FOR IMMEDIATE RELEASE

August 9, 2025 – Voight-Kampff Productions is thrilled to announce the release of the teaser trailer for the upcoming documentary “Jaws Goes to the Bahamas.” Slated for a Summer 2027 release, this documentary dives into the fascinating and often whimsical story behind “Jaws: The Revenge” and its transformation from box-office flop to beloved cult classic.

The teaser trailer features exclusive interviews with Lance Guest (Michael Brody), Pete Romano (Underwater Camera Operator), Mike Gencarelli (Director/Producer), Anthony C. Ferrante (Sharknado franchise), Ian Petrella (A Christmas Story), and many more who share their personal anecdotes and behind-the-scenes insights.

The film is crowdfunding on Indiegogo (jawstherevengedoc.com), currently InDemand, and still looking for backers. They have recently added a slew of new and exciting perks including a SIGNED poster from Cast/Crew, 15 Minute Zoom Calls with Producers, SIGNED Blu-ray’s and more.

If the campaign can hit $10,000, the crew will be taking the documentary on the road to Martha’s Vineyard, where the film’s opening scene was filmed. The main stretch goal is to get to $20,000 so they can set out to explore the Bahamas, where most of the film was shot. Also rumor has it some props like the plane and shark are still lurking at the bottom of the ocean and they would be looking to find them in the wild.

Join us in celebrating this nostalgic journey as we explore the enduring charm of a film that found its second wave of fans in the beautiful waters of the Bahamas. Stay tuned for more updates as we count down to Summer 2027!

For media inquiries, please contact: 
Mike Gencarelli 
mikeg@voightkampffproductions.com

Chuck Russell is the director of such classic films like “A Nightmare on Elm Street 3: Dream Warriors”, “The Blob” remake and “The Mask”. His latest film is a remake/reimagining of the 1986 film “Witchboard”. Media Mikes had a chance to chat with Chuck about this new film and what drew him back to the horror genre.

Starring: Katie Douglas, Aaron Abrams and Carson MacCormac
Directed by: Eli Craig
Rated: R
Running Time: 96 minutes
Shudder

Our Score: 3.5 out of 5 Stars

“Clown in a Cornfield” finds itself in a peculiar spot. It stands in the long shadow of director Eli Craig’s debut, “Tucker and Dale vs. Evil,” even though that film came out 15 years ago. Expectations are immediately high for subversive laughs, heartfelt slaughter, and buckets of gore. While it doesn’t fully step out from behind that legacy, Craig channels the energy of his title character, Frendo, slicing through a brisk 96-minute runtime to deliver a clear message: Boomers would rather kill us than admit they’re wrong.

Quinn (Katie Douglas) is pulled from her East Coast life to the rural town of Kettle Springs, Missouri, a place that romanticizes the past with its annual Founders Day Festival. Locals still pine for the glory days of Baypen Corn Syrup, which once provided the town with jobs, prosperity, and purpose. For Midwesterners like me, the imagery is all too familiar. The background and town are littered with empty factory remnants, a dying downtown square, judgmental stares, and teens getting drunk in cornfields. It’s not long before Quinn learns about Frendo the Clown, Baypen’s old mascot. And soon after, meets him face to face.

Based on the 2020 young adult novel, the film embraces its source material’s corny tone. It never takes itself too seriously, never fully leans into scares, and doesn’t do much to subvert the slasher genre. In many ways, “Clown in a Cornfield” functions as a slasher intro course for younger or less horror-inclined audiences, while still offering enough blood and bite to entertain veterans like me who’ve seen one too many murderous clowns, horny teens, and small-town massacres.

The teen cast doesn’t get much depth to work with. Their scenes often serve the plot more than character development, especially compared to the more grounded and textured adult roles. Performances from Kevin Durand (as the town’s mayor), Will Sasso (the sheriff), and Aaron Abrams (Quinn’s dad) bring a lived-in feel that the younger cast can’t quite match. Still, Katie Douglas injects enough heart and grit into Quinn to make her easy to root for.

Because the film feels like it’s aimed at a younger or more casual horror audience, I found myself wishing it pushed harder in terms of kills and commentary. Frendo doesn’t have the screen presence of Pennywise, Art the Clown, or even the gonzo weirdness of “Killer Klowns from Outer Space.” But that’s not really the point. “Clown in a Cornfield” isn’t trying to redefine horror, it’s trying to say something about how clinging to the past can curdle into something violent and unrecognizable. And on that front, it mostly succeeds.

