PHOTOS BY VALENTINO CAPONE

It has been one heck of a summer.  With the return of Jaws to the big screen this weekend, I felt the need to take a look back at the 50^th Anniversary Celebration, which took place on Martha’s Vineyard from June 19-22.  I was not only there as a fan.  I had the amazing honor of taking part in many of the festivities.

The official Amity Homecoming Weekend kicked off on Thursday, June 19^th, when the Martha’s Vineyard Museum allowed myself and my co-hosts, Nate Jones and Jane Jones Clark, to record our long running YouTube show, “Let’s Talk JAWS Live!” in front of a sold-out audience, most importantly because it was a fundraising event for the Museum.  We were joined by such JAWS celebrities as Production Designer Joe Alves, actors Jeffrey Kramer, Tom Dunlop and Gary Springer, author Dennis Prince and special effects creator Kasey Erokhin.  Also joining the show via the Internet was actress Gigi Vorgan.  For 90 minutes, the audience had the opportunity to ask questions in an up-close and intimate setting.  What those in attendance didn’t know was that a very special guest had decided to join the show.  The crowd rose as one and burst into applause when Matt Hooper himself, Oscar winner Richard Dreyfuss, entered the room.  Taking his place in front of the room, Dreyfuss answered questions and shared stories with Alves and Kramer.  As I write this, the video of Dreyfuss’ surprise entrance has received over two million views on Tik Tok.

Friday, June 20^th, the film’s official 50^th Birthday, saw myself and Joe Alves, along with Dennis Prince, at Edgartown Books, which sponsored a book signing for Joe’s new biography as well as my own “FINATICS – 50 Years of JAWS.”  The crowd was steady for the two hours we were there, often stretching down the street in front of the bookstore.  Other authors, including Ryan Dacko (“The Book of Quint”) and Ira Marcks (“Shark Summer”) also graced the porch of the bookstore that week. 

Friday also saw two major panels at the Museum.  The first, “JAWS: A Deep Dive” was presented by Historian and JAWS expert Bow Van Riper.  Later in the day, director Guy Masterson took fans behind the scenes of the Broadway show “The Shark is Broken,” which was scheduled to make its Vineyard debut in July. 

Friday also saw the return of two classic modes of transportation to the Island.  Michael Sterling, who had created his own replica of the famed ORCA, docked it along the water in Oak Bluffs, allowing fans the opportunity to take photos of the classic ship.  On the land, fans were treated to Gabe DiSaverio’s replica of Chief Brody’s Amity PD 1974 Chevy Blazer. 

Finally, Friday also saw the beginning of the largest non-official event of the weekend:  a cast and crew meet and greet held at the Wharf Restaurant.  The event, which took place on Friday, Saturday and Sunday evening, was hosted by the Wharf’s longtime manager, Jeffrey Voorhees, who is better known as shark victim Alex Kintner.  As I did not attend the event I reached out to fans that had for their thoughts.  While some enjoyed the experience of having the opportunity to see so many famous Jaws celebrities in the same room, others complained about ticketing issues, the confined space – one attendee wrote “packed like sardines in a hot tin can does come to mind” – while others lamented the fact that guests promoted as appearing via the internet, most notably actor and co-screenwriter Carl Gottlieb, were “inexplicably absent.”  Still, many enjoyed the opportunity to meet a who’s who of Jaws alumni.

Saturday featured two more packed panels.  “Growing Up with Uncle Quint,” featured author Christopher Shaw Myers, the nephew of Jaws co-star Robert Shaw.  Mr. Myer’s mother, Joanna – Robert Shaw’s sister – had appeared at the 2012 JawsFest.  Also speaking that day, Wendy Benchley, the wife of Jaws author Peter Benchley.  Ms. Benchley not only shared stories from the set of the film but also highlighted her work highlighting global ocean conservation efforts.

Later that evening, fans gathered at the Winnetu Oceanside Resort for an outdoor screening of the film, accompanied by the Cape Symphony.  The show began with an appearance by Richard Dreyfuss, who addressed the crowd prior to the screening.

