Tag: THRILLER

PENNY LANE IS DEAD (2026)

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Written & Directed By: Mia Kate Russell

Cinematography: Liam Gilmour

Editor: Dan Lee 

Cast: Tahlee Fereday, Sophia Wright-Mendelsohn, Alexandra Jensen, Bailey Spalding, Fletcher Humphreys, Steve Le Marquand, Ben O’Toole, Matthew O’Sullivan 

A quiet Australian beach house celebration turns into a nightmare when an uninvited cousin and three violent intruders take over the secluded property.

This is definitely a disturbing film. That’s not gonna be for everybody think of this more as a kind of 1970s grindhouse type of film only set more in the 1980s. It has a punk rock energy and highly spirited. Though is a horror to sit through. 

which makes someone wonder if so, many films are set in time periods before cell phones are more for plot narratives that might ask why didn’t they just use some kind of modern technology and the filmmaker is not wanting to cop out and say no signal then necessarily an aesthetic story choice or wanting to be nostalgic

As you sit through the foul and have to watch the innocence get taken advantage of by this gang of villains. It’s like watching someone picking off kittens. Strangely enough, the most evil is the title character’s cousin played by Sophia Wright-Mendelsohn, who initiates all of this and still feels like she is vindicated throughout.

As she sees herself only as a victim in that everything that is happening to everyone else they deserve it. As she is delusional, sociopathic, and a psychopath and the booze and drugs certainly don’t help. She comes across even worse than the male villains that she encourages, and who mostly do all of the dirty work.

The film feels like torture porn to a certain extent as we know where it is going and gets Satur as it goes along so that when finally someone is successful in fighting back, those are the glimmers of hope but and fighting back they have to release just as much merciless violence

The film is entertaining, but one can’t exactly support it subject matter thoroughly. It’s a small story that you feel trapped in.

it’s understandable how this film might be in bad taste for certain audience members. It will certainly be problematic to some. 

though strangely, the film is violent though luckily never shows the violence against the females physically or in too much graphically. Except when fighting one another. Though we do see the aftermath and can still hear the assault, which makes it a bit worse but accelerates our heat of the villains.

This is a film. You know what you were getting into pretty much after the first 20 minutes so if you like gritty revenge films, this is for you.

As it whips, you went into a frenzy, but little by little gives you what you want until you are practically blood thirsty. 

The film does offer some nice little tweaks, including the ending, which is questionable but works. It doesn’t feel exactly deserved, but it’s the closest this film gets to being positive. 

Grade: B+

FIND YOUR FRIENDS (2025)

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Written & Directed By: Israel Pakzad

Cinematography: Tim Curtin 

Editor: Maxine Pozzi-Garcia 

Cast: Helena Howard, Zion Moreno, Bella Throne, Sophia Ali, Chloe Cherry, Chris Bauer, Jake Manley, Israel Broussard, Blaine Kern III

Amber and her friends visit Joshua Tree for a fun girls’ trip but face hostility from locals. As tensions escalate and Amber’s dark past surfaces, their rebellion ignites – turning their desert getaway into a jaw-dropping game of revenge.

I will admit the only reason I watch this film was for the female cast many of whom I remember from seeing other movies or TV shows and remember them being quite striking. 

The first 20 minutes of this film seems to be girls being as sloppy and reprehensible as frat brother movies with dialogue that seems like it was for GIRLS TRIP or EUPHORIA. 

This being a young female version, only then the film turns slightly to a sexual assault and trauma afterwards kind of drama. after seeming to Wade into the uncertainty of a music video-level boat party.

And just from the beginning alone, it seems to run a record for numbers of uses before the F word. 

The film does offer plenty of eye candy and titillation that is not to be approved, but it seems at first no one has a non-revealing outfit. Then the film seeming to settle into the message that all men are evil. 

