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- Primetime
Robert Pattinson’s performance as Chris Hansen in Primetime is, to put it politely, a choice. His portrayal is wildly exaggerated, occasionally cartoonish, and completely committed to the larger than life persona of the man behind To Catch a Predator. And honestly, that’s what makes it work. Pattinson isn’t simply playing Hansen, he’s playing the mythology of Chris Hansen. The film never feels interested in portraying the predators as victims of their own obsessions. Instead, it explores the uncomfortable morality of Hansen’s mission and how the line between journalism, entertainment, and obsession can become increasingly blurry. At times, Hansen feels less like a reporter and more like a man convinced he’s waging war against evil itself. That idea gets especially weird when he tells one of his employees about a missing-children case he covered overseas, a story that gradually veers into supernatural territory. Suddenly, this isn’t just about catching criminals. They’re battling some ancient, primordial evil hiding beneath the surface of humanity. And then there’s Skyler Gisondo, who nearly steals the entire movie. His earnest, wide eyed performance as Dan Plum and his commitment to the decoy role show just how versatile he can be. Visually, Primetime absolutely nails its late 90s/early-2000s atmosphere. The grainy 4:3 presentation, old-school internet, chat rooms, TV flashbacks, and those horrifying dial up sounds make the whole thing feel like a corrupted VHS tape from the early days of the web. Ultimately, Primetime is a bizarre, stylish, darkly funny take on a very recognizable cultural figure. Pattinson’s Hansen may be exaggerated to the point of caricature, but it never feels like simple character assassination. It’s more like a dark parody of the Chris Hansen mythology, wrapped inside a true-crime story that tip toes around a supernatural element. If you grew up watching To Catch a Predator or you’re a fan of true crime and strange, unconventional filmmaking, this one is absolutely worth a watch. A24 does it again!Primetime - Furious
Hulu brings us Emmy Rossum’s FBI agent Alice Black and Lola Petticrew’s Catherine Grace in the new crime thriller, Furious, The series focuses on two seriously damaged women who want revenge for the same thing that happened to them by the same people. However both want to achieve that goal in very opposite ways. Petticrew is particularly fantastic as Catherine, essentially a female Dexter with a much smaller kill list. Her targets are wealthy older men who preyed on young girls, including herself. She believes she’s delivering justice where the system failed. The problem is that once you start deciding who deserves to die, that moral high ground gets pretty damn slippery. Rossum’s Alice is the fascinating counterpoint. She wants to do the right thing, but her own traumatic past and increasingly questionable choices slowly drag her toward the same darkness Catherine has already embraced. That’s what makes Furious work. These women are more alike than either would probably admit, and their stories gradually reveal how deeply their pasts are intertwined. The series does a great job exploring the ugly space between wanting to do good and becoming comfortable doing terrible things. The cast is excellent, but Rossum and Petticrew absolutely carry the show. Their performances make Alice and Catherine complicated, sympathetic, disturbing, and occasionally downright terrifying. And now I desperately need Season 2 because the biggest question isn’t what will become of Catherine. It’s how far Alice will continue to fall now that she’s jumped into the abyss…Furious - Run Hide Fight: Infidels
Run Hide Fight: Infidels is the kind of movie that happily kicks the political hornet’s nest and then dumps gasoline on it. The latest Daily Wire feature is controversial by design, portraying a pro-Palestinian campus protest being exploited by Islamic extremists who use the demonstrators as pawns before turning on them when their usefulness runs out. As much as Jonathan Majors dominates the advertising, he’s unfortunately not the main character. The movie belongs largely to its younger ensemble, who find themselves trapped in an increasingly brutal campus siege. The action is where Infidels really shines. The violence is bloody, nasty, and unapologetically excessive, giving the movie a schlocky ‘80s action vibe. Unfortunately, that creates its biggest problem: the film can’t decide whether it wants to be a ridiculous throwback action flick or a serious political thriller. Sometimes it manages both, and sometimes the two sides crash into each other. Still, Infidels deserves credit for refusing to play it safe. It’s provocative, messy, occasionally ridiculous, and surprisingly entertaining. Just don’t expect subtlety. And if you’re spending your weekends waving a Palestine flag while complaining about capitalism over while sipping on an 8 dollar coffee, this probably isn’t going to be your thing.Run Hide Fight: Infidels - Resident Evil
