• THE AMATEUR
• Starring: Rami Malek, Laurence Fishburne
• Directed by: James Hawes
• Rating: PG-13
• Running Time: 2 hrs 2 mins
• 20th Century Studios

Our score:  2 out of 5

There is a saying that everything after Shakespeare is redundant. Perhaps, but originality coupled with creativity in the non-independent/foreign language film universe has become an endangered species. Major studios are quick to attach a number 2, or 3, or 4, etc. at the end of a title. Animated classics are being turned into live-action versions at every turn as part of a money grab. So, when the trailer images of the revenge crime thriller “The Amateur” first flickered across the silver screen at the movie theater, I could not help but be excited as it appeared to be something different. Maybe unique even if it was based upon the 1981 novel of the same name by American novelist Robert Littell. However, I found myself disappointed.

“The Amateur,” which was first adapted to the Canadian silver screen in 1981 starring John Savage and Christopher Plummer, comes across as amateurish. Directed by James Hawes (“One Life”), it is filled with more plot holes than a downtown side street after a season of winter plowing and salt spreading. Relationships are underdeveloped. Character motivations are sketchy at best. Some characters come and go without reason. The action is flimsy, and the suspense is near non-existent because you know from almost the get-go who the real bad guy is, which is partly due to casting an actor who typically plays villains.

In brief, because I don’t want to waste too much of your time, Charlie Heller (Oscar winner Rami Malek, “Bohemian Rhapsody”) is a brilliant CIA agent who works in its Decryption and Analysis division. One day, he receives encrypted files from an anonymous source. In those files is incriminating evidence that implicates CIA Deputy Director Alex Moore (Holt McCallany, “The Wrath of Man”) in acts that amount to treason. Soon thereafter, Charlie’s wife, Sarah (two-time Golden Globe winner Rachel Brosnahan, “The Marvelous Mrs. Maisel”) is killed in a bank robbery gone wrong in Europe.

Determined to go after the killers himself, Charlie blackmails Deputy Director Moore into letting him get training under no-nonsense Col. Robert Henderson (Oscar nominee Laurence Fishburne, “The Matrix”). However, it becomes clear to Col. Henderson that Charlie cannot handle a gun or even has the makeup to kill someone. In the meantime, Deputy Director Moore puts out an order for Col. Henderson to eliminate Charlie. The mistake they all make with Charlie is underestimating him as he sets out alone to Europe to track down those responsible for murdering his wife.

Director Hawes makes it clear that Charlie is haunted by the memory of his wife, but he never builds up their relationship enough to help us feel what he is going through. The lack of suspense as to who the real villain is adds to a sense of boredom while watching the film. Furthermore, the action and elaborate schemes of vengeance are less than thrilling. (I would recommend watching “Jason Bourne” or “Taken” instead.) Henderson’s motivations are all over the place and Jon Bernthal of “The Accountant” and “The Punisher” fame is completely wasted with a brief role that leaves you scratching your head over. Lastly, while Malek dove into his role, his performance is underwhelming. Disappointment is the best one-word description.

“The Amateur” receives ★★ out of five.

When best friends and roommates Dreux and Alyssa discover Alyssa’s boyfriend has blown their rent money, the duo finds themselves going to extremes in a race against the clock to avoid eviction and keep their friendship intact. It’s a downright shame how few comedies get a theatrical release these days. We’re far from the days of the Hughes or even Apatow era in terms of frequency, and it seems that when we do get them, they’re straight to streaming. Rising marketing costs have made it so studios only seem to want to take a gamble on low-budget horror or big-budget tentpole films based on a popular IP. So it’s nice to see an original comedy release in theaters as there’s nothing quite like laughing in a crowded auditorium. And if there’s one thing you’ll definitely get out of One of Them Days: it’s plenty of laughs. One of Them Days follows roommates Dreux and Alyssa as they struggle to come up with rent money after getting screwed over. Not wanting to be put out on the streets, they look to get enough money, all while their day gets more and more out of control. Hijinx ensue. Keke Palmer is much more subdued here than I’m used to and it really works. She’s the more level-headed of the pairing, but still eccentric enough to get plenty of laughs. You’d never know that this was SZA‘s first lead role as she’s a natural. She’s able to nail the comedic beats while never feeling out of place. Keke and SZA are far from being an odd couple, as they’re two peas in a pod, but they’re just different enough to be an interesting dynamic. A common pitfall for these comedies is to add more and more ludicrous stakes as the film goes along, getting to the point of absurdity. One of Them Days rides that line nicely, that just when you think it’s going to jump the shark, they manage to keep things relatively grounded. Don’t get me wrong, there’s still plenty of broad humor and unrealistic situations but the film manages to never get out of control. They steadily ramp up the stakes, introduce fun new characters, and never get too convoluted. And I lost track of the number of satisfying payoffs to even smaller moments; a mark of a great film. Writer Syreeta Singleton sure did her homework. Like any good comedy, One of Them Days has a fantastic supporting cast. Katt Williams, Lil Rel Howery, Keyla Monterroso Mejia, and Janelle Jamesall have standout moments. James and Meija, in particular, feel destined to break out as nearly every line they say gets a massive laugh. Maude Apatow also feels properly utilized as the white girl moving into the primarily black apartment complex. Her cluelessness may be a caricature to some, but I found it fitting for the type of hipster she’s meant to portray. I tend to be a tough sell when it comes to comedy and One of Them Days managed to really tickle my funny bone (also my fiancé). The laughs per minute were high, with several subtle jokes that are easy to miss. I’m excited for this to be on digital (included with the Blu Ray) to be able to see some of the gags I may have missed. It does what any great comedy does: blend comedy with emotional stakes for a fun time. Comedies are hard to review, as humor is so subjective, but I feel this manages to be satisfying even if you’re not a laugher. Like any good onscreen partnership, Keke and SZA are a blast to watch and make the running time fly by.

