Reviews

George Miller returns to the wasteland in fiery glory with "Furiosa: A Mad Max Saga," a prequel that expands the world of his masterpiece "Fury Road" while carving its own unforgettable path. This isn't just a retread; it's a thrilling origin story that deepens our understanding of the enigmatic Furiosa and delivers an action-packed spectacle demanding to be seen on the biggest screen possible.

Anya Taylor-Joy steps into the iconic role with a fierce conviction, portraying a younger Furiosa hardened by a brutal past and fueled by an unyielding desire for freedom. Her journey is one of relentless pursuit, both physically as she navigates a treacherous landscape and emotionally as she grapples with the trauma that shaped her. Taylor-Joy embodies Furiosa's strength and vulnerability, making her a character you root for with every fiber of your being.

The action sequences are pure Miller magic. He crafts ballets of vehicular mayhem, each chase a masterclass in choreography and practical effects. The desert explodes with fire and fury, leaving you breathless and awestruck. But the action serves the story, propelling Furiosa forward and showcasing the desperation and ruthlessness of this post-apocalyptic world.

Miller isn't just interested in spectacle, though. He crafts a rich tapestry of characters, from the menacing warlord Dementus (Chris Hemsworth, deliciously unhinged) to a band of rebels who offer a glimmer of hope. The world-building is phenomenal, further fleshing out the lore of the Mad Max universe with distinct factions and a palpable sense of decay.

"Furiosa" isn't without its emotional stakes. The film explores themes of survival, loyalty, and the fight for a better tomorrow. It's a story that resonates on a human level, making the action all the more impactful.

This is a film that demands to be experienced on the big screen. The immersive visuals, the bone-crunching sound design, and the sheer scale of the action sequences will leave you speechless. Whether you're a die-hard Mad Max fan or a newcomer to the franchise, "Furiosa" is a thrilling, beautifully crafted cinematic experience that will stay with you long after the credits roll.

"Kingdom of the Planet of the Apes" marks a bold new chapter in the franchise, venturing far beyond the reign of Caesar. Centuries after his time, a new generation of apes has established societies, each with their own customs and conflicts. We're introduced to this world through the eyes of Noa, a young Eagle clan member yearning to earn his fathers respect.

The film excels in its world-building. The lush, overgrown landscapes, remnants of a fallen human civilization overtaken by nature, are a visual feast. The ape societies, with their distinct cultures and hierarchies, feel richly developed. The action sequences are excellent.

However, the narrative unfolds at a breakneck pace, leaving some aspects underdeveloped. The central character, Noa, is a capable protagonist. His interactions with a human girl named Mae, while it adds a dynamic layer to the story, Mae herself feels like a bit of an enigma. We don't get a full understanding of her background or motivations, which can be distracting at times.

Despite this, "Kingdom of the Planet of the Apes" masterfully blends stunning visuals with an engaging narrative, leaving audiences eager for the next chapter in this ever-evolving saga.

"Faceless After Dark" isn't just a slasher flick; it's a warped reflection of fandom, fame, and the cost of artistic identity. Director Raymond Wood crafts a film that's equal parts terrifying and thought-provoking, anchored by a truly killer performance from Jenna Kanell. Who takes center stage as Bowie, a jaded actress haunted by her breakout role in a notorious killer clown movie.

The film starts off strong, establishing Bowie's disillusionment with fame and the obsessive nature of some fans. But it's when she's thrust into a terrifying situation - a home invasion by a deranged fan dressed as the killer clown from her film - that Kanell truly shines.

Her portrayal of Bowie's descent into paranoia and desperation is raw and captivating. We see a shift from initial defiance to a fight for survival. Kanell masterfully conveys this emotional rollercoaster, keeping you glued to the screen.

As the film delves deeper, the lines between reality and warped obsession blur. Kanell seamlessly navigates this complexity, hinting at a potential darkness within Bowie herself. This is where "Faceless After Dark" excels. It becomes more than just a slasher; it's a character study exploring the price of fame, the burden of expectation, and the lingering impact of trauma.

Sure, the deaths are brutal (and there are some truly creative kills here), but it's Kanell's performance that elevates the film. She's not just a scream queen; she's a powerhouse anchoring the narrative with her raw talent.

