglet seems like it might turn out okay. The setup is solid, and the villain is decently conceived. The kill scenes feature some effective gore and blood splatter, and the film includes some visually appealing sequences, along with nudity and random girl-on-girl action typical of this niche horror trend.

Unfortunately, things go downhill quickly. As the story unfolds, the plot deteriorates, and the addition of Piglet’s human sidekick only makes things worse. By the time the final showdown arrives, it feels flat, awkward, and ultimately disappointing.

In conclusion, Piglet is the weakest entry yet in this growing subgenre of twisted fairy tale horror. I’d score it a 3/10.

I Walk the Line (1970) is currently available on Tubi and tells the story of an unhappily married sheriff who falls for a young woman—unaware that she’s using him to help her family continue their bootlegging operation. As the sheriff becomes more emotionally invested in the relationship, his plans and the family’s scheme inevitably clash, and someone’s world is bound to fall apart.

Directed by John Frankenheimer (The Manchurian Candidate), the film stars Gregory Peck (To Kill a Mockingbird), Tuesday Weld (Falling Down), Estelle Parsons (Dick Tracy), and Ralph Meeker (The Dirty Dozen).

Peck delivers a fantastic performance as the sheriff, convincingly portraying the character’s stern demeanor, vulnerability, and inner turmoil. It’s tough watching his character get manipulated, which makes his performance even more impactful. The setting is also a strong point, with a believable and well-executed depiction of the family’s poverty and rural lifestyle. The family dynamic, while irritating at times, is well-acted and believable. The Johnny Cash soundtrack is another highlight, adding mood and texture to the film.

Overall, this may not be one of Peck’s best films, but it’s engaging and well worth a watch. I’d give it a solid 7/10 and recommend seeing it.

Twins of Evil (1971) is a film I recently rewatched on Shudder. The story follows twin sisters who are sent to live with their deeply religious uncle, a church official dedicated to hunting down witches and demons. But when the nieces arrive, they quickly decide that a life of righteousness isn’t for them—and begin to pursue a darker path. Will their uncle destroy them in the name of holy duty, or find a way to save them?

Directed by John Hough (The Legend of Hell House) and starring Peter Cushing (Star Wars), Alex Scott (Fahrenheit 451), and Mary and Madeleine Collinson (1970 Playboy Playmates).

The film stands out for its gothic atmosphere. The settings, sets, props, and costumes are all top-notch—they do a fantastic job of immersing you in the eerie world.  Peter Cushing is appropriately intense and ruthless here, delivering a strong performance as always. Alex Scott is also solid as his ideological opposite. The satanic ritual scenes are particularly well done, and I absolutely loved the ending—the blood, fog, and kill scenes were excellent.

While this isn’t Cushing’s best film, it’s still a must-see for fans of his work. I’d give it a solid 7/10 and definitely recommend watching it at least once.

I recently rewatched Burlesque (2010) on Netflix. The story follows a small-town girl who heads to Los Angeles to chase her dreams and ends up working as a waitress at a struggling burlesque club. Inspired by the shows, she sets her sights on becoming a performer—but getting stage time proves difficult. When she finally gets her chance, it may be just the break the club needs to survive.

The film was written and directed by Steve Antin (Glass House: The Good Mother) and stars Cher (Moonstruck), Christina Aguilera (Moulin Rouge!), Alan Cumming (X2: X-Men United), Eric Dane (Bad Boys: Ride or Die), Glynn Turman (Cooley High), and Stanley Tucci (Conclave).

For a musical packed with big-name stars, the storyline and emotional beats feel surprisingly grounded. The performers are stunning, and the musical numbers—along with the choreography, costumes, and makeup—are top-tier. The film carries a vibrant energy throughout, and Cher’s scenes, in particular, convey a strong mix of hope and desperation. Aguilera shines in the lead role, and the ing characters and subplots add enjoyable layers to the film.

In conclusion, Burlesque features great songs, engaging characters, and heartfelt moments. I’d score it a 7.5/10 and recommend watching it at least once.

