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I recently watched the Canadian film 🇨🇦 Red Rooms (2024) on Shudder. The story follows a serial killer on trial and a journalist who becomes increasingly obsessed with the case. One of the killer’s victims isn’t officially included in the proceedings due to a lack of evidence—but the journalist sees herself in that victim and sets out to uncover the missing proof to hold the killer fully able.

The film is written and directed by Pascal Plante (Fake Tattoos) and stars Juliette Gariépy (You Can Live Forever), Laurie Babin (Foyers), Maxwell McCabe-Lokos (Max Payne), and Elisabeth Locas (Cat and Dog).

Red Rooms is one of those films that gets so much right that when it ends, you’re left wishing it had given just a little bit more. The tension is expertly built, thanks in part to the eerie and atmospheric sound design. The courtroom scenes are sharp and engaging, and the acting is strong across the board—especially the performance by the actor playing the serial killer. There’s a particular transformation scene during the trial that really stood out to me.

The film also grounds its premise in very modern and unsettling realities, touching on dark web auctions and other disturbing corners of the internet, making the story feel eerily plausible. There are some smart, subtle twists that genuinely caught me off guard. That said, by the time the credits rolled, I felt like something was missing—a final push or payoff that never quite arrived.

In conclusion, Red Rooms is a well-crafted, thought-provoking thriller with a strong cast and a unique, timely storyline. I’d score it a 6.5 to 7/10.

I recently rewatched Battleship (2012) on Prime. The story follows a fleet of U.S. Navy ships on a routine training exercise when an alien invasion suddenly turns their mission into full-scale warfare.

Directed by Peter Berg (Hancock), the film stars Alexander Skarsgård (The Northman), Taylor Kitsch (Friday Night Lights), Liam Neeson (Taken), Brooklyn Decker (Stretch), and Rihanna (Home).

This is a highly polished film, visually speaking. The cinematography is slick, the camera work is sharp, and everything from the naval battles to character close-ups looks clean and cinematic. It’s ed by a strong, energetic soundtrack that keeps the pace moving. The acting is solid across the board, and there’s genuine chemistry between the main characters that adds to the entertainment.

Unfortunately, the Independence Day-style alien invasion plot falls flat. The villains are underdeveloped, and the stakes never feel fully realized. What could have been a fun, over-the-top sci-fi action flick ends up feeling generic and a bit hollow.

In conclusion, Battleship has enough style and action to keep your attention, but it ultimately lacks substance. I’d score it a 5/10 and only recommend it with the right expectations.

I recently watched The Seeding (2023) on Hulu. The story follows a man who is captured and trapped in a remote canyon alongside a mysterious woman. As they struggle to survive, a group of children occasionally toss down supplies and monitor them from above. The question becomes: can the two captives work together to escape—and what exactly do the children have planned for them?

This film is written and directed by Barnaby Clay, marking his feature directorial debut, and stars Scott Haze (Jurassic World Dominion), Kate Lyn Sheil (You’re Next), and Alex Montaldo (Shadow Boxing).

The Seeding is a frustrating watch in the sense that it has moments of brilliance but doesn’t quite come together as a whole. The premise is relatively straightforward—something you’ve seen before, but not in a setting like this. The desolate canyon location gives the film a gritty, ominous tone that lingers throughout, keeping you curious about what’s really happening.

The acting is strong, particularly from Scott Haze, who does a great job portraying a character whose mindset evolves as the story progresses. There are a few standout scenes—the awkward sex sequence, a tense encounter with a blonde character, and a finale that absolutely sticks the landing. But in between those moments, the pacing drags, and it often feels like more should be happening to move things forward.

In conclusion, The Seeding has enough intrigue and tension to hold your attention, but it ultimately falls short of its potential. I’d give it a 5.5/10.

My wife and I recently saw The Phoenician Scheme (2025) in theaters. The story follows a wealthy businessman with global connections who has survived multiple assassination attempts. Realizing his time may be limited, he reconnects with his estranged daughter, hoping to rebuild their relationship and teach her the family business before it’s too late.

Directed by the iconic Wes Anderson (Moonrise Kingdom), the film features a stellar cast: Benicio Del Toro (The Usual Suspects), Mia Threapleton (Firebrand), Michael Cera (Superbad), Willem Dafoe (Spider-Man), Tom Hanks (Forrest Gump), and Bill Murray (Ghostbusters).