Picture was very pleasing. Blacks were deep and the colors (which were abundant) seem to leap off the screen. And this ain’t even 4K! Sound was impressive as this movie’s got much music! Bass lows were exceptionally low! Making the room shake. Not a whole lot of extras but enough to have an extra good time. There’s a gag reel with outtakes and bloopers. And a short that explores the music.

“One of Them Days” was a great time had by me and my fiancé. We both laughed a lot, which is all you need to expect from a comedy.

MOVIE ⭐️⭐️⭐️

PICTURE ⭐️⭐️⭐️⭐️

SOUND ⭐️⭐️⭐️⭐️

EXTRAS ⭐️⭐️

• THE ELECTRIC STATE
• Starring: Chris Pratt, Millie Bobby Brown
• Directed by: Anthony and Joe Russo
• Rating: PG-13
• Running Time: 2 hrs 5 mins
• Netflix

Our score: 1 out of 5

Let me state this clearly, there is nothing electrifying about the newish science fiction flick, “The Electric State”, now streaming on Netflix. Directed by brothers Anthony and Joe Russo, best known for helming 2018’s “Avengers: Infinity War” and 2019’s “Avengers: Endgame”, “The Electric State” fails to deliver on multiple levels. While visually it is fun to watch, the story is a discombobulated mess with dialogue that comes across as stilted and acting that is barely watchable. It is, in fact, so mediocre that it becomes forgettable. It’s also emblematic of what’s wrong with cinema today. Although it is based upon a 2018 science fiction novel by Swedish artist Simon Stalenhag, “The Electric State” comes across as a mish mash amalgamation of other sci-fi films like “I Robot”.

In brief, the story does a quick montage of past events to show us that in 1990, a war between humans and robots erupted after the latter, who had been used as slave labor for decades, began thinking for themselves. Protests by the robots led to conflict with humans on the losing side until Neurocaster Technology was created by CEO Ethan Skate (Stanley Tucci, “Captain America: The First Avenger”), which allowed humans to use stronger robots to defeat the other robots. Afterwards, the defeated, led by Mr. Peanut (voiced by Woody Harrelson, “Venom”), were all sent to a fortified exclusion zone in the desert.

Flash forward to the present where nearly everyone has become addicted to using Neurocasters, which means huge profits for Skate. Michelle Greene (Millie Bobby Brown, “Stranger Things”) struggles to make it through each day with the memory of her parents and brother dying in a car crash. However, when an old robot finds her, she learns that her younger brother is alive via a life support device developed by Skate that enables him to use her brother’s brain to keep his Neurocaster business going. Michelle ends up enlisting the help a former soldier (Chris Pratt, “Guardians of the Galaxy”) to rally the robots in the exclusion zone and bring down the villainous Skate and save her brother.

There is more to the story, of course, but it’s too painful to write about because it is just so bad. Well, maybe not as bad as the new “Snow White” movie, which had a worse score than “Human Centipede 2”. Anyway, “The Electric State” is another misfire for Brown after dismal “Damsel” flick while Pratt plays his character as if he is a slightly smarter Star Lord. The action sequences are boring, the story is predictable, and it lacks any real emotions. Someone should have pulled the plug on this project before it ever got off the ground.

“The Electric State” receives ★ out of five.

Starring: Nicolas Cage, Julian McMahon and Nic Cassim
Directed by: Lorcan Finnegan
Rated: R
Running Time: 103 minutes
Roadside Attractions

Our Score: 2.5 out of 5 Stars

It’ll be a sad day when an entire year passes without a new Nicolas Cage movie—whether it’s a trashy B-movie, an unexpected indie gem, or whatever random script manages to land on his doorstep. Even the bad Cage movies manage to warm my heart… sometimes like an impending heart attack. Enter “The Surfer,” where Cage plays a broker returning to his childhood town with two goals: buy a house and surf with his son.

Standing in his way? What can only be described as the town’s bullies on crack—both literally and metaphorically. Julian McMahon, channeling an Australian Andrew Tate, leads a ragtag gang of meatheads steeped in toxic masculinity. That’s trouble enough, but things escalate when it becomes clear the local police are tangled up in the same surfer bro cult, making life even more difficult for Cage as things spiral into violence and psychological warfare.

“The Surfer” loves toying with our perceptions. Is Cage truly living through this bizarre mess, or is it all in his head? The film merges meditative Cage with rage Cage, and while the combination is compelling at first, the movie loses steam by failing to commit to either mode. Some scenes hit with shocking, offbeat delight. Others feel like they’re straining under the weight of their own metaphors.

Without Cage, a film like “The Surfer” would be ridiculed for its ridiculousness. But Cage gives it a strange buoyancy, even as the runtime sags and the central theme starts to bludgeon the audience long after we’ve already “gotten it.” While I mildly enjoyed the experience, I’m not sure I’d ever watch The Surfer again—and that’s saying something. Because even when Cage stars in a five-alarm dumpster fire, I usually find myself coming back just to smile at the absurdity. “The Surfer” is certainly absurd, but it takes itself too seriously to let Cage truly ham it up—or give us a character we want to endlessly root for.

