Tag: Science Fiction

28 YEARS LATER: THE BONE TEMPLE (2026)

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Directed By: Nia DaCosta

Written By: Alex Garland

Cinematography: Sean Bobbitt

Editor: Jake Roberts 

Cast: Ralph Fiennes, Alfie Williams, Jack O’Connell, Erin Kellyman, Emma Laird, Chi Lewis-Parry, Mirren Mack, Louis Ashbourne Serkis, Connor Newall 

As Spike is inducted into Jimmy Crystal’s gang on the mainland, Dr. Kelson makes a discovery that could alter the world.

A sequel, the second film in a plan trilogy of 28 years later continues from where the last film left off with a refines still running his patch of land and dealing with the tree trunk Alpha zombie known as Sampson and strangely finding him as a savage companion. yet also trying to cure him. Yes again there is full frontal. 

the character of Spike is  introduced in indoctrinated into the gang of the Jimmy’s and violent apocalyptic cult based on the Teletubbies and the late disgraced comedian Jimmy Saville 

As they wear color coated, Adidas track suits and wigs the same color and style as Jimmy Savile lead by a self appointed leader, who says that Satan speaks to him, and that they are his hand to save and savage those they come across unless they can prove themselves in a fight, one on one, then they can join the gang

Two parallel plot lines that you know eventually are going to have to intersect, but getting there is quite brutal. This film is much more violent than the first 28 YEARS LATER, but is also kind of more savage did that film in on screen violence against uninfected, humans and psychologically.

That leads to question what is worse those who are infected, and don’t know any better going off what they believe their thoughts and mind is telling them or humans who choose to massacre and pillage by choice rather than necessity

It also shows the danger of idolatry and believing in false gods and how it can lead down a dark road, leaving you worse for where if not completely destroying you, as you do the bidding of the one you have faith in who has you commit things against your own morals for them getting your own hands dirty for their sins. 

As the Jimmy’s are all young, looking for survival and needing something to believe in and here comes this so-called leader who brainwashes them and use them for his own ends, giving way to darker impulses just as the real life Jimmy Savile was well beloved, but a monster who sexually abuse children and women in plain sight, but was so beloved no one dared think bad of him and even celebrated him.

Now, while all that is going on the film does keep up the tension, action and thrills throughout and director needed. DaCosta gets to build off of the world that was created by Danny Boyle in the first film working with the same Screenwriter Alex Garland here we get more of the desperate landscape away from the small village of the first film that we got glimpses and travel through, but now get a little more into the different settlements and mindset of those who have made it on this mainland for so long

Wow, this is certainly a thrill for fans of the franchise in those following discontinuing story. It still doesn’t feel a satisfactory as it’s supposed to be a continuation, though it feels more like a sequel. As for some this film will remind them of STAR WARS: THE LAST JEDI after THE FORCE AWAKENS as well. It continues. The story of characters were introduced in the first film. It feels like a side step a side story or a level that the characters have to go through to make it to the next one the finale, though it also gains some new characters or at least one to continue onto the next one and eliminate some that were introduced in the first film. It also charged the evolution of the characters. Expanding the corners of the lands.

Though with all of this discovery, for some odd reason, it doesn’t come across as ultimately fulfilling it’s not worthy, but for some odd reason, it feels like there should be more, and I say this as a fan of the franchise and films.

At least this one has a little bit more of a slight sense of humor, even if dark at times as well as refines having more screen time and still managing to steal the movie

The middle of the film even has a long drawn out scene at a survival farmhouse that becomes a torture session that feels elongated. It might remind some viewers of the movie DETROIT only thankfully here it is more made up by Screenwriter, whereas unfortunately what happened in the movie DETROIT is based on historical fact.

It also has a few more pop, culture references, and music hits rather than any original score or soundtrack that was quite strong and helped support the first film of this current hopefully trilogy.

It hints at rather than opens up all these deep meanings, ideas and thoughts made. Truly giving you something to think about afterwards and more than just simple entertainment.

The cast is all excellent especially one of my favorite actors Ralph Fiennes, the scene stealer of the film is Erin Kellyman, as one of the rebellious jimmy’s 

The film is in a failure by any means and should delight most audience has messed up as it ends up being though it’s just not a total victory. But leaves you with plenty to think about if you choose to look past, the film has just entertain entertainment.

