Cinderella’s Curse (2024)

 **This post contains spoilers**

The Story- Stuck in an abusive life of servitude, Cinderella (Kelly Rian Sanson) finds some hope for happiness, when Prince Levin (Sam Barrett) invites her to the ball. On a daily basis, Cinderella is harassed, bullied, and tormented by her stepmother, Lady Dyer (Danielle Scott), and her stepsisters, Ingrid (Lauren Budd) and Hannah (Natasha Tosini). The maid, Anja (Helen Fullerton) and a boy named Moritz (Frederick Dallaway) are Cinderella’s only two friends and allies, a lifeline for Cinderella’s hellish reality. But Anja and Moritz are forced to deal with severe punishments from Lady Dyer.

Cinderella is humiliated during the ball, the victim of a cruel prank orchestrated by Prince Levin, Ingrid, and Hannah. Unbeknownst to her perpetrators, Cinderella is preparing to unleash a violent form of vengeance, with some help from a magical flesh-bound book, the final third wish, and her Fairy Godmother (Chrissie Wunna). 

My Thoughts- The lowly servant girl turns into a bloodthirsty maniac out for revenge? I really enjoyed Kelly Rian Sanson’s performance as Cinderella, because it’s easy to root for her before and after the third wish. Sanson is believably sympathetic, playing an innocent and earnest woman, who deals with cruelty from her family. You can see Cinderella is just physically and mentally worn out through Sanson’s body language and her demeanor. She just wants a loving family and to be treated like a human being. And there’s that cool rah-rah moment at the ball, when Cinderella refuses to back down to her stepmother.

When the carnage starts? Cinderella’s out for blood! Throughout the movie, she’s physically abused, literally spit on, and there’s a disgusted and irritated reaction to Cinderella simply existing. She’s dog shit on the bottom of their shoes. Smarmy and elitist psychopaths step on her and start the cycle over again, so you could say Cinderella’s brutal response is justified, when she decides to strike back. Sanson shifts into another gear during Cinderella’s rampage. She hams it up a bit for the whole angry and vengeful Cinderella routine, and there’s a noticeable shift from Sanson for a more confident and arrogant persona, because the bullies are dealing with a woman, who’s sick and tired of being a punching bag.

Danielle Scott masters the art of scowling and disgruntled, angry facial expressions. Lauren Budd and Natasha Tosini delivering two decent performances, as spoiled and bitchy mean girls, with sadistic dark sides works, because both characters play crucial roles in finally pushing Cinderella over the edge. Sam Barrett? Prince Levin is a narcissistic brat with a god complex. Thumbs up for Barrett’s performance, because Prince Levin easily has a punchable face. 

I’m torn on the ending. Cinderella killing the Fairy Godmother? I get it. After everything she went through with her stepmother and her stepsisters, after everything she just did, all the killing and the bloodshed, Cinderella didn’t want to continue living her life as a slave. Eternal servitude under the Fairy Godmother? Yeah, no thanks. 

Cinderella FINALLY had a chance to live freely and have control over her life, but why was it so easy to kill the Fairy Godmother? She’s a powerful supernatural being, so shouldn’t there have been more of a struggle to taker her out? Maybe you could say Cinderella caught her off guard and confused the Fairy Godmother with her explanation about refusing to serve her and the way she worded it. But I still have a lot of trouble buying into how the Fairy Godmother’s demise played out. No fight, no dramatic back and forth haymakers, and no chances for the Fairy Godmother to defend herself? Come on now.

Cinderella’s Curse flips everything about Cinderella upside down, adding dark twists to the famous fairy tale. First up, the Fairy Godmother! I absolutely loved the look they decided to go with. She looks like a decaying corpse, with the fresh blood, and the thinning clumps of hair. The Fairy Godmother truly resembles a demon sent from hell, the evil force and an ally, who guides Cinderella during her quest for vengeance.

The glass slipper represents a big positive change for Cinderella. A symbol for happiness and a new beginning, completing the transformation from a servant to a princess, but in Cinderella’s Curse, the glass slipper is a weapon? That’s right. Cinderella uses the glass slipper to punish those, who wronged her. The usage of the glass slipper perfectly fits with the direction of the story towards the end, a good choice for some of the twisted ideas they decided to go with here. 

The flesh-bound book was another good addition. The moving eye, strong similarities to a Necronomicon/Book Of The Dead, and there’s a cool trick, where illustrations for future events or prophecies fills the blank pages of the book, as the story progresses. 

Cinderella’s vengeful warpath towards the end? Hard to shake the feeling for the whole fiasco dragging on a bit too long, but I also understand why they needed to milk everything. Cinderella is treated like garbage throughout the movie. At some point, they had to tip the scales to balance things out, because Cinderella’s revenge had to really mean something to justify the nonstop cruelty that inches towards one full hour. No one was spared, and the worst offenders suffered horrible deaths.

I know this a low budget film, but a more creative smoke and mirrors approach could’ve helped. During certain close up shots, you can clearly see how fake everything is, and it just kills whatever shocking reactions they were going for. One scene that really sticks out for me involves a big pair of scissors and someone’s foot. I’ll just leave it there. 

Cinderella’s Curse has a lot of ambitious ideas and changes. A ballsy approach, and the guts everyone involved showed here is something to be admired, because they didn’t pull any punches. The scene with Lady Dyer, Hannah, and Ingrid torturing and beating Anja is NASTY and rough, ending with Dyer forcing Cinderella to deliver the killing blow. But the bad narrowly outweighs the good in Cinderella’s Curse, and overall, the acting is very hit and miss (more misses than hits). 

Still, Cinderella’s Curse is a film that you shouldn’t take too seriously. It’s a zany and very cheesy horror revenge flick. Looking for extreme violence? Buckets and buckets of blood? Graphic gore? Cinderella’s Curse covers all the bases and then some. And there’s no denying the strong Carrie-esque vibes, especially during the ballroom massacre. I did get a kick out of Cinderella’s Curse, but I had high hopes every now and then, because there’s honestly more to Cinderella’s Curse than the shock-factor for making a horror inspired Cinderella film. Tons of potential as a bloody adrenaline rush, but Cinderella’s Curse just falls short in too many areas.

Rating- 4/10

Cinderella’s Curse (2024)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- Stuck in an abusive life of servitude, Cinderella (Kelly Rian Sanson) finds some hope for happiness, when Prince Levin (Sam Barrett) invites her to the ball. On a daily basis, Cinderella is harassed, bullied, and tormented by her stepmother, Lady Dyer (Danielle Scott), and her stepsisters, Ingrid (Lauren Budd) and Hannah (Natasha Tosini). The maid, Anja (Helen Fullerton) and a boy named Moritz (Frederick Dallaway) are Cinderella’s only two friends and allies, a lifeline for Cinderella’s hellish reality. But Anja and Moritz are forced to deal with severe punishments from Lady Dyer.

Cinderella is humiliated during the ball, the victim of a cruel prank orchestrated by Prince Levin, Ingrid, and Hannah. Unbeknownst to her perpetrators, Cinderella is preparing to unleash a violent form of vengeance, with some help from a magical flesh-bound book, the final third wish, and her Fairy Godmother (Chrissie Wunna). 

My Thoughts- The lowly servant girl turns into a bloodthirsty maniac out for revenge? I really enjoyed Kelly Rian Sanson’s performance as Cinderella, because it’s easy to root for her before and after the third wish. Sanson is believably sympathetic, playing an innocent and earnest woman, who deals with cruelty from her family. You can see Cinderella is just physically and mentally worn out through Sanson’s body language and her demeanor. She just wants a loving family and to be treated like a human being. And there’s that cool rah-rah moment at the ball, when Cinderella refuses to back down to her stepmother.

When the carnage starts? Cinderella’s out for blood! Throughout the movie, she’s physically abused, literally spit on, and there’s a disgusted and irritated reaction to Cinderella simply existing. She’s dog shit on the bottom of their shoes. Smarmy and elitist psychopaths step on her and start the cycle over again, so you could say Cinderella’s brutal response is justified, when she decides to strike back. Sanson shifts into another gear during Cinderella’s rampage. She hams it up a bit for the whole angry and vengeful Cinderella routine, and there’s a noticeable shift from Sanson for a more confident and arrogant persona, because the bullies are dealing with a woman, who’s sick and tired of being a punching bag.

Danielle Scott masters the art of scowling and disgruntled, angry facial expressions. Lauren Budd and Natasha Tosini delivering two decent performances, as spoiled and bitchy mean girls, with sadistic dark sides works, because both characters play crucial roles in finally pushing Cinderella over the edge. Sam Barrett? Prince Levin is a narcissistic brat with a god complex. Thumbs up for Barrett’s performance, because Prince Levin easily has a punchable face. 

Cinderella’s Curse flips everything about Cinderella upside down, adding dark twists to the famous fairy tale. First up, the Fairy Godmother! I absolutely loved the look they decided to go with. She looks like a decaying corpse, with the fresh blood, and the thinning clumps of hair. The Fairy Godmother truly resembles a demon sent from hell, the evil force and an ally, who guides Cinderella during her quest for vengeance.

The glass slipper represents a big positive change for Cinderella. A symbol for happiness and a new beginning, completing the transformation from a servant to a princess, but in Cinderella’s Curse, the glass slipper is a weapon? That’s right. Cinderella uses the glass slipper to punish those, who wronged her. The usage of the glass slipper perfectly fits with the direction of the story towards the end, a good choice for some of the twisted ideas they decided to go with here.