One understands the message the film is trying to convey and what it’s trying to say, but it still leads to a film that feels very uncomfortable and after a while, get tired of what it is saying on it soap box as it gets to be the overwriting message that feels a bit much after a while, not unwelcome, not trying to discredit it, but maybe should’ve been a little more subtle.

Throughout the film, there is loads of exposition once they reach their destination. As then, that seems to be the only time they have any other opportunity to do it as the film tries to let the audience get to know the characters, even though essentially we only really get to know the lead.

It seems aimless than towards the third act. It finally seems to be trying to make a point of its own, even though it seems vague to match the mindset and mood confusing at first, as we aren’t sure if this is just all paranoia and all in the main characters head.

Lunar turned into a female, friendly revenge tale that while little obvious and over the top as well as extreme makes sense, even as the film leaves many loose ends

No one can see why it has an female audience  thoughseeks to want to attract more of a male audience by Trojan horse, with skin in display and more a party hearty attitude,leaving you to think one waiting reveals what it believes and not to subtle away

Grade: C- 

ESCAPE ROOM: TOURNAMENT OF CHAMPIONS (2021)

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Directed By: Adam Robitel 

Written By: Will Honley, Maria Melnik, Daniel Tuch and Oren Uziel

Story By: Christine Lavaf and Fritz Boum

Based On Characters Created By: Bragi Schut 

Cinematography: Marc Spicer

Editor: Steve Mirkovich and Peter Pav

Cast: Taylor Russell, Logan Miller, Indya Moore, Holland Roden, Thomas Cocquerel, Carlito Oliver, Lucy Newman-Williams, Deborah Ann Woll 

Six people unwillingly find themselves locked in another series of escape rooms, slowly uncovering what they have in common to survive. Joining forces with two of the original survivors, they soon discover they’ve all played the game before.

This sequel just came along way too fast and you can tell as everything feels rushed on the plus side it gets to the point, but we considering we already know or most of us should know what’s to be expected. You don’t mind if we at least got to know more of the characters or the film offered something like a little more behind the scenes of how everything works.

Even as the film and it filmmaker, expect the audience already to know everything and like most equals just seems to get to the action, but then offers pretty much the same premise that the original film offered only this time the characters are more in the no, which is why one would guess that we don’t really get to know them

The film is not written by the first films writer. So it seems like they brought in a new writers trying to put a voice to someone else’s songs and while this is a common practice in Hollywood, it feels like maybe this new script is a little bit or chooses to be more pop when maybe it should’ve had a little more depth with the music and lyrics. 

though it could also be as there are four listed Screenwriter on this phone that everybody was overwriting each other, and then trying to make it simple, not to mention that the story for the film apparently needed two people to come up with it as that how how bonkers this film seems. 

Not to mention this a film that has a bigger budget, but still manages to look cheaper than the first film as truly here everything looks like it is happening on A set or on various sets throughout a studio lot

As we only really get to know the characters right before they perish, which seems to let the audience know what’s about to happen so the film doesn’t really offer any mystery. Which leaves it to be predictable and uninteresting for the most part.

Even towards the end of the film. It just seems to throw out familiar faces to keep the first films audience interested in how did that person get there?

The first escape room film was surprisingly fun and entertaining playing more like a guilty pleasure. This sequel feels like there was very little effort made. It feels more of a cash in that believes that it’s smarter than what it is, unfortunately wasting the cast, especially lead Taylor Russell, Holland Roden and Indya Moore. Talents and times

Grade: C-

ONSLAUGHT (2026)

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Directed By: Adam Wingard

Written By: Simon Barrett 

Cinematography: Oren Soffer 

Editor: Adam Avery and Josh Schaeffer

Cast: Adria Arjona, Dan Stevens, Drew Starkey, Michael Biehn, Reginald Vel Johnson, Rebecca Hall, Eric Wareheim, Alex Pereira 

When a rogue squad of genetically engineered super soldiers break loose in the desert, a badass Army sniper must unleash hell to protect her young daughter.