It also involves an ending that helps to bring the film’s full circle and stay connected. 

Grade: B- 

OMNI LOOP (2025)

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Written & Directed By: Bernardo Britto 

Cinematography: Ava Benjamin Shorr

Editor: Martin Anderson and Bernardo Britto 

Cast: Mary Louise Parker, Ayo Edebiri, Carlos Jacott, Hannah Pearl Utt, Harris Yulin, Chris Witaske, Steven Maier, Eddie Cahill,

A woman from Miami, Florida decides to solve time travel in order to go back and be the person she always intended to.

This is a movie I should have enjoyed as the science fiction in minor elements were interesting and even the time travel components were fun and different. Though it never quite comes together in a strong way.

As at first the film seems to stay on target Exploring time travel and the many ways in which our main character keeps going back but has to movie forward to make any progress.

Then the second half of the film changes tone. Whereas before it was a light wacky comedy. I. The second half for becomes more dramatic. As the main character has to face some harsh truths. that no matter what her fate, will end up being the same and that maybe instead of spending her time trying to change things. She should accept what she does have and appreciate the time she has left with them.

This is after she has explored different fates and  looked up people from her past. So that the film becomes overly sentimental with some hard truths passed along. 

Which could work as the film gets you to watch with comedy and sci-fi then tells the story it wants you to truly stay for and pay attention to while remembering to reference some sci-fi again to keep it in the realm. 

It’s a sweet movie, but never quite reaches its potential and makes you wonder what exactly was the aim. As it does tell a story but makes it so maudlin and complicated getting there. That it feels a little too much and never quite raises above a certain tempo. 

Even the cast who are good seem more in the middle. Never quite too strong or excited or energetic. The film feels way too laid back and passive. 

though Ayo Edebiri get’s co-Stsr credit she is more a supporting actress and it’s featured more heavily in the first half of the film than the second half and while she does what she needs to do doesn’t make any strong impression in the role, but then again the role doesn’t really give her too much to do either

It’ not a bad movie just not for me. Maybe I am missing something. 

Grade: C

FRANKENSTEIN (2025)

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Written & Directed by Guillermo del Toro

Based on the novel “FRANKENSTEIN OR THE MODERN PROMETHEUS” ByMary Shelly 

Cinematography: Dan Laustsen 

Editor: Evan Schiff 

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Charles Dance, David Bradley, Ralph Ineson, Lars Mikkelsen, Nikolaj Lie Kaas, Lauren Collins, Sofia Galasso 

Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

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Guillermo del Toro’s adaptation of Frankenstein arrives with the kind of anticipation usually reserved for cinematic pilgrimages. It’s a long-gestating passion project by a filmmaker whose devotion to monsters borders on religious. And yes, it’s gorgeous. Ravishing. Sculpted with the kind of gothic precision that makes you want to pause the frame and hang it in a museum (which, ironically, is part of the problem).

Because for all its visual majesty, the film feels less like a living, beating story and more like a beautifully lit museum chamber piece sacred, admired, but curiously still. Almost like a Wes Anderson film

Watching Frankenstein at home, even on the biggest TV you can justify without shame, is like trying to view a cathedral through your peephole. You get the idea, but not the impact. As The film Is A Gorgeous Experience That Never Quite Comes Alive

Del Toro stages the movie like a theatrical spectacle; wide, grand, operatic. It demands an audience seated in the dark, collectively hopefully

holding their breath. On a smaller screen the whole thing compresses, and so does its emotional force. It becomes one more thing you’re “watching while also texting,” its larger-than-life gestures suddenly feeling muted. Which might be why this film doesn’t reach me. As much as it would in a theater more secluded and direct. 

It’s a reminder of an uncomfortable truth: not every film needs the big screen, but this one absolutely does. Shrink it, and the soul shrinks with it.

A friend once described last year’s NOSFERSTU remake as “a museum piece”—impeccable, reverent, exquisitely lit, styled, designed and emotionally distant. It comes off more as a presentation than a movie. Del Toro’s Frankenstein often slips into that same territory.

The sets are Immaculate. The creature design is inventive. The mood? Pretentiously Overwhelming in the best way.