The flesh-bound book was another good addition. The moving eye, strong similarities to a Necronomicon/Book Of The Dead, and there’s a cool trick, where illustrations for future events or prophecies fills the blank pages of the book, as the story progresses. 

Cinderella’s vengeful warpath towards the end? Hard to shake the feeling for the whole fiasco dragging on a bit too long, but I also understand why they needed to milk everything. Cinderella is treated like garbage throughout the movie. At some point, they had to tip the scales to balance things out, because Cinderella’s revenge had to really mean something to justify the nonstop cruelty that inches towards one full hour. No one was spared, and the worst offenders suffered horrible deaths.

I know this a low budget film, but a more creative smoke and mirrors approach could’ve helped. During certain close up shots, you can clearly see how fake everything is, and it just kills whatever shocking reactions they were going for. One scene that really sticks out for me involves a big pair of scissors and someone’s foot. I’ll just leave it there. 

Cinderella’s Curse has a lot of ambitious ideas and changes. A ballsy approach, and the guts everyone involved showed here is something to be admired, because they didn’t pull any punches. But the bad narrowly outweighs the good in Cinderella’s Curse, and overall, the acting is very hit and miss (more misses than hits). 

Still, Cinderella’s Curse is a film that you shouldn’t take too seriously. It’s a zany and very cheesy horror revenge flick. Looking for extreme violence? Buckets and buckets of blood? Graphic gore? Cinderella’s Curse covers all the bases and then some. And there’s no denying the strong Carrie-esque vibes, especially during the ballroom massacre. I did get a kick out of Cinderella’s Curse, but I had high hopes every now and then, because there’s honestly more to Cinderella’s Curse than the shock-factor for making a horror inspired Cinderella film. Tons of potential as a bloody adrenaline rush, but Cinderella’s Curse just falls short in too many areas.

Rating- 4/10

The Sacrament (2013)(Minor Spoilers)

 

**This review contains MINOR spoilers**

The Story- Patrick (Kentucker Audley), a freelance photographer, receives a letter from his sister, Caroline (Amy Seimetz). Caroline, a recovering drug addict, invites Patrick to Eden Parish, a remote and isolated community in another country, for a visit and a tour.

Patrick leaves America with VICE News correspondent, Sam (A.J. Bowen), and his cameraman, Jake (Joe Swanberg). During the visit, Sam is promised an interview with Charles Anderson Reed, or “Father” (Gene Jones), the organizer and the leader of Eden Parish. The people of Eden Parish are seemingly happy and at peace with themselves under Father’s leadership, but things change, when a little girl named Savannah (Talia Dobbins) delivers an alarming note to Sam.

My Thoughts- The Sacrament is heavily inspired by the Jonestown Massacre, so it’s easy to see the similarities between Father and Jim Jones. There’s no denying Gene Jones has a strong screen presence here. The hero’s welcome Father receives before his interview with Sam, Father’s mind games during the interview, or that one scene, where the mask falls off, and Father shows a more menacing side to his personality, when he threatens Sam and Jake (“If you put your hand into the dog’s bowl, don’t be surprised if you get bit”).

Gene Jones grabs your attention, whenever he pops up. It’s truly an impressive performance from Jones, switching gears between this endearing and charismatic old man, with a southern accent, to a devious cult leader. Father is a pathological liar, a master of manipulation, a narcissist, and the ultimate snake oil salesman, promising unrealistic fantasies, while conveniently ignoring the realities of life. 

Amy Seimetz’s performance embodies just about everything you can possibly think of for a completely brainwashed cult member. Does Caroline love Patrick? Of course she does, but early on in the movie, you can easily see she’s already too far gone. The cheeriness, praising Father nonstop, without criticizing anything, and Caroline blindly playing along with the ruse to give off the impression that life in Eden Parish is perfect. On the other side of Caroline’s loyalty to Father, you can see glimpses of a lost young woman, who truly wanted to believe in paradise, a carefree life and a loving family. It’s sad, because you just know she’s an easy target for Father, someone he molded to be his devout number one follower. 

This is a found-footage film, right? Opening credits? Names of the actors and actresses? Music? Why? Suspension of disbelief immediately dies in a found-footage film, when there’s too much structure. I know it’s a movie, but found-footage films should feel and look kind of messy and chaotic to a certain extent. You’re going with the idea that The Sacrament was a real documentary, and we’re supposed to believe we’re watching mayhem unfolding in real time, when things go south towards the end. Some scenes and certain shots are just too convenient, one too many perfect timing moments. It’s ALMOST to the point, where The Sacrament would’ve been better off abandoning the found-footage POV for a more traditional style of filmmaking.

I recently finished reading A Thousand Lives: The Untold Story Of Jonestown, by Julia Scheeres. The Sacrament immediately popped into my head. You don’t have to know about Jim Jones and Jonestown to really get into The Sacrament. As soon as Patrick, Jake, and Sam arrive at Eden Parish, you can clearly see something is off. 

The Sacrament, set in 2013 for a more modernized version, draws a lot of parallels to the massacre. Gene Jones’ entire persona is based on Jim Jones. The dump trucks, the announcements over the PA system, the drugs, the secluded community in another country, the delusional threats of US soldiers invading and destroying Jonestown, the potion is basically the same as the poisoned Flavor Aid drinks, and none of the residents are allowed to freely leave the community, if they choose to do so. 

And you could say the visit from Patrick, Sam, and Jake is almost similar to what happened to the NBC crew and Leo Ryan in 1978. It’s all there. The deception, the lies, the constant BS, and the harsh punishments for anyone, who questions or defies Father. Father also has his own armed enforcers, with two guides (played by Conphidance and Derek Roberts) leading the pack. Similar to Jim Jones and Jonestown, Eden Parish is not a dreamland: It’s a living nightmare, led by a sadistic madman. 

The injection of VICE News during the opening feels kind of weird here. I understand they were trying to play up the realism angle. VICE is covering a real-life SHOCKING story! But the opening message was a bit too self-indulgent for me, basically one short ad about how awesome and groundbreaking VICE News specials are, because it’s all about “immersionism.”

The Sacrament has its problems. Some familiar found-footage cliches (PLEASE drop the camera, if someone’s trying to kill you), and it’s a slow start during the early stages. Still, Gene Jones is fantastic as Father. Amy Seimetz nails Caroline, a solid performance for a character, who’s torn between her demons, her brother, and a man, who she believes saved her, when she hit rock bottom. 

The Sacrament ends with a chaotic and violent finale, featuring a handful of gruesome moments, and two believable close calls. It’s a worthwhile found-footage horror film, that might raise your eyebrows more than once, if you know enough about Jim Jones and The Peoples Temple. 

Oddly enough, The Sacrament also works as a loose biopic, or a quasi docudrama covering the final days of Jonestown. No truly happy endings here, no smiling faces, no relief. Ti West closely sticking to what actually happened at Jonestown in ‘78 was the right call. Overall, it’s the logical approach to bring some authenticity to The Sacrament for a dark and unsettling film, based on a true story about a horrible tragedy.

Rating- 6/10

The Sacrament (2013)

 

**This review contains spoilers**

The Story- Patrick (Kentucker Audley), a freelance photographer, receives a letter from his sister, Caroline (Amy Seimetz). Caroline, a recovering drug addict, invites Patrick to Eden Parish, a remote and isolated community in another country, for a visit and a tour.

Patrick leaves America with VICE News correspondent, Sam (A.J. Bowen), and his cameraman, Jake (Joe Swanberg). During the visit, Sam is promised an interview with Charles Anderson Reed, or “Father” (Gene Jones), the organizer and the leader of Eden Parish. The people of Eden Parish are seemingly happy and at peace with themselves under Father’s leadership, but things change, when a little girl named Savannah (Talia Dobbins) delivers an alarming note to Sam. 

My Thoughts- The Sacrament is heavily inspired by the Jonestown Massacre, so it’s easy to see the similarities between Father and Jim Jones. There’s no denying Gene Jones has a strong screen presence here. The hero’s welcome Father receives before his interview with Sam, Father’s mind games during the interview, or that one scene, where the mask falls off, and Father shows a more menacing side to his personality, when he threatens Sam and Jake (“If you put your hand into the dog’s bowl, don’t be surprised if you get bit”).

Gene Jones grabs your attention, whenever he pops up. It’s truly an impressive performance from Jones, switching gears between this endearing and charismatic old man, with a southern accent, to a devious cult leader. Father is a pathological liar, a master of manipulation, a narcissist, and the ultimate snake oil salesman, promising unrealistic fantasies, while conveniently ignoring the realities of life. 

Amy Seimetz’s performance embodies just about everything you can possibly think of for a completely brainwashed cult member. Does Caroline love Patrick? Of course she does, but early on in the movie, you can easily see she’s already too far gone. The cheeriness, praising Father nonstop, without criticizing anything, and Caroline blindly playing along with the ruse to give off the impression that life in Eden Parish is perfect. On the other side of Caroline’s loyalty to Father, you can see glimpses of a lost young woman, who truly wanted to believe in paradise, a carefree life and a loving family. It’s sad, because you just know she’s an easy target for Father, someone he molded to be his devout number one follower. 