Starring: Kai Lennox, Sarah Lind and Zachary Ray Sherman
Directed by: Joshua Erkman
Rated: NR
Running Time: 102 minutes
Dark Sky Films

Our Score: 2 out of 5 Stars

Alex (Kai Lennox) wanders through an abandoned theater, searching for the perfect shot. We watch as he lingers in every decrepit corner, looking for his visual muse among moldy wallpaper and darkened shadows. He finds it. Moves on. Now he’s driving through an equally desolate neighborhood, scouting for his next muse. That’s how “A Desert” begins—and as time goes on, the narrative seems to elude him just as much as it eludes us.

Alex is trying to revive his stalled career and reignite a lost creative spark by going off the grid—leaving his phone behind, detaching from the modern world. That means he has no GPS, no lifeline if something goes wrong. And something does go wrong when Renny (Zachary Ray Sherman) and Susie Q (Ashley B. Smith), a strange couple in the motel room next to his, decide they want to become more than just noisy neighbors.

The problem I kept running into with “A Desert” is that it often feels like nothing is really happening—and I couldn’t bring myself to care much about Alex’s plight. I kept waiting for that visual cue or “ah-ha” moment to illuminate the story, to reward the slow burn. But as the film inches toward its climax, it stretches patience to the breaking point.

To be fair, first-time director Joshua Erkman throws in just enough curveballs to keep me guessing. His eye for detail is strong—each scene feels meticulously composed, even if we’re never quite sure where we’re going. The actors are so fully immersed in their characters that the chaos feels tangible and lived-in. But like I said from the start, the narrative is the biggest mystery here.

I might have enjoyed or even recommended “A Desert” if it didn’t feel like I was piecing together a puzzle with several missing pieces. Visually and performance-wise, the film has a lot going for it. It hints at a deeper meaning, an overarching point to the madness. But by the time the credits rolled, I felt like both my patience—and that point—had vanished in the dust.

Starring: Crispin Glover, Sunnyi Mells and Fionnula Flanagan
Directed by: Tallulah Hazekamp Schwab
Rated: NR
Running Time: 94 minutes

Our Score: 2.5 out of 5 Stars

Even knowing this review might lean negative, I thought to myself, “I need to write about “Mr. K.”” For a peek behind the curtain, sometimes I skip reviewing bad films. Why? Because not every debut—or in this case, every film—needs to be the defining highlight of a director’s career. Just ask James Cameron. There’s often value in unpacking what didn’t work, even if you never quite reach an answer. Sometimes, trying to make sense of a creative misfire is rewarding in its own way.

“Mr. K” follows its titular character (Crispin Glover), a traveling magician whose best days are clearly behind him. After performing a show where no one in the audience seems remotely interested, he checks into a once-grand hotel that, much like him, has seen better days. The place feels like a retired athlete being honored at a ceremony moments before being wheeled into a nursing home. What “Mr. K” doesn’t realize—until waking up after what seems like a peaceful night’s rest—is that he might never leave.

The hotel is bizarre. A band plays endlessly in the halls. Veins, literally, pulse beneath the wallpaper. The kitchen staff live and work in an increasingly distraught state of pure squalor. Mr. K seems like the only person not on some sort of hallucinogenic, despite offering no insight or solution to the chaos he stumbles through. The film itself morphs constantly, dipping into themes of capitalism, democracy, social class, cosmic philosophy, and—probably—other things I missed.

So what’s the issue? It’s not that “Mr. K” is bad—it’s that I wouldn’t recommend it unless you’re the kind of person who enjoys films that you might end up loathing. I know when I enjoy a “bad” movie, and I also know when I don’t enjoy something that’s probably meant for a niche audience. “Mr. K” isn’t remotely mainstream, and its message might not be meant for me. But what keeps me from disliking it outright is that I want to tune into the frequency of people who admire it.

Glover, for his part, is no stranger to weird. For every mainstream hit he’s been in—”Back to the Future,” “Charlie’s Angels”—he’s also taken swings in oddball projects like “Willard” or “Hot Tub Time Machine.” Watching him play a philosophical, socially detached weirdo just feels…right. So I found myself constantly wondering if there was more beneath the surface.

So what’s the verdict? If I had to answer honestly: hung jury. I could just as easily rate this 1.5 out of 5 or 3.5 out of 5. I swing back and forth between the parts I admired and the parts that deeply frustrated me. Writing about it helped me process it, which sometimes happens when you sit with a film. Sometimes I circle back and say, “Throw this all out.” Other times, “Nailed it.” This time, I’m standing by what I’ve written, even if it reads like an incomplete thought about an incomplete film.

“Mr. K” is frustrating. It asks for patience when it has little of its own. It asks for understanding without offering clarity. It lifts itself up only to contradict what it just said. It’s a journey, and in many ways, it constantly challenges you to reflect on your own. Your own viewpoints. Your own framework for what a story—even a strange one—should be. “Mr. K” is shouting something. The question is: do you want to listen?

Starring: Pedro Pascal, Ben Mendelsohn and Jay Ellis
Directed by: Anna Boden and Ryan Fleck
Rated: R
Running Time: 106 minutes
Lionsgate

Our Score: 4 out 5 Stars

It’s hard not to think about “Pulp Fiction” when watching “Freaky Tales,” a genre-hopping film set in Oakland, California, during the summer of 1987. Both films feature several interwoven stories, a jukebox of killer tracks, stellar performances, and a nostalgic-yet-modern vibe. While “Freaky Tales” isn’t trying to rewrite cinematic history like “Pulp Fiction” did, it’s the kind of wild, eclectic ride that will light up packed theaters and spark conversations as audiences try to figure out how an NBA star, a raspy debt collector, a rap duo, and a punk show that turns into a literal interpretation of “Nazi Punks Fuck Off” are all connected.

