Tag: THRILLER

THE RIP (2026)

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Written & Directed By: Joe Carnahan 

Story By: Michael McGrale 

Cinematography: Juan Miguel Azpiroz 

Editor: Kevin Hale

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

Grade: B- 

THE ROUNDUP: PUNISHMENT (2024)

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Directed By: Heo Myeong-Haeng

Written By: Oh Sang-ho

Cinematography: Sung-Jeo Lee

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

Grade: B-

DIE MY LOVE (2025)

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Directed By: Lynne Ramsay

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.

Grade: B- 

THE LONG WALK (2025)

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Directed By: Francis Lawrence 

Written By: JT Mollner

Based On The Novel By: Stephen King 

Cinematography: Jo Willems 

Editor: Peggy Eghbaliant and Mark Yoshikawa 

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.

Grade: B

BONE LAKE (2025)

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Directed By: Mercedes Bryce Morgan

Written By: Joshua Friedlander 

Cinematography: Nick Matthews

Editor: Anjoum Agrama

Cast: Alex Roe, Maddie Hassan, Marco Pigossi, Andra Nechita

A couple’s vacation at a secluded estate is upended when they’re forced to share the mansion with a mysterious couple. A dream getaway spirals into a nightmarish maze of sex, lies, and manipulation, triggering a battle for survival.

Bone Lake, this film keeps flirting with what it thinks is naughty or what a more mainstream audience or studio exec does. As it seems to keep trying to test the waters of why it thinks it can get away with and is rather tame. Especially after a provocative graphic opening 

Though it could have done without a cliché of having a female of color character be killed in the beginning though at least she’s not first. 

Even if not going big for a more erotic thriller horror film it should be somewhat titillating and this plays more like an Adam and Eve couples instructional intimacy tutorial or at least that is how it plays stale. 

It’s like it wants to be naughty but is afraid of going too far. Like a beginner at a swingers club (I imagine) this film isn’t even horny it is more of a tease. It psych’s itself out before it even really begins.

There is so much talk not showing. Th main couple don’t seem to act like a long term one. More like they just meet and speak so matter of factory and cerebral in their dialogue that table sitting through a couples therapy session. You desperately want out of, So if looking for physical erotic charms this is not the film for you. since that is all there is until the violence really starts. you feel stuck and waiting for it to begin for some actual action to happen. 

This film is missing all the sensuality and sexuality that even a simple movie like the recent sexual thriller DEEP WATER (Starring Ben Affleck) had, though this has more potential rather than seeming to equal a porno fantasy set-up. This one actually has a story that could work as couples therapy and a tale of lust and trust. 

Like the antagonists the film tries to come across as cool and something to see, but in reality it’s quite basic and doesn’t offer anything new. it even come across much as standard fare in the gene that offers up see as it’s gimmick but while it peppers it with it. It doesn’t get I too deep winter it is more a garnish. It’s like a film that feels like it was cut up by the MPAA and this is what was left either that or the original script must’ve been really wild and graphic and they just took out what they thought the MPAA or studio wouldn’t like and this is what we’re left with.

By the third act the action finallly starts and the fimmtrally gos into overkill with the violence all of a sudden. Which at least makes up for most of the film playing to safe. As this ends up being the only gratuitous element the film offers. As it will crimp on the erotic, but here it goes full blast.

It’s also where I am guessing most of the film’s budget went also 

The film needed to provide more truth in advertising as that is the damaging aspect of the film. As what is promised comes in glimpses but seem somehow constricted and there for plot conveniences and to keep it’s word. Though if choosing a couple to be tempted by, the casting was spot on. 

It shows how lust and greed can lead one astray and it’s important to have open communication and that sex can drive you crazy. Then it seems to end like a joke. Maybe it all is and the joke is on us. for this amped up more graphic lifetime TV movie story. That tries to be naughty, but reads more like a manual. It actually has the goods for a 90s thriller, but takes all the fun out of it until the third act.

Grade: C- 

THE AMATEUR (2025)

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Directed By: James Hawes 

Written By: Ken Nolan and Gary Spinelli 

Based on the Novel By: Robert Littell

Cinematography: Martin Rhue

Editor: Jonathan Amos

Cast: Rami Malek, Laurence Fishburne, Holt McCallany, Danny Sapani, Julianne Nicholson, Jon Bernthal, Michael Stuhlbarg, Rachel Brosnahan, Adrian Martinez, 

When his supervisors at the CIA refuse to take action after his wife is killed in a London terrorist attack, a decoder takes matters into his own hands.