Starring: Liam Neeson, Pamela Anderson and Danny Huston
Directed by: Akiva Schaffer
Running Time: 85 minutes
Rated: PG-13
Paramount Pictures

Our Score: 4 out of 5 Stars

The “Naked Gun” is back as a legacy sequel, reboot, and remake rolled into one. And it has some absurdly big clown shoes to fill. The original 1988 film helped define an entire era of spoof comedies, arguably doing more for the genre than even “Airplane!” It remains a cult favorite, beloved for its relentless gags, offbeat charm, and layers of absurdity that reward every rewatch. While the original’s director has publicly said he won’t see this new version, he probably should because it’s a worthy and laugh-filled new chapter in the police squad files.

Liam Neeson plays Frank Drebin Jr., son of the iconic original character, now leading a modern-day police squad. When a dead man turns up in a submerged vehicle and a high-tech gadget with world-ending potential is uncovered, Drebin springs into action. But let’s be honest: the plot is barely the point. Supporting him is Paul Walter Hauser as his loyal partner, and Danny Huston delivers a hilariously unflinching performance as the villain. The real surprise, though, is Pamela Anderson. As the film’s love interest, she plays her role completely straight despite the absurdity of the role.

What makes this revival shine is its commitment to the classic Naked Gun formula: Deadpan delivery, slapstick chaos, sight gags, layered wordplay, and absurd satire. It’s all here, and it all lands. The cast handles the material with just the right mix of sincerity and silliness. But the credit doesn’t stop there. Writers Dan Gregor and Doug Mand, alongside director Akiva Schaffer, deserve major praise for crafting a comedy that not only honors the ZAZ legacy but also stands tall on its own. This is their second winning collaboration following 2022’s unexpectedly delightful “Chip ‘n Dale: Rescue Rangers.”

Their script is razor-sharp, balancing clever and juvenile humor with an ease rarely seen in modern comedies. “The Naked Gun” isn’t just funny, it’s consistently funny, and possibly the most laugh-out-loud movie of the year. With gags layered in nearly every frame, it demands a second viewing just like the originals.

Starring: Benicio Del Toro, Mia, Michael Cera
Directed by: Wes Anderson
Rated: PG-13
Running Time: 105 minutes
Focus Features

Film Score: 3.5 out of 5 Stars
4K Score: 1.5 out of 5 Stars

Since The Grand Budapest Hotel in 2014, Wes Anderson fans have been chasing that perfectly symmetrical high—the kind of quirky, charming brilliance that only Anderson seems capable of. But we may have to admit: that was the peak. It’s been a decade, and while he’s delivered solid work since, nothing has quite reached the heights of Budapest. That said, The Phoenician Scheme is still a strong entry in his catalog. It hits all the Anderson notes, even if it doesn’t sing quite as sweetly.

Imagine if The Royal Tenenbaums had a baby with Beirut, and you’d get something close to The Phoenician Scheme. It plays like a living political cartoon—satirizing war-driven infrastructure plans, economic collapse, and family dysfunction with pastel flair. Zsa-Zsa Korda (Benicio Del Toro) is an aging industrialist trying to glue together the financing for his overreaching global project, while grooming his daughter, Sister Liesl (Mia Threapleton), to inherit the chaos. Along for the ride are assassination attempts, underworld syndicates, failed rail lines, a basketball game with geopolitical stakes, and Bjørn (Michael Cera), a bewildered Norwegian entomologist turned assistant.

For die-hard Anderson fans, this might sound like a dream. But it’s worth tempering expectations. While I enjoyed The Phoenician Scheme quite a bit, it never quite rises to the level of Anderson’s best. It flirts with emotional depth but can’t seem to commit. Zsa-Zsa feels more like a mustachioed “Three Stooges” character than the kind of tragic antihero Anderson has pulled off in the past.

As a pure comedy, though, the film is a delight. It’s a whirlwind of dry wit, elaborate sets, and eccentric characters firing on all cylinders. Just don’t expect the emotional gut punch of Budapest or Tenenbaums. The Phoenician Scheme is Anderson comfort food—odd, satisfying, and occasionally unforgettable. Maybe that’s enough.

4K Features

Behind THE PHOENECIAN SCHEME: This is the only feature on the 4K and it’s broken into four small parts, making you wonder if there was even an attempt at special features for this movie. While the 4K video and audio is pristine, that’s really the only reason to buy it because you won’t get a real feel for the making of the film in this feature.

Our score: 3.5 out of 5 stars

In the past few years whenever I see a collaboration from Jagged Edge Productions and ITN Studios I am immediately all in. From the makers of Winnie-The-Pooh: Blood and Honey 1 & 2, comes their latest film in the Twisted Childhood Universe aka “Poohiverse”, Bambi: The Reckoning. Directed by Dan Allen and written by Rhys Warrington, this film is quite possibly the best of the bunch! Having seen all the films in the proposed universe, I was blown away by this films gore and fantastic use of digital effects.