Sunday was the last day and the promoters of the event saved the best for last.  Panels with Joe Alves, with Dennis Prince, Hollywood makeup master Greg Nicotero, and Deputy Hendricks himself, Jeffrey Kramer, were presented to sold out audiences.  The lawn of the Martha’s Vineyard Museum took on a carnival vibe as “Reunion Day,” a joint effort between the Museum and the Vineyard Gazette Media Group, welcomed fans from literally all over the world to mingle with special guests, participate in Jaws trivia games, and get autographs from the special guests in attendance.  One such guest was Molly Scheider, the daughter of Chief Brody himself, the late Roy Scheider.  As a young man, with Roy’s permission, I had started and ran his official fan club.  It was truly an honor to meet Molly.  As we said hello I surprised her with a gift – a scrapbook of photos and articles featuring her father that I had begun collecting 50 years earlier.  Just the expression on her face told me I had given her something special, something I hope she passes on to her children.

As the sun set at the end of a perfect weekend I said goodbye to old friends, some I’d known for years and some I’d just met.  It was that kind of weekend!     

Starring: Austin Butler, Regina King and Zoe Kravitz
Directed by: Darren Aronofsky
Rated: R
Running Time: 107 minutes
Sony Pictures

Our Score: 4 out of 5 Stars

It’s always hard to know what you’re going to get from Darren Aronofsky. Three years ago, he gave us a rough, intimate drama that won Brendan Fraser an Oscar in “The Whale.” Eight years ago, he gave us one of Jennifer Lawrence’s lowest career points in “mother!” 11 years ago, he managed to get Fox News riled up over “Noah.” So, what should audiences expect from his latest film, “Caught Stealing?” It’s a violent, offbeat misadventure through 1990s New York City; a genre mashup of crime, thriller, comedy, and an oddly specific love for the San Francisco Giants.

Hank (Austin Butler) tends bar at a grimy, hole-in-the-wall dive. He drinks with customers, stumbles home to his dingy apartment, keeps drinking, and sleeps with Yvonne (Zoe Kravitz), who genuinely loves him despite his downward spiral. Once, Hank was a rising baseball star with legitimate MLB dreams, but alcohol wrecked those plans, quite literally. His dear friend booze continues to derail his life, pulling him deeper into trouble when he crosses paths with both the Russian and Jewish mob.

Everything kicks off when Hank agrees to watch his neighbor Russ’ (Matt Smith) cat while Russ heads back to England to care for his ailing father. Unfortunately, Russ leaves behind dangerous unfinished business, and a string of furious mobsters want something badly enough to beat Hank within an inch of his life and start killing anyone around him. What exactly they want becomes Hank’s mystery to solve, and Aronofsky uses that hook to drive a steadily escalating spiral of violence, paranoia, and absurdity.

Most of “Caught Stealing” thrives on tension and intrigue: what’s hidden in Hank’s past, what’s driving the chaos, and how far he’ll go to survive. Aronofsky stages the violence with care by grounding the stakes when it matters but leaning into absurdity when the tone allows it. The film moves between gritty realism and pitch-black comedy, creating a sense of unpredictability even when the plot itself edges toward the familiar.

The ensemble helps hold it all together. Character actors like Vincent D’Onofrio, Carol Kane, and even Bad Bunny bring bursts of personality to every chaotic encounter. Butler’s brooding performance anchors the chaos, though the tonal mismatch between his straight-edged intensity and the stranger supporting turns occasionally clashes. Still, the off-balance approach mostly works, creating a sense of danger that feels earned rather than manufactured.

Ultimately, “Caught Stealing” is a pleasant surprise because it’s part “North by Northwest” paranoia and part “Big Lebowski” absurdism. It doesn’t quite reach the brilliance of either, but it refuses to play by genre rules, and there’s an admirability in that. It’s bloody, darkly funny, and weirdly endearing. Considering Aronofsky adapted this from a series of books, Sony might greenlit a sequel or two if the box office dictates it. If they do, I’m in for more breezy, violent fun.

