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- Weapons
The summer comes to an end with a frightening film from director Zach Creggers, “Weapons.” The first two acts play out with an eerie, deliberate patience, showing the events from the perspective of each of the main characters. This choice turns even the smallest details—a half-glimpsed figure in a darkened room, the strange quiet of an empty classroom—into ominous puzzle pieces that only start to fit together once you’ve lived inside each character’s interconnected stories. By the time the film slides into its third act, all that slow-burn tension ignites into something far bloodier and more chaotic. What begins as an unsettling mystery about missing children in a small, isolated town explodes into an almost zombie-like gore fest—feral children, brutal close-quarters violence, and imagery that feels ripped straight from a nightmare. The shift is jarring, but in the best way. A well earned payoff to this horror film. The core premise—a witch stealing children from a small town—may not be groundbreaking in itself. We’ve seen variations on it in folklore and genre films for decades. But what Cregger brings to the table is a razor-sharp story structure that uses shifting perspectives and a steady ratcheting of tension to make the familiar feel frightening again. By the end, the film doesn’t just leave you with images that are hard to shake—it leaves you with the unsettling feeling that the evil in Weapons could just as easily be waiting at the edge of your own hometown. It’s a grim, haunting, and shockingly violent way to end the summer—exactly the kind of horror ride that lingers in your bones long after the credits roll.Weapons - Sketch
Angel Studios has pulled off something truly magical with Sketch, a film that’s equal parts heart, humor, and hand-drawn wonder. In an era where most “family films” feel like they’re just throwing candy at kids and hoping for the best or trying to force them to face the harshness of reality too soon, Sketch dares to tell a fantastical story without talking down to its audience. The result? A movie that resonates with children and adults on entirely different, yet equally powerful, levels. At its core, Sketch is the perfect summer family film—bright, spirited, and endlessly imaginative—but it never shies away from deeper emotional tones. The story follows a young girl who discovers that the creatures she doodles in her worn, spiral-bound notebook can leap into reality. But instead of just being a colorful gimmick, the film uses this premise to explore creativity, courage, and the bittersweet stages of loss. The way it handles grief is remarkably sincere—neither sugarcoated nor crushing—offering moments that are genuinely touching without feeling manipulative. Parents may find themselves reaching for tissues while their kids sit wide-eyed in wonder. The monster designs are an absolute triumph. They look as if they’ve literally leapt off a child’s notebook page, with every uneven crayon stroke, scribbled outline, and slightly mismatched color choice preserved. The effect is delightfully raw—these aren’t slick, studio-polished beasts; they carry the charm and personality of their young creator’s imagination. And when these creatures move, there’s an otherworldly bounce to them, as though they’re still half-made of paper and ink. It’s a style choice that’s not only visually stunning but also thematically perfect. The cast, too, is effortlessly likeable. The young lead radiates sincerity, balancing the excitement of discovery with moments of vulnerability that hit hard. The adult supporting characters feel grounded, each bringing a sense of warmth and authenticity that keeps the fantastical story rooted in something real. By the time the credits roll, Sketch leaves you with the same feeling as flipping back through an old childhood notebook—you remember the joy, the colors, and the way even your wildest ideas felt possible. It’s a rare feat: a movie that’s both a dazzling spectacle and an emotional hug, proving once again that the best family films respect their audience, no matter their age. Angel Studios didn’t just make another kids’ movie—they made a modern classic. If I were to sum it up in one line: Sketch is the kind of film you’ll want to watch with your kids, your parents, and maybe even your childhood self.Sketch - War of the Worlds