I can already understand why ONSLAUGHT has disappointed some people. In fact, I almost feel like this is one of those movies that comes with a built-in warning label 

Because if you walk into this expecting a nonstop action extravaganza, THE TERMINATOR with a female lead, or some glorious 1980s style bloodbath that spends two hours blowing things up, you might find yourself checking your watch.

But personally, I really enjoyed this. And I think a lot of that comes down to taste.

ONSLAUGHT is patient. Almost deliberately so. It spends a surprising amount of time establishing its world, its characters, its atmosphere and, most importantly, the feeling that something very bad is eventually going to happen. And I don’t movies that make me wait. Let’s us in with the atmosphere and give 

This feels less like a traditional action movie and more like a siege film that has wandered into a science-fiction nightmare. There is action throughout, but it arrives in bursts, almost as if the movie occasionally remembers, Oh yeah we’re supposed to be making an action movie.

The story itself is admittedly pretty thin. There are characters and bits of information that seem like they are going to become enormously important, only for the movie to leave some of those pieces sitting on the table. At times, it feels less like a complete story and more like the first chapter of a larger universe. maybe that’s intentional.

Because ONSLAUGHT exists in the same universe as director Adam Wingard’s THE GUEST, though this feels like a much more conventional cousin. Where THE GUEST was sleek, mysterious and wonderfully strange, this feels more like Wingard trying to reconnect with the scrappier independent filmmaker underneath all those giant monsters.

After directing GODZILLA VS. KONG and GODZILLA x KONG: THE NEW EMPIRE there’s something oddly refreshing about watching Wingard scale things back and concentrate on mood, character and visual style.

And boy, does this movie have style.

The pounding synth-heavy score immediately gives the film that wonderful 1980s action-thriller flavor. The cinematography, lighting and production design create an atmosphere that feels intentionally retro without simply becoming cosplay.

There were moments when I felt like I was watching a lost John Carpenter movie. And for me, that is a compliment. Especially if it’s one from his heyday

This is a movie more interested in building tension than immediately releasing it. The camera lingers. The atmosphere hangs around. The threat gradually becomes clearer. You spend much of the movie waiting for the inevitable explosion of violence. When it finally arrives, the action is impressive.

Is it quite as epic as the movie has trained you to imagine it will be? Not necessarily.

The film spends so much time building toward that final confrontation that your imagination almost becomes the production designer. You start creating a bigger, crazier climax in your own head. But when the payoff comes, there is still plenty of carnage to enjoy. I appreciated that ONSLAUGHT didn’t feel the need to constantly throw something at me just to keep me awake.

Dan Stevens is particularly interesting here. Following THE GUEST, he once again gets to disappear beneath layers of makeup and play somebody considerably stranger than the handsome leading man he could so easily be playing. Stevens seems increasingly interested in becoming a character actor rather than simply being another conventional leading man, and honestly, the more bizarre the role, the better he seems to be.

And the film’s lead Adria Arjona gets to demonstrate that she can carry this kind of material, too. There’s a physicality to the performance that makes the action feel believable without turning the character into some invincible superhero.

Ultimately, ONSLAUGHT is a movie that lives more by its characters, atmosphere, music and visuals than its plot.

Sometimes I would rather watch a filmmaker execute a straightforward idea with personality than watch a complicated story that has absolutely nothing to say visually.

That’s what I think Adam Wingard deserves credit for here.

Whether ONSLAUGHT completely works for you probably depends on what you want from it. If you’re looking for relentless action, you may walk away disappointed. If you like slow-burn genre movies, Carpenter-inspired atmosphere, synth scores, strange characters and films that take their sweet time before finally letting the monsters out of the cage, there’s a lot to appreciate.

Did I want a little more from the ending?

Absolutely. It’s entertaining, But I also think there’s something admirable about a filmmaker making the movie he wants to make, rather than the movie we have already decided we want to see.

Give it a try.