Without giving too much away, the film presents four tales—each seemingly from different creative head spaces but all part of the same cinematic DNA. The opening story sets the tone: a group of straight-edge punk rockers decide that non-violence isn’t cutting it when it comes to Neo-Nazis. From there, we meet a rap duo trying to balance their day jobs slinging ice cream to racist cops with preparing for the battle rap of their lives, a debt collector who’s finally chosen family over dirty money, and an NBA star at a pivotal crossroads both on and off the court.

The soundtrack is key—it’s like a mixtape curated by someone with multiple personalities, shifting genres as effortlessly as the stories themselves. Does it all work together? I’d say yes, even if a rewatch would help catch some of the connective tissue I probably missed the first time. Do the stories work individually? Mostly. If there’s a weak link, it’s the rap duo segment—not because it’s bad, but because it lacks the bloody sting or gritty edge that gives the other stories their punch. The comedy is there, but the stakes feel lower.

While Pedro Pascal is the obvious standout—because of course he is—Jay Ellis and Ben Mendelsohn stand out from the background that they gnaw scenery from. Special shoutout to Ji-young Yoo and the late Angus Cloud, both of whom make the most of their limited screen time. The cast across the board taps into the film’s tone, embracing their characters’ quirks while pushing the stories forward. Even the cameos pop with a quirky, subversive energy.

“Freaky Tales” isn’t flawless, but it radiates radical confidence. It doesn’t just tell stories—it plays with them, shifting styles and tones in ways that might confuse some viewers but will absolutely thrill the ones who vibe with its energy. It’s messy, bold, and totally committed to the bit—and that’s what makes it worth watching.

Starring: Tim Connolly, William Hinson, and Emma Nossal
Directed by: Tim Connolly
Rated: NR
Running Time: 109 minutes

Our Score: 3 out of 5 Stars

There’s an overused horror marketing line that always makes me roll my eyes: “Nothing can prepare you…” It’s usually attached to something so terrifying it promises you’ll need a change of pants by the end. But with “Black Theta,” I can confidently say that nothing can prepare you for how damn funny it is.

I say that because the trailer and poster had me expecting another paint-by-numbers slasher. Instead, “Black Theta” goes for the jugular—and the funny bone. Andy (played by director/writer Tim Connolly) attends a trauma support group, one of the few people there with some genuinely horrifying baggage. Years earlier, he narrowly survived an attack by a masked intruder who murdered one of his friends. Now, he and his fellow group members are about to find themselves in another nightmare: a murderous cult has them in its crosshairs.

Beyond its obvious homages, “Black Theta” feels like a queer send-up of horror tropes, packed with sharp one-liners that either made me laugh out loud or left a mile-wide grin on my face. Comedy is notoriously difficult to pull off, especially in indie horror, but the cast here nails it—balancing absurdity with legitimate horror critique in a way that’s effortlessly entertaining.

That said, the movie doesn’t just lean on laughs. The finale delivers the blood-soaked goods with a series of creative and satisfying kills. If I have one big critique, it’s the runtime. At nearly 110 minutes, there’s a noticeable lull between the setup—where characters are introduced and positioned like pawns on a chessboard—and the eventual slaughter. Tightening it up to a sub-90-minute runtime would’ve made the pacing sharper and the film even more effective.

Still, Tim Connolly deserves serious props. He acts, writes, directs, and (from the looks of it) probably ran craft services too. “Black Theta” is a riotous homage to slashers that somehow finds a fresh voice in a genre that’s constantly recycling itself. What’s even more impressive is that Connolly clearly has the chops to go darker, bloodier, or more serious in future projects. And who knows—maybe he already has. After all, “Black Theta” is his third film.

Starring: Kue Lawrence, Kai Cech, and Max Malas
Directed by: Daniel DelPurgatorio
Rated: NR
Running Time: 92 minutes

Our Score: 4 out of 5 Stars

As someone pointed out during the Q&A following the world premiere of “Marshmallow” at Panic Fest 2025, director Daniel DelPurgatorio broke a few unspoken rules with his debut feature: making a horror movie that’s set almost entirely at night at a summer camp and a cast filled with actual kids and preteens. That would be a logistical nightmare for most filmmakers, but DelPurgatorio handles it all with a confidence that feels effortless. More importantly, he makes a clear statement: he’s a visionary horror director worth watching—and worth buying advance tickets for.

Morgan (Kue Lawrence) isn’t thrilled about his first summer camp experience. He already struggles to make friends in his neighborhood, and he’s carrying trauma on two fronts. Before the events of the film, Morgan narrowly escaped death, while his grandfather—the one adult in his life who truly understood him—didn’t. Now, sent off to camp without his emotional anchor, Morgan faces bullies, shaky friendships, a maybe-summer-girlfriend, and a potential killer lurking in the dead of night. But it’s just Morgan’s trauma feeding off an old campfire tale told every year, right?