I recently watched The Final Terror (1983) on Shudder. The story follows a group of campers bussed deep into the forest for a weekend getaway—unaware that a killer is lurking in the woods, ready to add to their body count.

Directed by Andrew Davis (The Fugitive), the film stars Adrian Zmed (Bachelor Party), Daryl Hannah (Kill Bill), Lewis Smith (Southern Comfort), Joe Pantoliano (Memento), and Mark Metcalf (Animal House).

This is a quintessential ’80s summer camp slasher, complete with familiar character types, teen drama, and a well-worn formula. It captures the era’s atmosphere perfectly, and the acting is surprisingly solid—especially given the genre. The cast is impressive, and it’s fun spotting a young Daryl Hannah in the mix.

The horror elements are hit-or-miss, though a few standout moments—particularly the “bus” and “spring” scenes—deliver genuine thrills. The practical effects are minimal, mostly relying on the old-school approach of a weapon swing followed by a bloody corpse. Classic cutaway slasher technique. I also enjoyed the campfire horror stories and the film’s overall vibe.

In conclusion, The Final Terror is a fairly average entry in the ’80s summer camp slasher canon, but it’s a must-see for fans of the genre. I’d score it a 5–5.5/10 and recommend it to horror enthusiasts looking for a nostalgic fix.

I recently watched Crime Zone (1988) on Tubi. The story takes place in an apocalyptic future where crime has been eradicated and society is ruled by a dictatorship. When someone attempts to steal top-secret information, they cross paths with a rebellious Bonnie & Clyde-style couple who are more than ready to stir up chaos—and become the perfect distraction. Together, they launch a coordinated crime spree.

Directed by Luis Llosa (Anaconda), the film stars David Carradine (Death Race 2000), Sherilyn Fenn (Wild at Heart), Don Manor, and Peter Nelson (Die Hard 2).

This is one of those movies with cheap sets, props, and costumes—but somehow it still manages to pull you into its universe. It has a “poor man’s Cherry 2000” vibe in many ways. While the plot includes a few twists and turns, they don’t land as effectively as intended. The shootouts are average, and the ending is as cliché as they come. The women are striking, but the acting across the board is mediocre at best.

In conclusion, Crime Zone is a below-average post-apocalyptic film that’s ultimately not worth your time. I’d score it a 4/10 and recommend skipping it.

I recently watched the Italian film 🇮🇹 Dampyr (2022) on Netflix. The story follows a young man who makes a living pretending to be a vampire hunter—only to discover that he’s actually part vampire himself. When a remote civilization is attacked by real vampires and calls on him for help, he must decide whether to embrace his true nature and rise to the challenge… or die trying.

Directed by Riccardo Chemello in his feature debut, the film stars Wade Briggs (Spirit of the Game), Stuart Martin (Army of Thieves), Frida Gustavsson (Vikings: Valhalla), and Sebastian Croft (Heartstopper).

This felt like an attempt at an Italian Underworld, but it falls short. There’s an overreliance on CGI, and the vampire designs weren’t particularly compelling. That said, the cinematography is sleek, the backdrops and props are visually strong, and the makeup and prosthetics work is solid. The acting ranges from able to unconvincing, and the storyline always seems like it’s missing a key element—it never quite clicks.

In conclusion, Dampyr has a lot of potential but suffers from weak execution and a lack of cohesion. I’d score it a 4.5/10 and recommend skipping it.

101 Dalmatians (1996) is a movie I recently watched on Disney+ with my daughter. The story follows an aspiring fashion designer whose boss, Cruella De Vil, is obsessed with black and white and constantly hunting for the next bold fashion statement. When Cruella sees a black-and-white jacket created by the designer—along with a photo of her Dalmatian—she becomes fixated on turning Dalmatian fur into a couture outfit. The designer must do everything she can to protect the dogs from Cruella’s twisted plans.

Directed by Stephen Herek (Bill & Ted’s Excellent Adventure), the film stars Glenn Close (Air Force One), Jeff Daniels (Dumb & Dumber), Joely Richardson (The Patriot), and John Shrapnel (Gladiator).