The Resident Evil live action history has been mid at best. From the action heavy Milla Jovovich series of films, to a forgettable Netflix series, and a less than memorable attempt at a big screen reboot with 2021’s Resident Evil: Welcome to Raccoon City. Sadly director Zach Cregger’s 2026 iteration of the popular video game franchise doesn’t raise the bar any higher than it’s predecessors. The film follows a likeable every man, Bryan, played by actor Austin Abrams. Bryan is a courier who gets persuaded to deliver a mysterious package to Raccoon City. One thing leads to another and Bryan finds himself fending off crazed and infected people. Despite a few well placed Easter eggs for longtime fans of the video game franchise, the similarities between this movie and the game end there. The film creates great tension and some pretty good jump scares. Making Bryan just an average Joe and not some kung fu fighter or secret agent protagonist like we have seen in other RE iterations was a nice change of pace. He’s low on ammo and he’s in way over his head. Adding even more sense of danger to the situation. The film also manages to pepper in some comedic beats that more or less hit the mark. A few nervous chuckle moments to help break the tension between jump scares. But it never descends into parody accept towards the film’s wonky ending. I hate when a third act fails to live up to a film’s stellar first two acts. It just spoils the rewatchability of a film. RE gets to jokey towards the end and leaves you wondering what was the point of even rooting for Bryan. Other fans might give it some grace because the first half of the film is so strong but for me it just falls flatter than kamikazi zombies leaping off buildings. It’s a fun horror film just not a very memorable one.Resident Evil - Onslaught
Apparently, when the government says “top secret military experiment,” they really mean “what could possibly go wrong?” Enter Onslaught, a bloody little action-horror flick that takes a simple premise, cranks the violence up, and lets it fly. Leading the charge is Adria Arjona, who many will remember from Andor, and she absolutely kicks the door off its hinges here as Celeste, a no-BS Army veteran living out in a nowhere trailer park while trying to co parent from a distance her kid and keep her troubled past buried. Celeste is tough, sarcastic, capable, and refreshingly not a Mary Sue. She’s flawed. She gets the crap kicked out of her. But cranks up the momma bear energy when her kid is in danger. A secret military science project, that just so happens to be close to Celeste’s trailer park loses control of a trio of terrifying super-soldiers who escape containment and embark on a bloody rampage that seems to have only one item on their mission briefing: KILL EVERYBODY. These aren’t your neighborhood G.I.Joe action figure types either. They’re hulking, relentless killing machines that are like a mix of Jason Voorhees and the Terminator! The movie wears its Terminator influences proudly too with a cameo by Michael Biehn, because apparently the filmmakers knew exactly which sci-fi/action nerve they were poking. Director Adam Wingard, the filmmaker behind the gloriously nasty You’re Next and the considerably larger-scale Godzilla vs. Kong, keeps things moving like a runaway shopping cart with a rocket strapped to it. The story isn’t exactly trying to reinvent the genre, but honestly, who needs needs a strong plot when you’ve got a gun-toting Latina heroine, homicidal super-soldiers, practical mayhem, and a killer John Carpenter-esque synth score blasting over the carnage? And then there’s A24, continuing its admirable tradition of throwing money at movies that feel just a little bit different from the usual Hollywood conveyor-belt sludge. The studio doesn’t always hit the bullseye, but when it connects, it cooks. Onslaught is lean, mean, bloody, and gloriously old school. It’s the cinematic equivalent of finding a beat-up VHS at the video store with an awesome cover and discovering the movie actually lives up to it.Onslaught - Batman: Knightfall - Part 1: Knightfall