Amazon’s 2025 reimagining of “War of the Worlds” is the zoom call Apocalypse nobody asked for. If you’ve ever wondered what War of the Worlds would look like if it were made by a group of bored influencers during quarantine with a $14.99 VFX budget and a free Zoom trial, look no further. The movie stars rapper/actor Ice Cube, who—brace yourself—spends 95% of the runtime sitting in front of a laptop, squinting at the screen, and muttering into various chat windows. He “communicates with the outside world” entirely through text messages, Zoom calls, and, I kid you not, AOL-style chat rooms from the safety of his classified government owned command center. Since this was filmed during COVID-19, the actors never shared a set. And it shows. Every interaction feels like watching awkward online dating intros stitched together by a high school AV club. Ice Cube’s facial expressions range from “mildly annoyed at spam email” to “just realized his DoorDash order was wrong.” Meanwhile, the supporting cast overacts like they’re auditioning for a soap opera you’d find on Pluto TV at 3 a.m. I swear if I heard Ice Cube shout out “I got you” one more damn time I was going to make a drinking game out of it. The CGI is somewhat hidden through found footage like streams although sometimes it is exposed for exterior shots outside of Cube’s office building and when it is it looks like something from an old SyFy television movie. In the middle of this digital dumpster fire, a random character emerges as humanity’s savior: an Amazon delivery guy with an Amazon drone who just so happens to be the baby daddy of Ice Cube’s daughter. Yes, the fate of the planet comes down to a guy with a joystick who can apparently fly a Prime package drone like he’s Tom Cruise from Top Gun. Oh and why was this daring mission needed? Because at Cube’s government job thumb drives are forbidden. So in one of the most cringe product placement scenes of the year, Cube has to go on Amazon website order a drive to have it delivered to his building. Oh it gets better when Cube’s son is able to hack a military drone and have it clear the path of alien fighter ships so the Amazon package can deliver a thumb drive that can defeat the alien threat. Reportedly shot entirely in 2021, the film sat on a shelf for two years—probably because the studio was waiting for the public’s collective memory to fade. Unfortunately, someone decided 2025 was the year to unleash this onto streaming, cementing it as an instant contender for Worst Film of the Year. Despite all that it is a film you must see just to see how bad it is.War of the Worlds - Lilo & Stitch
Whereas the live action depiction of Lilo and Stitch doesn’t quite live up to its animated version, it does have its moments. However, it’s ultimately a hollow remake that misses the point of ohana in favor of “reality.” Family above all unless you have a chance to go to college and you can dump your sibling on someone else to take care of. However, despite changes to the story, the film does a good job bringing Stitch to life and the chemistry this little blue guy has with the young little actress playing Lilo, Maia Kealoha, is undeniably adorable. But the problem remains with these live action Disney remakes. They either play it safe and just do a shot for shot remake or the things they do change or tweak to their live action interpretations miss the mark. It’s no different with Lilo and Stitch.Lilo & Stitch - Doomed: The Untold Story of Roger Corman's the Fantastic Four
Doomed: The Untold Story of Roger Corman's the Fantastic Four - The Fantastic Four: First Steps
I DIDN’T HATE IT. Which for Marvel Studios nowdays is a pretty big victory. “Fantastic Four: First Steps” is a visually bold and thematically ambitious reset for Marvel’s First Family, embracing a stunning 1960s retro-futuristic aesthetic that sets it apart from the usual much maligned recent MCU films & television shows. The production design oozes personality—from the sleek/stylish corridors of the Baxter Building to the Kirby-esque cosmic grandeur of Galactus’ arrival. That aesthetic choice alone breathes fresh life into a franchise that has long struggled to find its cinematic identity. Where the film truly excels is in its special effects. The Thing is finally done justice, with rock textures and iconic brow of the Thing to his lumbering physicality that sells the tragedy of his transformation. Galactus, often mishandled past films, is realized here as a genuinely awe-inspiring cosmic force, straddling the line between godlike and terrifying. His scenes are among the most visually ambitious sequences the MCU has attempted since Avengers Infinity War. Like Superman (2025), First Steps drops us into an already established universe—but whereas Superman told us about its world through an opening crawl, Fantastic Four makes the better choice by showing us. We walk the halls of the Baxter Institute, watch Johnny blaze across city skylines, and see the team battle various adversaries