While the storyline isn’t quite as strong or layered as the more recent Cruella film, it shares a similar tone and central premise. The fashion throughout is fantastic, and Glenn Close delivers a standout performance as Cruella—flamboyant, menacing, and completely entertaining. The cinematography and special effects hold up well, especially the snowy scenes, which add a great visual flair.

The final 15 minutes are probably the highlight—fun, energetic, and full of payoff. There are also some great comedic moments sprinkled throughout, like the electric fence and pig pen sequences. Even the video game-style ending worked for me.

Overall, while this may not be a top-tier Disney live-action classic, it’s still a very enjoyable film that’s absolutely worth a watch. I’d score it a 7.5/10 and strongly recommend it.

Rubber (2010) is currently available on Prime, Tubi, and Vudu. The bizarre storyline centers on a group of people stranded in the desert as a resurrected tire springs to life and begins using telepathic powers to make animals and humans explode. How will they survive this murderous, sentient tire?

Directed by Quentin Dupieux (Deerskin), the film stars Stephen Spinella (Milk), Roxane Mesquida (Gossip Girl), Jack Plotnick (The Insider), and Ethan Cohn (Lady in the Water).

The plot exists purely because, as the film itself jokes, a movie needs one—but that’s part of the fun. This is a film driven by gore, clever special effects, and a surreal sense of humor.

The desert setting is striking, and the cinematography is surprisingly sharp. The kill scenes—whether targeting animals or humans—are so absurd they’re hilarious, and the deadpan dialogue only adds to the comedy.

Overall, Rubber is an unexpectedly entertaining and inventive ride. I’d give it an 8/10 and strongly recommend it—especially for horror fans looking for something totally out there.

Boogie Nights (1997) is a film I recently watched on HBO Max. The story centers on a young man who has failed to meet his parents’ expectations but finds success—and notoriety—in a way they’d never approve of: the porn industry. Thanks to his unusually large endowment, he rises quickly to fame. Life as a porn star in the 1970s comes with wild highs and dangerous lows, and the film captures both with nuance and flair.

Directed by Paul Thomas Anderson (There Will Be Blood), the film stars Mark Wahlberg (The Departed), Luis Guzmán (Traffic), Burt Reynolds (Smokey and the Bandit), Julianne Moore (Magnolia), Don Cheadle (Crash), and Heather Graham (Austin Powers).

The story is incredibly original and expertly told, with an outstanding depiction of 1970s culture—visually and musically. The soundtrack is phenomenal.  The acting across the board is top-notch, and the writing and dialogue are sharp and memorable. Wahlberg delivers a fantastic performance in the lead role. The film blends humor and drama effortlessly, and the ending is pitch-perfect, both emotionally and narratively.

Overall, Boogie Nights is an underrated masterpiece—a bold, brilliantly crafted film that I’d strongly recommend. A definite 10/10.

I recently watched the French/Italian film 🇫🇷🇮🇹 Blood and Roses (1960) on a random streaming service. The story follows a love triangle in which a woman, bitter over not receiving the affection of her love interest, turns to her family’s dark past—one that involves vampires. She attempts to revive a vampiric ancestor to exact revenge on the woman who has captured his heart.

Directed by Roger Vadim (Barbarella), the film stars Mel Ferrer (War and Peace), Elsa Martinelli (The Trial), Annette Stroyberg (Dangerous Liaisons), and Roger Vadim himself.

This is another beautifully shot Italian production from the era, with stunning visuals of the countryside, historical ruins, wildlife, and stylish cars. It’s a bit of a slow burn, but features solid acting and some fantastic special effects—especially in the final act. From the window/pool sequence onward, the film kicks into high gear, and the last 15–20 minutes are particularly strong. While the biting scenes are fairly average, the chaotic finale, the vampire’s portrayal, and the payoff built on earlier character development are excellent.

In conclusion, Blood and Roses is a unique vampire film—maybe not for everyone, but definitely worth watching for its atmosphere and artistic choices. I’d give it a 6/10.