This is a found-footage film, right? Opening credits? Names of the actors and actresses? Music? Why? Suspension of disbelief immediately dies in a found-footage film, when there’s too much structure. I know it’s a movie, but found-footage films should feel and look kind of messy and chaotic to a certain extent. You’re going with the idea that The Sacrament was a real documentary, and we’re supposed to believe we’re watching mayhem unfolding in real time, when things go south towards the end. Some scenes and certain shots are just too convenient, one too many perfect timing moments. It’s ALMOST to the point, where The Sacrament would’ve been better off abandoning the found-footage POV for a more traditional style of filmmaking.

Patrick’s death is one of the more gut-wrenching moments in The Sacrament, after Caroline jams the syringe filled with “the potion” into his neck. No cuts, or interruptions. Director Ti West sticks with the scene from start to finish, so you can see every agonizing moment leading up to Patrick’s death, including his final pleas to Caroline to let him go. Patrick still loved his sister, but it was too late.

When Jake leaves for the helicopter, and you see that serious and angry look on Caroline’s face, you know something bad is about to happen. Lots of hectic carnage during the finale. Caroline committing suicide by lighting herself on fire, the mass suicide/mass murder, with the poisoned drinks, and the sight of all the dead bodies laying on ground and everyone foaming at the mouth and convulsing before the end. The home stretch closely mirrors what actually happened at Jonestown, while Father recites bible verses, continuing the charade with more lies.

The Sacrament mostly delivers a tense finale. My one big problem involves Jake. WHY are you still recording, when armed men are shooting at and trying to kill you? Put the camera down! Sorry, but the whole I have to record everything, because the public needs to see this line of thinking falls apart, when your life is in danger.

I recently finished reading A Thousand Lives: The Untold Story Of Jonestown, by Julia Scheeres. The Sacrament immediately popped into my head. You don’t have to know about Jim Jones and Jonestown to really get into The Sacrament. As soon as Patrick, Jake, and Sam arrive at Eden Parish, you can clearly see something is off. 

The Sacrament, set in 2013 for a more modernized version, draws a lot of parallels to the massacre. Gene Jones’ entire persona is based on Jim Jones. The dump trucks, the announcements over the PA system, the drugs, the secluded community in another country, the delusional threats of US soldiers invading and destroying Jonestown, the potion is basically the same as the poisoned Flavor Aid drinks, and none of the residents are allowed to freely leave the community, if they choose to do so. 

And you could say the visit from Patrick, Sam, and Jake is almost similar to what happened to the NBC crew and Leo Ryan in 1978. It’s all there. The deception, the lies, the constant BS, and the harsh punishments for anyone, who questions or defies Father. Father also has his own armed enforcers, with two guides (played by Conphidance and Derek Roberts) leading the pack. Similar to Jim Jones and Jonestown, Eden Parish is not a dreamland: It’s a living nightmare, led by a sadistic madman. 

The injection of VICE News during the opening feels kind of weird here. I understand they were trying to play up the realism angle. VICE is covering a real-life SHOCKING story! But the opening message was a bit too self-indulgent for me, basically one short ad about how awesome and groundbreaking VICE News specials are, because it’s all about “immersionism.” 

The Sacrament has its problems. Some familiar found-footage cliches (PLEASE drop the camera, if someone’s trying to kill you), and it’s a slow start during the early stages. Still, Gene Jones is fantastic as Father. Amy Seimetz nails Caroline, a solid performance for a character, who’s torn between her demons, her brother, and a man, who she believes saved her, when she hit rock bottom. 

The Sacrament ends with a chaotic and violent finale, featuring a handful of gruesome moments, and two believable close calls. It’s a worthwhile found-footage horror film, that might raise your eyebrows more than once, if you know enough about Jim Jones and The Peoples Temple. 

Oddly enough, The Sacrament also works as a loose biopic, or a quasi docudrama covering the final days of Jonestown. No truly happy endings here, no smiling faces, no relief. Ti West closely sticking to what actually happened at Jonestown in ‘78 was the right call. Overall, it’s the logical approach to bring some authenticity to The Sacrament for a dark and unsettling film, based on a true story about a horrible tragedy.

Rating- 6/10

Coming Attractions- Death Of A Unicorn

 

Director- Alex Scharfman

Release Date- March 28, 2025

I’m all in for Death Of A Unicorn. 

Good choices for the cast, with Paul Rudd, Jenna Ortega, Will Poulter, Tea Leoni, and Richard E. Grant. Grant seemingly playing a tycoon, who’s obsessed with the secret to immortality is loaded with potential. Usually, you think of unicorns as majestic and awe-inspiring creatures, so flipping the ideas for what everyone expects from unicorns works for a unique and unconventional premise. 

The trailer doesn’t take itself too seriously, a lot of comedic moments, and that’s a good thing. A dark story, or something that’s too serious probably wouldn’t work. Sure, there’s obviously violence involving unicorns, and they’re treated as deadly and serious threats. But on the other side of that, you’re reminded of the mystique for unicorns, creatures that are supposed to exist in their own special realm of individuality. 

Coming Attractions- Jurassic World Rebirth

 

Director- Gareth Edwards

Release Date- July 2, 2025

The Jurassic World era is strange. Jurassic World 2015 is still the best in the World series, and nothing really comes close. Bryce Dallas Howard and Chris Pratt shared excellent chemistry together, Vincent D’ Onofrio  played an entertaining jerk, and the Indominus Rex was a great antagonist. Fallen Kingdom had a more emotional story. Still, it’s a weak follow up sequel overall, and the reveal for the  Indoraptor and everything that followed it was kind of disappointing. Dominion? Good nostalgia boosts from Sam Neill, Laura Dern, and Jeff Goldblum, but it’s too tamed and kind of dull for a film that features the premise of dinosaurs freely roaming around in the modern world. 

High hopes for Scarlett Johansson and Mahershala Ali’s roles in the cast. Rogue One is still Gareth Edwards’ best film, but he’s also proven himself as a guy, who knows what he’s doing for big monster movies with Godzilla (2014). And I know suspension of disbelief is a thing, but after seven films, maybe you have to accept the fact that dinosaurs are just too dangerous to play around with at some point?

Coming Attractions- The Accountant 2

 

Director- Gavin O’Connor

Release Date- April 25, 2025

Kind of surprised they openly revealed J.K. Simmons’ death.

The original was a nice surprise for me. I didn’t go into it with high expectations, but The Accountant (2016) was a strong action flick. Affleck’s dedication to playing Christian,  hard hitting action sequences, a solid supporting cast, and the story and Christian’s background had some good emotional depth, without being too sappy or cliched. 

The dynamic between Affleck and Jon Bernthal was one of the bigger highlights in the 2016 film. Christian managing his autism and having a more reserved and efficient personality, while Braxton is this hard-nosed rebel, who’s more unpredictable, added another layer of drama, because two brothers are conflicted about how they should react and respond to each other. Braxton is more vulnerable in the trailer, possibly taking a more serious approach for reconnecting with his brother. 

As long as Affleck and Bernthal are willing to do more films, there’s a possibility The Accountant emerges as the next big action movie franchise. And Bernthal’s character is strong enough to stand on his own for a solo film. 

Coming Attractions- Final Destination: Bloodlines

 

Directors- Zach Lipovsky, Adam Stein

Release Date- May 16, 2025

Without You is a GREAT choice for the song in the first trailer for Final Destination: Bloodlines.

I’m always torn between Final Destination 2 and Final Destination 3 for the best film in the franchise. The highway disaster in Final Destination 2? You could point to some realism for that one. Everyone gets on the highway, maybe more than once during the week. The speed, wet, slick roads, and maybe you’ll think twice about riding behind a logging truck next time? Final Destination 3 had some good morbid humor. The rollercoaster disaster was completely nuts, and Mary Elizabeth Winstead played a good sympathetic protagonist. 

This is just a little teaser, but I’m already looking forward to Bloodlines. The nose ring and the chain on the fan? Yikes! You know that’s gotta hurt. Final Destination always delivers creative and brutal death scenes. Good to see one of my favorite horror franchises making a comeback. 

I’m hoping they’ll do some kind of highlight reel tribute for Tony Todd here. William Bludworth deserves his flowers. 

Coming Attractions- The Surfer

 

Director- Lorcan Finnegan

Release Date- May 2, 2025

You can see the transition to nutty Nicolas Cage towards the end of the trailer, and everything leading up to his breaking point. Cage obviously seems like a nice guy, carrying around some heavy emotional wounds. Going by the trailer, The Surfer will be loaded with carnage and violence, when Cage finally snaps and he decides to stand up to the local bullies.

The Surfer’s trailer shows a lot, but it’s also trailer that does a good job of hyping up the movie. There’s an eeriness and strange vibe here, showcasing a movie that potentially has strong emotional depth about a man, who’s just looking for peace, but he chooses violence to protect himself and his son. Cage churns out A LOT of movies, but he’s been far more consistent over the years, so hopefully he’ll continue that streak with The Surfer.

The Lodge (2019)

 **This post contains spoilers**

The Story- Six months after pushing to finalize a divorce from his wife, Laura (Alicia Silverstone), Richard (Richard Armitage) plans a getaway during the Christmas season with his new fiancée, Grace (Riley Keough), his son, Aiden (Jaeden Martell), and his daughter, Mia (Lia McHugh). The trip to the family’s lodge gets off to a rocky start, and things take a bizarre turn for the worst as time passes.