fans will recognize from the comics. There’s a lived-in texture here that gives the film more weight than your average MCU origin story. However, that worldbuilding comes at a price. The film struggles under the weight of its ensemble. Characters like The Thing, whose inner turmoil over his monstrous form should be at the emotional core, are left undercooked. We see hints of Ben Grimm’s pain but not enough for it to resonate. Reed Richards, often touted as the smartest man in the room, is frustratingly passive. The film tells us he’s a genius, but we’re rarely shown it. His intellect feels like window dressing rather than a driving force in the narrative. The inclusion of a female Silver Surfer, Shalla-Bal, felt like an attempt to subvert expectations, but it ultimately falls flat. While the performance is fine, it lacks the emotional complexity and gravitas Norrin Radd brought in the comics. Shalla-Bal doesn’t have the cultural or fan cache to carry such a pivotal role, and her presence feels more like a marketing choice than a narrative one. Circling back to the Kirby influence, it’s firmly embedded in the film’s DNA. Eagle eye fans will even spot someone who might be a young Jack Kirby and Stan Lee working diligently in a comic book office in one of the scenes. Speaking of Easter eggs, at the start of the film you can also spot the original Roger Corman Fantastic Four cast in the sea of people thanking the superheroes. Despite its flaws, Fantastic Four: First Steps is a step in the right direction for the MCU. It doesn’t revolutionize the franchise or “save” it, but it doesn’t suck and one can argue creates interest for the upcoming “Avengers: Doomsday.” But next time, Marvel would do well to stop assuming we’ve been on this journey with this incarnation of the team already. The Fantastic Four are more than powers—they’re a family, next time they should spend more time on that.The Fantastic Four: First Steps - KPop Demon Hunters
I did not have on my bingo card for this year to love a Netflix anime about singing demon hunters but here we are. K-Pop Demon Hunters is an electrifying, genre-defying thrill ride that explodes off the screen with style, swagger, and supernatural charm. From the very first beat, the film’s soundtrack grabs you by the collar and drags you into a neon-drenched world where bubblegum pop meets blistering demon-slaying action. Like an episode of Buffy the vampire slayer with K-pop music. Let’s start with the music: it’s a pulsating, genre-blending tunes that will get stuck in your head. Think BTS-level hooks fused with hard-hitting EDM drops and vocal runs that feel both celestial and haunting. Every track is perfectly choreographed to the action sequences and emotionally charged moments. This isn’t just a movie with music — it’s a music-driven spectacle where each track feels essential to the story. But the real knockout? The animation. Gorgeous doesn’t even begin to cover it. Every frame is a carefully composed visual feast — a shimmering kaleidoscope of colors, fluid motion, and fine detail. The character designs are fierce and fashionable, the action sequences are colorful and beautiful. In the same spirit as Spider-Verse, K-Pop Demon Hunters doesn’t play by the rules — it remixes them. If Sailor Moon and BLACKPINK had a cinematic baby raised on anime and adrenaline, this would be it. Whether you come for the music, the visuals, or the morbid curiosity factor, one thing’s for sure: K-Pop Demon Hunters is a bold, stylish triumph that demands to be seen (and heard) loud.KPop Demon Hunters - Eddington
A24’s Eddington might just be the most daring film of the year—if not the most divisive. Directed with a stubborn refusal to flinch from controversy, director Ari Aster’s movie tackles the Covid era head-on, diving into the messy, conflicting narratives of lockdowns, mask mandates, and the broader cultural battles that tore people apart. Where most films still dance around the pandemic, Eddington charges in, unafraid to question the logic of the lockdowns, the performative side of mask culture, and the way movements like Black Lives Matter that was co-opted by bad actors more interested in chaos than justice. Vilifying the police and praising a criminal martyr. It’s not a comfortable watch, but that’s the point. The film’s greatest strength lies in its balance—refusing to paint one side as entirely right or wrong. It captures both the fear and desperation of those who clung to official narratives, as well as the frustration of those who saw the policies as overreach and manipulation. It’s rare to see a movie genuinely attempt to hold the middle ground while still calling out the absurdity of certain