I recently watched Stigma (1972) on Tubi. The storyline centers on a small, isolated town that welcomes a new Black doctor. He offers medical services for little to no cost as he tries to build up his practice. When he uncovers a deadly outbreak of venereal disease spreading through the community, he does his best to educate the townspeople. But the question looms: will they listen to a Black doctor?

The film is written and directed by David E. Durston (I Drink Your Blood) and stars Philip Michael Thomas (Miami Vice), Josie Johnson (Fingers), Peter Clune (Blast of Silence), and Diane Baker (Marnie).

Imagine an entire movie built around the premise of venereal disease—definitely not what I was expecting. The film opens strong with a memorable scene involving an old man, and there’s a wild sex education video that stands out. The classroom segments discussing STDs are surprisingly bold, and the main character’s efforts are easy to root for. There’s also a solid test scene with the old man and some nice moments of camaraderie throughout.

In conclusion, Stigma is a unique and unpredictable film. It wasn’t what I expected, but it held my attention. I’d give it a 6/10.

I recently watched Deadtime Stories: Volume 2 (2011) on Tubi. This horror anthology features three short stories, each introduced by the legendary George A. Romero.

The film is directed by Michael Fischa (Rice Girl), Jeff Monahan (Lone Star), and Matt Walsh, and stars George A. Romero (Dawn of the Dead), Leilani Brosnan (The Gun), Liz DuChez (Beautiful Garden), and John Romualdi (The Equalizer).

As with most horror anthologies, the quality of the stories varies. The first segment isn’t particularly original, but it does feature a fun and creative use of an axe during a hiking scene. The second story was the standout—it exceeded my expectations with solid writing, convincing performances, and some effective gore. The student-focused plot felt grounded and believable, with well-executed horror elements. Unfortunately, the final story felt recycled and weak, offering little beyond a few flashes of horror-themed nudity to hold interest.

In conclusion, Deadtime Stories: Volume 2 is a mediocre horror anthology that may only appeal to diehard fans of the genre. I’d give it a 4/10.

My wife and I recently watched Dope Thief (2025) on Apple TV. The storyline follows two thieves who pose as DEA agents during a break-in—only to discover they’ve targeted a drug stash house. This mistake sets off a chain reaction that pulls them deep into the crossfire between the drug trade and law enforcement.

The series was created by Peter Craig (The Town) and stars Brian Tyree Henry (Atlanta), Wagner Moura (Elite Squad), Ving Rhames (Pulp Fiction), Marin Ireland (Glass Chin), and Nesta Cooper (See).

Dope Thief is a well-written and tightly executed series. I especially loved the opening and title song—it immediately sets the tone. The writing is sharp, built around a gritty and original survival premise. The lead performances are strong, maintaining a steady sense of desperation and tension. Action sequences, shootouts, and explosions are all handled with precision, and the relationships between characters feel authentic, making them easy to root for. The main character, in particular, has that “cursed with bad luck” vibe that keeps things interesting.

My only complaint is with the final two episodes—I wasn’t a fan of how the series wrapped up. Also, Nesta Cooper’s performance felt a bit shaky at times, and the love story subplot didn’t feel essential.

In conclusion, Dope Thief is a solid, engaging crime drama with enough tension and momentum to keep you hooked. I’d give it a 7.5/10.

I recently watched Evil Laugh (1986) on Tubi. The story follows a group of medical students who agree to help fix up an old house. Naturally, they use their first night as an excuse to party and “get to know each other.” Unfortunately for them, a serial killer has decided to crash the party.

Directed by Dominick Brascia (Hard Rock Nightmare), the film stars Myles O’Brien (Kiss of Death), Ashlyn Gere (The One), Karyn O’Bryan (Private Resort), and Johnny Venokur (Savage Streets).

This movie clearly influenced Wes Craven’s Scream—one character even lays out “the rules” for surviving a horror movie as the plot unfolds. It’s soaked in ’80s aesthetic, and thankfully, it doesn’t take itself too seriously.