Starring: Bob Odenkirk, Connie Nielsen, John Ortiz
Directed by: Timo Tjahjanto
Rated: R
Running Time: 89 minutes
Universal Pictures

Our Score: 3.5 out of 5 stars

Where was there to go after 2021’s “Nobody,” the suburban-dad-as-assassin sleeper hit? You’d expect Derek Kolstad, the creator of “John Wick,” to expand the world of Hutch (Bob Odenkirk). You’d expect him to introduce new allies, explore past enemies, and deepen the mythology of Hutch. Instead, “Nobody 2” takes a hard roundhouse kick left: it’s time for Hutch to take the family on a nostalgic summer road trip.

This time around, Hutch (Bob Odenkirk) is struggling to keep up. He’s rarely home, bouncing between violent freelance gigs to pay off the debt he racked up in the first film. His wife drinks alone at the dinner table and his kids barely see him outside of breakfast small talk. We even get the sense that divorce and alienation is around the corner. To save his marriage and reconnect with his family, Hutch piles everyone into a van and heads to Plummerville, a water park he visited as a kid. Trouble, of course, is waiting for him.

The chaos includes a corrupt amusement park owner (a grounded John Ortiz), a small-town sheriff oozing smug entitlement (Colin Hanks, doing what he does best in a jerk role), and a Russian gang leader played by Sharon Stone, who tears through scenes like a villainous vulture gnawing on a carcass. The plot may be thin, but the characters liven it up. Once again, Odenkirk grounds the mayhem with his unique blend of exasperated dad and quietly lethal badass.

The film’s biggest asset is its tight 89-minute runtime, about 20 minutes leaner than most action flicks. Whether by necessity or design, it understands that time is precious and that a quick jolt of adrenaline can be just as satisfying as a full-course meal. That said, there are still a few slow spots, and even Odenkirk’s charisma can’t mask every lull. “Nobody 2” may not be as fresh or impactful as the first, but it offers a tiki drink of an experience. It’s light, fast, and playfully violent. It’s a late-summer treat, perfect for when you need one last splash of cinematic fun before the season ends.

• HOW TO TRAIN YOUR DRAGON (2025)
• Starring:  Mason Thames, Nico Parker and Gerard Butler
• Directed by:  Dean DeBlois
• Rated:  PG
• Running time:  2 hrs 5 mins
• Universal

Our score:  4 out of 5

In case you haven’t noticed, there has been, for the past few years, a trend in Hollywood.  Take a beloved animated film and do a live action remake.  It makes sense.  The studios already own the property so need to pay the screenwriter any more money.  And, if the animated film was a success, you already have a built-in audience.  When they work, like Disney’s latest “Lion King” films, they work beautifully.  When the don’t, well they don’t (and I’m looking at you “Snow White.”  I hope you’ve blinked since I last saw you.)  Another risk is that they spoil the affection fans of the original have.  I’m happy to say that that affection still runs deep in me after seeing “How to Train Your Dragon.”

Like the 2010 animated feature, the film tells the story of young Hiccup (Thames), a well-meaning lad who tries his best to impress his father, the head of the Viking village he lives in.  However, no matter what he tries, and how well intentioned his plans are, disaster usually follows.  Then one day he meets a very special dragon.  And his adventures begin.

Beautifully shot, with amazing visual effects, the film manages to capture the feel of its predecessor thanks to a strong cast.  As Hiccup, Thames is just quiet enough to hide his new-found skills and Ms. Parker is a strong asset to the group of youngsters hoping to become first-rate dragonslayers.  Butler, who also voiced tribe leader Stoick in the original animated film, is his usually blustery best.  Whether he’s fighting dragons or haunting Paris opera houses, Butler has never met a role he couldn’t yell through!

The visual effects are top notch though I will warn that some of the more intense scenes scared several of the little ones that attending the screening I was in.  However, children over the age of eight should enjoy the action.

On a scale of zero to five I give the live action version of ‘How to Train Your Dragon” ★★★★

• JURASSIC WORLD:  REBIRTH
• Starring:  Scarlett Johannson, Mahershala Ali and Jonathan Bailey
• Directed by:  Gareth Edwards
• Rated:  PG 13
• Running time:  2 hrs 13 mins
• Universal

Our score:  3 out of 5

I love dinosaurs.  My favorite is the triceratops, a love I developed as a child from reading the book “The Enormous Egg.”  Apparently, a lot of people love dinosaurs as the EIGTH film in the Jurassic Park series comes to theatres.