And yet… it rarely moves you. The emotions are presented but not felt. They are laid before the viewer with academic seriousness, like annotations on a text everyone already knows by heart. Maybe that’s the curse of remaking a story we’ve collectively known since childhood: the beats land, but they don’t surprise.

It becomes less a story and more an opportunity to witness someone else’s interpretation of a myth you’ve heard too many times.

Del Toro is too talented to ever make something bad, but here he feels like a director in his Tim-Burton-phase: Instead of breaking new ground, he’s lovingly recreating  the things that inspired him growing up. Unlike Burton, del Toro doesn’t defang his monsters or turn them into punchlines. He actually adores them too much for that, but the result is still a filmmaker circling familiar territory rather than charting new routes. 

And yes, the del Toro signature remains: a gothic romance at the center, a creature yearning for connection, a broken heart inside a larger-than-life body. It’s easy to see what drew him to the material. It’s also easy to wish he’d returned to an original idea instead.

Christoph Waltz—shockingly—goes big. He’s operatic, but also the kind of actor who benefits from stern directorial supervision. Left unchecked, he can become his own genre. Here, he hovers just on the edge of self-parody, charismatic but distracting. 

The rest of the cast plays it with earnestness and restraint, letting del Toro’s production design do most of the heavy emotional lifting. Sometimes too much.

So… Is It Good? Absolutely. Is it essential?

Not quite. As Frankenstein is an achievement, a vision, a painterly triumph. But it’s also one more retelling of a story that has been told so many times it now arrives pre-interpreted. Beautiful, yes undeniably. But also strangely hollow, like an echo of itself.

It’s a noteworthy film, worth admiring, worth seeing on the biggest screen you can find.

But it’s not a new favorite. More a reminder of what del Toro can do… and what we wish he’d dare to do next.

Grade: B 

SILENT NIGHT (2021)

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Written & Directed By: Camille Griffin

Cinematography: Sam Renton 

Editor: Pia Di Ciaula and Martin Walsh 

Cast: Keira Knightley, Matthew Goode, Roman Griffin Davis, Sope Dirisu, Kirby Howell-Baptiste, Lucy Punch, Annabelle Wallis, Lily-Rose Depp, Rufus Jones, Davida McKenzie

Nell, Simon, and their 3 sons are ready to welcome friends and family for what promises to be a perfect Christmas gathering. Perfect except for one thing: everyone is going to die.

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This is a film. You should know as a little about before you watch it and let yourself be surprised by it that way it can be rewarding for you.

This is a dark comedy with a surprise ending that you don’t necessarily see coming, especially with this material. Which can be subtle but does leave a sting.

As a perfectly mixes, the joy and melancholy of the holidays. As a time of joy camaraderie, but also a time of darkness, especially if not feeling that particular joy and still feel a certain loneliness or emptiness

The film starts off at typical if not cynical, though eventually you find out the downside or tragedy of what brings all the characters together. Even though there are at the beginning.

We get to see the characters go through the emotions as it dawns on them what is coming and have to face their own mortality and their past. The film surprisingly has them talking about each other, but never becoming vicious or revealing secrets that would normally tear them apart, which would direct the film into a more territory. it to be point and somewhat realistic.

The drama of it all gets to you in the audience that has its fair share of humor that comes more naturally as some secrets are revealed.

What is that? The film isn’t reliant on one thing it’s the mixture of elements that works. The same way with the cast it’s an ensemble no real stars, though wish some of the cast members or other characters had more to do than what they are given here mainly Kirby Howell-Baptiste.

This is a film, where the melancholy hangs in the air no matter how light some scenes or the atmosphere might be.

When the heart is introduced, it gets dark and all the more real thou it is a release of the underlying tension that the film has been building up.

Soon as you see  Roman Griffin Davis in this film, you should know it’s a tragedy or whoever is playing his mother won’t survive. So far his career highlights have been this and JOJO RABBITT. so usually a quirky dark comedy. Though he is also the film’s director’s son 

Ultimately, the film has a climate change message and is very subtle with its theme and provocations. Especially when it comes to science and the government also the establish class and youth culture.. 