That said, the horror elements are nothing special. Most kills are offscreen, followed by generic corpse reveals with a little blood. The killer’s laugh, which should have been menacing, comes off more goofy than chilling. The film has minimal practical effects, and the big twist at the end feels corny and not as clever as it tries to be. The real highlight is the typical ’80s horror nudity—brief topless shots right before the characters meet their demise.

In conclusion, Evil Laugh is an ’80s slasher that plays like a parody of itself. It has moments of charm but ultimately misses the mark in execution. I’d score it 5/10.

I recently rewatched Dallas Buyers Club (2013) on Tubi. The film follows a rough-around-the-edges Texas cowboy who is diagnosed with AIDS in the 1980s, during a time of limited treatment options and intense political controversy surrounding the disease. Determined to survive, he tracks down clinical trial medications and secures them through underground channels, ultimately creating a buyers club to help others with the virus—all while facing relentless opposition from the government and pharmaceutical industry.

Directed by Jean-Marc Vallée (Wild), the film stars Matthew McConaughey (Mud), Jennifer Garner (Alias), Jared Leto (Requiem for a Dream), and Steve Zahn (Rescue Dawn).

This movie is brilliant on multiple levels. The writing is sharp and layered, with a compelling central story ed by nuanced subplots that touch on homophobia, parent-child relationships, friendship, and the rugged independence of the cowboy mindset. The performances are outstanding—McConaughey and Leto, in particular, are phenomenal. Their chemistry is powerful, and they command the screen in every scene.

The film captures the era and the AIDS crisis with honesty and depth, while its critique of the pharmaceutical industry’s response is both poignant and infuriating. The characters are deeply human, easy to root for, and emotionally resonant. The ending, while inevitable, lands with real impact.

In conclusion, Dallas Buyers Club is a masterful character-driven drama and a powerful era piece. I’d give it a 10/10 and strongly recommend it.

Honeymoon (2014) is currently streaming on Tubi, Amazon Prime, and Vudu. The story centers on a newlywed couple who travel to a secluded cabin in the small town where the bride grew up. Shortly after arriving, they find the locals to be eccentric and a bit off, but since they plan to spend most of their time alone, they brush it off. However, it soon becomes clear that the townspeople may know more about their visit than they’re letting on.

Directed by Leigh Janiak (Fear Street trilogy) and starring Rose Leslie (Game of Thrones), Harry Treadaway (Penny Dreadful), and Ben Huber (Shilo).

The film benefits from strong performances and a capable cast that delivers both emotionally and within the horror framework. While the character development is solid, the pacing lags at times, causing the horror elements to feel sparse during long stretches. That said, the eerie atmosphere and sense of unease remain effective throughout, and the film’s conclusion ties everything together in a chilling, satisfying way.

Overall, Honeymoon is a decent entry in the genre—nothing groundbreaking, but worth watching once. I’d give it a 5.5/10.

Demolition Man (1993) is a movie I recently rewatched on HBO Max. It tells the story of a classic clash between a ruthless supervillain and a no-nonsense super cop, locked in a never-ending battle. When one mission goes sideways, both are cryogenically frozen as punishment. Decades later, the villain is mysteriously awakened in a peaceful, violence-free future—and the only way to stop him is to thaw out his old nemesis.

Directed by Marco Brambilla (Dinotopia), the film stars Sylvester Stallone (Rocky), Wesley Snipes (Blade), Sandra Bullock (Speed), Denis Leary (Rescue Me), and Rob Schneider (The Hot Chick). 

The movie blends action and sci-fi brilliantly, with a Batman vs. Joker dynamic between Stallone and Snipes. The special effects hold up surprisingly well—especially the cryostasis scenes—and the sets and props help build a believable futuristic world. The script is sharp, with clever dialogue and a lot of humor, and the cast is perfectly chosen for the tone of the film.

The concept is creative, the execution is solid, and the whole thing is just a blast to watch. There’s really nothing not to like here. For me, it’s an easy 10/10.