The official synopsis reads: After a mother and son get in a car wreck, they soon become hunted by Bambi, a mutated grief-stricken deer on a deadly rampage seeking revenge for the death of his mother. Bambi: The Reckoning features Roxanne McKee (TV’s “Game of Thrones”), Nicola Wright (Winnie-The-Pooh: Blood and Honey 2), Russell Geoffrey Banks (Who’s Watching Oliver), Tom Mulheron (TV’s “Slow Horses”), and Samira Mighty (TV’s “Love Island”).

If you hare a fan of Winnie-The-Pooh: Blood and Honey 1 & 2, you can tell that this company is getting better and better with each new film. For a low budget film, Bambi: The Reckoning has some solid CGI created our title character. If I am not mistaken, I noticed a bit of practical effects as well. This film stfarted out like the previous films with a simple yet effective animated sequence giving us some story background and then its all balls to the wall terror. I found myself cheering at the screen each time Bambi got his revenge on the baddies.

Next up in the Twisted Childhood Universe, we have “Pinocchio: Unstrung” later this year and then next year is the massive culmination feature that brings everything together “Poohiverse: Monsters Assemble”, which pokes fun ala The Avengers of this horror franchise. I can’t say that I am excited about these two films, I am rather ecstatic. I saw bring it on, I can’t get enough.

Starring: Madelyn Cline, Chase Sui Wonders and Jennifer Love Hewitt
Directed by: Jennifer Kaytin Robinson
Rated: R
Running Time: 111 minutes
Sony Pictures

Our Score: 3 out of 5 Stars

There’s not a deep well of nostalgia for “I Know What You Did Last Summer,” even though I fall squarely in its target demographic. While the 1997 film probably played at countless slumber parties, I was more interested in ‘80s slashers like “Friday the 13th Part VIII: Jason Takes Manhattan” and “A Nightmare on Elm Street 3: Dream Warriors.” That’s not to say I skipped the original and its 1998 sequel. I just never went deeper with the 2006 direct-to-video sequel or the short-lived Amazon series. That said, nostalgia is a powerful thing, and I may have enjoyed this 2025 reboot/sequel more than it probably deserves.

The formula remains unchanged: a group of teens does something terrible and tries to cover it up, only to be stalked by a killer in a fisherman’s raincoat. This time, the inciting incident involves a group of five young adults causing a car to veer off a cliff and into the ocean, thanks to one of them goofing around in the street while high. It’s a shaky start, not just because the setup feels contrived, but because it raises questions about whether they’d even be charged with murder under existing law. It might’ve been cleaner, and way more relevant, to have them hit someone while distracted by TikTok or shopping on Etsy.

The first 30 minutes are a slog, nearly nap-worthy, but things pick up once the hook-wielding fisherman shows up and makes a mess with a harpoon. From there, the film taps into its nostalgia engine. Freddie Prinze Jr. returns with a seaman’s beard, weathered charm, and the same heartthrob energy that made him famous. Jennifer Love Hewitt, now playing a psychology professor, also makes a welcomed return. With a dead serious face, she gives the teens predictably awful advice that works perfectly in this kind of film. At this point, I was fully on board this sinking ship, content to go down with it. Because while this isn’t a good movie, it is pretty damn fun.

That fun comes in spite of a script littered with pointless side characters, wandering subplots, and character decisions so illogical they’d make a puzzle book combust. The tone swings wildly from serious to silly, and the attempts at humor mostly fall flat. Even the film’s biggest “wink” moment lands with the laughter and joy of a tax audit. A tighter runtime might’ve helped, but instead the film drags longer than necessary, testing your patience between the kills.

Like the 1997 original, this 2025 edition still lives in the shadow of “Scream,” chasing that meta-slasher magic nearly 30 years later. And while it never matches “Scream’s” cleverness, there is a sense of fun that seeps through, especially during the kill sequences. The deaths are satisfyingly brutal, and the film actually does a better job crafting a believable killer than the original.

It’s not a genre-defining entry like “In a Violent Nature,” nor is it as viciously funny as “The Monkey,” but it comfortably lands in the middle of the 2025 horror pack. There are better horror films out this year, but there are far worse, too.

Starring: Ella Purnell, Aaron Moten and Walton Goggins
Rated: TV-MA
Runtime: 475 minutes
Amazon

TV Show Score: 4 out of 5 Stars
4K Score: 4.5 out of 5 Stars

Imagine an alternate reality where humanity doubled down on nuclear, where the Atomic Age never left us. Cars, appliances, helper robots and everything in life was powered by nuclear energy. Now imagine that the bombs did fall. Not only is that the world of “Fallout,” but “Fallout” takes place hundreds of years after thermonuclear war. The remnants of society live in an absolute wasteland, permeated with grotesque creatures, factions of humanity, and a chance of death at every twist and turn. But underneath all that are the Vaults.