I’m surprised this film is more popular as it is a gem 

Grade: B

THE RUNNING MAN (2025)

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Directed By: Edgar Wright 

Written by: Michael Bacall and Edgar Wright 

Based on the book by: Stephen King 

Cinematography: Chung-Hoon Chung

Editor: Paul Machliss 

Cast: Glen Powell, Josh Brolin, Michael Cera, Colman Domingo, Alyssa Benn, Sean Hayes, Lee Pace, Katy O’Brian, William H. Macy. Emilia Jones  

A man joins a game show in which contestants, allowed to flee anywhere in the world, are pursued by “hunters” hired to kill them.

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Where to begin with this one? First off, let me say that I am a huge fan of director Edgar Wright. Though I have to say this is his most disappointing film from a personal standpoint.

Though it is not his fault, but throughout the film, the only time the film seems to have his madcap energy and directing prose is really in the scenes with Michael Cera. Which is where the film feels fun and unpredictable. Which is what you are kind of expecting the whole film to be.

This version plays supposedly a little bit more to the original book by Stephen King then the previously filmed the version of it starring Arnold Schwarzenegger.

I can’t really say because I’ve never read the book .

Though while this story seems like it would do well on the big screen I prefer the previous version of the film maybe because while not sticking exactly to its material it does play well as a satire Moore in the 1980s of what the future might be 

Whereas watching this version of the film, the satire feel somewhat dated and beat you over the head with a message that I think or would hope most viewers already enough and furthermore, this film just feels like it didn’t need to be made. It just feels like such a big budget Entertainment but yet it lacks the death.

Worst of all, even though Edgar Wright, cockroach and directed the film other than the Michael Cera scenes this film felt like it could’ve been made by anybody any director worth their weight as that is how uninspired the story and visuals come across it just all feels colorful yet basic 

Now don’t get me wrong the film is perfectly entertaining for a popcorn movie but again if you’ve already seen the original from the 1980s, this is just a retread that has been updated and seemingly to have more action instead of inside of a studio more in the world and the villain has changed from the game show host to the CEO behind the scenes 

Most of the major actors seem more like they’re doing cameos that were done all for the paycheck and we’re finished in a day or two, though they are stitched into the film and storyline to be major players

The lead played by Glenn Powell does try but this feels like a film that definitely needs a known star who has a history within the action genre so you already know they can pull it off whereas Glenn Powell is a star who is somewhat known but does not have a big screen personality he is more of an actor so this every man surviving comes across more as a concoction, and then letting the audience believe it also, even though his character is supposed to be this angry man full of rage and that’s why he keeps surviving. The problem is that Glenn Powell comes across as such an affable guy you can understand his anger, but you don’t believe that he has that much built up inside of him that is just keeps pushing him ahead. He just seems like your average decent guy now whereas in the past, that would work for an action hero to be identifiable here it makes it seem all the more implausible.

Now while the film is never truly boring, it doesn’t run a bit long and could’ve easily been shortened by 20 minutes as it feels like the film just wanted to give you more action and that’s really the only reason for the length of time whereas the story could’ve been told a little bit shorter.

Especially when they have scenes devoted to a seemingly satire of the Kardashians throughout, which seems there as alternative programming for viewers in the film to watch, as it is at least more innocent and less violent than most of the game shows that are presented as well as to just make fun of reality shows in general in the end feels unnecessary

Throughout this review, trying not to compare the two but also the introduction of a third act character who truly proves integral to the whole film feels random at best  and at worst like lazy storytelling that had to be put there because it was part of the story of the original and in the book. Has even as it seemed to pre-date AMERICAN GLADIATORS at least the villains. The hunters had personality whereas here, though they could be compared to ice they feel a bit more random and mysterious again, typical villain, who each seem to have a look, but only to come across in costume.

This one tries to be different and while it is much different then the original screen version and manages to set itself apart. It’s not necessarily for the better. When it’s difference really doesn’t help it and makes the co promised version we got, just a bit better. Even if it let the book’s fans down and not one of its stars favorite films. As he feels the movie is filmed too flat.

As by now there have been so many copycats, we borrowed from this story in plot and managed to do better and impress, and also do mean and go to the worst offenses of exploitation It’s pretty much hard to impress or top at this point.

It’s quality entertainment as long as you don’t have your hopes up .