Bad Ben (2016) is a film I recently rewatched on Amazon Prime. The story follows an awkward and outspoken man who buys a foreclosed home, hoping to renovate and flip it. He installs security cameras around the property and soon begins noticing strange occurrences on the footage. When he investigates further, his life quickly comes under threat.

Directed by and starring Nigel Bach (The Santa Zombie), the film suffers from repetitive camera work, with constant shots of the same few areas making things feel redundant. The acting is uneven—some scenes come off as believable, others completely flat. And if I have to hear that weird security system chirp one more time, I might just lose it. The main character is also extremely irritating, which doesn’t help.

The horror elements fall below par overall, though I’ll it I actually liked the final scene. Still, this was a rough movie to get through and stands as a below-average entry in the genre. I’d give it a 3/10, and only recommend it to diehard horror fans looking to scratch a very niche itch.

Dolemite (1975) is a film from my collection that I recently rewatched on Tubi. The story follows our hero, Dolemite, who’s fresh out of prison and ready to reclaim his territory. Teaming up with the police, he sets out to take down the pimps and gangsters threatening his neighborhood.

This movie is directed by and stars D'Urville Martin (Disco 9000) and also stars Rudy Ray Moore (Disco Godfather) and Lady Reed (Human Tornado). 

The plot is absolutely wild, but Rudy Ray Moore’s rhymes bring a unique, infectious energy to the screen. The acting is undeniably rough, yet the action and fight scenes are surprisingly entertaining. The dialogue is hilarious—raw, profane, and unforgettable, with the word “fuck” used to full effect.

This isn’t a perfect film by any stretch, but it’s still cinematic gold and an essential watch for fans of grindhouse or blaxploitation cinema. I’d give it a solid 8.5/10 for pure entertainment value.

I recently watched The Clovehitch Killer (2018) on Netflix. The story follows a teenage boy with what seems like an ideal life: a great dad, active involvement in the Boy Scouts, and regular attendance at church. But things begin to unravel when a serial killer resurfaces in town, leaving the bodies of young women behind. As suspicion builds, the question becomes: who could be responsible?

Directed by Duncan Skiles (Neighborhood Watch), the film stars Dylan McDermott (Steel Magnolias), Charlie Plummer (Looking for Alaska), Samantha Mathis (Broken Arrow), and Madisen Beaty (Once Upon a Time… in Hollywood).

The film plays like a more restrained take on the Jeffrey Dahmer story, centered on a teen struggling with suspicion, confusion, and the weight of family loyalty. The acting is solid, and the relationships feel authentic as the story unfolds. The film effectively portrays how internal struggles and denial can ripple outward and impact the people closest to you.

While the setup is fairly cliché and starts off predictably, things escalate quickly in the final act, taking a more intense and, at times, over-the-top turn. It’s both shocking and oddly inevitable how events unfold—especially given who is involved and who is watching. The ending holds your attention, if only to see how everything finally plays out.

In conclusion, The Clovehitch Killer is a competent, if familiar, entry in the serial killer genre. It holds your interest but doesn’t do quite enough to stand out. I’d give it a 5/10.

I recently watched Stealing Candy (2003) on Tubi. The story follows two convicts who team up with a third—a tech-savvy fellow inmate—to kidnap a famous movie star. Their plan? Force her into a livestreamed sex act and collect money from viewers. But once the kidnapping takes place, it becomes clear that not everything is as it seems.

Directed by Mark L. Lester (Commando), the film stars Daniel Baldwin (Vampires), Coolio (Daredevil), Alex McArthur (Kiss the Girls), and Jenya Lano (Charmed).

The concept had some promise and could have worked with a Wild Things-style execution. The opening pool scene and shootout are over-the-top and amusing in a ridiculous way. Unfortunately, that’s where the fun ends. The writing, acting, and dialogue are painfully bad throughout. Coolio, in particular, becomes increasingly over-the-top and grating as the film goes on. The female lead is undeniably attractive, and her sex scene is probably the most polished element of the film—but that’s about the only highlight.