Grace is forced to deal with her troubled past and a series of strange occurrences, while juggling the responsibilities for taking care of a disgruntled Aiden and Mia. Richard is the only person, who can ease the tensions between Grace, Aiden, and Mia, but there’s also a chance the group is experiencing an unprecedented disturbance…..

My Thoughts- Is Grace a bad person? Well, of course not. The problem is, she’s stuck in an impossible situation trying to earn acceptance and trust from two kids, who clearly hate her. Riley Keough delivers a strong and sympathetic performance, full of emotion and anger, when the situation calls for it. 

Early on in the movie, you can clearly see Grace is TRYING to do everything she can do to carefully ease her way into Aiden and Mia’s lives. Grace is sincerely apologetic, when she unknowingly puts on Laura’s beanie. But on the other side of that, you can understand Grace’s need to stand up for herself, to be an authority figure, because she has to show Aiden and Mia that she’s not a pushover.

It’s hard to not feel any sympathy for Grace, when the story takes a dark turn towards the end. The flashbacks from Grace’s past in the cult, with her father as the leader tells the story of a woman, who truly suffered through hell. To say she didn’t have a normal childhood would be an understatement. Richard, Aiden, and Mia? They were all supposed to be her second chance at happiness and a normal life. More kudos to Riley Keough, because she really drives home the idea of this kind woman, who didn’t deserve what happened to her at the lodge.

Aiden and Mia? You also have to understand, where they’re coming from. Two kids, who deeply love their mother, so when they look at Grace, all they’re going to see is a soulless home-wrecker, who destroyed their family. You could say Aiden is the stronger one in the duo, while Mia, the younger sibling, clings to her toy doll that resembles Laura. 

Jaeden Martell hits all the right notes, as the angsty and stubborn teenager, who flat out refuses to give Grace a fair chance. Lia McHugh does a good job, as the young daughter, who’s still a vulnerable kid at heart, following her older brother’s lead for guidance and a shoulder to lean on. The dynamic between Aiden and Mia is one of the bigger highlights in the movie. They share a tight big brother/little sister bond. They’re a team, and they rely on each other, for good and bad reasons.

The Lodge cleverly fits the pieces of the puzzle for the family drama together, because you can clearly see and understand everyone’s point of view here. Grace wanting to earn her way into a family. Richard trying his best to please Aiden, Grace, and Mia, while he tries to embrace his own happiness with Grace. Aiden and Mia rebelling against Grace replacing their mother, and a heartbroken Laura, who’s not ready to move on with her life.

It’s a prank! An elaborate and cruel prank, but still a prank. Hiding the food, the dead phones, hiding Grace’s medication. Everything was a carefully planned out and detailed setup to drive Grace crazy. Well, it worked. Grace snapped, but it’s obvious Aiden and Mia didn’t expect a few big setbacks.

The Lodge’s finale is genuinely jaw-dropping. The tables turn so quickly, escalating to one violent and gruesome event after another, starting with the sight of Grace’s dog, frozen to death with his tongue still sticking out. Aiden and Mia weren’t as smart as they thought they were. Assuming Aiden was the mastermind, all the careful planning wasn’t enough to overcome the fact that two kids were in way over their heads. Triggering Grace’s past traumas was too much to overcome. 

The final scene, where everyone’s around the table, including Richard’s corpse is truly an eerie and disturbing sight. Covered mouths with duct tape and “sin” written across them for a callback to Grace’s life in her father’s cult, and Aiden and Mia are visibly terrified, while Mia plans to kill them and herself. In the end, Grace’s demons won the battle, and the two demons in the lodge got the best of her.

The final shot of the loaded gun raises so many questions. Did Aiden and Mia manage to run away? Did Grace finish everyone off? Or, was there a struggle between Grace, Mia, and Aiden before she had a chance to do anything? Good call to abruptly end the movie in that spot. A scene that leaves you with a sinking feeling, because no matter how you spin it, there’s no outcome that provides a truly happy ending. 

The Lodge also works as an unconventional Christmas horror film. If we’re making comparisons, it’s not as Christmassy as the Silent Night, Deadly Night films, the Black Christmas remake, or Krampus (2015). The Lodge has a far more serious tone compared to those films. 

Still, it’s set during the Christmas season. Before the story takes a deep dive into the dark side, the lodge is decorated for Christmas, and you’ll see Christmas presents. It’s not festive, and there’s no real cheeriness before the chaos starts. The Lodge slowly injects a crippling poison into of the bigger holidays with bitterness, tension, loss, and family drama. A deep sadness hits at a certain point, because maybe there’s a chance a good and happy Christmas celebration could’ve healed any open wounds. 

Religion plays a big part in the story here. Grace never had a chance. She was corrupted at an early age by her father, Aaron (Danny Keough), a fanatical cult leader. For Grace, religion is the boogeyman that just won’t go away, a leech sucking her soul dry. Brainwashing, and towards the end, religion is used as a guilt tripping mechanism and a scare tactic on both sides. 

The found-footage from Grace’s life in the cult and the mass suicides are a prime example for how religion can be turned into something evil, or used as a deadly weapon in the wrong hands. But there’s also a somber side for religion in The Lodge. A distraught Mia can’t handle the thought of her mother not making it to heaven, because she committed suicide. The Lodge goes with the thought of a loved one not being able to experience eternal peace and happiness as a crippling blow, that’s tough to recover from.

Veronika Franz and Severin Fiala’s work behind the camera is admirable. So many little nuances and subtle storytelling with the shots of the black balloons floating into the sky, Richard touching Grace’s leg and Aiden’s reaction to it. Grace smiling at Mia in the mirror, and of course Mia doesn’t reciprocate the kind gesture. Going back to religion, crosses are not a sign of comfort or reassurances here. Crosses appear in one form or another throughout the movie. When you see a cross, something bad just happened, something bad is about to happen, or they appear during a stretch of hopelessness.

I absolutely loved the zoomed out shots, primarily during certain scenes in the lodge. A calming family retreat? No, the zoomed out shots gives the impression that this ordinary lodge is a spooky and creepy place.

And I can’t forget about Grace, Aiden, and Mia watching John Carpenter’s The Thing! The Thing (1982) is a great choice for a cabin fever movie. Of course, you won’t see any aliens in The Lodge, but a group of people stuck out in the middle of nowhere during a snowstorm, fighting to survive a dangerous threat with limited resources and no means of transportation? You can easily connect the dots between both movies. It’s right there. As far as timing and placement goes, you could say that particular scene from The Thing mirrors and lines up with The Lodge right before things really start going downhill. 

A lot of layers for The Lodge. Suffering through mental illnesses is a big one, if we’re focusing on Grace and Laura. For different reasons, Grace and Laura struggled to hold it together. Two tragic characters connected to each other, starting new lives, with bleak futures, concluding in disastrous results. It’s so bad to the point, where everyone would’ve been better off not crossing paths.    

The shots of the little house diorama throughout the movie works as an unusual and creepy style of foreshadowing. It’s a morbid and detailed replica of the lodge, and there’s a dark irony behind it, when you realize the diorama is also a child’s fancy toy. 

Winter, snow, and freezing temperatures. The Lodge is a cold film in more ways than one. Starting the movie off with Laura committing suicide sets an ominous tone. Alicia Silverstone was fantastic. The way she sits down, calmly pours herself a glass of wine, and removes her jewelry, only to shoot herself seconds later was truly shocking. Laura was depressed, but to do that so quickly was a real gut-wrenching moment, because I honestly didn’t see it coming.

The isolated setting is perfect. The quiet lodge, deep in the woods, during a snowstorm and miles away from civilization adds to the dread and impending sense of doom throughout the movie. It’s a slow, slow burn build to the finale, and for me, it occasionally drags, but The Lodge is still a truly outstanding film. The Lodge plays like a psychological drama, featuring some well-placed horror elements. The nighttime scenes at the lodge, and Grace’s nightmare sequences balances things out on the horror side. And Top notch directing, because there’s no denying The Lodge is a beautifully shot film.

A terrific cast all around. Alicia Silverstone makes the most of her short screen time. Riley Keough is simply phenomenal in the leading role, a powerhouse performance that excels during Grace’s descent into madness, when you finally realize she’s just too far gone. The ending is a nail-biter, but it’s not your typical nail-biter. The Lodge’s ending leaves a few nerve-racking questions. Risky chances (Aiden and Mia possibly rushing and fighting Grace), no positive options, and IF anyone survived, no one has a chance of living a normal life after two big tragedies happening so close together.

Rating- 9/10

The Lodge (2019)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- Six months after pushing to finalize a divorce from his wife, Laura (Alicia Silverstone), Richard (Richard Armitage) plans a getaway during the Christmas season with his new fiancée, Grace (Riley Keough), his son, Aiden (Jaeden Martell), and his daughter, Mia (Lia McHugh). The trip to the family’s lodge gets off to a rocky start, and things take a bizarre turn for the worst as time passes.

Grace is forced to deal with her troubled past and a series of strange occurrences, while juggling the responsibilities for taking care of a disgruntled Aiden and Mia. Richard is the only person, who can ease the tensions between Grace, Aiden, and Mia, but there’s also a chance the group is experiencing an unprecedented disturbance…..

My Thoughts- Is Grace a bad person? Well, of course not. The problem is, she’s stuck in an impossible situation trying to earn acceptance and trust from two kids, who clearly hate her. Riley Keough delivers a strong and sympathetic performance, full of emotion and anger, when the situation calls for it. 

