Cast: Turlough Convery, Benny O. Arthur, Jaqueline More, Thomas Gould, Alessia Yoko Fontana, Kyle Scudder, Aidan O’Hare, Charlotte Stobier
In an attempt to draw attention to the environmental crisis, young activists decide to invade and vandalize a furniture store. The protest quickly turns into a massacre when they find themselves trapped with a hunting-obsessed night guard.
This feels like a pretty basic horror set up. Where the characters are pretty much put into place and the inciting incident that triggers the so-called beast or monster is unleashed. While we watch the core group get killed off in continuously gory and hopefully inventive even maybe shocking Ways.
This movie is under 90 minutes but feels longer for some reason. Even though it is pretty cut and dry. While it takes its time getting to the action.
What saves the film is the third act where it finally feels like it’s moving and trying to be creative. Especially as that is when the film chooses to humanize the victims, somewhat. So that the audience cares more than the type of characters we have been presented with. As when they do start to get eliminated there is very little to react to as we barely know them.
The only thing that humanizes them and truly reminds us that this shouldn’t be seen as fun and entertainment and tries to make the film that much more a tragedy, is when one character says “They’re just kids”
The only problem is that the film seems to have so much fun at their dismissals. Including a quite cruel ending and a cynical bumper at the end. So that it seems half hearted or like a cynical joke. There only to up the ante for the audience. The filmmakers saying see it’s much worse then you think.
The cast is diverse, as they are disposed of equally. Though the main perpetrators and cowards seem to be the Caucasian characters.
It’s a perfectly fine time waster but there is nothing that special about the film. It’s entertaining and realizes to not wear out it’s welcome.
In 1986, the defiant Fox breaks out of an abusive commune in search of her family. But when the queenpin kidnaps her little sister and sends a crooked cop after her, Fox has no choice but to infiltrate the very place she escaped.
Set in 1986, though truly could be modern except for a lack of electricity and maybe the fashions. As the film plays like a throwback. Especially when it comes to retreading a familiar story. Only here from more of a female perspective.
This was a major disappointment, especially considering the cast. As it’s one of those films where they have an actually interesting story in plot and managed to keep it moving and interesting, but at some point, the film just seems to stand there and brings no excitement, nor does it build on the things that it sets up.
It has one clever twist and definitely has style, but you can tell the films limitations because there’s so much more that can be done in the film. Just seems to leave it there and let the audience use their own imaginations which can be inventive if left for us once or twice, but not constant.
The film also offers no real surprises. You know where it’s gonna go as a telegraphs it before it gets there and then when you get there, it just does nothing new or all that interesting except for a few points and perks of the fellow.
Everyone gives a good performance, you just wish there were more to their characters or were given better dialogue, than something a little more to do. as it’s a film that seems like it’s gonna be more but plays pretty basic.
Most of the cast is female and talented females. So that they’re very few men in the film and the few that there are seem very inept. So it’s more like ladies are doing it for themselves. it is a little empowering.
Though there are two characters in the film that just seem to be there for no real reason, more in the background, but they’re not really workers nor are they henchman and they don’t seem to be the main villains even their love interest so are they just there for company it seems and while they are of some use. A little bit more towards the end, they really didn’t still really need to be there.
Going into this film, I wanted to really root for this film as it has a bunch of actresses who I really admire their work Jamie Chung Krysten Ritter, Mishel Prada, and they’re given good roles. It’s just that they all feel a little bit more cliché Mishel Prada is the only one who kind of gets the more interesting not typical role, but it still leaves her with very little to do and few chances to truly go to weird or dark places that the role seems to demand.
Though it is nice for a leading role for Kieran Shipka, who seems to be becoming quite of the character actress and has finally grown into more leading female roles.
Luckily, this film goes by fast. As it’s under 90 minutes
Cast: Eve Connolly, Calum Worthy, John Lynch, K Callan, Ron Cook, Thomas Douglas, Caroline Goodall, Werner Beirmeier
A seamstress gets tangled in her own thread after stealing a briefcase from a drug deal gone bad. In an escalating game of cat and mouse, her different choices lead to drastically different outcomes along the way.