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You probably seen this film before it’s a pretty much a revenge tail where a character seeks revenge for the death or murder of a loved one and at first seems too weak or too meek 

Who somehow against all odds starts achieving in getting their revenge, but not always in the way in which they seek or expected .

This could’ve been a random episode of any kind of government series, or even then a full season of a limited series about the same subject in story, which would’ve at least given the film a chance to flash more of the characters out other than the lead and those who are working against him .

The film is pretty average. It stays entertaining and tries to offer some surprises that you might see coming though it’s not quite as action packed as maybe the trailer or storyline might have the audience believe there are action sequences, but they’re nothing phenomenal or breathtaking. They’re fairly average and actually pretty quick so that this plays off more as a dramatic thriller than anything else.

The twist and turns truly do show how smart that the main character is for what he might lack and physical prose, though it doesn’t help that some of the bigger supporting cast names are barely in the film for long periods of time and are severely underused 

One can understand why Rami Malek produce this and starting it as most likely there aren’t that many who would see him in this role naturally or as he plays the nerdy parts well the more physical aspects of the role would leave most in question. Which is actually one of the reasons why we might not see Rami Malik in so many films is that he’s hard to cast as he’s wiry physically and has quite a strange look and at times feels tilted and gives meek line readings.

That make him come across as a bit odd or more seeming like a character, actor, pro more eyeball rules, rather than leads or even villains. The film does pack a punch, but it’s not a lethal one. It’s more of a jab that will keep you entertained while watching though probably instantly forget once you’re done. It’s a great popcorn entertainment with a great cast that you wish had more to do.

as he just constantly sit through the film, waiting for all this to build up into something bigger and better or at least more and unfortunately, it doesn’t. It kinda goes out on a whimper rather than an extravaganza.

No, it’s not a lost cause, But  it’s nothing to write home about it. Does what it seeks out to do it entertains it makes you think you get caught up with the story and the characters but it’s just not that memorable and considering the cast that is on screen should be better.

Grade: C 

NIGHT CALL (2024)

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Directed By: Michiel Blanchart 

Written By: Michiel Blanchart, Gilles Marchand and Laurent Brandenbourger

Cinematography: Sylvestre Vannoorenberghe

Editor: Matthieu Jamet 

Cast: Joanthan Feltre, Natacha Krief, Jonas Bloquet, Romain Duris, Thomas Mustin, Sam Louwyck, Nabil Mahat 

This night is like all the others for Mady, student by day, locksmith by night. But Claire, the enigmatic young girl he helps out that night, is not who she claims to be. Mady has only one night to prove his innocence in a city in turmoil.

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This is a film I pretty much went in blind and so happy I did. As this film stays lively throughout.

This is one of those films and thrillers where it takes place all In One evening that seems endless. As a character had until dawn to get themselves out of trouble or else they are doomed. It is an International release from Belgium. Where you can recognize some of it’s Influences. 

The film offers the usual double crosses. Not truly being able to trust anybody. The cops are vicious as the criminals. So where do you turn.

The film also has the chaos of a Black Lives Matter protest with people and police filling the streets, as a background that they are operating in. Which are some of the elements that keep it from playing basic or typical. Truly the only innocent character is the lead who is desperately trying to get out of trouble. Though even he gets some blood on his hands. It also helps that the pace is rushed but doesn’t feel that way. it’s heart is always beating fast, but perfectly timed.

It also helps that the lead is African American who is being hunted and preyed upon by all these Caucasian characters throughout, which works as symbolism. As they are hunting and exploiting him, while he is the true innocent.

It’s so exciting and well put together. Offering very little fat. So that it stays quite lean and keeps moving. No time for side stories or any romance that might be hinted at in the beginning. it’s shocking that it was the directorial debut of Michiel Blanchart 

One thing I appreciated about this film is that it isn’t sentimental at all. It is rough and tough, dog eat dog. No last minute acts of mercy. 

It also stays gritty And believable. As the cast is newcomers and unrecognizable from any previous roles except for Romain Duris as the big bad. Not to mention a henchmen who looks like a scarily tough version of Jesse Eisenberg

if anything by the end you are left with some questions. As you know for the most part what happened, but you care so much you want to know what is next for the characters. Which shows that the film has grabbed you. Though to keep up it’s tough skin it stays a bit ambiguous.