Early on in the movie, you can clearly see Grace is TRYING to do everything she can do to carefully ease her way into Aiden and Mia’s lives. Grace is sincerely apologetic, when she unknowingly puts on Laura’s beanie. But on the other side of that, you can understand Grace’s need to stand up for herself, to be an authority figure, because she has to show Aiden and Mia that she’s not a pushover.

It’s hard to not feel any sympathy for Grace, when the story takes a dark turn towards the end. The flashbacks from Grace’s past in the cult, with her father as the leader tells the story of a woman, who truly suffered through hell. To say she didn’t have a normal childhood would be an understatement. Richard, Aiden, and Mia? They were all supposed to be her second chance at happiness and a normal life. More kudos to Riley Keough, because she really drives home the idea of this kind woman, who didn’t deserve what happened to her at the lodge.

Aiden and Mia? You also have to understand, where they’re coming from. Two kids, who deeply love their mother, so when they look at Grace, all they’re going to see is a soulless home-wrecker, who destroyed their family. You could say Aiden is the stronger one in the duo, while Mia, the younger sibling, clings to her toy doll that resembles Laura. 

Jaeden Martell hits all the right notes, as the angsty and stubborn teenager, who flat out refuses to give Grace a fair chance. Lia McHugh does a good job, as the young daughter, who’s still a vulnerable kid at heart, following her older brother’s lead for guidance and a shoulder to lean on. The dynamic between Aiden and Mia is one of the bigger highlights in the movie. They share a tight big brother/little sister bond. They’re a team, and they rely on each other, for good and bad reasons.

The Lodge cleverly fits the pieces of the puzzle for the family drama together, because you can clearly see and understand everyone’s point of view here. Grace wanting to earn her way into a family. Richard trying his best to please Aiden, Grace, and Mia, while he tries to embrace his own happiness with Grace. Aiden and Mia rebelling against Grace replacing their mother, and a heartbroken Laura, who’s not ready to move on with her life.

The Lodge also works as an unconventional Christmas horror film. If we’re making comparisons, it’s not as Christmassy as the Silent Night, Deadly Night films, the Black Christmas remake, or Krampus (2015). The Lodge has a far more serious tone compared to those films. 

Still, it’s set during the Christmas season. Before the story takes a deep dive into the dark side, the lodge is decorated for Christmas, and you’ll see Christmas presents. It’s not festive, and there’s no real cheeriness before the chaos starts. The Lodge slowly injects a crippling poison into of the bigger holidays with bitterness, tension, loss, and family drama. A deep sadness hits at a certain point, because maybe there’s a chance a good and happy Christmas celebration could’ve healed any open wounds. 

Religion plays a big part in the story here. Grace never had a chance. She was corrupted at an early age by her father, Aaron (Danny Keough), a fanatical cult leader. For Grace, religion is the boogeyman that just won’t go away, a leech sucking her soul dry. Brainwashing, and towards the end, religion is used as a guilt tripping mechanism and a scare tactic on both sides. Also, the found-footage from Grace’s life in the cult and the mass suicides are a prime example for how religion can be turned into something evil, or used as a deadly weapon in the wrong hands.

Veronika Franz and Severin Fiala’s work behind the camera is admirable. So many little nuances and subtle storytelling with the shots of the black balloons floating into the sky, Richard touching Grace’s leg and Aiden’s reaction to it. Grace smiling at Mia in the mirror, and of course Mia doesn’t reciprocate the kind gesture. Going back to religion, crosses are not a sign of comfort or reassurances here. Crosses appear in one form or another throughout the movie. When you see a cross, something bad just happened, something bad is about to happen, or they appear during a stretch of hopelessness.

I absolutely loved the zoomed out shots, primarily during certain scenes in the lodge. A calming family retreat? No, the zoomed out shots gives the impression that this ordinary lodge is a spooky and creepy place.

And I can’t forget about Grace, Aiden, and Mia watching John Carpenter’s The Thing! The Thing (1982) is a great choice for a cabin fever movie. Of course, you won’t see any aliens in The Lodge, but a group of people stuck out in the middle of nowhere during a snowstorm, fighting to survive a dangerous threat with limited resources and no means of transportation? You can easily connect the dots between both movies. It’s right there. As far as timing and placement goes, you could say that particular scene from The Thing mirrors and lines up with The Lodge right before things really start going downhill. 

A lot of layers for The Lodge. Suffering through mental illnesses is a big one, if we’re focusing on Grace and Laura. For different reasons, Grace and Laura struggled to hold it together. Two tragic characters connected to each other, starting new lives, with bleak futures, concluding in disastrous results. It’s so bad to the point, where everyone would’ve been better off not crossing paths. 

The shots of the little house diorama throughout the movie works as an unusual and creepy style of foreshadowing. It’s a morbid and detailed replica of the lodge, and there’s a dark irony behind it, when you realize the diorama is also a child’s fancy toy. 

Winter, snow, and freezing temperatures. The Lodge is a cold film in more ways than one. The isolated setting is perfect. The quiet lodge, deep in the woods, during a snowstorm and miles away from civilization adds to the dread and impending sense of doom throughout the movie. It’s a slow, slow burn build to the finale, and for me, it occasionally drags, but The Lodge is still a truly outstanding film. The Lodge plays like a psychological drama, featuring some well-placed horror elements. The nighttime scenes at the lodge, and Grace’s nightmare sequences balances things out on the horror side. And Top notch directing, because there’s no denying The Lodge is a beautifully shot film.

A terrific cast all around. Alicia Silverstone makes the most of her short screen time. Riley Keough is simply phenomenal in the leading role, a powerhouse performance that excels during Grace’s descent into madness, when you finally realize she’s just too far gone. The ending is a nail-biter, but it’s not your typical nail-biter. The Lodge’s ending leaves a few nerve-racking questions. Risky chances, no positive options, and IF anyone survived, no one has a chance of living a normal life after two big tragedies happening so close together.

Rating- 9/10

Arena Wars (2024)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- In the future, death row inmates are selected to compete in Arena Wars, a fight to the death reality show hosted by Samson (Michael Madsen) and Moses (Robert Donavan). Teams of seven prisoners have the chance to win their freedom, if they can outlast and defeat different killers, including Meat Wagon (Wesley Cannon), Cutie Pie (Maria Bova), and Calypso (Allen Woodman).

Perez (Robert LaSardo) leads one team of inmates, but Luke Bender (John Wells) emerges as the new star of Arena Wars. A selfless ex-Marine, who sacrificed his freedom in the name of national security, Bender is determined to lead his team to freedom. 

Belladonna (Kevin Hager), a CEO, and the mastermind behind Arena Wars, is desperate for higher ratings. Supported by his security team and his two cronies Domino (Mercedes Peterson) and Gideon (Michael Beran), Belladonna is determined to see Arena Wars succeed by any means necessary. Can Luke lead his team to victory? Or, has Belladonna stacked the deck too high against him?

My Thoughts- John Wells playing the grizzled tough guy with a conscience balances the story, so it’s not completely limited to blood, guts, and violence. He’s a character, who’s easy to root for, the Marine, who puts his country first, while also wanting to ensure the safety of his fiancée and her father, Admiral Jordan (Eric Roberts). Wells delivers a solid performance as Luke, adding the emotional foundation to Arena Wars. Yes, he’s a bit cheesy with the soft spoken badass routine, but it still works to complement the overall zany tone in Arena Wars.

Kevin Hager’s Belladonna is a decent enough villain. The typical narcissistic rich guy jerk, who probably has some mommy issues going up against the good guy soldier is an easy layup to execute. It’s almost impossible to resist the urge to punch Belladonna in the face. His smugness, his lack of empathy for other people, and his massive ego. All the right ingredients for a slimy antagonist, who’s hopefully headed towards a brutal comeuppance.

The killers are bloodthirsty maniacs! Okay, and what else? It’s true each killer has a different backstory, including wiping out the entire United Nations, or a terrorist attack targeting Yankee Stadium. Maria Bova’s Cutie Pie shows some personality, as a gleeful and demented murderer, who enjoys what she’s doing.

And maybe I’m reaching here, but I’m almost sure there’s a reference to A Nightmare On Elm Street and Freddy Krueger with the boiler room stuff. Personally, I wanted to see a little more depth for the personalities. Creative looks for the costumes and different styles for the killers, and there’s a reason why the killers are seemingly invincible. But there’s really nothing worth mentioning once you get past the “WE’RE GONNA KILL YOU!” mindset.

John Wells does most of the heavy lifting on the acting side of things. Luke’s team is full of colorful characters. Kylie Fulmer’s Billie stands out, and Johnny Huang puts a lot of enthusiasm into Khan, the jokester, who’s reminiscent of a knuckleheaded class clown. Michael Madsen has a good amount of screen time as one of the hosts, and Madsen was seemingly in a comfort zone and having fun playing Samson. Eric Roberts? He’s barely in the movie, but Jordan plays a crucial role in Luke’s story, especially towards the end. 

The irony for a reality show about prisoners killing their way to freedom is a bonkers story that’s good for a few laughs. Also, there’s a noticeable night and day difference between two of the hosts. Holly Daze (Sheri Davis)  represents everything Arena Wars is supposed to be about. She’s wild, has an in-your-face attitude, and her wardrobe reflects her fiery personality. The woman interviewing people in the crowd? She looks and sounds like someone, who doesn’t belong there. Maybe she should focus on reporting legitimate news, or possibly doing something more dignified. Hilarious stuff. 