cultural flashpoints, and Eddington earns its points for that alone. Joaquin Phoenix and Pedro Pascal deliver powerhouse performances. Phoenix, in particular, vanishes into his role as a weary small town sheriff spiraling under the weight of conflicting truths. Pascal is equally magnetic, playing a character who’s morally ambiguous, a man caught between duty and rebellion but ultimately playing the system. Their chemistry is electric, grounding a story that could’ve easily become preachy. But then there’s that third act. Out of nowhere, Eddington shifts gears into what can only be described as an over-the-top, 80s-style action bloodbath. It’s jarring—buckets of blood, explosions, and brutal gun fights that feel like they wandered in from a different movie. While some will find it bold or darkly funny, others might see it as the film completely losing its mind. It’s a gamble that doesn’t entirely pay off, though it’s undeniably memorable. The film closes with an eerie allegory of Joe Biden, as Phoenix’s character—once sharp and defiant—becomes physically broken and mentally dulled, a hollow shell of his former self. It’s unsettling, almost cruel, but also strangely effective as commentary on leadership, decline, and the cost of power. Eddington is messy, controversial, and not always coherent, but it’s also one of the few films willing to take the full temperature of our current cultural hangover. A24 has released something that will be argued over for years—and for that alone, it’s worth seeing.Eddington - Happy Gilmore 2
I went into Happy Gilmore 2 with cautious optimism. The original Happy Gilmore is a cult classic — a perfect blend of Adam Sandler’s early unhinged charm and heartfelt underdog storytelling. So when this sequel teed up nearly three decades later, I braced myself for recycled gags and phoned-in performances. To my surprise, the first two-thirds of the movie are… actually kind of fun. The fact that I didn’t turn it off after the first 10 minutes should be enough of an achievement. Sandler for the last couple of years has churned out sloppy comedies filled with unfunny fart jokes. But with Gilmore 2 I actually found myself having a good time and it wasn’t just because the first one is one of my all time favorite films. Yes, it’s dumb. Yes, it’s mindless. But it’s also undeniably entertaining. The film leans into its absurdity in a way that feels self-aware, delivering just enough fresh energy to justify its existence. Watching Happy back on the green, dealing with a new generation of golfers and trying to stay relevant, is goofy but enjoyable. The pacing is brisk, the setups are just ridiculous enough to work, and the comedic rhythm mostly lands. It’s comfort food for fans of the original. A big part of that success lies with the new cast. John Daly, playing a fictionalized version of himself, is a delight — dry, unhelpful, and always ready with a biting one-liner. Bad Bunny as Oscar, the waiter turned caddie, steals every scene he’s in. And Happy’s four sons — played with surprising comedic timing and warmth — bring a fresh dynamic to the story. Honestly, if Sandler and co. had the guts, Happy’s Kids could easily be spun off into their own film. There’s enough chemistry and character there to carry the franchise forward. Unfortunately, the back third of Happy Gilmore 2 collapses under the weight of its worst instincts. It’s like Sandler gets nervous and retreats to the same tired playbook: shouty rants, gross-out gags, and bizarre detours that feel stuck in 2002. The movie starts throwing everything at the screen in the hope that something sticks — but most of it doesn’t. The comedy turns frantic and overstays its welcome, losing the surprising momentum it had built. Then there’s the nostalgia — or rather, the overuse of it. Flashbacks to the original film are peppered throughout, and by the climax we’re watching extended clips from Happy Gilmore as if the filmmakers forgot they’re supposed to be telling a new story. Cameos from old cast members feel obligatory rather than earned, and some are downright awkward, clearly there for applause breaks that never come. By the end, Happy Gilmore 2 feels less like a return to form and more like a reminder of how hard it is to recapture lightning in a bottle. Still, I’ll give it credit: it almost got there. For two-thirds of its runtime, I was grinning like an idiot, enjoying the ride. And for a legacy sequel in 2025, that’s more than I expected.Happy Gilmore 2 - I Know What You Did Last Summer