This film was a little bit more unexpected, though it came recommended. I tried my best to go into it blind. All I know is it had to do with knitting and some kind of crime caper. Both of which are true though the way they match together is very intricate.
It starts off slow, but then becomes a kind of choose your own adventure tale where it’s based on the main characters decision and we see her faith based on each of these decisions. So that it might remind some of RUN LOLA RUN. it is noticeably different and the way that it plays
The film does have a quirk factor, that at times threatens to overcome the material, but luckily because of that when violence or the story turns dark though not Unexpected it does provide a little bit of shock for the audience.
This is one of those kind of cute Indie films that shows a lot of spirit and ingenuity, even if it does come off at times a little too clean, cut and polite, considering the material involved.
Though it shouldn’t disappoint any audience members, as it is, a cleverly designed film that by the end does feel inspired. Especially as a captivating thriller.
Though for all its ingenuity, it just feels like it should’ve had a stronger hold on the audience and make you feel something as it comes off as an appetizer or rather light meal that looks bigger than it actually is, but you don’t quite feel full by the end.
Cast: Olivia Luccardi, Eden Brolin, Sam Quartin, Owen Campbell, Virginia Rand, William Baldwin, Guinevere Turner, Brad Carter
A seemingly naive and devout young woman navigates her way into the underground world of truck stop sex workers a.k.a. “lot lizards.”
————————————————————————
This is a film that pulls no punches, especially when it begins. It’s going into the film wasn’t quite sure where it was going to go even though watching it on shutter suspected a horror film but it seems like for the first third of the film. It’s more of a drama.
Even though considering where the film ends up going. It seems a bit unnecessary to be so graphic, but sets up the unpredictable nature and showing it’s Not afraid to go certain places
That throughout the film, always seems to stay open as it offers a host of many ways it can go. As throughout the film. There seems to be a clash of genres as it starts off matter fact, drama that has a murder mystery in the background when initial killings start to happen. as it also feels kind of like a misdirection at first, but when the killer is revealed, we are shocked, but watch their ways as they try to avoid getting caught, though we do wonder when they will strike again also. Even as the film still stays pretty dramatic with the killings involved as we began to truly care about the characters.
Though slowly, the narrative becomes a true horror thriller. As the film keeps changing its identity I guess sort of like the characters there’s the before and then there’s a after.
as at first, there were so many ways that it could’ve gone and thought it would go, but ultimately it ends up, not going there. It makes its own way, which works for the film. Only wish maybe the killer wasn’t revealed as soon as they were crow that they played up the mystery angle a little bit better and longer.
The film does have an interesting scene of a red herring that is graphic and hard hitting, but also shows you the dangers of the lives. They lead and their line of work and offers a humanity more to the characters and helps to show the depths of one of the relationships between the characters and how messed up it is even when seeking justice in doing the right thing
As the film play so many rules just as the characters do one minute it’s a hangout film the max. It’s a hard hitting docudrama, then a mystery then a slasher then at times even a Grindhouse film that tries to tie in Christmas randomly. Though it occasionally breaks up its own rhythm. It’s trying to show that it’s moving into a new phase. Wish it could have been a bit more seamless And tightly written. So it made more sense. It does go to show that just because one thing is happening, that doesn’t mean other things stop irnchange necessarily with the new situation
For all of its good graces by the end, it feels a little bit like a b-movie, even though it tries to hit hard with the ending.
The film manages to stay unpredictable in the end doesn’t go where you expect those stays down with an ultimate come uppance.
By the end, the theme seems to be sexual repression and how violent it can make someone.