Grade: B- 

OTHER (2025)

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Directed By: David Moreau

Written By: David Moreau and Jon Goldman

Cinematography: Julien Ramirez Hernan

Cast: Olga Kurylenko, Jean Schatz, Lola Bonaventure, Philip Schuler, Julie Mae’s, Anne Pascale-Clairembourg, Jacqueline Ghaye, Sacha Nugent

Alice returns to her childhood home after her mother’s death, only to find the house is rigged with surveillance tracking her every move, as a sinister presence lurks, driving her towards a terrifying revelation.

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I can think of worse ways to spend 90 minutes then with acresss Olga Kurylenko, who is good in the role. As the lead stretch stretching some acting muscle muscles. She hasn’t really been challenged to do before.

this is the rare starring role for her where she is front and center and truly gets to show dramatic depth in a role as for the most part, the film just follows her throughout this treacherous adventure that stays mysterious for most of the film so that it’s almost like we’re watching her play dress up through half the film as a former teen beauty contestant

This is one of those films, the end resolution you just wonder why we had to go through all of what we just did just to get here as it plays more weirder than it truly needs to be 

if there was a reason for the peculiarities, then at least it might’ve been worth it, but it just seems like the film is made that way just for that and I guess to keep it more of a mystery to the audience which again by the end just feels like it was over the top for no reason 

Now, while the film does have its moments and an ending, we should see coming, but still comes across as a very big moment of surprise. Which at least makes it feel somewhat satisfying though getting there just feels annoying.

As there are other characters in this film, but it pretty much feels like a one woman show throughout as Miss Kurylenko does most of the work and the heavy lifting

now, while this film might work for others as it is definitely a slow burn that is more of a drama with a thriller or horror elements. One can say that they were with the film halfway as it’s not much to do about nothing as there is substance here that seems to be yelled out a lot

Until all is revealed, and the impact and capacity truly takes over. So thoroughly throughout, you admire the filmmaking and how far it pushes the story and keeps the audience and suspense with the sense of mystery.

As it’s about buried hidden trauma that the film gives some clues along the way. Though I think we figured it out before her and the film literally spell out the ending what we come up with might be scarier than what we actually see at the end.

Even as it tries to be subtle about it, you can’t help but notice it just feels like the film is missing an element that would truly make it more noteworthy instead of feeling underwhelming by the end.

The film stays visually inventive, but at times it does feel like it’s being weird just to be weird. 

They left to wonder if there is a sequel will it keep the same mood? Will there be new secrets or become more audience friendly with Gore and blood baths?

By the end of you make it that far. You sneered you can decide if all of this film was worth the journey. That might have been just as effective as a short.

Grade: C

THE BIRTHDAY (2004)

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Directed By: Eugenio Mira

Written By: Eugenio Mira and Mikel Alvarino

Cinematography: Unax Mendia

Editor: Alejo Lewis 

Cast: Corey Feldman, Erica Prior, Jack Taylor, Dale Douma, Liz Lobato, Jim Arnold, Sue Flack, Colin Morgan

Norman, a young man very much in love with his girlfriend, attends her father’s birthday party, held in a hotel where a sect happens to be preparing for the birth of the god it worships.

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Jordan Peele recently resurrected this film from its straight to video origins, and it’s almost nearly forgotten existence after being lucky enough, and should be made aware of this film and view it by star Corey Feldman

Mr. Peele was blown away by the film so much and that he included it in a program series of films, he showed a film festival audience for draft House films to find it and restore it print and now released bigger and further than it ever did before, allowing for an audience, it never had and it should’ve had before especially as it was never theatrically released officially

So even behind-the-scenes, it has a miraculous story of building up an audience over the years and getting noticed as the film does certainly feel worth it even if by the end and it’s obscurity that doesn’t force the audience and audience actually think while watching it

Didn’t realize it was from the writer, Director of GRAND PIANO, Eugenio Mira. the movie at the time that totally didn’t live up to the hype, but there was something one could admire in it

That is the same thing I feel about the birthday or as I appreciate how it builds where at any point you could go anyway at first it’s more just an uncomfortable awkward comedy with Corey Feldman doing a voice, but his performance grows on you as does the movie with its oddball of characters that you can tell something is going on behind the scenes that you can’t , necessarily tell what’s going on, but you can feel. As the film has an undeniable style to it. 