Grade: B- 

RUTHLESS (2023)

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Directed By: Art Camacho

Written By: Art Camacho, James Dean Simington, Javier Reyna and Koji Steven Sakai 

Cinematography: Brandon Ruiz 

Editor: Rylan Rafferty 

Cast: Dermot Mulroney, Jeff Fahey, Mauricio Mendoza, Melissa Diaz, Keisa Elwin, Tonantzin Esparza, Texas Battle, Manu Intiraymi 

A high school coach, whose teenage daughter was murdered, takes matters into his own hands by going after the men who kidnapped his student for their human trafficking operation.

it’s rare to see Dermot Mulroney play a leading role and it’s definitely a rarity for him to play in action hero leading role. At first being a vigilante and then it seems like seeking revenge and to tell you the truth this film feels like it was more written for Steven Seagal, only because Dermot Mulroney‘s character seems to have no sense of humor is always straight to the point and has a hankering for loving to break arms, wrists, rather than just go for the kill which becomes a kind of dark humor flight in this world

The rest of the story is paint by numbers and mostly predictable. It does offer a few little twist towards the end, but for the most part, you know what’s going to happen. This film also has to have a record for most people injured, but not killed in an action film b on-screen. 

This is the type of film that would’ve played on a Friday or Saturday night on HBO as an original action film for them, though it might’ve had a few more stars in the film other than Moroney and Jeff Fahey. Which might be why I have a particular weakness for the film as it’s kind of nostalgic for me at least. 

There are many scenes and this film that are over the top and a bit ridiculous that only add to making this a guilty pleasure. I didn’t say a guilty pleasure but definitely a guilty pleasure as it gets more silly as it seems to go along now Moroney is perfectly cast in the lead role and you just wish the script was there for him a bit more and support in store.

As one wouldn’t mind seeing a sequel to this chest, hopefully a little bit stronger in the writing as this film would’ve been more of a showcase if we had more regular or had as many action heroes from the past nowadays it’s more about actors so they are the new action heroes but they wanna show range and not in that position. They didn’t mind trying to stretch, but they knew what their job was and the roles they were most likely always going to get.

Can’t really say that any action sequences are that memorable they’re believable enough, even though in some you can see the Korea geography, and the waiting for the hit to be thrown and for some that will make it more realistic, and for others, they’ll seem too slow and unstylish as they don’t like to see the seems 

If you’re just looking for something that’s entertaining, it isn’t really gonna make you think and you’re just a really bad Dermot Mulroney fan. This is the movie for you.

Grade: C

LOU (2022)

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Directed By: Anna Foerster

Written By: Maggie Cohn And Jack Stanley 

Story By: Maggie Cohn 

Cinematography: Michael McDonough 

Editor: Matt Evans and Paul Tothill

Cast: Allison Janney, Jurnee Smollett, Ridley Asha Bateman, Logan Marshall-Green, Matt Craven, Daniel Bernhardt, Greyston Holt, RJ Metherstonhaugh 

As a massive storm rages, a young girl is kidnapped. With no other option, her mother teams up with the mysterious older woman next door to pursue the kidnapper. The journey through the wilderness will test the women’s limits and expose dark and shocking secrets from their pasts.

There’s a very specific subgenre of action movie that has become increasingly common over the last decade: the “serious, award-winning older actor decides to punch people for two hours” movie. Usually it’s Liam Neeson, sometimes it’s other veteran male stars looking for a late-career reinvention or at least a reliable paycheck. Lou is essentially the female version of that formula, with the always-great Allison Janney stepping into the role of grizzled action hero.

And honestly? On paper, that sounds great.

Watching Janney play against type. armed, dangerous, and trudging through a stormy wilderness to rescue a kidnapped child is the film’s biggest hook. There’s something genuinely fun about seeing an Oscar-winning dramatic actress suddenly become an unlikely action star. It’s refreshing. It’s different. It should work.

Unfortunately, LOU wastes most of that goodwill by being painfully generic.