In conclusion, Stealing Candy is just as bad as you’d expect. I’d give it a 3/10 and recommend skipping it.

Dark Shadows (2012) is a film I recently rewatched on Amazon Prime. The story centers around a once-prosperous family now down on their luck, living in a mansion that’s been in their lineage for centuries. When a long-lost relative from their dark past resurfaces, he attempts to help lift the metaphorical cloud hanging over them and restore their fortune.

Directed by Tim Burton (The Nightmare Before Christmas), the film features an impressive cast: Johnny Depp (Blow), Michelle Pfeiffer (Scarface), Eva Green (Penny Dreadful), Helena Bonham Carter (Sweeney Todd), Jackie Earle Haley (Watchmen), and Chloë Grace Moretz (Tom & Jerry).

The movie opens strong with stylish narration that sets the tone well. The casting is spot-on, and the soundtrack is fantastic. Visually, the film excels — from the settings and sets to the props, makeup, and costumes, everything looks top-notch. Unfortunately, the story itself doesn’t quite live up to the potential. The central plot feels underwhelming — not terrible, but a bit “blah.” That’s a shame, because the dialogue and character dynamics are actually quite engaging.

In the end, Dark Shadows feels like a poor man’s Addams Family — visually rich and atmospherically strong, but narratively lacking. I’d rate it a 6/10 and recommend seeing it once.

My daughter and I recently watched You Don’t Mess with the Zohan (2008) on Tubi. The story follows a Middle Eastern counter-terrorist operative who’s tired of war and dreams of becoming a hairstylist in the U.S. He moves to New York to pursue his ion, but trouble follows when he’s recognized, threatening to drag him back into his old life. Can he keep his identity hidden long enough to reinvent himself?

Directed by Dennis Dugan (Happy Gilmore), the film stars Adam Sandler (Big Daddy), John Turturro (The Big Lebowski), Rob Schneider (Deuce Bigalow), Nick Swardson (Grandma’s Boy), and Chris Rock (CB4).

This is one of the more underrated films in Adam Sandler’s career. The humor leans heavily into sexual absurdity, but it’s executed in a way that keeps you laughing—even while feeling uncomfortable. The crude and over-the-top scenarios are outrageous but consistently entertaining.

What makes this movie stand out is how random and unpredictable every scene is. You truly never know what the characters will do or how they’ll respond to any circumstance. It reminded me of Borat in some ways. The side characters are sharp and memorable, and beneath all the chaos, there’s a surprisingly thoughtful message. My only real complaint? You see Sandler’s butt way too often.

In conclusion, You Don’t Mess with the Zohan is a bold and outrageous comedy filled with wild circumstances and crude laughs. I’d score it an 8/10 and strongly recommend it.

I recently watched The Beach Girls and the Monster (1965) on Tubi. The story revolves around a series of teen deaths at the beach—is it the work of a sea monster, the result of a crude experiment, or maybe just an overzealous parent targeting kids?

Directed by and starring Jon Hall (The Navy vs. the Night Monster), the film also features Walker Edmiston (The Great Mouse Detective), Sue Casey (American Beauty), and Elaine DuPont (Target).

Everything about this movie feels like classic ’50s fare—from the characters and sci-fi tropes to the costumes and dialogue—even though it came out in the ’60s. The monster costume is especially fun and campy. The storyline is pretty straightforward, with a twist at the end that’s more charming than clever. The hijinks are cheesy, and the premise is cliché, but somehow it still works.

What stood out to me was the dynamic between the father and son, which felt surprisingly authentic. The acting overall was solid, and I especially enjoyed the soundtrack—there’s a beach tune at the end that’s fun.

In conclusion, The Beach Girls and the Monster is a fun, old-school monster flick. It’s nothing groundbreaking, but it’s a good time if you’re in the mood for some retro creature feature charm. I’d give it a 5/10.

The Bodyguard (2004) is a film I recently watched on Tubi. The storyline follows a bodyguard who is fired after the man he was hired to protect is murdered by a rival gang. Despite being dismissed, he sets out to avenge the murder, hoping to redeem himself and protect the victim’s son from further harm.