The 2025 reboot of I Know What You Did Last Summer is less a revival and more a cinematic autopsy—one performed with the grace of a dull meat cleaver and the vision of a boardroom exec clutching a 90s nostalgia checklist. While “Scream” has managed to evolve with clever self-awareness and thematic depth, Summer stumbles out of the fog like its infamous Fisherman—drenched, directionless, and reeking of desperation. This film is a text book lesson on how not to use nostalgia in a film series. Let’s start with the so-called “new blood.” The fresh cast of characters are as hollow and disposable as bait fish. Not one of them manages to generate even a flicker of intrigue or emotional investment. They cycle through tired slasher tropes with all the charisma of a damp dishrag, each more bland and uninspired than the last. The film leans on modern buzzwords and Gen Z aesthetics, but beneath the surface, there’s nothing but a soulless void where compelling personalities or actual stakes should be. So in that aspect it’s at least true to the original that also had brain dead leads led around by a poorly written script. And then there’s the twist—oh, the twist. In a laughably misguided attempt to inject shock value, the filmmakers wheel out Freddie Prinze Jr. as the killer in a third-act reveal that’s as cheap as it is insulting. The once-boyish heartthrob has apparently spent the past 25 years stewing in bitterness, now wielding a hook and spouting one-liners like a Dollar Store Ghostface. Worse still, the long-hyped “confrontation” between him and Jennifer Love Hewitt plays like a contractual obligation rather than a narrative climax. There’s no tension, no emotion—just two actors awkwardly trading exposition until the credits mercifully roll. And don’t even get me started on the Sarah Michelle Gellar cameo (albeit in a dream because her character died in the first film) that feels so left field and out of place. But at least her charm brought some life to this slogging film. Creatively, the film is bankrupt. The atmosphere is neutered, the kills unimaginative, and the script—if you can call it that—is a patchwork of recycled beats from better films. There’s no mystery, no suspense, and certainly no style. Even the iconic seaside setting feels sterile and lifeless, devoid of the haunting charm that once gave the franchise its edge. Ultimately, I Know What You Did Last Summer (2025) is a textbook case of a reboot that misunderstands its source, underestimates its audience, and overestimates its own relevance. Rather than reimagine or expand the story, it desecrates what little legacy the original had left—hook, line, and stinker.I Know What You Did Last Summer - MobLand
Paramount+’s Mob Land is an instant classic—an operatic bloodbath of betrayal, power, and vengeance that delivers the brutal poetry of The Godfather with the unflinching savagery of Game of Thrones. Season One is a masterclass in storytelling, led by a once-in-a-generation ensemble: Tom Hardy, Helen Mirren, Pierce Brosnan are as complex as they are vicious. What sets Mob Land apart is its refusal to romanticize the mafia. It strips the genre to the bone—family doesn’t just mean protection; it means pressure, paranoia, and punishment. The only thing scarier than the proverbial wolves at the gate are the ones already in your home. The violence in Mob Land isn’t gratuitous—it’s storytelling with teeth. It’s a show that forces you to look at the consequences. Every punch, every betrayal bleeds with meaning. If Game of Thrones had mobsters instead of dragons, this is what it would feel like. Mob Land: Season One is Shakespeare with silencers. A raw, operatic descent into the madness that fuels a ruthless crime family. Paramount+ has delivered a stone-cold modern classic.MobLand - Superman
James Gunn’s Superman is the cinematic breath of fresh air we didn’t know we needed—but absolutely deserve. After years of brooding, god-complex alien angst, this new take rockets in with a vibrant pulse, undeniable charm, and—most importantly—heart. Gone are the self indulgent, deconstruction of the superhero era at DC Studios. Some might call this immature or say the story is like it was written by a kid with ADHD. But this is the life of Superman. Colorful, bright, sometimes scary, but always hopeful. Let’s get this out of the way: Yes, some of the special effects are a little wonky. A few sequences feel like they could use one more render pass. Some of the cinematography will have your eyes rattling around in your head trying to keep up. But honestly? It doesn’t matter. What Superman may occasionally lack in polish, it more than makes up for in spirit, sincerity, and soul. Gunn clearly gets the source material. The comic book roots are honored, not just in visual style but in tone—optimistic without being naive, nostalgic without being cheesy. It’s a love letter to