Cast: Paul Soter, Corbin Bernsen, Pierson Fode, Giorgia Whigham, Kai Cech, Alysia Reiner, Amiya Cech, Maxwell Whittington-Cooper, Amanda Clayton, Max Malas, Samantha Neyland Trumbo
When a once-fabled campfire tale becomes real, a group of campers uncover a profound secret that questions their very existence.
First off want to thank screen-centered.com aka Myriamtalksaloy for her initial review and recommendation of this film
A lot of movie fans say that there is no originality out there. Well, I am glad to say this film proves them wrong because what starts out as a typical summer camp/or film evolves into something totally different and original.
Which is why I would suggest watching the film blind, before reading this review, because there will be spoilers and hints towards what happens and where it goes.
I truly enjoyed this film, especially because of what it was able to do which was keep you guessing and throw me off quite a few times. It offers the traditional coming-of-age summer camp story, but then adds in something a bit different.
As the film plays like a horror film specifically for kids while being a typical summer camp horror film, with characters a bit younger than expected. Then it offers twist upon twists, that feed upon each other. that it could almost play or be a GOOSEBUMPS tale as I’m sure many will compare to an M night shamalayan film
If you go, expecting something he’ll be able to pick up on the choice sooner and faster. One is quite surprised by some reactions.
As just because if it has a twist ending, doesn’t mean we should label it as instantly M night. Shamalayan rip off as this place is better that some of his film story wise.(though he has a better eye as a director and sensationalize his material a lot more. Which then makes you expect the twist.)
This is a tricky film as it did surprise and entertain, but it didn’t amaze or offer the same level of production or direction as the film has a good idea in decent filmmaking, though it doesn’t come off as memorable
Now the film seems aimed at kids featuring very little violent, though there is violence and a little exploitation, as it does offer a sexy, no nudity and not as graphic as it could’ve been, but it’s there. As this comes off almost as a more violent AMBLIN movie type tale. Not necessarily distinct though the story is. Though the problem would be if it was more distinct, it might tip off the audience.
Why are so many complaining. it’s not stupid and backs itself up with its twist and turns as it goes in many directions sometimes opposing each other, but feel it is more growing in those create and show the pains of it. Which can happen in world building, though by the end it feels fresh and enjoyable tale.
The problem is that we as movie goers and audience is complained. There is nothing new or that there’s no originality then when we get some bitch about the so-called plot holes and problems or nitpick it to death, yet support the same old stories only done more modern with bigger names behind the scenes, and we tend to pray over praise when something is decent and does its job as more and more today it seems such a rarity for a film really to be that way so that when something is good, we give it too much credit and treat it like it’s great when actually, it might be average at best. depending on your basis of what makes a good movie or what you score a movie on or by that would definitely recommend this film as it touches all the bases
The film is modern yet seems more 1980s inspired. It switches gears with each new discovery, but does it with subtlety,
I’m going to need a sequel to this film ASAP before the characters and kids age out. Which should be easy based on what is hinted at in the finale.
Written By: Brandon Christensen and Ryan Christensen
Cinematography: Clayton Moore
Cast: Jessica Clement, Ryan Robbins, Summer H. Howell, Matty Finochio, Ben Cockell, Keegan Connor Tracy, Savannah Miller, Bryn Samuel
College student Deena visits home and is roped into babysitting. The local sheriff is mailed a piece of evidence and is led on a scavenger hunt to reveal the killer of another babysitter.
————————————————————————
This is one of the streaming channel SHUDDER’s originals that comes from Canada. this film, please like a modern update of a slasher film though unfortunately it plays like a typical one, not a supernatural/more of the human variety that by the end one unmasked doesn’t really have a good enough or really tight reason for their actions but works just enough for the film.
The film offers a harder opening scene than usual in these films, or there is real threat of children being killed
When can appreciate the homage and throwback qualities of the film? While luckily the film manages to save itself and add some surprises in a third act because everything before it is kind of run of the mill. But what a third act, which is when the film truly becomes thrilling as it kind of saved the film and set it apart from others of its elk. As what team playing at first, but want to start cooking got spicy.