With a pulsating score, expertly timed jump scares, and a mystery that unravels in clever, unexpected ways, “Marshmallow” quickly reveals itself to be more than just another camp slasher. It’s also a sharp, funny coming-of-age story. Morgan is instantly likeable—you root for him the moment he’s introduced—and when the bullies show up, you want to jump into the screen and defend him yourself. His friend Dirk (Max Malas) nearly steals every scene he’s in. In fact, it’s impressive that in a movie featuring Broken Lizard alum Paul Soter as the camp leader, it’s Malas who ends up with the biggest comedic moments. Malas is like an impressive opening band that suddenly has the headliner re-examining themselves.

Even though most of the cast is made up of kids, the film doesn’t shy away from violence—but it never crosses a line into exploitation. The pain feels real, but not manipulative. The balance is impressive: the scares and stakes hit hard, but so do the emotional beats. As the story builds toward its climax, “Marshmallow” doesn’t lose steam. Instead, it smacks the audience with a series of satisfying, genuinely surprising revelations that deepen the story and make us root even harder for these characters. For that, credit goes to screenwriter Andy Greskoviak.

Honestly, credit goes all around. There are so many horror films where child actors sink the production or where the filmmakers don’t quite know what to do with them. But “Marshmallow” threads that needle with textbook precision. In some ways, “Marshmallow” is a lot like last year’s “In a Violent Nature,” both offer up a fresh take on slasher tropes we know and love, while helping modernize a genre that sometimes feels like it has nothing better to do than live in the 80s.

Starring: Betsy Sligh, Amna Vegha and Erin O’Meara
Directed by: Ehrland Hollingsworth
Rated: NR
Running Time: 77 minutes

Our Score: 3 out of 5 Stars

Why does anyone even babysit anymore? Babysitters have been horror film targets for over five decades, and in 2025, they’re still ripe for terror and mischief. “Dooba Dooba” peels back a new, modern layer of that age-old trope with a found-footage babysitter horror twist that creeps its way under your skin.

As far as I can tell, “Dooba Dooba” might be the first babysitter horror told entirely through found footage. The film captures Amna’s (Amna Vegha) horrific night of babysitting Monroe (Betsy Sligh) via a series of strategically placed cameras throughout the house. Why so many cameras? Because Monroe’s brother was murdered in his bed—just feet away from her—by an unknown intruder when she was younger. The trauma runs deep, and now the family uses the phrase “”Dooba Dooba”” as a safe word. Anyone walking around the house has to say it so Monroe knows they’re a friend, not a threat.

But once the parents leave and the babysitting begins, it’s clear that something is off. Monroe’s mood swings veer from endearing to unsettling. She acts strangely when Amna isn’t in the room, and the sheer number of cameras—some of which feel unnecessarily voyeuristic—adds to the growing sense of unease. The film leans into that discomfort, using the surveillance footage not just as a storytelling tool, but as part of the horror itself.

At a brisk 77 minutes, the movie builds tension smartly, blending glimpses into Amna and Monroe’s psyches with eerie VHS-style visuals. You’ll get clunky middle school PowerPoint presentations on serial killers, jittery archival footage of American politicians, and grainy imagery that recalls the last gasps of a dying tape deck. It evokes the same feeling “Paranormal Activity” did when it first hit—the sense that even though you know it’s fiction, it still feels real. Much of that realism is thanks to Betsy Sligh’s unnerving and excellent performance.

By the time the film ends, you’ll likely be left with questions—and maybe a few holes you’ll want to poke in the plot. But ultimately, there’s something admirable here: a film that proves you don’t need a massive budget, complex effects, or elaborate scares to build dread. With a basic setup, basic equipment, and a deceptively simple idea, “Dooba Dooba” manages to deliver a CCTV-fueled nightmare.

Starring: Fred Hechinger, Abby Quinn and D’Pharoah Woon-A-Tai
Directed By: Finn Wolfhard and Billy Byrk
Rated: R
Running Time: 88 minutes
Neon

Our Score: 3 out of 5 Stars

First-time writer/directors Finn Wolfhard and Billy Bryk (who also star in the film) have a tough task on their hands. In the midst of a slasher renaissance, it’s easy to get lost in the shuffle of much better horror-comedies. While “Hell of a Summer” boasts a fun cast, decent laughs, and all-around good vibes, it doesn’t stand out—especially compared to something like February’s “The Monkey” or the longer list of fantastic horror films screening at Panic Fest 2025.

The story centers on a group of teenage counselors at Camp Pinewa. Jason (Fred Hechinger) isn’t a teen, though—he’s a socially awkward 24-year-old who insists on returning as a counselor, despite the obvious weirdness of wanting to hang around teenagers while making minimum wage. When Jason and the other counselors arrive, the actual adult leaders are nowhere to be found. Rather than question it too much, Jason awkwardly steps into the leadership role while the rest of the cast cracks jokes and rolls their eyes—until a masked killer starts picking them off one by one.

Unfortunately, “Hell of a Summer” doesn’t give its characters much depth beyond standard slasher and teenager stereotypes. Jason has a love interest, but he’s too innocent and lacking in self-confidence to notice. The rest of the counselors deliver just enough personality to keep things moving, but not enough to make us care who lives or dies. Ironically, Wolfhard and Bryk may have written themselves as the film’s most interesting characters. Their Gen Z take on the Simon Pegg/Nick Frost or  Seth Rogen/Evan Goldberg dynamics have some potential—it’s just not given enough to do.

Unlike those classic comedic duos, though, Wolfhard and Bryk don’t quite find any time or any way to elevate the material. There’s a missed opportunity here to deliver a compelling coming-of-age story wrapped in a summer camp massacre. The film is light on gore, plays it safe with its kills, and leans more into comedy than horror. Despite all my nitpicking, the frenetic pace at which the film moves kept me from thinking about all of this until the credits rolled. In that regard, I think Wolfhard and Byrk have highlighted a unique craft that combines a love of slasher with ability to create a comedic ensemble. I’d definitely sign up to watch their next venture.