Superman’s history, written in bright blue ink and sealed with a red cape. Longtime comic book fans will spot the deep cuts and Easter eggs sprinkled throughout, while newcomers (especially kids and families) will be swept up in the timeless charm of the story. The Hall of Justice looks like it came right out of the Super Friends cartoon and eagle eye moviegoers will spot the mural inside the building honoring the Justice Society. And the little throwaway line about Clark’s hypno-glasses, finally someone brought those into live-action! The cast? Pitch perfect. The new Clark Kent played by David Corenswet is a revelation—awkward in glasses, commanding in a cape, and radiating genuine decency from frame one. Lois Lane played by Rachel Brosnahan is fearless and magnetic, bringing sharp wit and emotional grounding. And let’s talk about Krypto. This superdog steals scenes. Gunn wisely gives him both comedic beats and heroic moments, making Krypto a fan favorite destined for plushies and spinoffs. Some might say he is overused but I think he was used just enough without completely taking over the film. Nicholas Hoult’s Lex Luthor is a driven and envious mad man that has a lot of potential moving forward in this new iteration of the DC Universe. The Justice Gang (yes they are really called that) led by Green Lantern Guy Gardner played by fan favorite Nathan Fillion is hilarious, but it’s Edi Gathegi’s Mr Terrific that has some of the most impressive moments in the film. Hawkgirl played by Isabela Merced doesn’t get too much time to shine but she brings a youthful spunky exuberance to the role. The plot moves at breakneck speed, barely pausing for breath as it juggles alien invasions, Daily Planet drama, Justice Gang cameos, and Clark’s personal journey. At times, it’s dizzying—like being caught in a whirlwind of Saturday morning cartoons, silver age comics, and heartfelt monologues. But it works. There’s a warmth and sincerity baked into every chaotic beat that makes it all land. Of course, this Superman is a noticeable pivot from the Snyderverse. Gone is the brooding, burdened demigod. In his place stands a hopeful, grounded hero who believes in the best of us. It’s a bit jarring at first—like stepping out of the shadow into the sun—but it’s also invigorating. This is the Superman this generation needs: bright, bold, and unafraid to smile. It’s established early on that this is still a young Superman trying to find his way but the world has been aware of meta humans or superheroes for over 300 years. It’s a quick revelation at the start of the film that let’s everyone know despite Clark being an alien he’s far from being the first Super person the world has been exposed to. The thing that sets Superman apart from other jaded heroes is his what some would call nativity to believe in the goodness of his fellow man, even those trying to kill him. In a world of antiheroes, loud mouths, and self serving social media keyboard warriors, Superman just wants to do good, be kind, and help without craving spotlight or reward. In a cinematic landscape crowded with antiheroes and grimdark reboots, James Gunn’s Superman flies higher by daring to believe. It’s a story for fans, families, and anyone who ever dreamed of a better tomorrow. And it reminds us that the ‘S’ on his chest doesn’t stand for Snyder… it stands for hope.Superman - Squid Game • Season 3
After two seasons of nail-biting tension, grim morality plays, and candy-colored carnage, Squid Game Season 3 returns to the arena with bigger stakes, deadlier games, and a shocking finale that may changes the course of the franchise. Season 3 of Squid Game features several new and intense games, including a deadly hide-and-seek variant called "Keys and Knives," a "Sky Squid Game" involving a dangerous tower climb, and a game where players must navigate a maze using keys and knives. The season also includes a game called "Mingle," where players form groups based on an announced number, and a brutal "Six-Legged Pentathlon" with teams of five. And least we forget the deadly game of jump rope that was brutal! The cameo at the end is interesting. Famous American actress, Cate Blanchet, is seen in a suit playing batchi in an alley with a down on his luck transient. The Front Man looks on as the west’s version of The Suit Man or in this case, The Suit Person, looks to sucker a down on their luck individual to join a new Squid Game. Unfortunately, while the games are more elaborate, the emotional stakes feel a bit… recycled. Many of the new contestants lack the depth and complexity of Season 1’s ensemble. There’s also a creeping sense of déjà vu. The themes of inequality, desperation, and voyeurism are still