They said in a suburban town everything feels darker than it needs to be as far as atmosphere characters the luckily not visually. Is the film does offer a good set up
In the end, this film pretty much PLEASE still like a beginner horror film, but a little harder than most of the ones I usually suggest if only because of the violence, as this is a good film for those who wanna get into hard and haven’t seen that many.
Casting-wise wise the film is great. Though why Bella throne doesn’t get into these types of horror films escapes me.
Cast: Matt Damon, Ben Affleck, Steven Yuen, Kyle Chandler, Catalina Sandino Moreno, Teyana Taylor, Sasha Calle, Scott Adkins, Nestor Carbonell, Lina Esco
A group of Miami cops discovers a stash of millions in cash, leading to distrust as outsiders learn about the huge seizure, making them question who to rely on.
This Is a film one wouldn’t have mind seeing in a theater as to me. It’s that exciting visual and good, too good to just be relegated to streaming.
As it has Matt Damon and Ben Affleck back together again, though for once more in a action thriller than necessarily drama or comedy in which you usually see them costarring together in now while they didn’t write or direct this, they’re strictly in this and acting capacity their natural chemistry is still there
The film takes place in Miami of all places which I have never seen filmed darker as usually it’s filmed a lot more colorful and vibrant here. It just seems so cold that it might as well have been set in Boston.
While playing like a thriller in somewhat of a mystery, it’s pretty easy to figure out but appreciate that the film still try to make you question every character and their motives and giving reasons why there is plenty of gun play and Mano Y Mano type attitudes and energy throughout.
Which they really show in the third act by having most of the female character, sit out the action while all the men or the big names on the poster, do it out and share the reveals as well as a few chase scenes.
The film is entertaining in directed and written by Joe Carnahan. I’m not surprised as he has always been a solid Director, who specializes in gritty action films here he does what he does best. As the film stays exciting and entertaining throughout, even though it has very few locations in the film. Makes the best of it and still makes it feel like it in its own world, but identifiable in dark
They don’t make films like this much anymore and it’s nice to see something a little more hard hitting a film that can be itself and doesn’t necessarily care too much about being politically correct. As well as a cast that can do these roles in their sleep, but while it might be casting for some of the cast, it’s about face for others and it allows them to show their range and it’s quite a good look. Is a film made for an adult audience in the action crime junkies will love.
No, of course, Matt, Damon, and Ben Affleck are the leads and get the best scenes dialogue in action, but the supporting cast does as well as as they can with what they are handed and truly do stand out.
The only problem I could foresee with this film is, if there was ever a sequel that mystery element that worked here won’t work out so well in the next film, but you could see ongoing films with this crew and their adventures and what they have to go through, but it’s fine also as just a standalone film
Cast: Ma Dong-Seok, Kim Mu-Yeol, Park Ji-Huan, Lee Dong-Hwi, Lee Beom-Soo, Hyun Bong-Sik, Kim Do-geon, Lee Ji-Houn, Lee ju-bin
Detective Ma Seok-do joins the Cyber Investigation Team to nab Baek Chang-ki, a former mercenary and the head of an online gambling organization.
This is like a modern day Korean version of Clint Eastwood‘s DIRTY HARRY films only more action oriented.
As the films in this franchise play like typical procedurals on a much grander scale. As most of the films follow the same formula with the same main police detective character Detective Ma Seok-Do, only now in a different department, but has the same captain, same partner, the same informant that he uses and tricks with promises that he never really delivers on that will help him throughout. Played by Lee Dong-Hwi
The only thing that really changes is the villains who always come off as damn near impossible to defeat, but yet by the end of the film and hand on hand combat are defeated within 10 minutes by the main main character
Instead of a noted, Smith & Wesson or Magnum gun here the weapon of choice is the detectives fist which are lethal weapons in themselves and he uses quite freely. They don’t necessarily kill, but they do enough damage.