"Faceless After Dark" might not be perfect. The pacing can drag at times early on, but once the film lays its foundation, you become immersed in the raw intensity that keeps you glued to the screen.

There's no denying the effectiveness of a good home invasion horror flick. The 2008 original "The Strangers" tapped into that primal fear, leaving audiences on edge. The 2024 remake, "The Strangers: Chapter 1," attempts to recapture that magic, but the execution feels sluggish.

While director Renny Harlin isn't afraid to get creative with camerawork, particularly in the suspenseful sequences set in the dark woods, the overall pace drags. The first half relies heavily on familiar beats - a young couple in a secluded house, the arrival of the masked strangers, the taunting games.

Diehard fans of the original might find this repetitive. The new film does try to deviate slightly, hinting at a deeper mythology surrounding the Strangers, but these glimpses are fleeting and unsatisfying. The promised "Chapter 1" structure suggests this might be a setup for a larger narrative, but for a standalone experience, it leaves viewers wanting more.

The film isn't devoid of scares. There are a few genuinely creepy moments, especially when the Strangers exploit the vulnerabilities of the house. However, these jolts are spaced out by stretches of slow-burn tension that don't quite deliver the expected payoff. Chapter 1 may be redeemable with quality sequels, but at the moment I am not a fan of the direction they are going with the trilogy.

The brainchild of Pamela Adlon and Ilana Glazer, is a comedy that tackles the messy realities of female friendship and motherhood. Glazer shines as Eden, a free-spirited yoga instructor whose life takes a sharp turn when her best friend Dawn (Michelle Buteau) becomes a mom of two, and Eden herself gets pregnant from a one-night stand.

The film's strength lies in its unflinching honesty. It doesn't shy away from the gross bodily fluids, sleep deprivation, and emotional turmoil that come with pregnancy and early parenthood.

However, where Babes stumbles a bit is in Glazer's signature delivery. While her brand of in-your-face humor perfectly captured the wild energy of Broad City, it can feel a tad repetitive here. Jokes that landed big on television lose some punch on the big screen, and the constant barrage of profanity and awkward bodily functions can become tiresome after a while.

Buteau serves as a fantastic counterpoint. Her portrayal of the overwhelmed yet fiercely loving Dawn provides a much-needed grounding force. The chemistry between the two leads is undeniable, but the film tends to have a few plot holes and shift in time that forces you put together some of the missing pieces.

"Brick" isn't your typical high school movie. Forget jocks, cheerleaders, and cafeteria drama. This film throws you headfirst into a thrilling neo-noir world, where teenage protagonists crackle with sharp dialogue and navigate a seedy underbelly filled with drugs, deceit, and danger.

Directed with a masterful eye by Rian Johnson (later of "Star Wars: The Last Jedi" fame), "Brick" boasts a unique style. The California sunshine is filtered through a cool, muted lens, perfectly capturing the film's gritty atmosphere. The dialogue is pure delight, a whirlwind of slangy metaphors and cryptic exchanges that would make Humphrey Bogart proud. Don't worry though, it's not all just a gimmick. The witty wordplay is clever and layered, demanding your attention and rewarding you with deeper understanding of the characters and plot.

Joseph Gordon-Levitt delivers a breakout performance as Brendan, our teenage private eye. He's world-weary beyond his years, driven by a relentless pursuit of the truth. The supporting cast is equally impressive, with standout performances from Nora Zehetner and Noah Segan, who bring their own shades of complexity to the high school underworld.

The plot itself is a twisting labyrinth, keeping you guessing until the very end. Just when you think you have it figured out, "Brick" throws another curveball, forcing you to re-evaluate everything you thought you knew. It's a film that rewards repeat viewings, as new details and hidden clues emerge with each watch.

"Brick" isn't for everyone. The dense dialogue and slow-burning pace might leave some viewers bewildered. But for those who appreciate a well-crafted neo-noir with a unique twist, "Brick" is a cinematic gem. It's a film that proves you don't need gangsters and fedoras to tell a captivating hardboiled story. Here, teenagers become detectives, hallways transform into mean streets, and the quest for a missing girl becomes a fight for survival. So, if you're looking for a smart, stylish thriller that will stay with you long after the credits roll, then Brick is a must-watch.

This 2003 classic offers a winning combination of witty banter, endearing characters, and a dash of predictability (in the best way possible).