Grade: C+

28 YEARS LATER (2025)

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Directed By: Danny Boyle

Written By: Alex Garland 

Cinematography: Anthony Dod Mantle 

Editor: Jon Harris 

Cast: Aaron Taylor Johnson, Jodie Comer, Ralph Fiennes, Alfie Williams, Edvin Ryding, Jack O’Connell, Chi Lewis Parry, Amy Cameron, Christopher Fulford

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

This is a  Long waited, sequel from the filmmakers who made the first and original 28 days later. Come back to offer another original slice for the franchise even after sitting out the previous sequel 28 WEEKS LATER.

Well, with this film, they up the ante, actually filming it with an iPhone, but not in the way you think not an actual cell phone but the same technology and rigged up. 

while it does tell its own tale that is connected to the franchise, that might be part of the problem with the film as the film works like a Marvel movie where it should be a standalone that offers the promise of sequels or expanding the world of the 28 later franchise by the end of the film after it tells its tail it just feels like a part one of a way bigger saga so that it comes across is more episodic than a standalone which can work, but it drags the quality of the film down as everything that you’ve seen before you know is going to lead to something else but it’s not quite its own tale or its own film.

It also doesn’t help that the film isn’t really a horror film in the traditional sense. It’s more a post apocalyptic tale and family drama more than anything else. 

As it seems like the two sequels after this will be handled by different directors so it’s almost like a tag team effort like this is director Danny Boyle coming back to start it off, and then he passes the baton to the next person who then continues the story from what we’ve previously seen and tells it in their own way, and then finally the next film is held by somebody different. Who then will tell the 28 later tales in their own way, but give it an ending for now as far as we know

Though let’s focus on what this film does again it sets up the rules of this world and it’s been 28 years since it has been out there. How people have survived what the culture has been and certain territories and what it seems like the rest of the world is doing or handling the situation.

From the opening scene, this film shows that it has no sacred cows and it’s slaughter and violence so that not even children or holy people are safe. Everyone is treated the same.

The film focuses on a young boy and his family him, and his father are hunters who go to the mainland to hunt and look for any kind of supplies to hopefully bring back . Though when the young boy whose mother is suffering from a disease as there are no doctors here that there might be a doctor out there in the wild is willing to take the risk to escape with his mother to the infected lands to try and find this doctor, so hopefully diagnose and care of her so that the rest of the film is pretty much an Odyssey.

It’s also a family tale so that at times it’s its own demented fairytale that has a very demented backstory, but could be folklore also

You’re enjoyment of this film will really retested by how much you can stand this child whether you think he is making the worse and stupidest decisions or you will be able to have empathy and understand why he would risk all of this for his mother 

The film is not going, please everyone and seems to have divided audiences who either seem to have wanted more of the same of the previous films or wanted something a little better structured story wise as the visuals and direction are definitely tight but the story for some might be a little too light or feels like it’s filling the blanks

though in these days and times it’s harder and harder to make an original zombie tale when there’s already so many zombie films out there plus you have The Walking Dead television show telling tales of zombies, even if this is the franchise that helped start the trend of fast or normal speed, running zombies.

The film also has things or seems that you never would have expected on screen such as a pregnant zombie giving birth, which one hadn’t really seen since the remake of day of the dead. The film does depict the zombies with full frontal, nudity, male and female.

The actors are all good in their roles, even if not given too much to do or more playing a bit more cliche roles. As Jody Comer is the costar of the film, and even though she’s in more than half of the movie, I still wish they had given her more to do or she had more to play refines as always steals his scene in his supporting role, as well as Aaron Taylor, Johnson showing his compassion as a father, but also showing that he can do action fiercely.

The film works, as it is a tail that is set in a larger universe that has been built slowly, but surely the story might not be as strong as some people would’ve liked nor as action oriented or violent as maybe some had hoped, but I will give the film credit for trying something unexpected whether it succeeded or not is up to the individual audience member, but I enjoyed myself watching the film

The soundtrack is very good by the group young fathers who I am also a fan of him was surprised to find out they did the soundtrack for which is excellent.

it’s an adequate attempt and a good return to the franchise for Danny Boyle and Ryder Alex Garland one just wishes the film felt a little bit stronger and into more of the hints that it feels like will be revealed in further films but are introduced here that keep your imagination open but doesn’t do this to any favors of adding anything to itself.

This is like seeing the sketch before you see the finish painting that is how I would compare this film.