I didn’t go into Arena Wars with high expectations. It’s the kind of movie, where you should know what you’re getting into before you hit the play button. Arena Wars is set in a city…named The Big F*****g City. Luke’s picture-perfect Superman Punch, and Belladonna calmly eats sushi off of a topless woman, while people are brutally murdered. It’s a silly and over the top action/sci-fi flick, featuring heavy doses of dark comedy. 

Giving credit where credit is due, Arena Wars really nailed the dystopian mood for the movie. The depravity, the sleaziness, and the need for people to consume more violent entertainment. For a movie that’s set in 2045, maybe it’s kind of scary to imagine this is where we’re headed as a society in twenty years? I know Arena Wars is not that deep, but maybe they could’ve focused more on those particular what ifs, because there’s a lot of material to explore. 

The fight scenes were too repetitive for me and kind of dull every now and then. I didn’t get Domino’s storyline, or why they felt the need to put effort into it, if that was the conclusion they were going with. Overall, there’s still more than enough bloody violence and gore in Arena Wars. It’s a really cheesy movie, loaded with corny dialogue, but Arena Wars mostly works, delivering just enough chaos and violence.

Rating-5/10

Arena Wars (2024)

 

**This post contains spoilers**

The Story- In the future, death row inmates are selected to compete in Arena Wars, a fight to the death reality show hosted by Samson (Michael Madsen) and Moses (Robert Donavan). Teams of seven prisoners have the chance to win their freedom, if they can outlast and defeat different killers, including Meat Wagon (Wesley Cannon), Cutie Pie (Maria Bova), and Calypso (Allen Woodman).

Perez (Robert LaSardo) leads one team of inmates, but Luke Bender (John Wells) emerges as the new star of Arena Wars. A selfless ex-Marine, who sacrificed his freedom in the name of national security, Bender is determined to lead his team to freedom. 

Belladonna (Kevin Hager), a CEO, and the mastermind behind Arena Wars, is desperate for higher ratings. Supported by his security team and his two cronies Domino (Mercedes Peterson) and Gideon (Michael Beran), Belladonna is determined to see Arena Wars succeed by any means necessary. Can Luke lead his team to victory? Or, has Belladonna stacked the deck too high against him?

My Thoughts- John Wells playing the grizzled tough guy with a conscience balances the story, so it’s not completely limited to blood, guts, and violence. He’s a character, who’s easy to root for, the Marine, who puts his country first, while also wanting to ensure the safety of his fiancée and her father, Admiral Jordan (Eric Roberts). Wells delivers a solid performance as Luke, adding the emotional foundation to Arena Wars. Yes, he’s a bit cheesy with the soft spoken badass routine, but it still works to complement the overall zany tone in Arena Wars.

Kevin Hager’s Belladonna is a decent enough villain. The typical narcissistic rich guy jerk, who probably has some mommy issues going up against the good guy soldier is an easy layup to execute. It’s almost impossible to resist the urge to punch Belladonna in the face. His smugness, his lack of empathy for other people, and his massive ego. All the right ingredients for a slimy antagonist, who’s hopefully headed towards a brutal comeuppance.

Arena Wars managed to pull off one good surprise, revealing Admiral Jordan and Luke’s fiancée died in a car accident years ago. Luke was duped by deepfake AI video calls with Jordan. That plays a big part in Luke doubting himself towards the end, because the father/son relationship brought a shred of normalcy into his life.

Domino’s failed sneak attack? Why? Why would they waste so much time on a storyline, where Domino ultimately fails at killing Belladonna, and when the big moment comes, she literally doesn’t pull the trigger. Domino plays a role in being a helping hand for the good guys. I get that, but all the build up for that lame ending, where Belladonna still gets the last laugh was a real downer.

I wasn’t too surprised, when Luke and a few others on his team survived. Perez dying early on in the movie did catch me off guard a little bit, but it’s obvious they were saving the big hero storyline for Luke. Belladonna cheating and giving an unfair advantage to the killers? Yeah, wasn’t surprised by that either, because outside of them just being completely nuts, you could easily tell the killers were hopped up on something. Although, I will say this, Belladonna’s death was a gnarly sight. Cut in HALF with a chainsaw? Ouch!

The killers are bloodthirsty maniacs! Okay, and what else? It’s true each killer has a different backstory, including wiping out the entire United Nations, or a terrorist attack targeting Yankee Stadium. Maria Bova’s Cutie Pie shows some personality, as a gleeful and demented murderer, who enjoys what she’s doing. 

And maybe I’m reaching here, but I’m almost sure there’s a reference to A Nightmare On Elm Street and Freddy Krueger with the boiler room stuff. Personally, I wanted to see a little more depth for the personalities. Creative looks for the costumes and different styles for the killers, and there’s a reason why the killers are seemingly invincible. But there’s really nothing worth mentioning once you get past the “WE’RE GONNA KILL YOU!” mindset.

John Wells does most of the heavy lifting on the acting side of things. Luke’s team is full of colorful characters. Kylie Fulmer’s Billie stands out, and Johnny Huang puts a lot of enthusiasm into Khan, the jokester, who’s reminiscent of a knuckleheaded class clown. Michael Madsen has a good amount of screen time as one of the hosts, and Madsen was seemingly in a comfort zone and having fun playing Samson. Eric Roberts? He’s barely in the movie, but Jordan plays a crucial role in Luke’s story, especially towards the end. 

The irony for a reality show about prisoners killing their way to freedom is a bonkers story that’s good for a few laughs. Also, there’s a noticeable night and day difference between two of the hosts. Holly Daze (Sheri Davis)  represents everything Arena Wars is supposed to be about. She’s wild, has an in-your-face attitude, and her wardrobe reflects her fiery personality. The woman interviewing people in the crowd? She looks and sounds like someone, who doesn’t belong there. Maybe she should focus on reporting legitimate news, or possibly doing something more dignified. Hilarious stuff. 

I didn’t go into Arena Wars with high expectations. It’s the kind of movie, where you should know what you’re getting into before you hit the play button. Arena Wars is set in a city…named The Big F*****g City. Luke’s picture-perfect Superman Punch, and Belladonna calmly eats sushi off of a topless woman, while people are brutally murdered. It’s a silly and over the top action/sci-fi flick, featuring heavy doses of dark comedy. 

Giving credit where credit is due, Arena Wars really nailed the dystopian mood for the movie. The depravity, the sleaziness, and the need for people to consume more violent entertainment. For a movie that’s set in 2045, maybe it’s kind of scary to imagine this is where we’re headed as a society in twenty years? I know Arena Wars is not that deep, but maybe they could’ve focused more on those particular what ifs, because there’s a lot of material to explore. 

The fight scenes were too repetitive for me and kind of dull every now and then. I didn’t get Domino’s storyline, or why they felt the need to put effort into it, if that was the conclusion they were going with. Overall, there’s still more than enough bloody violence and gore in Arena Wars. It’s a really cheesy movie, loaded with corny dialogue, but Arena Wars mostly works, delivering just enough chaos and violence.

Rating- 5/10

Amber Alert (2024)

 

**This post contains spoilers**

The Story- Charlotte (Ducky Branson) is kidnapped on a playground in broad daylight in front of her mother, Monica (Katie McClellan) and her grandmother, Gail (Claire Slemmer), lured into a car by a man and a doll. Elsewhere in the same area, Jaq (Hayden Panettiere) misses her rideshare car. Jaq convinces Shane (Tyler James Williams), another rideshare driver, to accept a large tip for a ride.

Eventually, Jaq spots a Toyota Camry that matches the description for Charlotte’s Amber Alert. Jaq, Shane, Monica, Sergeant Phil Casey (Kevin Dunn), and an emergency dispatcher named Cici (Saidah Arrika Ekulona) all work together to rescue Charlotte. Aaron (Kurt Oberhaus), the driver of the Camry, claims he’s innocent, but Jaq realizes something is off, when she learns the truth about the license plate number. 

My Thoughts- The remake for Amber Alert is a good example for why it’s not so easy to make a found-footage film. Amber Alert 2012 took the found-footage approach, and when you compare that film to the 2024 remake, the problems for the 2012 original are more obvious. The big one? Recording when there’s no real reason to record anything during long stretches of the movie. I’ll even go as far as saying the car chase scenes, or the scenes, where Jaq and Shane are following Aaron are easily more exciting. There’s a more uneasy and believable feeling that anything could happen at any moment. A big difference compared to the found-footage film, where the main idea basically is, let’s keep following Muller, while we wait to see what he does next. 

The 2024 remake is a more polished and refined film by a long shot. The story has structure, the characters have more depth, and all the other loose screws are tightened up, including smoother storytelling, better pacing, and it’s a more consistently tense film. I could actually buy into Jaq and Shane’s reasons for wanting to save Charlotte, if we’re comparing the two to Samantha and Nate (mainly Samantha) from the original. Shane is a father, and you can tell he loves and cares about his son. Jaq is still heartbroken about the tragedy involving her baby boy, so it’s easy to go along with a thought process, where she probably believes she couldn’t save her son, but there’s a chance she can save Charlotte.

There’s some callbacks and similarities to the original. The gas station, Jaq dropping her earbud in the backseat, so she can hear what’s going on inside the car, and the confrontation with Aaron in the open field. A few tweaks and some minor changes, but it’s still easy to see some connections to the 2012 film.