The film centers around Andie (Kate Hudson), a "how-to" columnist on a mission to write an article about scaring away a man in record time. Enter Ben (Matthew McConaughey), an advertising exec determined to make any woman fall for him within 10 days. Their paths collide, and what ensues is a delightful game of cat and mouse, with each character employing increasingly outrageous tactics to achieve their goals.

The banter between Hudson and McConaughey is pure gold. Their comedic timing and undeniable chemistry elevate the script, making even the most cliche moments feel fresh and funny and whether you're a sucker for a good slow burn romance or simply enjoy a lighthearted laugh, this film delivers. It has its fair share of physical comedy, wacky situations, and genuine emotional connection.

"How to Lose a Guy in 10 Days" isn't going to win any awards for originality, but it doesn't need to. It's a feel-good film that executes the rom-com formula flawlessly.

"Kiss Kiss Bang Bang" isn't just a neo-noir masterpiece; it's a hilarious, action-packed love letter to the genre, fueled by an off-the-charts chemistry between its leads. Robert Downey Jr. And Val Kilmer light up the screen as Harry Lockhart, a bumbling petty crook, and Perry Van Shrike, a world-weary private eye, respectively.

Their paths collide in the most unexpected way - a mistaken identity landing Harry in Hollywood for a detective role he has no business playing. Perry, hired to train the "actor," becomes begrudgingly entangled with Harry's chaotic existence. Toss in the gorgeous, enigmatic Harmony Lane (Michelle Monaghan), a childhood friend of Harry's with her own Hollywood aspirations, and you've got a recipe for a darkly comedic explosion.

The brilliance of "Kiss Kiss Bang Bang" lies in its ability to seamlessly blend genres. It's a witty, fast-paced comedy punctuated by bursts of shocking violence. The film winks at classic noir tropes while gleefully subverting them. Downey Jr. Is electrifying as Harry, a walking punchline with a surprising vulnerability beneath the surface. Kilmer perfectly complements him as the sardonic Perry, delivering deadpan humor with a touch of world-weariness.

But the true magic lies in their on-screen chemistry. Their bickering banter feels effortlessly natural, transitioning seamlessly into genuine camaraderie. You can practically feel the sparks flying between them, making their unlikely friendship all the more endearing.

Michelle Monaghan adds another layer to the dynamic with her portrayal of Harmony. She's tough as nails yet layered, holding her own against the two leading men. The interplay between the three is a constant delight, keeping you invested in their twisted Hollywood odyssey.

"Kiss Kiss Bang Bang" is more than just the sum of its parts. It's a sharp script, sharp performances, and a visual feast that throws back to the golden age of noir.

For many Western horror fans, "The Eye" (2002) wasn't just a movie; it was a portal. A portal to a whole new world of chills - the world of Asian horror.

This isn't your typical jump-scare fest. "The Eye" is a slow burn, a haunting tale that creeps under your skin rather than assaulting you with gore. We follow Mun, a young woman who regains her sight after a corneal transplant, only to be plagued by visions of restless spirits. The film masterfully builds dread through unsettling imagery and a pervasive sense of unease.

What truly elevates "The Eye" is its emotional core. Mun's journey is not just about surviving the supernatural; it's about rediscovering the world and grappling with the consequences of her newfound sight. Actress Angelica Lee delivers a heart-wrenching performance, perfectly capturing Mun's vulnerability and determination.

But here's where "The Eye" shines as a gateway film. It doesn't bombard you with cultural nuances or unfamiliar storytelling styles. The core themes - loss, identity, the nature of sight - are universally relatable. The horror elements are rooted in folklore and superstition, offering a glimpse into a different cultural perspective on the afterlife without being overly foreign.

So, if you're curious about exploring Asian horror but feel a bit apprehensive, "The Eye" is the perfect first step.

"8mm" isn't your typical thriller. It's a plunge into the grimy underbelly of the world, a place where snuff films are a horrifying reality. Nicolas Cage delivers a gritty performance as private investigator Tom Welles, a man sucked into a case that will shatter his sense of normalcy.

What starts as a simple investigation for a grieving widow quickly morphs into a nightmarish descent. Welles is forced to navigate the seedy world of underground pornography, encountering characters that are as unsettling as they are depraved. Director Joel Schumacher doesn't shy away from the darkness, pulling you into the investigation alongside Welles.