Set five years after 2022’s Jurassic World: Dominion, the film tells the tale of a group of people, led by Zora (Johansson) and Duncan (Ali) to escort a scientist (Bailey) back to Isla Nublar, the island that contained the original Jurassic Park on a mission to retrieve DNA from three very large, and very nasty, species of dinosaurs who were left behind on the island because they were too terrifying.  Apparently the nicer members of the species are now free to wander the world aimlessly, including the brontosaurus who blocks traffic in Brooklyn!  I can hear those car horns now.

While entertaining, the film lacks what made 1993’s original “Jurassic Park” such a great film.  Emotion.  Not just yelling and screaming, but a true emotional connection with the characters.  The most recent films in the series have pretty much just thrown characters you’re not emotionally invested in amongst a series of bigger and more terrifying monsters.  Like a great roller coaster ride you’re caught up in the excitement of the moment but on the ride home from the amusement park you’re talking more about the giant corn dog you ate instead of the ride.  That being said, the monsters are scary and you do get those brief moments of excitement.  You just may not remember them on the ride home.

On a scale of zero to five I give “Jurassic World: Rebirth” ★★★

• BALLERINA
• Starring:  Ana de Armas, Keanu Reeves and Ian McShane
• Directed by:  Len Wiseman
• Rated:  R
• Running time:  2 hrs 4 mins
• Lionsgate

Our score:  3 out of 5

When I interviewed ballerina Moira Shearer who starred in “The Red Shoes,” she happily informed me, “Dancers and boxers lace their boots the same way.”

As the analogy indicates, deadly force can come in seemingly dainty packages.

That may explain why “From the World of John Wick: Ballerina” usually works. Ana de Armas proved she had what it took to be an action hero in “No Time to Die.” In her brief turn, her awkward demeanor belied formidable speed and agility. Her precision dagger was a nice complement of James Bond’s blunt instrumentation.

This time around she plays Eve, a young woman struggling to deal with being orphaned after trained killers murdered her dad. Winston (Ian McShane), who acts like a referee in the universe that Eve and John Wick (Keanu Reeves) inhabit, puts her in the care of the Director (Anjelica Huston).

Eve now has a unique regimen. Most of us don’t have to train for the rigors of both ballet, which can decimate a dancer’s feet, and for martial arts and target practice. Because she’s as sturdy as she is agile, it’s no surprise she spends less time on stage than she does guarding clients or selectively ending lives.

After a few successful missions, she discovers that the people who killed her father are still around. The Director has had a long truce with the rival troupe of killers and their leader The Chancellor (an appropriately chilly Gabriel Byrne).

Eve couldn’t care less about those arrangements. She wants revenge and is willing to charge into a village populated entirely with seasoned assassins.

If anyone could survive such a seeming act of folly, she would be the one. Her bravado is accompanied by the sort of creativity that comes from an education in the arts. This enables her to neutralize larger, stronger opponents.

Watching de Armas leap, kick and shoot is expectedly exhilarating. Screenwriter Shay Hatten, who wrote the last two John Wick films, comes up with a delightfully goofy solutions when Eve runs out of ammo.

Director Len Wiseman (“Underworld”) stages the mayhem with appropriate finesse, but he deviates little from the template that Chad Stahelsski established in the first two movies. “Ballerina” might have been more fun if it gave Eve a stamp of her own. The pneumatic tubes that send death warrants across the oceans in seconds are here, but it the idea of blending classical dance and combat is only partially realized.

Reeves, who produced, returns as Wick. He seems committed, but the script incorporates Wick as an afterthought. Reeves and de Armas share little screen time and don’t get a chance to play off each other much. It would have been more fun if their contrasting styles could have been clearly delineated.

De Armas at least shows that her lean shoulders can carry a shoot-em-up with confidence. Here’s hoping her next turn behind a gun is as nimble as she is.

On a scale of zero to five, “Ballerina” receives ★★★

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.”