This is classic Wes Anderson—full of meticulous cinematography, stylized sets, rich costume design, and his signature artistic flair. The dialogue is sharp, the humor subtle, and the tone whimsically offbeat. That said, the writing can feel uneven at times. While individual scenes shine, the plot itself is a bit scattered and doesn’t always land with the emotional impact it seems to aim for.

The opening plane crash sequence is a standout—an easy 10/10—and the performances by Del Toro, Cera, and Threapleton are fantastic. They bring emotional depth and charm to their roles, keeping you engaged throughout. However, the basketball game and final fight scenes veer into overly cartoonish territory, which pulled me out of the story a bit. There are moments where the film drags, but it held my interest from start to finish.

In conclusion, The Phoenician Scheme is a delightful and beautifully crafted film that doesn’t quite reach its full potential. I’d give it a 7.5/10 and strongly recommend it.

Neon City (1991) is a post-apocalyptic sci-fi film I recently watched on Tubi. Set in a not-too-distant future where the sun has scorched the Earth, only scattered pockets of habitable land remain. A group of survivors journeys across a barren wasteland toward a metropolis known as Neon City, hoping to find a fresh start.

Directed by Monte Markham (We Are Still Here), the film stars Michael Ironside (Total Recall), Vanity (The Last Dragon), Lyle Alzado (Destroyer), and Valerie Wildman (Salvador).

The story, production design, props, and weapons all have a strong Mad Max vibe, and fans of that franchise will feel right at home. The vehicle scenes and shootouts are a highlight—fast-paced and gritty. The hand-to-hand combat scenes, however, leave a bit to be desired.

Ironside is perfectly cast as the lead. His stern, no-nonsense presence anchors the film, and he brings a cool intensity to every scene. The final action sequence—a shootout across a snowy wasteland—is especially memorable and delivers a satisfying dose of classic ’80s/’90s action energy.

Overall, Neon City is far from perfect, but it’s an entertaining ride—especially if you’re a fan of the Mad Max aesthetic. I’d give it a solid 7/10.

I recently watched Hudson Hawk (1991) on Tubi. The story follows a pair of cat burglars who are roped into stealing Leonardo da Vinci’s inventions for a group of eccentric villains. As the heists unfold, the duo may just find a way to pull off the jobs and stop the villains’ plan.

Directed by Michael Lehmann (Heathers), the film stars Bruce Willis (Die Hard), Danny Aiello (Do the Right Thing), Andie MacDowell (Groundhog Day), James Coburn (The Great Escape), and David Caruso (King of New York).

This is a quirky, lighthearted heist film with an unlikely—but pitch-perfect—pairing at its center. Aiello and Willis have great chemistry, playing off each other with sharp timing and charm. The film has a definite buddy-cop energy, even though it leans more into comedy and absurdity than standard action films.

Hudson Hawk doesn’t take itself too seriously, which works in its favor. It’s an entertaining mix of outlandish plot twists, cartoonish antics, and stylized action sequences that feel like a mash-up of Clue and Looney Tunes. The result is chaotic but fun.

In conclusion, Hudson Hawk is a unique, offbeat heist comedy that blends action and humor with surprising style. I’d give it an 8/10 and strongly recommend it.

I recently watched the Japanese film 🇯🇵 Shogun’s Joy of Torture (1968) on Tubi. The story follows a young woman whose brother is accused of horrific crimes and killed. In an effort to clear his name, she assumes both the blame and the brutal consequences that follow.

Directed by Teruo Ishii (Blind Woman’s Curse), the film stars Teruo Yoshida (Goke, Bodysnatcher from Hell), Masumi Tachibana (Yakuza Law), Fumio Watanabe (Lone Wolf and Cub: Sword of Vengeance), and Mie Hanabusa (Horrors of Malformed Men).

As with many of Ishii’s works, the film does a strong job immersing you in its world. The acting, period attire, sets, and props all contribute to a sense of gritty realism. The female leads—particularly Mitsu and a blonde who appears later—are strikingly beautiful, and the camera certainly doesn’t ignore that. However, the torture scenes, while intense and stylized, are handled with a seriousness that keeps them from feeling purely exploitative.