The film's true power lies in its ability to disturb. There's a constant sense of unease that hangs heavy in the air. The glimpse into the snuff film itself is brief but enough to leave a permanent mark. "8mm" doesn't rely on jump scares; it uses the weight of its subject matter to create a lingering sense of dread.

Cage is phenomenal as the increasingly weary and disillusioned Welles. We see his initial determination morph into a desperate need for answers, even if those answers come at a heavy price. The supporting cast, including Joaquin Phoenix and James Gandolfini, deliver equally strong performances, fleshing out this world of moral decay.

"8mm" isn't for the faint of heart. It's a film that will stay with you long after the credits roll, forcing you to confront the darkness that can lurk in the human psyche. Be prepared to feel unsettled, challenged, and perhaps a little bit dirty.

Forget capes and coffins. Kathryn Bigelow's 1987 masterpiece, "Near Dark", throws a stake through the heart of the traditional vampire flick. This audacious film reimagines the bloodsuckers as a grimy, nomadic clan, tearing across the American Southwest in a desperate bid to outrun both the sun and the law.

"Near Dark's" brilliance lies in its gritty authenticity. The vampires here are far from glamorous. They're a dysfunctional family, riddled with violence and simmering tensions. Bill Paxton shines as the scene-stealing Severen, a volatile cowboy vampire with a taste for the theatric. Lance Henriksen brings gravitas to the weary leader, Jesse, while Jenny Wright portrays Mae, a young woman grappling with her newfound vampiric nature - and a burgeoning romance with a hapless human drifter, Caleb (Adrian Pasdar).

Their love story forms the heart of the film. Caleb, initially seduced by the thrill of Mae's world, is slowly forced to confront the horrors it entails. The film doesn't shy away from the brutality of their existence, showcasing the violence and desperation that fuels their nomadic lifestyle.

The dusty landscapes and neon-drenched nightscapes create a hauntingly beautiful backdrop for this unconventional tale. The pulsating score by Tangerine Dream adds another layer of unease, perfectly capturing the film's offbeat blend of romance, horror, and Western themes.

"Near Dark" is a film that lingers long after the credits roll. It's a slow burn, building tension with its character dynamics and the constant threat of violence. But beneath the surface lies a surprisingly poignant exploration of family, loyalty, and the intoxicating allure of the forbidden. "Near Dark" is a hidden gem waiting to be discovered. It's a stark reminder that sometimes, the most terrifying monsters are the ones that wear human skin.

Billy Wilder's 1959 masterpiece, "Some Like it Hot", isn't just a hilarious film - it's a cultural touchstone that defied convention and remains uproariously funny to this day. Set against the backdrop of the roaring twenties, the film follows two down-on-their-luck musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), who witness a gangland massacre and are forced to flee Chicago disguised as women.

Their escape route? Joining an all-female jazz band led by the effervescent Sugar Kane Kowalczyk (Marilyn Monroe). What follows is a whirlwind of mistaken identities, romantic hijinks, and witty dialogue that never misses a beat.

"Some Like it Hot" dared to push boundaries in its era. Cross-dressing, a touchy subject at the time, is handled with surprising deftness and humor. Lemmon's bumbling Daphne and Curtis's suave yet insecure Josephine are comedic gold, playing on both the absurdity of the situation and the societal expectations of femininity.

The film also cleverly navigates themes of sexuality and gender fluidity, all while maintaining a light and playful tone. The homoerotic subtext between Jerry and the band's bass player, for instance, is a subtle yet undeniably present layer that adds another dimension to the humor.

Monroe is a revelation as Sugar, a ditzy blonde with a surprising singing voice and an even more surprising depth. Curtis delivers a nuanced performance, showcasing both his comedic timing and his charm. But it's Lemmon who truly steals the show. His portrayal of Daphne is a masterclass in slapstick and physical comedy, creating a character that is both endearing and hilarious.

"Some Like it Hot" transcends its time period. The sharp script, impeccable performances, and Wilder's masterful direction ensure that the film remains as fresh and funny today as it was in 1959. It's a testament to the power of great comedic storytelling that transcends cultural norms and leaves audiences in stitches.