I can see general audiences enjoying this kind of breezy, horror-lite romp. It might not stick with you, but it could be a gateway for someone to dive into the deeper end of the horror pool. And if “Hell of a Summer” can do that—if it convinces just one viewer to give the genre a real shot—then maybe it’s worth more than the sum of its body count.

Directed by: James P. Gannon and Matt Ferrin
Rated: NR
Running Time: 95 minutes

Our Score: 3 out of 5 Stars

I’ve spent nearly a third of my life living in a small town—about 10,000 people. That’s roughly 4,000 fewer than the population of St. Helens, Oregon, the filming location for the 1998 Disney Channel Original Movie “Halloweentown.” While some small towns, like the one I’m from, quietly move on after the credits roll, St. Helens has fully embraced its connection to the Kimberly J. Brown-led cult classic.

“The Spirit of Halloweentown” explores this local obsession by talking with St. Helens residents who count down the days to September, when they can don new costumes, run haunted houses, or dive headfirst into spooky festivities. The film focuses on several town personalities: a new restaurant owner grappling with outsider status in more ways than one, the self-proclaimed Queen of Halloweentown, a cheerleading squad rehearsing a zombie dance, a hometown ghost-hunting crew, and a woman who believes the month-long celebration is basically an open invitation for Satan himself.

There’s plenty to enjoy here, but the film has a scattershot rhythm. These people rarely interact with one another—at least not on screen—and it’s a bit disjointed considering they all live in the same tight-knit town. And for fans of “Halloweentown,” a heads-up: while the movie gets a lot of love at the beginning, it quickly fades into the background. This isn’t a deep dive into the film’s legacy as much as it is a portrait of a town that’s used its connection to the movie as a launchpad for something much bigger.

I mention my own small-town experience because I recognize the elements that made that part of my life feel unique—even if I’m more of a city person these days. There’s a kind of unspoken kinship among the folks in St. Helens, and a shared belief that the celebration, and even the town’s future, are bigger than any one person.cIt’s not Halloween that binds them—it’s the town itself, and the people who make it what it is.

 I love classic horror monsters. Universal Studios set the benchmark for the Classic Monsters that haunt our dreams with their string of creatures like Dracula, Frankenstein, The Mummy, and The Invisible Man. My personal all-time favorite was Lon Chaney Jr. as The Wolf-Man. It was one of the few classic Universal Monster features that genuinely scared me as a child. The mood, the foggy atmosphere, and the idea that you could lose yourself mentally and physically to a curse always terrified me. Flash forward to today, it’s the perfect setup for the industry’s new-found love for Body Horror films.

After the thrilling exploits of The Invisible Man, Leigh Whannell seemed like the perfect choice for a new take on the classic. Our film opens with an overbearing survivalist father, Grady, taking his young boy Blake out hunting in the rural wilds of Oregon. There they’re attacked by an unseen creature that dismembers deer at will. After that tantalizing opener, we’re slingshot into the modern-day big city where we have grown-up Blake (Christopher Abbott) trying to imbue his daughter Ginger (Matilda Firth) with the same sense of self preservation only without the damaging abusive intensity of his father. But life isn’t great with his busy journalist wife Charlotte (Julia Garner) as they struggle to figure out how to best keep the family intact. But the opportunity to get away from it all arrives when Blake gets word Oregon is officially listing his long-missing father as “deceased.” Together they travel west to clean out the old man’s secluded farmhouse, but a deadly creature looms in the dark, shadowy forest.

I’ll give credit to Leigh Whannell and his co-screenwriter wife Corbett Tuck for digging up a number of interesting themes and ideas for their Wolf Man reinterpretation. You’ve got ideas of generational familial abuse and trauma. You’ve got ideas for marital and parental dynamics between fathers and mothers and breaking those societal norms. You’ve got ideas for true Cronenbergian body horror with an infectious disease taking over your bodily functions. There are a lot of good ideas here, sadly none of them really land within the confines of this ill-paced fur-less film. Also, where the heck are the actual wolves? The only setup we’re given is an odd tacked in “legend” text card thinly setting the stakes for this new take… but no wolves. But nonetheless I appreciate the effort because it was very atmospheric. At an hour and forty minutes, the film can feel excruciatingly sluggish, leaving you desperate for things to happen. With most of the action situated inside a secluded farmhouse, a lot of the plot feels aped from George Romero’s Night of the Living Dead. “How do these people escape the inescapable location” and all that yada-yada. Instead of the suspense of a growing hoard of undead ghouls, our family trio is harassed by a virtually unseen lycanthrope as the father succumbs to his inevitable transformation. And when we do finally see our titular monster, it’s less of a wolf and more of an odd-looking hairless feral pig. Now feral pigs are f’ing terrifying if you’ve ever come across one in real life, but this isn’t Pig Man, it’s Wolf Man. This Wolf Man transformation is clearly going for Cronenberg’s Brundlefly vibe, but it’s far less harrowing and the brief timeframe for change loses that sense of tragedy. Christopher Abbott is no slouch when it comes to body horror and “losing oneself.” Having already delivered a terrific performance for Brandon Cronenberg’s Possessor, he perfectly conveys a man losing control of himself. Matilda Firth is a solid little performer as Ginger, terrorized by the creature but more scared of losing her father. Julia Garner sadly is just miscast. She’s often appearing like she’d rather be anywhere else than in this film and when she delivers a second act soliloquy being anxious about stepping into a traditional motherly role, it feels like she’s just reading the cards than exuding an emotionally-driven moment.