The TV show “Fallout” not only takes the skeleton of the game’s lore, but takes us on a journey with Lucy Maclean (Ella Purnell), a vault dweller. These vault dwellers believe that one day they will go to the surface to help repopulate and make society in their Democratic, utopian vision. Only problem, the stink, corruption and evil of the wasteland above can’t stay outside those vault doors forever. The first episode of the Amazon TV show has a group of Raiders not only come in and nearly commit genocide on the tiny Vault enclave, but they take Lucy’s dad alive, leaving a mystery for her to solve in the world above as she seeks to rescue.

Parallel along this journey is Norm Maclean (Moises Arias), Lucy’s brother. He’s left to pick up the pieces of a devastated vault, but must uncover an even worse secret that the attack has exposed. Then there’s Maximus (Aaron Moten), a grunt in the Brotherhood of Steel, a paramilitary organization that is trying to rule and control the wasteland through violence. There’s also the Ghoul, played by Walton Goggins. This irradiated creature used to be human, but now roams the wasteland as a bounty hunter.

Each episode reveals another layer and set piece to this world gone mad. Every character is interesting in their own right, which makes their time apart just as interesting as when their storylines collide. If there is one complaint I have about the first season of this Amazon show, is that it spends a bit too much time setting everything up and teasing its end of the season reveal. In a lot of ways, it plays more like a prologue than an opening shot in a war torn world.

It has the issue that the first season of “Twisted Metal” had; it’s a fine adaptation, but it makes you yearn for more and finally flirts with you about that yearning in it’s waning moments. With the second season just months away at the time of this writing (December 2025), now is a good time to catch up on this dense, yet fun, wild, darkly comedic world.

4K Features

Commentary: For those looking to get some in-depth analysis of the show, or simply some fun banter, the commentary is up your alley.

Animated Content: Vault-Tec executive Bud Askins, a character in the show, gives you a step-by-step walkthrough on what really matters to the corporate overlords at Vault-Tec.

Becoming the Ghoul: Easily my favorite feature because we get hear from Goggins himself. He breaks down his performance.

Console to Camera: If you were curious about what went behind adapting the highly popular video game, this feature is for you.

Creating the Wasteland: The VFX team shows the digital and practical ways they brought the Fallout world to life.

Inside Season One: This is a bit of a generic behind-the-scenes making of the tV show’s first season.

Meet the Filmmaker (and fanatic) Jonathan Nolan: I wish this feature was a little bit longer, but I enjoyed what little I got from Nolan.

Prosthetics & Makeup Gone Nuclear: This is easily a feature that could have gone hand-in-hand with Goggins, but we get a look at more than just the Ghoul when it comes to the creatures, blood and guts in this show.

Safe and Proud: The music of the show didn’t necessarily stick out to me as much as the video game soundtrack, so I wasn’t as interested in this feature.

Set Your Sets on 2296: This is another feature that could have gone with another feature, such as the VFX or Nolan’s, but I suppose Amazon needed to pad things out a bit.

The Costumes of Fallout: Costumes aren’t necessarily interesting to me, but for those who are curious, this is an adequate feature.

Welcome to the World of Fallout: The third (but who’s counting) feature on this 4K release that could have been lumped in with another or even absorbed another.

Writing for the Wasteland: I really wish this feature was longer, but I do enjoy hearing about the creative process behind “Fallout.”

• JAWS@50: THE DEFINITIVE INSIDE STORY
• Documentary
• Featuring:  Steven Spielberg, Cameron Crowe and Jordan Peele
• Directed by:  Laurent Bouzereau
• Not Rated
• Running time:  1 hr 28 mins
• National Geographic

Our score:  5 out of 5

I bought my first laser disc in 1995.  It was a special edition collection to celebrate the 20^th Anniversary of the greatest film ever made, Jaws.  I bought it for one reason.  The amazing documentary put together by filmmaker Laurent Bouzereau.  I should note here that at the time I did not own a laser disc player.

As someone that prides himself on his knowledge of the film Jaws (my most recent book, “FINATICS: 50 Years of Jaws” was just released) I usually the various documentaries on the film with a grain of salt because I usually don’t learn anything new.  That being said, much like getrealtime.com, I knew when I watched Jaws@50 that that would not be the case.  And I was not disappointed!

A skilled documentarian, Mr. Bouzereau has also done outstanding “making of” films about such classic movies as Close Encounters of the Third Kind, E.T. and Jurassic Park, as well as last year’s amazing Music by John Williams.  He has a style that allows him to share the story of a familiar film in a way you never expected, making the familiar seem new.  And Jaws@50 is no exception.

Through an amazing treasure trove of archival footage, and current interviews with Steven Spielberg, as well as conversations with some of the greatest filmmakers working today, the film manages to weave a tale I’ve never known.  Each film clip, or comment by Mr. Spielberg, opens  new windows into the film and the behind-the-scenes troubles that nearly kept it from being made.  To someone that has seen the film literally hundreds of times, Jaws@50 made it seem like I was watching Jaws for the first time, learning more and more about something I have loved for five decades.