Where this is the film goes along you are just happy for the main character played by Corey Feldman as he seems to go through different side adventures and trials, even if he comes across as more and more weak compared to what he is trying to achieve. 

Just like many of the supporting characters at first, he seems handled with a broad stroke before you finally start to get to learn things about him 

As the film goes along, and it seems to get crazier and crazier, more ridiculous, and a conspiracy plot thrown in the film as well where at first you are wondering if this is true and real, or just a misguided attempt by outsiders against the rich in a class struggle as the new challenge the for the main character it unfortunately looks like, What at first he dismissed as ideas of a mad person might actually be true.

As in the film he has to make certain decisions and sacrifices. Which we have seen him fumble earlier in the film, earlier but now must take action or make decisions for the fate of the future.

The film and the actors keep you invested as well as even though you can tell the film is low budgeted. It’s a tight production that makes it feel like it’s a film double or even triple budget has originality and imagination that it keeps you interested throughout I wish I could say it’s a slam dunk and one enjoys it as much as for the hype of its recovery.

I can’t say that I quite swallowed the Kool-Aid, but it wasn’t a bad drink. It didn’t necessarily grow on me. It’s a film that deserves to be seen and it certainly has found its audience. It’s not quite a classic, but it’s entertaining if you give it a chance. 

This will not be a film for everyone is a cult film, where I believe there is an audience that will appreciate it as strangely matching the suit that Corey Feldman wears. It feels more like a lounge act more than an up-and-coming stand from many will think about it, but it doesn’t quite rise to necessarily be a classic 

I’m not trying to badmouth the film nor am I saying it’s then but feel more like it’s in the middle of the road. There are plenty of things to admire about it, but there are certain things not quite as enjoyable or that hold it back from its own greatness

One can appreciate the time it takes to constantly keep building for the audience, though on the other hand, there’s also a sense that it doesn’t need to be as long as it is 

It’s a dark comedy at heart that grows on you as it has its own personality and a certainly an oddity that doesn’t try to reach too far. So definitely a film you can appreciate by it’s merits 

Grade: B-

EANIE MEENIE (2025)

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Written & Directed By: Shawn Simmons 

Cinematography: Tim Ives 

Editor: Chris Patterson and Dirk Westervelt

Cast: Samara Weaving, Karl Glusman, Andy Garcia, Steve Zahn, Marshawn Lynch, Jermaine Fowler, Mike O’Malley, Randall Park, Chris Bauer

A reformed teenage getaway driver is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend.

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This film comes so close, but no cigar as it does play out like an Elmore Leonard story or novel. As it has the gritty details, the quirky characters and the down on their luck protagonist.

It also has a story that is set in the underworld of crime and a high story that doesn’t overreach and make it seem like this is the score of the century or will set everyone up for life but more just a simple heist that will help all involved get out of previous trouble and be financially lucrative .

Even though it is mainly a crime story, it does take its time to be a character piece for the main character played by Samara weaving and explain her character’s choices, upbringing, and mentality, which helps, especially when she is essentially in love with a screwup 

The film has a great cast, but that is the problem while the quirky supporting character shine. We don’t really ever get enough time with them to learn maybe how they tick or just to enjoy them in general. It’s longer than blink and you miss them, but still not quite enough 

Even Marshawn Lynch, who is usually comedic gold in movies here has the chance to create such an iconic character, and while he does, what is necessary, his impact isn’t felt the way that it should nor strong as it should. It feels here more like he scripted rather than where his strength is an improv. 

Samara weaving as the lead is more of the straight woman, whereas she surrounded by all these crazy quirky characters so she lies at the heart of the film, and obviously the protagonist were rooting for .

The film stays surprising throughout as well as engaging with a surprisingly strong and down, tried ending of sorts, though it feels like there’s something missing to push it quite over the top to passable. 

As it is a film, that is entertaining enough, but not quite not worthy to play with the others in its genre. It comes across his lightweight, even though it does have some heavy material. Maybe it’s just because of the story that it tells you want it to be stronger.

Even with it quirky characters it’s surprisingly violent and hard hitting, but it still doesn’t quite make it to Mark

As the film does have the juice and the ingredients and even the recipe, but the taste isn’t quite uproot or tastes fine but not quite special as you had hoped. No matter how it tries. 

Grade: C