Grade: B 

Y2K (2024)

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Directed By: Kyle Mooney 

Written By: Kyle Mooney and Kevin Minter

Cinematography: Bill Pope

Editor: David Marks 

Cast: Jaeden Martell, Rachel Zegler, Julian Dennison, Daniel Zolghardi, Lachlan Watson, Eduardo Franco, Kyle Mooney, Mason Gooding, The Kid Leroi, Alicia Silverstone, Tim Heidecker, Miles Robbins 

Two high school nobodies make the decision to crash the last major celebration before the new millennium on New Year’s Eve 1999. The night becomes even crazier than they could have ever dreamed when the clock strikes midnight.

 this film feels like Something that was written by a teenager in the 1990’s as their opus and then 20 years later dusted off discovered and written through a modern lens to be both nostalgic and have a kind of recent commentary

As it feels poem a guilty pelasure of that decade and can see this film being a guilty pleasure for certain aidnece members. As it seems to be for writer-director and performer Kyle Mooney making his second film here after BRIGSBY BEAR from 2017

The film Plays like a worst case scenario nightmare of the y2k bug from 1999 where it was feared that once it turned to the year 2000 most electronics would either fail or malfunction

At first, the film tries to smother us in the pop culture of 1999 and drown those of us who remember it with the nostalgia and laughs of how ridiculous it was. as well as touching that universal truth of you of high school crushes parties, bands, being the outsiders having an identity that is defined by what your into not really knowing necessarily who you are or only coming into your own, and beginning to form will be of age such as that

No, as it tries to get into that territory, more concerns itself with its plot of a group of teenagers trying to survive as technology rebuild itself to take over the human race and become simulators and the antics that happened while trying to survive

The film has an eclectic cast which it seems meant to as the characters they play are those who have known each other for years, but never really bonded or gotten to know one another and seem to be separated by social class. 

Julian Dennison being the brave comedic relief in the film is truly the heart and fun of this film and when he leaves the film. It truly makes its complete change to another genre. Though it tries to keep the laughs coming. 

I will offer this one spoiler if you are not a fan of the rapper musician known as the kid Laroi you might enjoy his fate in this film.

The film Also features a comeback of a certain entertainer from that period whose 2024 was greet with a role here and in a cricucally

Acclaimed cult film that premiered in 2024 

The film might have a built-in audience, though for some of its originality it does feel like a letdown of sorts as it’s not really too deep and it’s fine for what it is, but there’s nothing that impressive about it again it stays entertaining though you wish either did more or had more to it. As the film falls short from what it seems it has the possibility of doing or where it seems headed. As even with a 15million dollar budget it look so much lower budgeted. So it seems most of the money went on thebsoecialmeffects which are mostly practical butbfirnall the innovations made also loom like 1990’s visual effects one is sure it was planned that way, but still could have been a bit more smooth

Approach this film with caution. As it’

Cute but feels more made for teens though seems marketed to the now middle-aged teen crowd of the 1990’s.

Though it also plays like some long lost unseen self declared classic movie that the stoner video store clerk played by Kyle Mooney would recommend. Like a mash up no one Requested and feels forced.  

Grade: C

CUCKOO (2024)

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Written & Directed By: Tilman Singer 

Cinematography: Paul Feltz 

Editor: Terel Gibson and Philipp Thomas 

Cast: Hunter Schafer, Dan Stevens, Marton Csokas, Jessica Henwick, Greta Fernadez, Jan Bluthardt, Proschart Madani, Astrid Berges-Frisby

Reluctantly, 17-year-old Gretchen leaves her American home to live with her father, who has just moved into a resort in the German Alps with his new family. Arriving at their future residence, they are greeted by Mr. König, her father’s boss, who takes an inexplicable interest in Gretchen’s mute half-sister Alma. Something doesn’t seem right in this tranquil vacation paradise. Gretchen is plagued by strange noises and bloody visions until she discovers a shocking secret that also concerns her own family.

This film matches its title. As even once you price everything together it still comes off as bizarre, Yet idiosyncratic.

This is a film that you should go into knowing as little as you can. Though even if you know some of it. It will still be bizarre and mysterious. 