The film tries to downplay the novelty of having an older female action lead, which is admirable in theory. it doesn’t want applause just for existing. But in doing so, it forgets to be memorable in any other way. The plot is so basic and familiar that you can predict nearly every beat before it happens. It feels assembled from leftover parts of better thrillers.

Worse, the movie seems to realize how routine it is and starts throwing in twist after twist to compensate. But instead of making things more exciting, those twists become increasingly absurd less “shocking revelation” and more “wait… what?” By the end, the film becomes almost laughably convoluted, trying so hard to surprise you that it stops making sense.

Which is frustrating, because the action itself is actually pretty solid. Director Anna Foerster stages several tense, rough-and-tumble sequences that work well. The stormy Pacific Northwest setting gives the movie an atmospheric edge, and when fists start flying or arrows start landing, the film briefly wakes up.

But those moments are too few.

Even the cast seems only partially invested. Jurnee Smollett does what she can, and Janney remains watchable because she’s Allison Janney and seemingly incapable of being bad, but much of the supporting cast looks like they’re simply fulfilling a contract. Everyone involved deserves better material.

That’s what makes Lou such a disappointment. It had a clever premise: an older woman as the hardened action lead, rewriting a familiar male fantasy. That alone should have made it stand out. Instead, it settles for being a serviceable streaming thriller competent enough to fill 100 minutes, forgettable enough to disappear from memory by the next day.

A missed opportunity. Not terrible. Just aggressively average.

Grade: D+

PRIMATE (2026)

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Directed By: Johannes Roberts 

Written By: Johannes Roberts and Ernest Riera 

Cinematography: Stephen Murphy 

Editor: Peter Gvozdas

Cast: Tony Kotsur, Johnny Sequoyah, Jessica Alexander, Victoria Wyant, Gia Hunter, Benjamin Cheng, Charlie Mann, Tienne Simon 

Looking forward to a relaxing vacation with friends, Lucy returns to her cliffside home in Hawaii after her first year of college. After all, with her father away on business, they have the house all to themselves. However, their reunion takes a dark turn when Ben, the family’s beloved chimpanzee, begins to show strange aggression. As Ben becomes an unpredictable threat to humans, Lucy must find a way to escape the raging primate and survive the night. But what good is fighting back when pinned down by a brutal force of nature?

Out of all the monkey movies that I have seen, this might be a favor only because it is truly a guilty pleasure.

The film tries to put everything together like it makes sense but when you try to describe the plot to someone and what happens in the story, it just sounds so ridiculous even if it is rather simple.

This film is basically if they made a sequel to Stephen King’s CUJO only with a monkey, because it’s pretty much kind of the same story only more victims and ways in which to bring more victims, a kind of standoff of trying to survive, and then a final confrontation where winner takes all.

This is good if you really just wanna watch a horror movie that’s just brutal. As that is one of the most impressive aspects of the film are the special effects. Especially the Gore effects and it’s graphic violence. This is also a film that has plenty of jump scares, which actually helps this is one of those more classic horror film formulas. Which is meant to scare an unnerve, and it works for the most part.

It’s just not that smart, but luckily it gets to the point rather fast. This isn’t a film where we spend the first half getting to know the character is getting to know the monkey and then realize something must be wrong and then the second half is more of a thriller. Which realizes what it is and tries to get to the point. It’s pretty much a B-movie in glossy clothing. In other words, a low browse satisfactory popcorn movie thank you. Will most likely forget soon after.

The film doesn’t have any real stars, but it does put Academy Award-winning Tony Kotsur in a pivotal role for the film as he is probably the biggest name in the cast. Next to a rather odd uncredited actor here for a cameo mysteriously.

This is The first johannes Roberts film I have enjoyed since THE STRANGERS: PREY AT NIGHT and he has made a bunch of film since then.