These films are violent as usually the villains have no humanity so that these films do feel kind of like 80s or 90s action films only on foreign soil, not quite as violent, but they have an upbeat attitude and don’t dwell too long on things they keep the story moving and keep leading from one action sequence to another, even though it does play up the thriller elements quite a bit
They are never slow and keep up the pace and quite entertaining even though the movies are usually typically two hours they feel like they could be a television episode yet one keeps finding themselves drawn to this franchise as long as they keep making them they are of good quality and never quite let you down nor are ever boring. Nor are they really that deep.
So if looking for just an entertaining action film, that’s a bit glossy, but engaging. I would say you can’t go wrong with this film nor any in the franchise as they don’t disappoint and they keep it moving
Written By: Enda Walsh, Lynne Ramsay and Alice Birch
Based on the book by: Ariana Harwicz
Cinematography: Seamus McGarvey
Editor: Toni Froschhammer
Cast: Jennifer Lawrence, Robert Pattinson, Sissy Spacek, Nick Nolte, Sarah Lind, Lakeith Stanfield, Gabrielle Rose, Clare Coulter
Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Jennifer Lawrence gives a phenomenal performance that is raw animalistic and amazing more physical than verbal as that is what the script calls for so she just morphs into the role and is a sensation
Though sadly, she is more interesting and truly the highlight of the movie as the movie is not bad, but she is clearly the star in the heart of the film, even with a stacked cast she’s the only one who makes an impression and stays memorable
Now be warm this film is very dark and very depressing throughout. There are very few if any moments of joy and none that I can truly remember.
Now I knew what I was getting into when it came to watching this as most of Director Lynne Ramsey‘s movies are intense sad and mostly joyless. I’m not saying that is a bad thing. It’s just that, that is the mood and vibe that they give off they can be quite depressing and this film is no exception. They like the main character and maybe this was intentional. The film also feels a little lost.
As it plays, this feels like the film NIGHTBITCH with Amy Adams strive to be or at least make the audience feel like, whereas, even though that film is more of a satire that involve postpartum depression this film is definitely a drama showing the ravages of postpartum depression only revealing through flashbacks that not only to this character might have had mental problems already, but it seems like everyone around her is also breaking down in their own way. They both have many similarities as both protagonists are artists of some kind. Who begin to exhibit animal type behavior.
We see that the relationship seemed kind of rushed from the beginning, and that both characters were always impulsive and now that they are need to be more responsible Lawrence his character does not seem prepared or ready for it or as Robert Pattinson‘s character does but doesn’t want to take on all the responsibilities either
As like in the film night, bitch, he comes across as careless and not at all helpful and expecting her to take on everything
Just as with the main character film plays with time where sometimes we’re not sure exactly where we are in the timeline of their relationship exactly where they are and sometimes if what we’re seeing is real, we’re all in her head
Which is shown to be faulty as in a scene when she sees her neighbor who always rides a motorcycle at a supermarket with his wife and disabled child at first, we believe she’s going to talk to him to help her with a flat tire. Then we realize nose, some weird fantasy that she had of talking to as he represents temptation even though doesn’t really have any lines throughout the film.
Speaking of which Nick Nolte is in the film as Robert Patterson‘s father, who is slowly losing his cognizance and seems to be in a film for only five minutes before he’s gone, which is a shame as he has a screen legend and was hoping that he’d have more time on screen and more things to do, though Sissy Spacek as Lawrence‘s mother-in-law is powerful in her scenes
As she seems to be having her problems after her husband‘s recent death, but still can hold it together and seems to understand what Lawrence‘s character is going through, but wants her to take responsibility and kind of snap out of it even while having sympathy for her
One can’t see who this film’s audience really is as it got a very low cinema score, but it is good filmmaking that is more experimental and doesn’t hold the audience‘s hand. What’s the where it goes and leaves them to interpret it however they will as the last 15 minutes of the film, which so far has been a buildup is truly worth the film. Let’s loose and becomes all the more powerful.
