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- Star Trek: Starfleet Academy
Star Trek: Starfleet Academy - Primate
Primate (2025) is pretty dumb, gloriously gory, and exactly the kind of midnight-movie creature feature that knows it’s throwing bananas and leans into the splatter. The setup is pure B-movie goodness: a crazed pet chimpanzee with rabies by way of a mongoose, and escalateing choas with some very stupid young adults caught in the middle. The gore lands hard and often, with wince-worthy kills that feel handcrafted for genre sickos who like their horror messy and mean. Like me. The human element is a circus of bad decisions. The kids are walking cautionary tales, and the parent (a deaf author who is about to go on a book tour) are so aggressively brain-dead you’ll forget they’re supposedly ape experts. It’s frustrating, hilarious, and oddly charming in how committed it is to stupidity. What really sells it is the score, a creepy, synth-soaked pulse that feels like a lost Goblin tape unearthed from a Dario Argento vault. Primate won’t be the best horror film of 2026, but it definitely won’t be the worst, and against all odds, you’ll probably have a damn good time watching it, I know I did.Primate - Beast of War
Based very loosely on a true story, the film strands Australian soldiers in the Timor Sea—enemy waters, zero rescue, less-than-zero hope. They’re hiding from the Japanese, dying of thirst, and oh yeah… being stalked by a massive, ravenous female great white shark that treats traumatized soldiers like an all-you-can-eat buffet. Pick your poison: starvation, exposure, or becoming chum. The horror hits hard because it’s grounded in real wartime desperation before unleashing full-on shark-movie brutality. It’s tense, sweaty, and unapologetically gory, with kills that are mean, messy, and wildly effective. The shark isn’t just a monster—it’s inevitability with teeth. Not to say the soldiers are just there to be canon fodder though, the film does a good job of setting each of the surviving soldiers as likeable characters who you actually give a shit about before the shark starts chomping down on them. Is it ridiculous? Absolutely. Is it intense, savage, and wildly entertaining? Even more so. Beast of Man is historical horror with bite, and it absolutely knows how to rip you apart one soldier at a time.Beast of War - All Her Fault
All Her Fault is the kind of streaming drama that strolls in already knowing it’s good—and then still manages to exceed expectations. Hyped to the heavens and somehow deserving of every ounce of it, this Peacock mini-series doesn’t just tell a story about family—it dissects what people are willing to become when the people they love most are threatened. The story is every parent’s nightmare. You drop your kid off for a playdate but then return and your kid is not there and the homeowners aren’t who you thought you left your kid with. At its core, All Her Fault is about parental instinct pushed to the breaking point. The feral, sleep-deprived, morally gray version. This show understands that when it comes to protecting your children, lines aren’t just crossed—they’re obliterated, paved over, and never spoken of again. The writing leans hard into that truth, and it’s riveting. What really elevates the series is its layered, painfully authentic family dynamic. Every interaction feels lived-in, weighted with history, resentment, love, and unspoken fear. These aren’t TV-perfect people—they’re messy, reactive, and deeply human. The dialogue snaps, the tension simmers, and every episode peels back another uncomfortable layer of who these people really are when the pressure is on. Lies are revealed. Truths are spoken. And it leaves an unforgiving blinding spotlight on the main cast of characters. And then there’s that twist. Without spoiling a damn thing, the late-series turn is a masterclass in narrative control. It’s bold, emotionally devastating, and recontextualizes everything that came before it without feeling cheap or gimmicky. This is the kind of twist that makes you want to immediately rewatch the series—not because you missed something, but because the writers trusted the audience enough to play the long game. That confidence pays off in a big way. By the time the credits roll, All Her Fault has firmly earned its place as one of the best-written mini-series of 2025. Smart, tense, emotionally brutal, and deeply compassionate, it proves that hype isn’t a bad word when the storytelling actually shows up to back it up. Peacock didn’t just deliver here—they swung for the fences and knocked it clean out of the park. Kicking myself that I did not put this in my top 10 of 2025.All Her Fault - Turbulence