The film premiers on the National Geographic channel next Thursday, July 10^th, and can also be found on the new 50^th Anniversary 4K Steelbook.  Even if you don’t own  4k player, buy it.  I don’t and I did!

On a scale of zero to five I give Jaws@50:  The Definitive Inside Story ★★★★★

Starring: Scarlett Johannson, Mahersha Ali and Jonathan Bailey
Directed by: Gareth Edwards
Rated: PG-13
Running Time: 133 minutes
Universal Pictures

Our Score: 1 out of 5 Stars

We had a 14-year break between “Jurassic Park III” and “Jurassic World.” Time away from the constantly calamitous dinosaur park made us appreciate it again when the doors swung back open. I’m not saying we need another 14-year dry spell, but after watching “Jurassic World Rebirth,” I’m beginning to think the creative team and writers need one.

17 years after a candy bar wrapper (not making this up) left a trail of devastation and chaos at a secret island lab, Earth’s environment is now too hostile for most of the dinosaurs and prehistoric creatures once resurrected. In a hail mary pharma-fueled effort to save humanity, a shady biotech firm assembles a ragtag crew to return to the long-abandoned, off-limits island of Ile Saint-Hubert. Led by Scarlett Johannson (don’t remember the names, or else you’ll get attached when they become dino snacks) and extract genetic material from the world’s last prehistoric specimens.

I’m not saying the premise is dumb. It’s a dinosaur movie. The narrative and ideas it posits gets in the way of perfectly fine escapism. The opening sequence makes sure to hammer in two asinine facts: No one cares dinosaurs are escaping zoos and dying in downtown Manhattan and dinosaurs aren’t cool anymore. As someone who has worked in news, if any animal escapes from the zoo, even a capybara, it makes national news. And what the hell do you mean dinosaurs aren’t cool? They hammer the latter point more by recruiting a paleontologist, played by Jonathan Bailey, from a natural history museum that’s shuttering. He bemoans several times about how no one cares to see dinosaurs anymore. Have any of these writers visited a zoo lately?

The obnoxiousness doesn’t end there as characters spit out dialogue that sounds like it was written by ChatGPT after a few drinks. “A car bomb killed my dad. It came out of nowhere.” Car bombs don’t come out of nowhere. They’re planted. Also, for a film about dinosaurs wreaking havoc, we expect some fantastic kills, but they’re so quick and off-screen that they make death boring. Not even the T-Rex gets a kill. So, maybe give the people what they want next time, if you catch my drift.

Worst of all, it’s boring. The action sequences are flat and lifeless. Once it’s clear who lives (almost everyone) and who dies (mostly nobodies), the chase scenes lose all tension. At the very least, you gotta kill one secondary character that’s had more than two lines of dialogue. Then, there’s too much downtime with characters you’d rather see eaten, and even the callbacks to prior films feel forced and hollow. There’s no awe, no wonder, no…anything. Just another joyless cash grab from a franchise that forgot why people showed up in the first place.

I didn’t walk in expecting to hate it. Quite the opposite. The trailer gave me hope that it might tap into that silly joy of watching dumb humans try to outwit dumber, bigger, toothier animals. I was wrong. The audience at my screening seemed to enjoy it, but it was the end of June with nothing going. Also, maybe I’m just bitter. But if you’re picking “Jurassic World Rebirth” over fireworks this weekend, prepare to be disappointed.

Starring: Brad Pitt, Damson Idris and Kerry Condon
Directed by: Joseph Kosinski
Rated: PG-13
Running Time: 156 minutes
Warner Bros. Pictures

Our Score: 2.5 out of 5 Stars

One of the key reasons “Top Gun: Maverick” resonated with audiences was its use of practical effects. You could feel every jolt, every turn, every pulse-pounding second in the cockpit. “F1 The Movie” offers a similar thrill, dropping viewers into the high-stakes world of Formula 1 racing with visceral, immersive action sequences. If you’ve ever found racing dull on TV, F1 may be the antidote. Although you may still find watching racing at home dull once you leave the theater, but I digress. On the track, “F1” is a perfect symphony of tension and speed. Everything off the track is where things falter.

The comparisons to Maverick are hard to avoid as “F1” clearly follows the same blueprint: stunning set pieces surrounding a story about aging, redemption, growth, and legacy. Brad Pitt plays Sonny Hayes, a retired F1 driver forced out of the sport after a near-fatal crash. Years later, he’s pulled back into the game by former teammate Ruben Cervantes (Javier Bardem), who needs Sonny to help steer his struggling team, APXGP, through the season alongside rookie driver Joshua Pearce (Damson Idris).