The Boondock Saints isn't your typical vigilante movie. It's a cult classic for a reason, offering a wild blend of dark humor, operatic violence, and thought-provoking themes.

The story centers on the MacManus brothers, Conner and Murphy (played by the charismatic duo of Sean Patrick Flanery and Norman Reedus). Deeply religious and disillusioned with the rampant crime in Boston, they take justice into their own hands, becoming executioners of the city's underworld.

What elevates The Boondock Saints is its unique tone. The film is undeniably violent, with shootouts that feel like ballets of bullets. But it's all delivered with a healthy dose of self-awareness and dark humor, making it both thrilling and wickedly fun.

Willem Dafoe steals the show as Agent Smecker, the eccentric FBI agent on the brothers' trail. His flamboyant performance is a highlight, adding another layer to the film's offbeat charm.

The Boondock Saints is not for everyone. The violence can be brutal, and the film's glorification of vigilantism is a point of contention. However, it undeniably raises interesting questions about morality and the justice system.

Forget summer camp counselors and teenagers with questionable decisions. "Behind the Mask: The Rise of Leslie Vernon" throws a wrench into the tired slasher formula, delivering a mockumentary masterpiece that's both hilarious and horrifying.

We meet Leslie Vernon (played by the phenomenal Nathan Baesel), an unassuming guy with a chilling ambition: to become the next legendary slasher. Leslie invites a documentary crew to chronicle his meticulous preparations for his reign of terror. Think "Friday the 13th" meets "Spinal Tap," with a dash of "Scream" thrown in for good measure.

The brilliance of "Behind the Mask" lies in its meta-narrative. Leslie, with his folksy charm and surprisingly insightful knowledge of slasher tropes, deconstructs the genre while simultaneously indulging in it. We learn about mask maintenance, the psychology of final girls, and the importance of a good stalking pattern - all delivered with a wink and a smile.

But don't be fooled by the humor. The film masterfully builds dread. As Leslie meticulously crafts his legend, the line between documentary and reality blurs. Is he putting on a show, or is the crew simply too embedded to see the true monster beneath the surface?

And Leslie himself? He's a revelation. Baesel imbues him with a chilling sincerity that makes him both oddly relatable and terrifying. He's not just a mindless killer; he's a craftsman, an artist dedicated to his murderous trade. Leslie Vernon might just be the most well-developed slasher villain of the century.

"Behind the Mask" isn't just a love letter to slashers; it's a satirical skewering and a clever exploration of the genre's enduring appeal. It's funny, it's scary, and it will leave you rethinking everything you thought you knew about those masked maniacs.

"Poolhall Junkies" isn't your standard sports flick. It's a dive bar brawl of a movie, wrapped in the smooth sheen of polished cues and smoky pool halls. This cult classic is a love letter to the art of the hustle, with characters so quotable they'll become your own personal hype men.

Mars Callahan's film thrives on its authenticity. The pool scenes are a masterclass in technique, with every rack and run feeling like a mini-heist. But it's the characters who steal the show. Mike "The Legend" (Christopher Walken) delivers a monologue about lions that's pure cinematic gold, leaving you grinning and wanting more. Even Rod Steiger, in his final film role, brings a gruff charm to the grizzled pool hall owner.

But the heart of the movie lies with Johnny (Mars Callahan), a washed-up hustler lured back into the game by his naive brother. Johnny's journey is equal parts redemption arc and hilarious misadventure. His internal monologues are a goldmine of hustler wisdom, laced with dark humor that will have you snorting into your popcorn.

"Poolhall Junkies" isn't afraid to get down and dirty. It's gritty, funny, and surprisingly touching. You'll find yourself cheering for the underdog, wincing at the close calls, and having a newfound appreciation for the hustle. Be warned, though - by the end, you might just be itching to grab a cue and try your luck at the local pool hall, armed with your favorite Johnny one-liner.

"Tarot" isn't breaking new ground in the horror genre. If you're a seasoned horror buff, you'll likely pick up echoes of "Final Destination", "Truth or Dare", "Ouija" and several other films that reveled in elaborate death sequences.

The plot itself - friends unleash a curse from a tarot deck and face their foretold demise - feels like a nostalgic throwback to the early 2000s horror boom. So if you enjoyed films like "Stay Alive", "Darkness Falls", and "Cry Wolf", then you might like this. Just don't expect a genre-defining masterpiece.