The animation in Batman: Knightfall is absolutely amazing. It honors the distinctive styles of comic book artists Norm Breyfogle and Kelley Jones who drew most of the Knightfall comic book run. Spiked shoulder pads on Batman? CHECK! And then there’s Bane. His origin is given real weight, while his transformation into a calculating, rampaging madman makes him every bit the terrifying physical and psychological threat he should be. This Bane doesn’t just want to beat Batman. He wants to break him. The action is brutal, nasty, and gloriously gory. And thankfully, nobody gets lost in the Bat shadow. Dick Grayson gets to shine as the new Robin, while Azrael arrives as a genuinely unhinged new crime fighter who makes Batman look downright well adjusted. Does the movie blaze through the Knightfall storyline at a breakneck pace? Absolutely. Blink and you might miss three plot points and someone’s vertebrae. But somehow, it works. Batman: Knightfall may be rushing through one of Batman’s most iconic stories, but it packs in fantastic animation, vicious action, great character moments, and a wonderfully unhinged Bane. It’s easily some of the best DC animated content we’ve seen in quite some time.Batman: Knightfall - Part 1: Knightfall - Colony
South Koreans continue to own the zombie genre, and Yeon Sang-ho, the director who gave us Train to Busan, clearly isn’t ready to hand over the crown. Colony doesn’t surpass Train to Busan, but it does something increasingly rare in zombie movies: it actually brings a new idea to the corpse buffet. The story drops Kwon Se-jeong, played by Jun Ji-hyun, a biotech professor, into a science conference inside a sealed Seoul high-rise, where a revolutionary technology designed to connect human minds goes spectacularly, predictably, disastrously wrong. Enter Seo Young-cheol, played by Koo Kyo-hwan, the film’s delightfully unhinged villain and one of its best ideas. He’s not only the disgruntled scientist who unleashes the infection, he’s basically the Wi-Fi router for the undead. That twist, where the infected shift from savage biters to coordinated hive-mind predators, is where Colony really earns its stripes, and, well, its zombie group chat. Colony is another inventive South Korean zombie experiment that proves there’s still life left in the undead if given to talented writers and directors.Colony - Insidious: Out of the Further
At this point, the Insidious franchise has officially reached the stage where most horror series would be rummaging through the couch cushions looking for another reason to exist. Six movies deep, the question isn’t “Can they scare us again?” It’s “How many more times can somebody get dragged into The Further before the ghosts start charging a toll for frequent travelers.” Thankfully, Insidious: Out of the Further has a surprisingly good answer: keep digging deeper. What makes this sixth installment work so well is that, despite being movie number six, it somehow manages to make the mythology feel fresh rather than reheated. The connective tissue holding the whole haunted house together is, of course, Elise Rainier, the franchise’s spiritual Ghostbuster and the one character who has remained a constant presence throughout this increasingly complicated journey into the supernatural. Elise gives the movie a welcome sense of history without making it feel like homework for anyone who hasn’t memorized every demon, door, hallway and astral projection from the previous films. But this time, the franchise introduces a new potential centerpiece: Gemma, a young woman with a particularly unfortunate supernatural gift. Gemma is a courier, meaning she has the ability to bring objects & people from The Further back into the real world. Because apparently crossing into a dimension populated by murderous spirits wasn’t already dangerous enough. Now she can bring souvenirs home. Naturally, the spirits of The Further are very interested in her. Gemma quickly becomes the prime target for the entities lurking beyond the threshold, giving the story a fresh heroine while also expanding the rules of the Insidious universe. Her ability creates a clever new wrinkle in the mythology and gives the film a reason to revisit The Further without simply pressing the franchise’s giant red “ENTER THE CREEPY HOUSE AGAIN” button. And waiting for her on the other side is the film’s big bad: Cyrus Lam, a former cult leader whose plans make your average supernatural haunting look positively quaint. Cyrus promises the malevolent spirits that have plagued the franchise a chance to finally cross over into our world and take it over. Basically, he’s organizing an Avengers level assembly of entities from across the franchise. And what a lineup. The Lipstick-Face Demon is back. Key Face returns. The Wheezing Demon is wheezing his way back into our nightmares. The Long-Haired Fiend is lurking where nobody wants