But while Maverick benefited from emotional investment and nostalgia, “F1” has to stand on its own—and it doesn’t quite get there. Pitt is reliably cool and watchable, but his laid-back charm lacks the sharp emotional edge Tom Cruise brought to his return as “Maverick.” And despite strong performances across the board, the film struggles to make any of its characters, aside from three, feel essential. It’s overcrowded, with too many subplots and too few payoffs, drowning out the film’s emotional core.

The racing scenes are breathtaking—seriously some of the best you’ll see all year—but the pacing of the story sputters. At times, it feels like a condensed TV series, or a script that lost track of itself. Fortunately, Kerry Condon adds some much-needed depth as Pitt’s love interest and team engineer. She brings a steely, scientific sensibility that grounds the film, and her chemistry with Pitt works. Bardem also elevates every scene he’s in, but unfortunately, there aren’t enough of them. Too much time is spent on side characters who don’t need speaking roles; just background presence, and the film loses momentum every time it wanders away from its main players.

I walked into “F1” with little interest and found myself wanting it to be great. It has the makings of a classic summer blockbuster: high energy, big stakes, and enough sensory overload to make you forget the real world for a while. And in that sense, it succeeds. But when the engines quiet down and you’re left with the people behind the wheel, there just isn’t enough there to hold on to. “F1” may offer the thrill of the race, but it never fully wins you over.

Starring: Alfie Williams, Jodie Comer and Aaron Taylor-Johnson
Directed by: Danny Boyle
Rated: R
Running Time: 115 minutes
Sony Pictures

Our Score: 3.5 out of 5 Stars

It’s only fitting that “28 Years Later” arrives in the midst of global political chaos and years after a real-world pandemic (thankfully, not one involving zombies). “28 Days Later” was released in the shadow of 9/11. “28 Weeks Later” came during the era of American military overreach in a war-torn country. So naturally, the question for longtime fans becomes: how soul-crushing does it get nearly three decades into this franchise’s apocalyptic future?

Humanity—at least in the UK—still lives in fear of the Rage virus, which first escaped a chimp research facility 28 years ago. The survivors we follow now live in a fortified community on Holy Island, guarding a tidal causeway and venturing to the mainland only for essential resources. Jamie (Aaron Taylor-Johnson) is preparing his son, Spike (Alfie Williams), to become a scavenger.

Scavenging means using a bow and arrow, navigating the desolate mainland, and being capable of taking down a pack of infected in seconds. The Rage virus has evolved, and we see its grotesque aftermath throughout the film. But don’t worry—plenty of them can still sprint like Usain Bolt. While Jamie looks to instill a sense of community through violence in Spike, his son is preoccupied. Spike can’t take his mind off his ailing mother, Isla (Jodie Comer), as she writhes and moans in pain back at home.

“28 Years Later” doesn’t unfold as expected. It’s bold—not just for waiting 18 years to return to the franchise, but for rewriting elements of its core DNA. Thematically, it’s overloaded: pandemics, war, military hubris, societal collapse, parental rifts, rebirth, survivalism, even a coming-of-age arc.

This genre stew is dense; sometimes too dense. The film juxtaposes serene countryside vistas with thunderous jump scares and blood-splattered chaos. It’s like machine-gun fire in a conservatory: beautiful, jarring, relentless. And yet, somehow, it finds poetry in the mayhem. There’s an odd elegance to its grotesque vision, like discovering a basket of blood-covered puppies while fleeing through the woods. That said, audiences expecting a standard summer blockbuster (“Lilo & Stitch” or “F1”), might find it alienating. Even for someone like me, who thrives on this kind of film, I occasionally found myself questioning the more stylistic choices, especially a final teaser that feels like it’s mocking everything that came before it.

My rating may seem lower than expected, but that’s only because “28 Weeks Later” feels incomplete. The film’s legacy now hinges on how “28 Years Later: The Bone Temple” closes the franchise. A weak sequel can retroactively cheapen what came before, much like the “Matrix” sequels.

Still, while some fans may have hoped for a more expansive or catastrophic finale, “28 Years Later” goes big in a different way. Instead of going global, as “28 Weeks Later” teased, it scales down to something more intimate. The heart. It looks at devastation, death, and despair, and responds with something more meditative. Almost peaceful. Albeit with nude, flesh-hungry creatures roaming the British countryside like rabid wolves.

Starring: Benicio Del Toro, Mia Threapleton and Michael Cera
Directed by: Wes Anderson
Rated: PG-13
Running Time: 105 minutes
Focus Features

Our Score: 3.5 out of 5 Stars

Since “The Grand Budapest Hotel” in 2014, Wes Anderson fans have been chasing that perfectly symmetrical high—the kind of quirky, charming brilliance that only Anderson seems capable of. But we may have to admit: that was the peak. It’s been a decade, and while he’s delivered solid work since, nothing has quite reached the heights of “Budapest.” That said, “The Phoenician Scheme” is still a strong entry in his catalog. It hits all the Anderson notes, even if it doesn’t sing quite as sweetly.