Though with most of the victims at first seeming to be female, but then they try to even it up by adding males, which they set up early in the script. It does end up becoming equal as at first it would seem rather sexist that all the females would be in peril and be getting killed off and increasingly brutal ways.

The film even has its first scene which is a death scene that takes place actually later in time in the film, but yet is the opening scene meant to grab your attention. Why not just have him murder another random person for that opening scene and then keep the other attendants peril for when it naturally happens in the story it’s just a weird edit

If you are a horror fan, I would say check this film out, but definitely don’t pay for it. Watch it for free streaming. Where you can and you can pretty much put it on for the background. Though it wouldn’t hurt to pay attention. Even if you know where it is going. As it doesn’t break any new ground you’re just surprised at how violent it actually gets as it seemed more shocked, like a PG-13 extravaganza and ends up a hard one, but for violence mostly.

It stays entertaining throughout and is never boring

Grade: C 

BAXTER (1989)

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Directed By: Jerome Boivin

Written By: Jerome Boivin and Jacques Audiard 

Based On The Book “HELL HOUND” By: Ken Greenhall

Cinematography: Yves Angelo

Editor: Marie-Jose Chauvel

Cast: Lisa Delaware, Jean Mercure, Jacques Spiesser, Catherine Ferran, Jean-Paul Roussillon, Sabrina Leurgoin, Daniel Rialet, Evelyn Dipi

Told from a dogs perspective – the titular Baxter is moved from one owner to another, seemingly never being a good fit for anyone.

Have you ever watched a movie that is so good you have no desire to really ever watch it again yet you would still recommend it. Well, this is one of those movies for me. Kept me watching with fear and anticipation until the end. Leave it to the French.

I was hoping that the recently released film GOOD BOY, would be on the level of this film while I found that film disappointing this was better than I could’ve ever expected as it kind of feels like it’s own version of the film MAN BITES DOG, though not as disturbing, but disturbing in its own way. Though this film could be watched with films such as WHITE DOG and WHITE GOD. Why all these films have White in the title? You’ll have to watch them and see.

This movie is a very depressing indefinitely disturbing though it never shows any violence throughout more leaving it suggested until the third act. 

Throughout the film, you know where it is going but not how it will get there or what it will do when it does and you kind of hope that it might steer itself somewhere else as we get to know the next inheritors of the dog and can instantly spot their weaknesses and vulnerability. especially as he seems to more go after the innocent, lonely, weak and trusting. All those that used to be sacred in films of the past or even of the films time period in which it was made.

Fell through throughout was thankful it didn’t go some places that were expected. As one feels sorry for most of the characters 

they keep in mind as one get older films like this bother me. They aren’t exactly for me anymore, but they’re watching it. It definitely inspired a reaction and kept me watching which can be rare when it comes to certain films

The film disturbed me yet want to read. It’s original source material. A 1970s American horror. Novel. Not shocked that one of the Screenwriter was future award-winning filmmaker Jacques Audiard (DHEEPAN)

I thought the film would be more an ensemble episodic anthology movie, Sort of like the movie WEINER DOG with less quirky comedy. Which then again makes me wonder if Todd Solondz  was inspired by this movie even as this stays more in a certain community in the neighborhood.

The ending is disturbing and sad as it shows a kind of legacy that will continue in its own one. 

Writer-Director John Waters put this on his list of favorite films that will corrupt you when he had an all two brief movie review show of his own

Which ends up being true as by the end, you are scared and feel a bit guilty as a film is going to make you feel something with barely having a Music score to guide you. It’s not flashy stylistically it’s definitely challenging and seek to instigate as you are a fly on the wall throughout and is going to take you with it willingly or even if it has to drag you unwillingly 

Grade: A

DUST BUNNY (2025)

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Written & Directed By: Bryan Fuller

Cinematography: Nicole Hirsch Whitaker 

Editor: Lisa Lassek

Cast: Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, Sheila Atim, David Dastmalchan, Rebecca Henderson, Lina Kruse, Caspar Phillipson

A dark fairy tale that is quite enchanting, but feels like it has a missing Ingredient to truly sparkle. Though it certainly shines. 