There is one bright spot. Fans of Batalon's scene-stealing performance as Ned Leeds in the MCU Spider-Man films will find him in familiar territory here. His character, Paxton, injects a much-needed dose of comic relief into the otherwise bleak situation. He's the friend who cracks a joke in the face of danger, offering a relatable perspective for viewers who might find themselves nervously laughing along.

"Sunrise" aspires to be a slow-burning suspense thriller, but unfortunately, the meticulously built tension fails to ignite in a satisfying way. While the film boasts ok performances, the pacing and underwhelming climax leave you feeling like you sat through a long build-up with nothing to show for it.

The film takes its sweet time revealing its secrets, and the suspense starts to wane with each passing scene. You find yourself yearning for some payoff, a jolt of horror, or even a significant plot development.

Unfortunately, the payoff never quite arrives. The big reveal, when it finally comes, feels underwhelming and will leave you feeling frustrated and shortchanged.

Jerry Seinfeld's foray into directing, "Unfrosted," isn't a bad movie, but it doesn't quite live up to the promise of its wacky premise - the invention of the Pop-Tart. The film boasts a star-studded cast, including Seinfeld himself, Amy Schumer, and Melissa McCarthy, but the humor lands unevenly.

The story, a wacky take on the Cold War and corporate espionage, feels stretched thin. It throws out references and sight gags at a rapid pace, but some fall flat. There's a sense that the movie relies a bit too heavily on the novelty factor of its subject matter.

However, there are some saving graces. The film's period setting, reminiscent of "Mad Men," is visually appealing, and the cast does its best with the material. Jim Gaffigan, in particular, shines as a neurotic ad executive. His deadpan delivery and subtle wit are some of the film's funniest moments.

Ultimately, "Unfrosted" is a forgettable, light watch. It might leave you with a chuckle or two, but it's unlikely to stay with you long after the credits roll. If you're a die-hard Seinfeld fan or have a soft spot for nostalgia trips, you might find some enjoyment here. Otherwise, it's probably best to lower your expectations and just go along for the sugary ride.

"The Fall Guy" isn't here to reinvent the action movie wheel. Instead, it delivers a potent dose of summer blockbuster fun, fueled by impressive stunts (one breaking a world record), charismatic leads, and a healthy dose of self-aware humor.

Ryan Gosling absolutely owns the role of Colt Seavers, a washed-up stuntman with a knack for trouble and a smile that could charm the rigging off a high-wire act. His chemistry with Emily Blunt, who plays the demanding director trying to wrangle him back into action, crackles on screen. Their banter is sharp and witty, adding a layer of humor that keeps the popcorn-munching audience engaged.

But let's not forget the real stars of the show: the stunts. Director David Leitch, known for his work on John Wick, brings his expertise to the table, delivering a series of jaw-dropping action sequences that are refreshingly practical.

The plot itself is a classic action-comedy concoction, with a missing movie star, a conspiracy to unravel, and enough explosions to light up a small city. While it won't win awards for narrative complexity, it serves its purpose perfectly, providing a framework for the film's true strengths: the action and the charismatic cast.

Ultimately, "The Fall Guy" is a crowd-pleaser. It's a summer movie that knows exactly what it wants to be - a fun, fast-paced escape with a touch of heart.

This isn't your average action flick. It's a hyper-stylized, ultra-violent popcorn extravaganza that throws everything at the wall and gleefully watches the mayhem unfold. Buckle up for a wild ride filled with outrageous characters, outlandish action sequences, and enough gore to make even the most seasoned horror fan wince (and maybe giggle).

Bill Skarsgård takes center stage as Boy, a sculpted killing machine on a singular mission: eliminate the sadistic Hilda Van Der Koy (Famke Janssen) for reasons both hilarious and tragic. The narrative unfolds through Boy's sardonic voiceover, courtesy of the inimitable H. John Benjamin, adding a layer of dark humor to the film's relentless carnage.

The world itself is a candy-colored dystopia, a bizarre mashup of futuristic tech and retro aesthetics. Think "A Clockwork Orange" meets "Scott Pilgrim vs. The World" on a sugar high. This vibrant insanity fuels the film's action sequences, which are balletic in their choreography and gleefully over-the-top. Expect flying axes, exploding eyeballs, and enough creative kills to make your head spin.