him lurking. Doll Girl makes another creepy appearance. And naturally, leading this demonic super-team is the terrifying Bride in Black. The movie knows exactly why audiences keep coming back to Insidious, too: the jump scares. There are plenty of them, The film builds tension around its scares and understands that anticipation can sometimes be more terrifying than the actual payoff. The standout sequence is easily the pillow fort scene, where Gemma finds herself being pursued through what appears to be an endless tunnel of pillows by three acolytes of Cyrus Lam. It is bizarre, claustrophobic, creepy and wonderfully inventive. Yes, you read that correctly: a pillow fort becomes a nightmare dimension. Somehow, Insidious manages to turn something associated with childhood sleepovers into a full-blown supernatural death trap. That takes talent. And that’s ultimately why Insidious: Out of the Further works. It doesn’t simply attempt to recycle the scares of the previous movies. It takes the established mythology, pulls a few new strings, introduces a compelling new heroine and expands the universe in a way that feels like an actual continuation rather than another lap around the same haunted racetrack. There’s a real sense here that the franchise is building toward something bigger. Elise remains the heart of the mythology, but Gemma feels like the beginning of the next chapter. Her abilities open up plenty of possibilities for future stories. Insidious: Out of the Further is a fun, creepy, occasionally bonkers supernatural roller coaster that understands exactly what audiences love about this franchise while still giving them something new to chew on. It has memorable scares, returning demons, a larger mythology, a strong new heroine and enough creepy imagery to make you reconsider wandering into a dark hallway by yourself. It may be the sixth Insidious movie, but it certainly doesn’t feel like the sixth time the franchise has told the same story. The Further still has plenty of nightmares left in the basement, and if this is the direction the franchise is heading, I’m perfectly happy to keep going down there.Insidious: Out of the Further - Night of the Reaper
Slashing its way at us via the horror streaming service, Shudder, comes the 80s throwback slasher “Night of the Reaper.” Now I have said in the past I am kind of sick of these 80s throwbacks piggybacking off of Stranger Things that was piggybacking off of Spielberg, but honestly this film surprised me. The plot is standard slasher. A masked serial killer attacking women and teenage babysitters. But then the killer adds another wrinkle to their method. He films it and leaves the tapes around like a sick game for the authorities. To go into much more than that would be giving away too much of the story which is worth sitting through if nothing else for the plot twist at the end that serves up some bloody goodness. For some it might be predictable but I found it to be well acted, good gore scenes, and characters you actually like. Which for a slasher movie is always a plus. Night of the Reaper will have you guessing until the end and leave you gleefully satisfied. Hunt this one down on streaming!Night of the Reaper - The End of Oak Street
The dinosaurs may have ruled the prehistoric world, but in End of Oak Street, they finally meet their match: a selfish, thoroughly unlikeable girl boss played by Anne Hathaway. Ewan McGregor plays her hapless husband, a man so spineless and cowardly that the family dog should’ve just handed him its collar and leash and let him get on with it. The movie has gore, but it’s the kind of CGI gore that looks more Saturday-morning cartoon than stomach-churning. The dinosaurs fare slightly better, ranging from surprisingly decent to “Jesus, was this made by The Asylum?” territory. The biggest problem, though, is the story. It explains virtually nothing, apparently trusting that viewers will be so hypnotized by the mystery that they won’t notice there’s barely a story underneath it. Unfortunately, the mystery never becomes compelling enough to make you care. At barely over an hour, End of Oak Street feels less like a theatrical movie and more like a streaming title that accidentally wandered into the cinema wearing someone else’s pants. JJ Abrams and his Bad Robot crew seem to be digging through the recycling bin again, serving up another Twilight Zone stylized mystery that wants the nostalgic simplicity of the ’80s while simultaneously smacking the audience over the head with modern sensibilities. The result is a thin, underdeveloped dinosaur thriller that desperately needed a few more rewrites before anyone yelled, “Action!”The End of Oak Street