Imagine if “The Royal Tenenbaums” had a baby with “Beirut,” and you’d get something close to The Phoenician Scheme. It plays like a living political cartoon—satirizing war-driven infrastructure plans, economic collapse, and family dysfunction with pastel flair. Zsa-Zsa Korda (Benicio Del Toro) is an aging industrialist trying to glue together the financing for his overreaching global project, while grooming his daughter, Sister Liesl (Mia Threapleton), to inherit the chaos. Along for the ride are assassination attempts, underworld syndicates, failed rail lines, a basketball game with geopolitical stakes, and Bjørn (Michael Cera), a bewildered, yet suspicious entomologist turned assistant.

For die-hard Anderson fans, this might sound like a dream. But it’s worth tempering expectations. While I enjoyed “The Phoenician Scheme” quite a bit, it never quite rises to the level of Anderson’s best. It flirts with emotional depth but can’t seem to commit. Zsa-Zsa feels more like a mustachioed “Three Stooges” character than the kind of tragic antihero Anderson has pulled off in the past.

As a pure comedy, though, the film is a delight. It’s a whirlwind of dry wit, elaborate sets, and eccentric characters firing on all cylinders. Just don’t expect the emotional gut punch of “Budapest” or “Tenenbaums.” “The Phoenician Scheme” is Anderson comfort food—odd, satisfying, and occasionally unforgettable. Maybe that’s enough.

Sam J. Jones is known best for his role in the 1980 action hero film FLASH GORDON. The film has been inspiring fans for 45 years. He also has over 75 films and numerous television shows to his credit. Other than FLASH GORDON, Sam has THE SPIRIT, THE HIGHWAYMAN, SG-1’s The Bounty Hunter and his memorable comedic performances in TED and TED 2. As an Actor-Producer for 47 years and a Marine for 53 years (once a Marine always a Marine), Sam brings a rare and unique quality to the film industry, as well as to the public speaking circuit, or as Sam would say “To the human condition circuit”.

Media Mikes had a chance to chat with Sam J. Jones about his upcoming appearance at the Tampa Bay Comic Convention, which happens on August 1-3, 2025 in Tampa Bay, FL and also 45th anniversary of the film and the 90th anniversary of the character Flash Gordon.

Here is our first interview with Sam dating back to August 2013!!!

GIBSON
LAUNCHES GLOBAL SEARCH FOR MISSING GUITAR FROM THE ICONIC UNIVERSAL PICTURES AND AMBLIN ENTERTAINMENT FILM
‘BACK TO THE FUTURE’

HUNT UNDERWAY FOR THE CHERRY RED GIBSON ES-345 GUITAR PLAYED BY MICHAEL J. FOX
THAT DISAPPEARED FROM THE FILM 40 YEARS AGO

‘LOST TO THE FUTURE’
NEW DOCUMENTARY FILM BEGINS PRODUCTION

Gibson, the iconic and leading instrument brand, has launched a global search for the world-renowned Cherry Red Gibson ES-345™ guitar that Michael J. Fox played in the 1985 hit film from Universal Pictures and Amblin Entertainment, BACK TO THE FUTURE, which became the biggest film of 1985 in the U.S. and the second highest-grossing worldwide.

The stunning guitar was showcased during the beloved film’s unforgettable “Enchantment Under the Sea” school dance scene, a pop culture moment that has inspired many musicians to pick up guitars for the very first time after witnessing the character of Marty McFly (Michael J. Fox) play the legendary song “Johnny B. Goode.” During the making of the 1989 sequel to the film, the filmmakers went to look for the guitar, and it was nowhere to be found. Now, music fans worldwide have the chance to help Gibson find the most important guitar in cinema history.

Fans who have any tips as to the whereabouts of the missing original Cherry Red Gibson ES-345 guitar that Michael J. Fox played in the film BACK TO THE FUTURE can contact Gibson via www.LostToTheFuture.com or call/text 1-855-345-1955.

Watch/share the call-to-action video for the global guitar search featuring Emmy winner Michael J. Fox and his fellow stars of BACK TO THE FUTURE, including Lea Thompson, Emmy® winner Christopher Lloyd, Harry Waters Jr., GRAMMY® winner and Academy® Award nominee Huey Lewis, and more https://youtu.be/m6RdBMtAgSA.

Released on July 3, 1985, BACK THE FUTURE scored an Academy Award® and three additional nominations and launched a franchise that would go on to earn almost $1 billion globally.

Directed by Oscar® winner Robert Zemeckis and written by Zemeckis and Oscar® nominee Bob Gale, BACK THE FUTURE was executive produced by three-time Academy Award® winner Steven Spielberg, eight-time Best Picture nominee Kathleen Kennedy and five-time Best Picture nominee Frank Marshall. The film was produced by Neil Canton and Bob Gale.