So Aaron is the bad guy. Okay. Not a big surprise, and they made things more obvious for the big reveal in the remake. Going back to that scene in the open field, where Jaq and Shane faked having car troubles, you can clearly see Aaron was ready to kill them, while their backs were turned. That, and his story about Charlotte being his daughter was completely phony. Also, it doesn’t help that you can actually see Charlotte in the backseat, when Aaron drives away. 

Still, Amber Alert manages to deliver a satisfying finale. Aaron’s house of horrors? Some genuinely creepy stuff. It’s not just limited to keeping Charlotte in a cage. The video camera, the room decorated to resemble a little girl’s room, the shoes from all the girls he kidnapped outside, the scrapbooks, and Aaron’s bizarre obsession with dolls and dressing his deceased victims as dolls. You really get to see how Aaron is a disgusting and vile creep, a man with a disturbing dark side.

Jaq and Shane survive with some help from Sergeant Casey, Casey kills Aaron, and Charlotte is reunited with Monica. Comparing the two films, the remake decided to go with the happy ending. Yes, certain events were a little bit too convenient. Casey shows up at the exact moment, when Aaron was seconds away from killing Jaq? But that final shot with Charlotte and Monica embracing, while Jaq, still wounded on a stretcher, has a smile on her face, when she sees both of them together really works as a feel good moment. 

The chemistry between Hayden Panettiere and Tyler James Williams is excellent. They did a good job of playing off of each other, with a bold and somewhat reckless Jaq pushing a reluctant Shane to continue the pursuit. Williams and Panettiere are convincing as two ordinary people, who stumbled into a dangerous problem, and there’s a handful of funny moments from Jaq and Shane during the chase.

Is Amber Alert perfect? No. The story mainly goes through the motions step by step. The twists and the attempted swerves were easy enough to predict, but Amber Alert is still an effective mystery/thriller. The reveal for the house of horrors and the unpleasantness behind the villain’s dolls completely changes the mood towards the end, taking a dark turn just when you believe things couldn’t possibly get any worse. 

As the story unfolds, you also realize it’s not so easy to put out a successful Amber Alert. The accuracy, crucial details, including a license plate number, are all important factors. Add in the fact that dispatchers will be flooded with calls that might or might not help, AND if the perpetrator is driving a common or popular car (e.g. the Toyota Camry here), the odds of saving a kidnapped victim could swing in either direction. And what’s going to happen, when the suspect realizes they’re on the radar and the clock is ticking?

A big upgrade over the 2012 original, featuring solid performances from Hayden Panettiere and Tyler James Williams, and of course, Kevin Dunn delivers with the strong presence of a veteran actor. And kudos to Saidah Arrika Ekulona for playing her role well, as the concerned dispatcher, who’s trying to help Monica and Charlotte. The 2012 original’s ending was bleak and shocking. But the remake takes a more joyous and upbeat approach to close out the movie, and overall, it’s a rare case, where the remake definitely outshines the original. 

Rating- 6/10

Amber Alert (2024)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- Charlotte (Ducky Branson) is kidnapped on a playground in broad daylight in front of her mother, Monica (Katie McClellan) and her grandmother, Gail (Claire Slemmer), lured into a car by a man and a doll. Elsewhere in the same area, Jaq (Hayden Panettiere) misses her rideshare car. Jaq convinces Shane (Tyler James Williams), another rideshare driver, to accept a large tip for a ride.

Eventually, Jaq spots a Toyota Camry that matches the description for Charlotte’s Amber Alert. Jaq, Shane, Monica, Sergeant Phil Casey (Kevin Dunn), and an emergency dispatcher named Cici (Saidah Arrika Ekulona) all work together to rescue Charlotte. Aaron (Kurt Oberhaus), the driver of the Camry, claims he’s innocent, but Jaq realizes something is off, when she learns the truth about the license plate number. 

My Thoughts- The remake for Amber Alert is a good example for why it’s not so easy to make a found-footage film. Amber Alert 2012 took the found-footage approach, and when you compare that film to the 2024 remake, the problems for the 2012 original are more obvious. The big one? Recording when there’s no real reason to record anything during long stretches of the movie. I’ll even go as far as saying the car chase scenes, or the scenes, where Jaq and Shane are following Aaron are easily more exciting. There’s a more uneasy and believable feeling that anything could happen at any moment. A big difference compared to the found-footage film, where the main idea basically is, let’s keep following Muller, while we wait to see what he does next. 

The 2024 remake is a more polished and refined film by a long shot. The story has structure, the characters have more depth, and all the other loose screws are tightened up, including smoother storytelling, better pacing, and it’s a more consistently tense film. I could actually buy into Jaq and Shane’s reasons for wanting to save Charlotte, if we’re comparing the two to Samantha and Nate (mainly Samantha) from the original. Shane is a father, and you can tell he loves and cares about his son. Jaq is still heartbroken about the tragedy involving her baby boy, so it’s easy to go along with a thought process, where she probably believes she couldn’t save her son, but there’s a chance she can save Charlotte.

There’s some callbacks and similarities to the original. The gas station, Jaq dropping her earbud in the backseat, so she can hear what’s going on inside the car, and the confrontation with Aaron in the open field. A few tweaks and some minor changes, but it’s still easy to see some connections to the 2012 film.

The chemistry between Hayden Panettiere and Tyler James Williams is excellent. They did a good job of playing off of each other, with a bold and somewhat reckless Jaq pushing a reluctant Shane to continue the pursuit. Williams and Panettiere are convincing as two ordinary people, who stumbled into a dangerous problem, and there’s a handful of funny moments from Jaq and Shane during the chase.

Is Amber Alert perfect? No. The story mainly goes through the motions step by step. The twists and the attempted swerves were easy enough to predict, but Amber Alert is still an effective mystery/thriller. The reveal for the house of horrors and the unpleasantness behind the villain’s dolls completely changes the mood towards the end, taking a dark turn just when you believe things couldn’t possibly get any worse. 

As the story unfolds, you also realize it’s not so easy to put out a successful Amber Alert. The accuracy, crucial details, including a license plate number, are all important factors. Add in the fact that dispatchers will be flooded with calls that might or might not help, AND if the perpetrator is driving a common or popular car (e.g. the Toyota Camry here), the odds of saving a kidnapped victim could swing in either direction. And what’s going to happen, when the suspect realizes they’re on the radar and the clock is ticking?

A big upgrade over the 2012 original, featuring solid performances from Hayden Panettiere and Tyler James Williams, and of course, Kevin Dunn delivers with the strong presence of a veteran actor. And kudos to Saidah Arrika Ekulona for playing her role well, as the concerned dispatcher, who’s trying to help Monica and Charlotte. The 2012 original’s ending was bleak and shocking. But the remake takes a more joyous and upbeat approach to close out the movie, and overall, it’s a rare case, where the remake definitely outshines the original. 

Rating- 6/10

Amber Alert (2012)

 

**This post contains spoilers**

The Story- In 2009, Samantha Green (Summer Bellessa) and Nathan Riley’s (Chris Hill) audition tapes for a reality show are interrupted in Arizona, when Nate notices a grey Honda Accord that fits the description for a recent Amber Alert involving a kidnapped young girl. Samantha’s little brother, Caleb (Caleb Thompson) records everything, while Samantha urges Nate to follow the car. 

The driver, Michael Randolph Muller (Jasen Wade), tries to reassure the trio the Amber Alert is nothing more than one big misunderstanding. Brooke Layton (Brooke Thompson) is supposedly his daughter. Muller, dealing with custody problems and his ex-wife, apparently wanted more time with Brooke, but Samantha suspects something is fishy. Is Muller telling the truth? Or, is it possible he’s hiding dark secrets? 

My Thoughts- I have a lot of mixed feelings for Caleb recording. On one hand, yeah, you could say they need to document everything for proof, BUT when a police officer finally gets involved, the footage is basically useless. What’s the point of recording, if law enforcement already has the necessary information (the description of the car, license plate number), and on top of that, Samantha is giving out details for Muller’s exact location?

It’s strange, because you could possibly make an argument for Nate and Samantha really needing the camera during the finale for definitive proof, and the light as a guide to see through the darkness. Still, more often than not, it’s hard to come up with legitimate reasons for Caleb recording. Why? So we can see Nate and Samantha constantly arguing, and Samantha giving Nate stern lectures about morality? Outside of the need to show the viewers what’s going on, you can point to more than one scene, where’s there no need for recording. That’s a problem, because the logic behind found-footage just falls apart during long stretches of the movie.

The police? I have to believe they were aiming for some kind of social commentary about how law enforcement responds and reacts to Amber Alerts. When Officer Murray (Tom Murray) makes an appearance, there’s a sense of relief. FINALLY! Someone, who’s in a position to help, to actually do something, is here. But guess what? Nothing happens. Officer Murray gives instructions to go to a police station. He drives off, and that’s it?

I sincerely hope a message about cops and how they handle Amber Alerts was the main goal here. Otherwise, Amber Alert is basically about two friends and a young kid becoming vigilantes and risking their lives, because the police are too slow and too inept to help and do their jobs. 

The ending completely caught me off guard. I’m not talking about the reveal for Muller being a disgusting and sadistic creep, who lied to Nate and Samantha on the side of the road. It was obvious Muller was lying. Too many holes in the story about his “ex-wife.” And Nate wanted to do everything he possibly could to avoid a confrontation or a fight with Muller, so they just accepted his story.