"Boy Kills World" isn't for the faint of heart. The violence is frequent and brutal, but it's delivered with such a wink and a nudge that it becomes darkly comedic. It's a film that knows exactly what it is: a gloriously absurd escape into a world where the only thing more outlandish than the body count is the sheer ridiculousness of it all.

Calling all fans of claustrophobic horror and creepy crawlies! "Infested" delivers a potent double shot, merging the frantic energy of "REC" with the sheer terror of "Arachnophobia."

This film throws you headfirst into a decaying apartment building overrun with monstrous spiders. Like "REC," the action unfolds in an apartment building, keeping the tension high. You feel trapped alongside the desperate residents as they navigate the building's labyrinthine corridors, each corner potentially harboring a venomous nightmare.

But unlike "REC," the terror in "Infested" comes with eight hairy legs and a taste for human flesh. The film takes a page from "Arachnophobia," reveling in the sheer ick factor of its spider infestation. The close-ups on these monstrous arachnids are guaranteed to make your skin crawl, and the creative ways they attack add a layer of gruesome fun to the experience.

Where "Infested" truly shines is in its ability to balance scares with surprising character development. We care about the residents trapped in the building, making us genuinely invested in their fight for survival.

"Infested" is the perfect recipe for a frightfully good time. Just make sure you haven't eaten recently, and prepare to swat imaginary spiders out of the air long after the credits roll.

This thriller that thrives on ambiguity and escalating tension. Confined to a single location - a rundown trailer park mobile home - the film hinges on the tense interactions between Patrick, a socially isolated man with a troubled past, and a mysterious young woman who seeks refuge from a storm.

The beauty of the film lies in its initial execution. The dialogue crackles with suspicion, neither character revealing their full story. Cowan and Rock deliver strong performances, portraying their characters with a captivating mix of vulnerability and hidden agendas. The film keeps you guessing, expertly building an atmosphere of paranoia and dread.

However, "You'll Never Find Me" struggles to maintain its momentum. While the slow-burn approach works initially, the film lingers too long in the stage of uncertainty. As the central mystery unfolds, the explanations drift into the strange and unsettling, but don't quite deliver a satisfying payoff.

"Abigail" is a genre-bending blast that injects fresh blood (literally) into vampire films. Directed by Radio Silence ("Ready or Not," "Scream"), the film is a wild ride packed with action and laughs.

Leading the charge is Melissa Barrera as Joey, a tough-as-nails criminal who is able to quickly read people and the situation that she is in to her advantage. Barrera delivers a solid performance, showcasing her horror chops and why "Scream" was just a warm up for her in the genre. But the film truly shines when it delves into the twisted dynamic between Joey and Abigail, the seemingly innocent young girl kidnapped by a group of thugs, looking to hold her for ransom.

This is where Alisha Weir steps into the spotlight and steals the show. Weir's portrayal of Abigail is nothing short of phenomenal. She effortlessly switches between charming child and bloodthirsty monster, keeping the audience guessing and on the edge of their seats. Her playful menace is both terrifying and strangely captivating.

Unlike what we saw with "Ghostbusters: Frozen Empire", Radio Silence knows exactly how to balance the film's dark elements with moments of genuine humor. The action sequences are thrillingly choreographed, and the practical effects will delight gorehounds. There's a clear love for classic vampire tropes, but the film also injects some fresh twists that keep things interesting.

While Barrera is a strong lead, and the film wouldn't work without her, it's Weir's performance that elevates "Abigail" from a fun genre romp to something truly memorable. This is a film where the villain is the most captivating character, and that's a testament to Weir's incredible talent.

I'd Watch It Again

"Arcadian" claws its way onto the screen with a promising premise: a post-apocalyptic world where a father and his sons fight for survival against nocturnal horrors. Nicolas Cage delivers a subdued performance as Paul, the father desperately clinging to normalcy for his children.

Nicolas Cage is, as always, a compelling presence. His performance grounds the film, even when the shaky cam and creature design falter. The young actors portraying his sons are believable as well.

Overall, Arcadian is frustrating. It has the potential to be a terrifying exploration of survival, but shaky camerawork and underwhelming creature design hold it back.