This movie is co-directed by Panna Rittikrai (Ong Bak 2 & 3) and Petchtai Wongkamlao (The Bodyguard 2), and stars Wongkamlao (Ong Bak), Tony Jaa (Ong Bak), and Pumwaree Yodkamol (The Protector).

The film doesn’t take itself too seriously, which works in its favor. It leans heavily into comedy with over-the-top characters, absurd one-liners, and a cartoonish tone. The action scenes are serviceable—nothing groundbreaking—but the props and choreography are clever, and the final fight scene stands out as a highlight.

This is one of those hit-or-miss movies. It’s not a waste of time, but it’s also not something you need to go out of your way to watch. I’d score it a 5/10.

Return to Horror High (1987) is currently available on Tubi and Amazon Prime. The story is set in an ’80s high school where a serial killer once went on a rampage—and was never caught. Years later, a film crew returns to the scene to recreate the murders for a movie, but the killings start again. The local police must intervene before more lives are lost.

Directed by Bill Froehlich (A Fine Romance), the film stars Lori Lethin (Bloody Birthday), Alex Rocco (The Godfather), Scott Jacoby (The Little Girl Who Lives Down the Lane), and George Clooney (O Brother, Where Art Thou).

Seeing Clooney pop up early in his career is a fun surprise.  The premise is clever, but the execution and acting range from mediocre to downright bad. There aren’t many effective horror elements or memorable kill scenes, and the soundtrack is just okay by ’80s standards. The film’s biggest strength is that it doesn’t take itself too seriously—likely because it knew not to.

I’d rate this a 3.5–4/10.

American History X (1998) is a film I recently rewatched on Amazon Prime. Set in Venice Beach, California, it tells the story of a family torn apart by racism. After their father—a racist fireman—is shot and killed by a Black man while on duty, his two eldest sons are drawn into a violent white supremacist skinhead group. When the older brother is imprisoned for killing two Black men attempting to steal his car, he begins to reflect on his life and the choices that led him there. The question becomes: can he change in time to stop his younger brother from following the same path?

Directed by Tony Kaye (Lake of Fire), the film stars Edward Norton (Motherless Brooklyn), Edward Furlong (Terminator 2), Beverly D’Angelo (Christmas Vacation), Ethan Suplee ( the Titans), Stacy Keach (Escape from L.A.), and Guy Torry (Pearl Harbor).

The story is powerfully told, with dynamic characters, emotionally charged circumstances, and compelling settings. Norton and Furlong deliver outstanding performances, ed by a strong ensemble cast. The script is sharp, and the dialogue carries an intensity that feels raw and real. The first half of the film is near perfect—gripping, bold, and deeply affecting. However, the second half has a few awkward scenes where the dialogue and pacing feel less polished and somewhat unrealistic by comparison.

Overall, American History X is a powerful and thought-provoking film. While it doesn’t fully maintain its brilliance throughout, it remains a deeply impactful watch. I’d give it an 8/10.

I recently watched the Canadian film 🇨🇦 The Silencing (2020) on Netflix. The story follows an ex–bounty hunter now living in a wildlife sanctuary. When a serial killer emerges in the area and crosses paths with him, the bounty hunter saves a potential victim and teams up with the local sheriff to catch the killer.

Directed by Robin Pront (Zillion), the film stars Nikolaj Coster-Waldau (Game of Thrones), Caleb Ellsworth-Clark (Nightmare Alley), Josh Cruddas (Polar), and Annabelle Wallis (The Mummy).

This is one of those uneven films where some elements work, while others fall flat. The setup is solid, and the remote, woody setting fits the tone perfectly. I especially liked the killer’s use of crudely made arrows—it added tension to the kills and made the action scenes more intense. There’s a decent cat-and-mouse dynamic throughout, but the final reveal is a bit of a letdown and fairly predictable.

In conclusion, The Silencing has enough going on to hold your attention, but not quite enough to stand out in the genre. I’d score it a 5.5–6/10.

• 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 9 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.