Shot in the aspect ratio Of 3.00:1 which makes the film visually claustrophobic 

This is writer-director  Bryan fuller’s theatrical directorial debut film. One will admit to being a fan of his previous television work HANNIBAL, WONDERFALLS and PUSHING DAISIES 

Especially as one respects his work. Was really wanted to love this film, but can’t say that I did. There was plenty to like. Though can’t say the film is a slam dunk. Can see why some really like it. Though it’s Magic didn’t completely work for me. There might have been too much whimsy. 

This film is certainly imaginative seems more for adults but seems like it would greatly appeal to children just with it’s colors, beauty and creativity.

Told mostly from a child’s point of view. So while there is some adult material. It stays clean and never is vulgar. 

Every detail meticulous especially by design to fit an be awe inspiring truly building it’s own universe and deeply immersive 

Casting his MVP Mads Mikkelsen as his lead here. After having him previously play Dr. Hannibal Lector in HANNIBAL the television series 

Mr. Mikkelsen on this role is memorable and quite flexible, though never imposing Though it does remind one of his previous performance as an assassin in the 2019 action film POLAR. Only here to much better effect and material.

Even like the private joke of the chicken lamp that references one of Mikkelsen’s previous film MEN & CHICKEN 

It keeps Layering the story with reveals but it also seem to stop and start where it gets exciting and then drags and feels like it’s stretching out it’s

Time. So that the film stays fascinating but feels like it is working against itself as it wants to be episodic yet must be cohesive and take care of itself. 

Stylistically inventive with a hint of the past and classic with modern age edge. It has a throwback quality, though more flash then Cartoonish though in the best way. This film will certainly have items fans and is worth looking into.

Grade: C+

THIS IS NOT A TEST (2026)

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Written, Directed & Produced By: Adam MacDonald

Based on the book By: Courtney Summers

Cinematography: Christian Bielz

Editor: Pamela Bayne

Cast: Olivia Holt, Froy Gutierrez, Corteon Moore, Carson McCormac, Chloe Avakian, Luke Macfarlane, Joelle Farrow, Krista Bridges, Jeff Roop

Follows Sloane and four other students who take shelter in their high school during a zombie outbreak.

Based on the young adult novel, THIS IS NOT A TEST feels like the kind of adaptation that probably trims away much of what made the book worth reading. I haven’t read the novel, but I’d wager there’s more room there for the characters to breathe than this film ever gives them.

Instead, it settles into familiar zombie movie territory. Imagine THE WALKING DEAD aimed at a younger audience, only with the occasional surprising moment, yes, including one scene I genuinely didn’t expect. Unfortunately, surprises are in short supply everywhere else. You’ll likely figure out who’s making it to the end long before the characters do.

The frustrating part is that the movie constantly hints at becoming something better. It sets up interesting situations, builds a little tension, then repeatedly backs away just as things are about to get exciting. There are plenty of opportunities to push the horror, the suspense, or even the emotional drama further, but it almost always chooses the safest route.

To its credit, the film isn’t bad. It’s competently made, moves at a brisk pace, and wisely doesn’t overstay its welcome. The cast is believable, likable, and does the best they can with material that rarely challenges them. The movie’s heart is clearly in the relationships and emotional survival rather than nonstop zombie mayhem, and some viewers will appreciate that approach.

If you’re newer to zombie films or horror in general, there’s a good chance you’ll enjoy this more than I did. There’s enough action and tension to stay engaged, and it never completely loses its footing. For longtime fans of the genre, though, there’s very little here that feels fresh or memorable.

In the end, THIS IS NOT A TEST  isn’t a disaster. it just never becomes the movie it keeps teasing. It’s respectable, watchable, and occasionally effective, but it ultimately feels less like a finished statement and more like an early draft that needed one more rewrite.

Grade: C