Turbulence (2025) tries really hard to rattle your nerves, and for a while, it actually succeeds. The film delivers some genuinely anxiety-inducing moments—claustrophobic chaos, escalating tension, and that constant sense that everything is about to go horribly wrong. Everything you don’t want to feel when you are up in a hot air balloon flying through the Italian Dolomites. Unfortunately, every spike of suspense is quickly undercut by the downright stupidity of its main cast, who make one baffling decision after another like it’s a competitive sport. Yes, Kelsey Grammer shows up, and yes, he’s easily the fan-favorite presence here—but don’t get too attached. In fact, don’t get attached to anyone. Character depth is sacrificed at cruising altitude, and emotional investment is tossed off the side of the carriage. Are cast of airborne morons include Zach, a cut throat businessman who fires the wrong person and then proceeds to cheat on his wife with a complete psychotic woman named Julia who is looking to blackmail Zach and make his ride in the hot air balloon about as fun as a dentist visit. Especially considering Zach’s wife,Emmy, is there and has no clue what is going on. The you have Harry (Grammer) who just wants to ride his damn balloon around the mountains for these jackasses. Turbulence works best when you stop caring about logic and enjoy the messy ride for what it is: dumb, stressful, and occasionally entertaining nonsense.Turbulence - Stranger Things • Stranger Things 5
The final season of Stranger Things collapses under the weight of its own popularity and this very disappointing final season. The show drowns itself in an onslaught of supporting characters nobody asked for, stealing precious time from the emotional core—Mike, Hopper, and even Eleven, who feels weirdly sidelined in what should’ve been her victory lap. The pacing is downright baffling: bloated, meandering, and occasionally nap-inducing. It’s Last Season-itis in full bloom, joining the sad hall of fame alongside Game of Thrones, Lost, and The Walking Dead. Big swings, bigger misses, less meaning. Worst of all, the finale feels like a writers’ room civil war—half of them desperate for an explosive, CGI-soaked climax, the other half awkwardly aiming for a warm, sentimental goodbye straight out of Friends. The result? Neither approach wins. It’s busy, crowded, and emotionally diluted. The stakes are non existent and none of the characters really feel like they are in any real danger. I didn’t hate the final season—but that might be worse. It ended with a shrug. An “okay, that’s over now” feeling. And for massive fandom juggernauts like this, apathy isn’t just disappointing—it’s terminal.Stranger Things • Stranger Things 5 - Depeche Mode: M
Depeche Mode: M - Fackham Hall
Frakham Hall is a razor-sharp throwback to classic spoof comedy, firing off dry, weirdly brilliant visual gags with machine-gun precision. The humor lives in the blink and you’ll miss a joke—making its absurdity feel effortless and hilariously confident. If you love the deadpan insanity of Airplane! or The Naked Gun, this is absolutely your kind of movie.Fackham Hall - IT: Welcome to Derry
Welcome to Derry is a bloody good return trip to Maine’s most cursed town, delivering deep Stephen King connections with far more confidence than Castle Rock ever managed. The Easter eggs, character echoes, and lore tie-ins feel purposeful instead of gimmicky, rewarding longtime King obsessives without alienating newcomers. The child actors are excellent across the board—natural, grounded, and emotionally believable—which is crucial when the show leans hard into dread. And yes, Bill Skarsgård slipping back into Pennywise the Clown is just as chilling as you’d hope: playful, cruel, and deeply unsettling, seamlessly bridging the series to the newer It films. That said, some of the horror loses its bite thanks to wonky CGI that occasionally pulls you right out of the moment—digital scares where practical effects would’ve hit harder. Still, strong performances, smart lore connections, and genuine affection for the IT films make Welcome to Derry a solid, spooky win… even if it sometimes trips over its own visual effects. 🎈IT: Welcome to Derry - Christina Aguilera: Christmas in Paris
Christina Aguilera: Christmas in Paris - Silent Night, Deadly Night