As the film played out, I questioned why Garner was even there? If the main theme is about not passing trauma and grief onto your children, I can’t help but wonder how much better the film would have been if it was just the father/daughter dynamic without the mother. What if it was Blake rushing to show his daughter the survival skills he learned as a child, but with the focus of actually keeping her safe from the real terrors of the forest before he lost complete control of himself? Charlotte and by extension Garner, were just weak elements in an already pretty contrived wolf-less reimaging of the classic creature feature. All this essentially states that I was very disappointed by Wolf Man. I loved what Whannell brought to the screen with 2020’s The Invisible Man. That was a fresh, exciting, and sometimes terrifying take on the old material. Hell, even Upgrade was a suitable action-infused take on Body Horror themes. But something wiffed with this Wolf Man. I’m sure if this needed more time to cook at the script level or not, but it’s another in a string of poorly performing Blumhouse horror features. As for the video performance, I guess the best way to say this is when you can actually see it, Wolf Man enjoys an excellent 2.39:1 HDR10 transfer. “Seeing” is the optimal word there as often the image is bathed in virtually no lighting source with extreme shadows and black as pitch dark spaces. I missed this film in theaters, but I heard from many friends who did see it that this was an issue on the big screen as well and it haunts the 2160p and 1080p discs. A scene in a barn without any direct light source is a key example. Now you’re not supposed to specifically see certain aspects of what’s going on, the “wolf-o-vision” effect is supposed to bridge that gap in human and lycan senses, but it’s a visual trick that’s often more frustrating in the moment than it is effective. When you can see the film, the transfer delivers strong details and decent colors. Again, most of the film takes place in that semi-dark farm house without a lot of lighting so there really isn’t a whole lot to “see” – especially when they’re trying to hide the titular beast until the very end. That said, while I might not love the design, I enjoyed the use of practical make-up and gore effects. I initially started watching this during daylight hours, I don’t often get to pick when I watch a disc, but I found a lighted room a tough experience. Later at night I came back to it and felt that in a deep dark room, the visuals picked up a little more life. In the end, I’m left believing a lot of this impenetrable darkness is by choice and not necessarily a disc-transfer specific issue. As for the audio, there’s good news! Where this film and this disc excel is the phenomenal Dolby Atmos audio mix. Holy hell is this a fun mix! Where Wolf Man often eschews visual terror for audio-induced tension, the sound dynamics thunder away beautifully. When you can’t see the beast, you can hear it coming with impressive pin-point specific object placement throughout the soundscape. Sometimes it’s coming from the side, sometimes above; the track lets these channels mark its movements giving you plenty of immersive jump scares. As Blake slowly loses himself to the infection and his senses become more accute, a scene of a spider walking up a wall is dynamite audio! The LFE is rattling the subs with every eight-legged impact. The snarling beastly effects and the squishy bits for the body horror elements all enjoy a prioritized presence. The film itself might not be amazing, but the sound design and by extension, this Atmos track is fantastic!

On the bonus features side, this set doesn’t come with a whole lot of big bites. The meatiest piece certainly is the audio commentary with Leigh Whannell. He offers a lot of production notes and materials about the making of the film, when things were practical, when they were CG, etc. Even solo it’s an informative, engaging commentary. The rest of the production featurettes glean some interesting bits, but a lot of it feels very anemic.

FINAL THOUGHTS

Wolf Man is one of those outings that I really wanted to like. I avoided trailers. I avoided the reviews. I even avoided a lot of opinions of friends whose opinions I normally trust. I wanted to see it for myself and go in as cold as possible. Sadly, I didn’t like it. I liked and appreciated a lot of the ideas and themes that Leigh Whannell and his co-writer wife Corbett Tuck went for, but something just missed the mark. You could get in the argument of too much of this, not enough of that, but at the end of the day, this new refresh of Wolf Man didn’t make me howl the way I’d hoped it would. On 4K UHD the film scores a solid HDR10 transfer that is held back only by the occasionally extremely dark cinematography. On the other hand, the Atmos mix is a real banger (literally) delivering an excellent wall-to-wall immersive sonic experience. The bonus features a tad thin, but the audio commentary is a good listen. At the end of the day, Wolf Man is another frustrating new take on a classic Universal Monster. I hoped I’d like it, I didn’t. It’s a curiosity and Worth A Look, but I wouldn’t recommend a blind buy unless you find it on a super sale.

MOVIE ⭐️⭐️⭐️

VIDEO ⭐️⭐️⭐️⭐️

SOUND ⭐️⭐️⭐️⭐️⭐️

EXTRAS ⭐️⭐️

• SNOW WHITE  (2025)
• Starring:  Rachel Ziegler and Gal Gadot
• Directed by:  Marc Webb
• Rated:  PG
• Running time:  1 hr 49 mins
• Walt Disney

Our score: 2.5 out of 5

It’s finally here.  We’ve been beat over the head for the past year about the updated version of “Snow White” which was going to change everything you thought you knew about the story.  Of course there will be dwarves.  Oops, no, sorry, we’re going to have “magical creatures” of all sizes and genders.  Oops, sorry again.  The dwarves are back.