From the innovative storytelling and characters to the unforgettable guitar performance of the song “Johnny B. Goode,” the film has left an enduring impact on pop culture and remains one of the most beloved and culturally significant films of all time. The film continues to influence and inspire new generations of fans everywhere with its dynamic special effects, beloved characters, and innovative storytelling.

The discovery of what happened to the film’s Gibson ES-345 would add a critical chapter to the film’s cinematic history.

“Guitar has always been a big part of my life,” says Michael J. Fox. “When we talked about the ‘Enchantment Under The Sea’ scene in Back to the Future, I sat down with the cinematographer and choreographer and said I want to riff through all of my favorite guitarists, like doing Jimi Hendrix behind the head, Pete Townshend doing a windmill, and the Eddie (Van Halen) hammer thing, it was so cool that they were open to that, and we laid it all out there. I’m really happy with the scene because it was an expression of my love for guitar and all the great players. I didn’t realize the influence the scene had on people, John Mayer said, ‘I play guitar because of you,’ and Chris Martin said the same thing, and I am glad they took it further than I did, they went to the trouble of being really good players. I just love the guitar, and I love the movie.”

“Years ago, I was astonished to learn this beloved cinematic artifact had apparently disappeared into the space-time continuum,” says Bob Gale, co-creator/screenwriter/producer of BACK TO THE FUTURE. “Since we don’t have a functioning time machine, this effort is probably our best chance to solve a decades-long mystery.”

“This is one of the most exciting moments at Gibson for me,” says Cesar Gueikian, President & CEO of Gibson. “Back To The Future is one of the most important and significant movies of my life, and the ‘Enchantment Under the Sea’ school dance scene marked me musically in a profound way. Working with Michael J. Fox, Bob Gale and the rest of the Back To The Future team is a dream come true. I hope we find Marty’s Gibson ES-345! To everyone out there who is as passionate as I am about this iconic film, please help us find it!”

“I started searching for this guitar back in 2009 on my first day on the job at Norman’s Rare Guitars,” says Mark Agnesi, Director of Brand Experience at Gibson. “After 16 years of searching, I’m so excited to get the entire guitar community together to help find the guitar that made me, and so many other guitarists of my generation, want to learn to play.”

“Watching Michael J. Fox’s iconic performance of ‘Johnny B. Goode’ during the ‘Enchantment Under the Sea’ dance was a moment that struck a chord with an entire generation of kids, inspiring them to pick up a guitar for the very first time,” adds Todd Harapiak, Gibson Media Director. “Few moments in film have had such a lasting impact on musicians as this scene in Back to the Future, and we’re thrilled to embark on a journey to find this guitar that’s carried the legacy of film and rock history for nearly four decades.”

“This is the movie that made me want to be a filmmaker, and the scene that made me pick up a guitar for the first time,” says Doc Crotzer, Director of the upcoming documentary film LOST TO THE FUTURE. “As children of the ’80s, it is our duty to take fans of music, fans of the movie, and fans of true crime documentaries with us on this too-crazy-to-believe quest to find our generation’s Excalibur.”

In tandem with the worldwide hunt for the missing Gibson ES-345 and to further celebrate the 40th anniversary of BACK TO THE FUTURE this year, Gibson Films has now started production on a new documentary film titled LOST TO THE FUTURE.

The forthcoming documentary LOST TO THE FUTURE from Gibson Films will feature in-depth interviews with BACK TO THE FUTURE cast members Michael J. Fox, Lea Thompson, Christopher Lloyd, and Harry Waters Jr., musician Huey Lewis (“The Power of Love”), and the film’s co-creator/screenwriter/producer Bob Gale, as well as the world-renowned music superstars that have been inspired by the film over the decades. In the quest to find the elusive original Gibson ES-345 guitar, documentary Director Doc Crotzer (Roadhouse, Glee), alongside Mark Agnesi (Director of Brand Experience at Gibson), will guide viewers in the global hunt for this legendary instrument from long-forgotten film prop warehouses, fascinating vintage guitar shops, auction houses, and shadowy back alleys. The LOST TO THE FUTURE documentary will transport viewers back to 1985 to celebrate the music, culture, and defining moments of the era through a rich collection of archival photos, stories, film clips, and iconic songs.

LOST TO THE FUTURE is produced by Gibson Films and directed by Doc Crotzer.

Above: A close-up view of Michael J. Fox playing the iconic Gibson ES-345 during the “Enchantment Under the Sea” scene of the film BACK TO THE FUTURE. Today, Gibson and the filmmakers launched a worldwide hunt for the original Gibson ES-345 used in the film and announced the forthcoming documentary Lost To The Future.