There are bad remakes, there are unnecessary remakes, and then there’s the 2025 remake of Silent Night, Deadly Night—a film so utterly confused, neutered, and terrified of its own legacy that it feels less like a horror movie and more like a corporate apology tour wearing a Santa hat. Oh but they get to have a killer Santa kill a group of MAGA… er… Nazis. Yeah very subtle. If the writers really wanted to show this Santa killing “Nazis” they could have traded his axe for a semi automatic rifle and have this Santa wearing BLM patch with a queers for Palestine shirt. This isn’t a remake. It’s a hostage negotiation between nostalgia and studio cowardice—and nostalgia lost. With a writer or two in the room that probably have pronouns in their profiles. The original Silent Night, Deadly Night was grimy, mean-spirited, and unapologetically sleazy. It understood something modern horror seems allergic to: Christmas horror should feel wrong. It should feel like a VHS tape you weren’t allowed to rent, with a cover your parents would judge you for just holding. The 2025 version? It’s polished, prestige-washed, and terrified of offending anyone who owns a Hallmark subscription. Instead of leaning into the grimy grindhouse energy that made the original infamous, this remake opts to inject an unneeded supernatural element and try to make a political statement by not very subtly trying to equate white Christians to Nazis through very lazy and contrived writing. If you were expecting a fun blood soaked remake of a beloved b-movie, the only thing this film will deliver is a sad lump of coal all over your expectations.Silent Night, Deadly Night - Avatar: Fire and Ash
There’s no denying it: Avatar: Fire and Ash is a technical flex so aggressive it borders on showing off. The CGI and 3D tech are so advanced, so hyper-real, that they’re often distractingly good. It’s stunning. It’s immaculate. And it’s also kind of visually exhausting. That’s because Fire and Ash doesn’t feel like an event movie—it feels like another episode in the ever-expanding Avatar streaming series that only exists in theaters. The sense of novelty that once made Pandora feel like a cinematic revelation is fading fast. When everything is a visual miracle, nothing is. At a certain point, you’re just watching very expensive, very realistic blue CGI cat people argue about their feelings again—and no matter how lifelike they look, it’s still hard to truly root for them. That problem is made worse by protagonists who are increasingly irritating. The emotional core is supposed to land, but instead it whines. And then there’s Spider, easily the most grating character in the entire franchise. The human tag-along remains a baffling narrative choice—an emotional vacuum who drains scenes of momentum and goodwill alike. Every time the movie tries to make him important, it only reinforces how badly he doesn’t belong. Ironically, the villains are where the movie actually comes alive. Quaritch, once again played with scenery-chewing confidence by Stephen Lang, gets some of the film’s best lines and most engaging moments. He has presence, menace, and—crucially—personality. You can feel the movie perk up whenever he’s on screen. The standout addition is Oona Chaplin as Varang, leader of the fire clan. Her character design is gorgeous—easily some of the best visual work in the entire film—and the Mangkwan Clan are instantly more compelling than the endlessly noble water and forest Na’vi we’ve already spent hours with. Unfortunately, like so many good ideas in Fire and Ash, Varang and her people are criminally underused. The film teases something bold and dangerous… then rushes past it. And when we finally reach the third act, the movie collapses back into autopilot. Another save-the-planet sermon. Another giant CGI flying monster showdown. Another climax that feels less like a crescendo and more like boxes being checked. You’ve seen this ending before—maybe not with this level of technical polish, but emotionally and thematically? Absolutely. Avatar: Fire and Ash is a marvel of technology trapped in a franchise of repeated story beats. It’s gorgeous, loud, and meticulously crafted—but it’s also starting to feel hollow. When the most interesting characters are the villains, the message feels recycled, and the spectacle no longer surprises, you’re left wondering if Pandora still has anything new to show us… or if we’re just watching the world’s most expensive screensaver fight itself for three hours. Cameron has teased that he has plans for a 4th and 5th film in this franchise but it feels like there just isn’t much meat left on the bone story wise to keep audiences coming back.Avatar: Fire and Ash - Merv
Merv - The Wonderful World of Disney: Holiday Spectacular
The Wonderful World of Disney: Holiday Spectacular - Home Alone
Home Alone