The plot develops in a fairly grounded way, holding your attention even if it doesn’t quite break new ground.

In the end, Shogun’s Joy of Torture isn’t a standout in the genre, but it offers enough to make it worth a watch for fans of vintage Japanese exploitation cinema. I’d give it a 6/10.

The Taking of Pelham One Two Three (1974) is a film I recently revisited on Amazon Prime after many years, and it holds up remarkably well. The story centers around a New York City subway train hijacked by a group of armed men, with the city’s transit dispatchers and police scrambling to save the hostages and apprehend the criminals.

Directed by Joseph Sargent (Jaws: The Revenge), the film features a stellar cast including Walter Matthau (The Odd Couple), Robert Shaw (Jaws), Hector Elizondo (Beverly Hills Cop III), Dick O’Neill (The Jerk), and Jerry Stiller (Seinfeld).

The plot is smartly constructed, with a steady build of tension and surprises right up to the final frame. You’re never quite sure what’s going to happen next, which keeps the experience gripping from start to finish.  New York City is almost a character in itself here—gritty, chaotic, and vividly realized. The sense of urgency and mounting pressure is palpable, with constant obstacles thrown in the path of law enforcement. The score is also a standout, perfectly complementing the film’s tone and pacing.

Matthau delivers an excellent performance, balancing cynicism and determination, while the city’s bumbling mayor adds welcome comic relief. The film features several great twists, and the final investigation scenes are particularly satisfying.

Overall, this is a tightly written, well-acted thriller that’s as sharp today as it was when it was released. I’d give it a 9/10 and strongly recommend it.

I recently watched Predator: Killer of Killers (2025) on Hulu. The storyline follows Predator warriors on Earth across different countries and historical eras, battling human warriors to the death.

The film is co-directed by Dan Trachtenberg (Prey) and Joshua Wassung, and features the voices of Michael Biehn (Aliens), Doug Cockle (Band of Brothers), and Rick Gonzalez (Old School).

I really loved this. Every segment felt solid, and the ending was tremendous. Funny enough, I spent most of the movie underselling the writing—there were even a few moments that made me roll my eyes—but the conclusion pulled everything together in a way that was much smarter than I expected.

The animation is excellent, with striking visuals: the flying scenes, blood effects, fire, and fight choreography all looked fantastic. The initial Viking sequence was easily my favorite. I also appreciated how each segment included its own human conflict or war that naturally led into the showdown with a Predator.

The different Predator designs—variations in size, shape, and weaponry—were cool and added depth to the world.

In short, Predator: Killer of Killers is a unique and worthwhile addition to the Predator universe. I’d score it a strong 7.5 to 8 out of 10 and highly recommend it.

I recently rewatched Big Bad Mama (1974) on Tubi. The story follows a mother and her two daughters on the run from the law as they bootleg, rob, and even flirt with prostitution. But can they keep outrunning the law, or is their wild lifestyle doomed to crash?

Directed by Steve Carver (Lone Wolf McQuade), the film stars Angie Dickinson (Dressed to Kill), William Shatner (Star Trek), Tom Skerritt (Alien), Dick Miller (The Terminator), and Robbie Lee (Switchblade Sisters).

This movie is a grindhouse classic through and through. The chaotic wedding opener sets the tone immediately, and from there it’s nonstop shenanigans—plenty of nudity, offbeat humor, and a colorful cast that keeps things entertaining. The sex scenes are wild, and the unexpected “dancing daughters” sequence definitely caught me off guard. Even the shootouts are surprisingly solid. The ending hits exactly the right note for this kind of film, delivering everything you’d expect (and want) from a ’70s grindhouse gem.

I’d score this a 7.5/10 and strongly recommend it to fans of the genre.

I watched the Australian horror film 🇦🇺 Dangerous Animals (2025) in theaters. The story follows a coastal serial killer who disposes of his victims by feeding them to sharks. 🦈 He captures a young woman living out of her van, intending to make her his next victim. As her fate unfolds, a former lover races to find her before it’s too late.

Directed by Sean Byrne (The Loved Ones) and starring Jai Courtney (Suicide Squad), Hassie Harrison (Yellowstone), and Josh Heuston (Thor: Love and Thunder), this film is an uneven but intriguing entry in the horror genre.