All of the actors are on top of their games and give memorable performances. One only wishes there was more to remember story wise. That at times feels confusing for its own sake and to keep us as off center as the lead character played by Hunter Schafer.

The film is very stylish and keeps you on your toes trying to guess what is coming next. 

The film puts you Ina strange environment and commit ity and leaves you there. For you

To figure it out as much as the characters. Though they take to it a little more

Quickly and routinely than the audience most Likely will. 

This movie is a drug, Purely. It’s up to you wether the trip it leaves you with is good or bad. It’s definitely cinematic, experimental and theatrical. 

Honestly… This $h*t is bananas in a good way. Far from predictable, but hard to explain A wild stylish ride. Hunter Schafer is quite good, and a Fox but Dan Steven’s once again runs away with the film. It has a strange taste to it, foreign and not Terrible quite tasty but not exactly a favorite 

Grade: B- 

SUBSERVIENCE (2024)

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Directed By: S.K. Dale

Written By: Will Honley and April Maguire 

Cinematography: Daniel Lindholm 

Editor: Sean Lahiff 

Cast: Megan Fox, Michele Morrone, Madeline Zima, Matilda Firth, Andrew Whipp, Atlas Srebrev, Manal El-Feitury, Antoni Davidov 

Follows a struggling father who purchases a domestic SIM to help care for his house and family, unaware she will gain awareness and turn deadly.

The film seems like it should be a bit more exploitive and dirty, but the right mix of being trashy and a B-Movie that is pure entertainment and thrills. 

One would have enjoyed this film more if one didn’t dislike the lead actor  Michele Morrone playing the husband, performance. The roles he has been seen in before are in Netflix‘s erotic Fifty Shades of Grey Italian knock-off 365. So while he is definitely Candy for the ladies, his performance is quite unbelievable only because looking at him he never is convincing as the faithful husband mentally Latroy though just as Megan Fox is eye Candy for the audience so is he?.

It’s an interesting sci-fi thriller with an eroticism laced through it. The film stays entertaining throughout. Though you know what will happen most of the film a satisfying time waster 

The best film Megan Fox has been in, in a while. Used her perfectly as her looks seem her to seem unreal or crafted and she is believable throughout. A bit of a comeback for her. 

Will admit watched this film because Madeline Zima was part of the cast and she has more of a supporting role. 

The film does well in building its futuristic science fiction world to be believable and create a tight if comfortably familiar story.  

Grace: C

IT’S WHAT’S INSIDE (2024)

~ jbg ~ Leave a comment

Written, Directed & Edited By: Gregory Jardin 

Cinematography: Kevin Fletcher 

Cast: Brittany O’Grady, James Morosini, Gavin Leatherwood, Nina Bloomgarden, Alycia Debnam-Carey, Reina Hardesty, Devon Terrell, David Thompson, Madison Davenport 

A group of friends gather for a pre-wedding party that descends into an existential nightmare when an estranged friend arrives with a mysterious game that awakens long-hidden secrets, desires and grudges.

It feels like the film is too in love with its cleverness just like the characters are. Though most are unlikable and insufferable.

It earns its stripes as it is definitely a dark comedy. That is too cruel at times. That tries to justify itself. Though it truly lives up to its title. 

At times the film feels like the recent release Bodies Bodies Bodies only here you at least get characters rather than types.

The film is inventive and stylistic, but you can’t admire it because it’s too busy moving on to the next dazzling piece. 

In this film so much happens too fast that the film seems afraid to rest as everything must be done and can never be allowed to sit stop and think especially the audience throwing you off balance so that you truly never know what will happen next 

It also doesn’t help that the film and the script seem to want most of the characters to shine. There isn’t truly that much room in there. 

You get the feeling that maybe the filmmakers or film doesn’t trust itself by standing still that there must be a bunch of distractions so the few questions. Which makes the film come across like a game trying to play with the audience.

Essentially, it feels like a group of actors getting together and scratching the material into a comedy group exercise or comedy group trying to make a film to serve all their sensibilities. 

Luckily, the film does get better as it goes along as you gain some knowledge about the situation, the characters, and some of its rules and plays the questioning of identity that doesn’t get that deep but tries to have fun test itself into deeper waters once we get to know them and their true colors start to show 

It’s a film to enjoy as long as you don’t think too deeply about it.

Grade: B-