And it didn’t help that the actress playing Snow White told the press:

“I just mean that it’s no longer 1937, and we absolutely wrote a “Snow White” that’s not gonna be saved by the prince, and she’s not gonna be dreaming about true love. She’s dreaming about becoming the leader she knows she can be and the leader that her late father told her she could be if she was fearless, fair, brave, and true. And so, it’s just a really incredible story for young people everywhere to see themselves in.”

These comments, and the whole yes/no dwarves controversy, put this film in the same category of “Twilight Zone: the Movie, where the death of actor Vic Morrow and two children overshadowed the actual film when it was released.  Sometimes controversy pays off.  Sometimes, it doesn’t.

In a land far, far away, the king and his wife are traveling in a blizzard when the queen gives birth.  Since the child was born during a snow storm, she is given the name Snow White.  (sigh)  That’s like saying Batman took his name from the fact that he liked to play baseball.  The new family spend their days wandering the kingdom, meeting and helping out their subjects.  Sadly, the queen passes away and the king, lonely for female companionship, the king takes a new bride (Gadot in all of her epic wickedness), a woman whose vanity forces her to constantly question her magic mirror as to her status as the most beautiful, or fairest, of them all.  She gives young Snow White (Emilia Faucher) a really bad haircut and keeps her locked in the castle, forced to do menial chores.  While scrubbing the floor one day, a now adult Snow White (Ziegler) is surprised by Jonathan (Andrew Burnap), a sort of Robin Hood-like figure who came to rob the castle.  He is captured but Snow White, with her heart of gold, helps him escape.  This makes the queen angry.  Very angry!  She orders her huntsman to take Snow White into the forest and cut out her heart (this film is particularly dark for a PG rating).  He lets her go, she finds the dwarves, the end.  Not exactly, but that’s what it felt like.

Where to start?  This is pretty much “Snow White” the way we remember it, meaning someone at Disney must have realized that the recent trend of failing films needed to stop and persuaded the filmmakers to be as familiar as possible.  Ziegler was so good in Steven Spielberg’s updated “West Side Story,” but for whatever reason she doesn’t bring the slight vulnerability needed for the role she showed in “WSS” here.  Sadly she doesn’t make Snow White likable, so you don’t really care what happens to her.  Also, apparently Ziegler was directed to never blink and her constant, wide eyed stare is pretty unnerving at times.

It is good to see the familiar seven dwarves, even CGI ones, and the film picks up every time they are on screen.  The film turns the “magical beings” into Jonathan’s band of men, who spend a lot of time singing and dancing.  “You and Finch are such good dancers,” Snow White tells one of them.  He replies that they’re “just good friends.”  “If you say so.”  Ha-ha.

The songs are ok and the CGI clever, but unfortunately you go into this film looking for the worst and, even though it’s not a bad as it could have been, it may take you a couple of viewings before you find the story you were hoping for.  I’ll never know.  One time was plenty for me.

On a scale of zero to five I give “Snow White” ★★ ½.

Starring: Rick Kain, Helen Laser, and Neal Davidson
Directed by: Douglas Forrester
Rated: NR
Running Time: 98 minutes

Our Score: 3.5 out of 5 Stars

I know I’m getting old when more and more media either taps into my nostalgia or sets its story in the years I actually grew up. “Carry the Darkness” checks several of my personal childhood boxes—it’s set in 1993, features teens playing a video game knock-off of “Mortal Kombat,” and centers on a misunderstood, artsy metalhead named Travis Baldwin (Joel Meyers).

Travis, who’s into thrash metal and photography, gets relentlessly bullied by the school’s jocks. He escapes their torment by smoking weed, playing video games, and taking photos of the local dam and abandoned buildings scattered around his small town. Right from the start, Travis is surrounded by adversity: his father’s out of the picture, his mother scolds him as a pastime, and his best friend’s dad—a local priest—thinks Travis is the antichrist incarnate. To top it off, the town’s police seem eager to pin a string of grisly murders on him. While Travis isn’t the one behind the killings, the actual demonic culprit, takes a keen interest in him.

Blending Satanic Panic vibes with a thoughtful look at teenage trauma and isolation, “Carry the Darkness” offers a serious but fun take on demons and the weird kids like me who grew up on “Twin Peaks,” “The X-Files,” and “Unsolved Mysteries.” The setting, characters, and dialogue feel like they were pulled from a Stephen King paperback: teenagers seen as societal misfits who find meaning while confronting literal evil. And, of course, the adults just don’t get it.

Travis—and the people who stick by him—become more compelling as the plot deepens and the violence ramps up. Jaden Gant plays Jordan, Travis’ best friend and loyal wingman through all the supernatural madness. Jordan doesn’t tick all the “weird kid” boxes, but he’s still an outsider, and his loyalty is what makes him such a strong companion. Then there’s Stacey (Helen Laser), the new goth/emo girl at school, who serves as a potential love interest. But she’s more than that—her backstory ties her meaningfully into the film’s larger mythology. All three characters, while not always fighting side-by-side, each play an important role in confronting the ancient evil festering in their town.

While the finale doesn’t quite stick the landing, the emotional gut-punches that precede it resonate—especially for anyone who’s ever felt like a ghost in their own home, school or town. These characters find meaning through their art and their fragile, but fierce, friendships. And in this case, they also fight evil. That emotional core elevates what might have been a forgettable ending into something worthwhile and heartfelt.

“Carry the Darkness” is a compelling watch for anyone who spent their youth dodging bullies, reading Clive Barker, or blasting Slayer on their bedroom stereo.