The truly shocking parts for me happened, when the insides of Muller’s house were revealed. It’s dark, the guns on the counter, everything is covered up, the house looks like a dungeon, and Muller keeps personal items as trophies from his victims. Sexual abuse is a topic that comes up a lot throughout the movie, but when you actually see what Muller’s been up to, and what he plans to do to Brooke Layton (his latest victim), it’s enough to bring a grossed out reaction out of you. And to make matters worse, Muller keeps Brooke locked in a cage.

Caleb is wounded, Muller kills Samantha and Nate, and Nate dies in a shootout against Muller, but Brooke survives. A truly tense finale and a bleak ending. Some good horror elements, featuring Nate, Samantha, and Brooke quietly sneaking around in the dark, hoping to escape, while Muller waits in the shadows. And the screams for help from Brooke before the scene ends are truly horrifying, when you realize there’s a kid alone in a house with three dead bodies.

Amber Alert puts a lot of effort into a dedicated approach for realism. Blurred out license plates, bleeping out phone numbers and addresses, and at some point, everyone has experienced an Amber Alert, when you get that notification on your phone. It’s an unsettling feeling to have, if the alert is close enough.

The home stretch takes a dark and disturbing turn, leading to a finale that’s a real nail-biter. But the problems for Amber Alert are hard to ignore. Yes, you could say they needed the camera and they needed to record in the house, but everything else? There’s still no reason Caleb should’ve been recording. 

Samantha and Nate’s constant bickering? Oh, boy. Way too much of the tiresome and continuous shouting matches between Samantha and Nate, and it gets worse, when you realize all the yelling eats up a good sixty to seventy percent of the movie. It’s also easy to notice a tedious and repetitive pattern for storytelling. Slow down! Don’t get too close to Muller! No, no speed up, you’re gonna lose him! Or, let’s keep a safe distance, so we can see what he’s going to do next. 

Amber Alert is another one of those films, where they have great material to work with, especially if you’re doing a found-footage film, and you want to make things feel more realistic. A strong effort for a low budget film using limited resources, with a spirited cast. Good horror elements mixed in with the ending, but the overall execution just didn’t work for me.

Rating- 3/10 

Amber Alert (2012)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- In 2009, Samantha Green (Summer Bellessa) and Nathan Riley’s (Chris Hill) audition tapes for a reality show are interrupted in Arizona, when Nate notices a grey Honda Accord that fits the description for a recent Amber Alert involving a kidnapped young girl. Samantha’s little brother, Caleb (Caleb Thompson) records everything, while Samantha urges Nate to follow the car. 

The driver, Michael Randolph Muller (Jasen Wade), tries to reassure the trio the Amber Alert is nothing more than one big misunderstanding. Brooke Layton (Brooke Thompson) is supposedly his daughter. Muller, dealing with custody problems and his ex-wife, apparently wanted more time with Brooke, but Samantha suspects something is fishy. Is Muller telling the truth? Or, is it possible he’s hiding dark secrets? 

My Thoughts- I have a lot of mixed feelings for Caleb recording. On one hand, yeah, you could say they need to document everything for proof, BUT when a police officer finally gets involved, the footage is basically useless. What’s the point of recording, if law enforcement already has the necessary information (the description of the car, license plate number), and on top of that, Samantha is giving out details for Muller’s exact location?

It’s strange, because you could possibly make an argument for Nate and Samantha really needing the camera during the finale for definitive proof, and the light as a guide to see through the darkness. Still, more often than not, it’s hard to come up with legitimate reasons for Caleb recording. Why? So we can see Nate and Samantha constantly arguing, and Samantha giving Nate stern lectures about morality? Outside of the need to show the viewers what’s going on, you can point to more than one scene, where’s there no need for recording. That’s a problem, because the logic behind found-footage just falls apart during long stretches of the movie.

The police? I have to believe they were aiming for some kind of social commentary about how law enforcement responds and reacts to Amber Alerts. When Officer Murray (Tom Murray) makes an appearance, there’s a sense of relief. FINALLY! Someone, who’s in a position to help, to actually do something, is here. But guess what? Nothing happens. Officer Murray gives instructions to go to a police station. He drives off, and that’s it?

I sincerely hope a message about cops and how they handle Amber Alerts was the main goal here. Otherwise, Amber Alert is basically about two friends and a young kid becoming vigilantes and risking their lives, because the police are too slow and too inept to help and do their jobs. 

Amber Alert puts a lot of effort into a dedicated approach for realism. Blurred out license plates, bleeping out phone numbers and addresses, and at some point, everyone has experienced an Amber Alert, when you get that notification on your phone. It’s an unsettling feeling to have, if the alert is close enough.

The home stretch takes a dark and disturbing turn, leading to a finale that’s a real nail-biter. But the problems for Amber Alert are hard to ignore. Yes, you could say they needed the camera and they needed to record in the house, but everything else? There’s still no reason Caleb should’ve been recording. 

Samantha and Nate’s constant bickering? Oh, boy. Way too much of the tiresome and continuous shouting matches between Samantha and Nate, and it gets worse, when you realize all the yelling eats up a good sixty to seventy percent of the movie. It’s also easy to notice a tedious and repetitive pattern for storytelling. Slow down! Don’t get too close to Muller! No, no speed up, you’re gonna lose him! Or, let’s keep a safe distance, so we can see what he’s going to do next. 

Amber Alert is another one of those films, where they have great material to work with, especially if you’re doing a found-footage film, and you want to make things feel more realistic. A strong effort for a low budget film using limited resources, with a spirited cast. Good horror elements mixed in with the ending, but the overall execution just didn’t work for me.

Rating- 3/10 

Coming Attractions- The Alto Knights

 

Director- Barry Levinson

Release Date- March 21, 2025

Robert De Niro playing dual roles is more than enough for me. You could say De Niro is more streaky in the later stages of his career, but there’s no denying the man is still capable of delivering great performances. Whether it’s Goodfellas, Casino, The Godfather Part II, The Irishman, and other movies, De Niro is always at his best in gangster biopics and crime dramas. 

I’m also interested to see Cosmo Jarvis’ performance as Vincent “Chin” Gigante. Vincent D’ Onofrio sets the bar pretty high on Godfather Of Harlem. I know it’s a TV series, so D’Onofrio has more time and breathing room to portray a detailed and fleshed out version of Gigante, but D’Onofrio is always the first person, who pops into my head, when I think of Gigante.

Coming Attractions- Until Dawn

 

Director- David F. Sandberg

Release Date- April 25, 2025

So they’re obviously going in a different direction for adapting the Until Dawn game. It’s good to see they’re trying to keep some continuity from the game going with Peter Stormare, but everything else looks completely different. I’m kind of bummed out about the story not taking place during wintertime. The dark and cold snowy atmosphere added a lot to the game, amping up the tension and the overall eerie mood for everything.

I played Until Dawn once. Really enjoyed it, and it’s easily one of my favorite survival horror games. This trailer? Yeah, unless you know about, or if you’re fan of the game, Until Dawn looks like an ordinary horror flick, featuring a lot of the usual cliches. 

Adapting a video game or a book is a tricky task. If you go step by step, while indulging in fan service too much and trying to stay faithful to the original material, the final product might be too predictable and lazy, depending on how it’s done. They’re taking a chance on exploring the mythology, and hopefully it pays off in the end. 

I also trust David F. Sandberg, because he did a good job with Lights Out and Annabelle: Creation. There’s some humor towards the end of the trailer, and the time loop/Groundhog Day approach has some potential for a lot of different possibilities. Also, is there a chance they’ll go with a found-footage POV for certain scenes?

Coming Attractions- The Monkey

 

Director- Osgood Perkins

Release Date- February 21, 2025

The morbid humor in the trailer is great, and I always have high expectations for a Stephen King adaptation. Osgood Perkins has become one of the go-to filmmakers for the horror genre over the years. Perkins usually goes with a dark and brooding style for his films, so it’s refreshing to see something that’s a bit quirky with a more upbeat tone.

Coming Attractions- Hell Of A Summer

 

Directors- Billy Bryk, Finn Wolfhard

Release Date- April 18, 2025

Summer camp, teenagers, a masked killer running around, AND a ouija board? Hell Of A Summer has all the ingredients to be an at least halfway decent slasher film. This should be a layup, but I’m still not completely sold on this one right now. 

The humor looks good, and there’s a possibly hilarious storyline about Fred Hechinger playing the twenty-four years old loser, who works as a camp counselor. There’s no way Hechinger is actually the killer, because it’s too obvious. Although, there’s a strong chance he winds up being the hero, who stops the killer, and they go with the big happy ending, where Hechinger finally gets his life together.

Coming Attractions- Drop

 

Director- Christopher Landon

Release Date- April 11, 2025

Christopher Landon is easily one of my favorite filmmakers. He does a good of blending horror and comedy together for energetic movies, including both Happy Death films and Freaky. And for me, Landon wrote and directed the best Paranormal Activity (The Marked Ones) film.

Drop obviously has a more serious tone. Going by the trailer, it’s not too easy to see or to guess the identity of the puppet master, who’s pulling the strings and causing so much trouble for Meghann Fahy’s Violet, and that’s a good thing. A promising trailer with an intriguing premise, featuring a story about a single mother, who’s clearly trying to get out in the world again, and find some normalcy in her life. All signs point to a big twist, and hopefully Drop delivers a good payoff ending.