This isn’t your typical shark horror flick—the true threat is the stalker-serial killer, played menacingly well by Jai Courtney. The ocean setting and scenes aboard the boat add a strong sense of isolation and dread. That said, the film struggles to make the victims compelling, which makes it oddly easy to root for the villain. The shark attack scenes are serviceable—neither especially thrilling nor disappointing. However, there are a few brutal and well-executed stabbing sequences that stand out. Ultimately, Dangerous Animals has a strong setup but doesn’t quite stick the landing. The ending feels predictable and straightforward.

In conclusion, Dangerous Animals has just enough to hold your attention, but it’s a fairly average addition to the genre. I’d rate it a 5.5/10 and only recommend it to horror fans.

I watched Two Can Play That Game (2001) on Tubi. The story follows a successful businesswoman whose boyfriend starts acting out, prompting her to engage in a series of strategic mind games. But when it looks like she might actually lose him, she has to reconsider her approach.

Written and directed by Mark Brown (The Salon), the film stars Vivica A. Fox (Kill Bill), Morris Chestnut (The Best Man), Anthony Anderson (The Departed), Gabrielle Union (Bring It On), Mo’Nique (Precious), and Ray Wise (RoboCop).

With a cast this stacked, it should have been much better. The narration is just okay, and while the acting is solid and the characters feel authentic at first, things start to feel overly scripted and formulaic. Bobby Brown’s random appearance cracked me up, though. The writing leans lazy at times—I lost count of how many times Vivica A. Fox said “show his ass.” Most of the scenarios are cheesy and predictable, as is the ending.

In conclusion, Two Can Play That Game is a cliché but mildly fun film that’s just okay. I’d give it a 5.5/10.

Predator 2 (1990) is part of my DVD collection and is also available on Amazon Prime. The storyline brings our intergalactic trophy hunter to Los Angeles, a city in chaos due to warring drug cartels and an overwhelmed police force struggling to keep control. When a tough, no-nonsense police sergeant emerges as the only real threat to the Predator, he becomes the ultimate trophy the alien is hunting.

Directed by Stephen Hopkins (A Nightmare on Elm Street 5: The Dream Child), the film stars Danny Glover (Lethal Weapon), Gary Busey (The Gingerbread Man), Rubén Blades (Once Upon a Time in Mexico), Maria Conchita Alonso (The Running Man), and Bill Paxton (Aliens).

While the story and execution are a notch below the original, the film is still a blast. Seeing the Predator operate in a gritty urban jungle is a fresh and exciting change of pace. His early encounters with the city’s gang are brutal and effective, immediately reestablishing him as a serious threat.

The soundtrack is solid, and the kill scenes maintain the intensity and creativity of the first film. Danny Glover’s performance feels like Lieutenant Murtaugh vs. Predator, which works surprisingly well. Bill Paxton is also a standout, bringing comic energy to his role as an overzealous officer.

Overall, Predator 2 is a slight step down from the original, but it’s still a must-see for fans of the franchise. I’d score it a solid 8/10.

The Karate Kid Part II (1986) is a film I recently watched on Netflix with my daughter. The story follows Mr. Miyagi and Daniel as they travel to Okinawa to visit Mr. Miyagi’s dying father. Once there, Mr. Miyagi reconnects with an old love, while Daniel forms a new romance of his own. But their trip takes a turn when Mr. Miyagi’s childhood rival—and the rival’s hot-headed nephew—threaten to ruin everything.

Directed by John G. Avildsen (Rocky), the film stars Pat Morita (The Karate Kid), Ralph Macchio (The Outsiders), Martin Kove (Death Race 2000), and Eddie Smith (Do the Right Thing).

The storyline is engaging and set against a backdrop of unique and beautiful locations. The film places our characters in culturally rich situations, introducing new challenges that deepen their arcs. The soundtrack and cinematography are both strong, capturing the spirit and emotion of the setting.

The final two sequences—the hurricane scene and the climactic fight—are especially memorable and well executed. While it doesn’t quite reach the iconic status of the original, this sequel is still a strong follow-up and absolutely worth watching.

I’d give The Karate Kid Part II a solid 7/10.

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.

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

...plus 13 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.