As even though the film does offer some surprises before we reach that point, it’s never as strong as the ending just as a strong and deeply felt Jennifer Lawrence‘s performances. The rest of the film just isn’t as strong as you constantly wonder where it’s going.
Cast: Cooper Hoffman, David Jonsson, Ben Wang, Charlie Plummer, Mark Hamill, Judy Greer, Josh Hamilton, Garrett Wareing, Tut Nyuot, Jordan Gonzalez, Joshua Odjick, Roman Griffin Davis
In the near future, where America has become a police state, 50 boys are selected to enter an annual contest where the winner will be awarded whatever he wants for the rest of his life. The game is simple – maintain a steady walking pace of at least three miles per hour without stopping. Three warnings, and you’re out – permanently.
This film announces itself as a slow burn and then has the nerve to earn it. From the outset, a dark cloud hangs overhead, but what makes the experience so quietly devastating is how much warmth, camaraderie, and fleeting hope exist beneath that shadow. You know purely from the premise that this is going to hurt. A dystopian march for survival, a grim prize dangled in front of young men with nothing else to cling to. And yet, against all odds, the film keeps reaching for something gentler: connection, shared humor, the fragile optimism of youth.
The storytelling is intentionally cut and dry, almost austere. There’s nothing flashy or sensationalized about the way we move through this bombed-out vision of Middle America. Streets feel hollowed out, spectators feel desperate rather than celebratory, and the so-called hope this march offers the world feels cruelly abstract. The film doesn’t exaggerate its dystopia; it lets the emptiness speak for itself. That restraint is precisely what makes it so unsettling.
At the center of it all is the chemistry most notably between Cooper Hoffman and David Jonsson, who anchor the film with a bond that feels lived-in rather than written. Their relationship becomes an emotional spine, but the real achievement is how the entire ensemble locks together. This is a movie where the heart lives in the group, even if it’s a bruised, dark heart. Each character’s elimination lands with a genuine sense of loss. Early on, the executions feel shocking, almost confrontational, as if the film is forcing you to understand the rules of this world in the harshest possible terms.
As the march continues, something subtler and more painful happens. The violence recedes into the background not because it matters less, but because it hurts more. You begin to avert your eyes the same way the characters do. The film places you inside their exhaustion, their grief, their numbness. It’s an odd, devastating alchemy: the suffering deepens, yet so does your emotional investment. You don’t just watch the film, you endure it alongside them.
As a Stephen King story, it fits perfectly within his particular brand of Midwestern dread. There’s no supernatural evil lurking here, which somehow makes it scarier. The horror is human, systemic, and banal. It’s also tinged with nostalgia. a throwback to a kind of youthful camaraderie where people from wildly different backgrounds can form instant, meaningful bonds. That sense of shared experience, of learning from one another before time runs out, gives the film its aching soul.
Francis Lawrence deserves real credit for the direction. Known for handling large-scale studio spectacles, he proves here that he can scale things down without losing intensity. The film could easily have been an intimate indie drama, yet it still carries the propulsion of a thriller. It’s juggling multiple tones at once emotional, political, suspenseful and somehow keeps them all spinning.
Yes, on paper, the story sounds simple and even predictable, and for the most part, it embraces that simplicity. But within that framework, it offers something far richer: a meditation on endurance, youth, and the quiet brutality of hope weaponized. It’s the kind of film that breaks your heart slowly, thoughtfully, and without apology.
The ending is likely to divide audiences. I’m still not entirely sure how I feel about it and that uncertainty feels intentional. It lingers, gnaws, and invites interpretation long after the final frame.
This is not an easy sit, nor is it meant to be. But it’s a deeply admirable piece of filmmaking. one that deserves discovery, discussion, and reevaluation. It may not have found its audience at the box office, but one can only hope it finds a longer life beyond it. If studios made more films like this somber, human, and unafraid of sadness. we’d all be better off, even if we walked out a little heavier than we walked in.
Cut To The Chase 