central, but they don’t hit as hard the third time around — especially when delivered by characters who feel like echoes of better-drawn ones from past seasons. Squid Game Season 3 delivers on the carnage, tension, and sleek horror we’ve come to expect — and the games are more twisted and cinematic than ever. The shocking finale and surprise cameo will leave fans buzzing, especially with the promise of a transcontinental twist. But while the visuals are elevated, the soul of the show — its characters — feels thinner this time. Even with the shocking ending of one particular character (if you know you know) that’s earned but felt like there could have been more story with them in a potential spin-off. Overall it’s a good series finale but I don’t know if I’d say it was great compared to previous seasons.Squid Game • Season 3 - Spookies
If you’ve ever wanted to watch a haunted house movie that feels like someone shoved Evil Dead, Return of the Living Dead, and Labyrinth into a blender, Spookies is your film. It’s a cult film in every sense of the world. So bad it’s good and somewhat review proof because of it. Spookies is a narrative disaster. The plot—if you can call it that—follows a group of people who stumble into a spooky mansion and get picked off by an plethora of supernatural creatures. But thanks to a chaotic production history (two different filmmaking teams stitched together two different movies), the film plays like a stitched together mess of duct tape and confusion. Then there are the special effects—cheap, rubbery, occasionally impressive but mostly laughable. Animatronic creatures, demon brides, grim reapers, farting zombies, and an evil sorcerer who looks like your uncle dressed up for a community theater role in The Hobbit. It’s bargain-bin horror at its finest, but there’s so much love in the craft that you can’t help but admire the effort. The cast? Not much to speak of considering they all fall into the horror tropes you would expect from a 1980s horror film and you’d be hard pressed to remember their names but you will admire the bad acting and horrible but hilarious dialogue. But here’s the thing: despite all its flaws—and maybe even because of them—Spookies is undeniably entertaining. It’s the cinematic equivalent of a broken down haunted funhouse at the fair built by enthusiastic amateurs with leftover Halloween decorations and way too much Red Bull. The movie never slows down, throwing creature after creature at you like a fever dream on VHS. Over the years, this accidental mess of a movie has found a devoted fanbase. Horror lovers, midnight movie maniacs, and anyone with a soft spot for practical effects and ‘80s absurdity have embraced Spookies for what it is: a weird, wild, and wildly imperfect gem that succeeds on charm where it fails in coherence. It’s a cult classic for a reason and therefore can’t be judged too harshly but can be admired the same way we fondly remember Troll 2 and Ghoulies.Spookies - F1: The Movie
From the moment F1 roars onto the screen, it’s clear you’re in the hands of a director who understands not only the high-octane world of racing but the human heart beneath the helmet. Joseph Kosinski (Top Gun: Maverick) delivers a sleek, thunderous, and emotionally charged film that fires on all cylinders, leaving you breathless in the best way possible. Brad Pitt is magnetic as veteran driver Sonny Hayes, a grizzled F1 legend haunted by missed chances and past glory, now taking one final shot at redemption. It’s a performance that hums with quiet intensity and charisma. Pitt doesn’t just play a racer—he becomes one. The way he navigates both the track and the harsh reality of his fading career is nothing short of extraordinary. It’s a role that reminds us exactly why Pitt remains one of the best leading men left in the business. But what truly elevates F1 is Kosinski’s direction and Claudio Miranda’s cinematography, which are nothing less than jaw-dropping. The camera doesn’t just observe the races—it dives into them. Fraser’s lens places you in the cockpit with Pitt, the camera vibrating with velocity, the blur of the crowd and the screech of rubber on asphalt pulling you into the experience. The story itself hits every note of a great sports saga. It’s the ultimate underdog tale—not just about winning a race, but about reclaiming relevance, purpose, and dignity. The film’s young co-stars, including breakout talent Damson Idris, provide the perfect counterpoint to Pitt, adding layers of mentorship and rivalry. And then there’s the score—a blistering, adrenaline-soaked soundtrack crafted by Hans Zimmer, blending orchestral swells with synth-driven beats that echo the roar of engines and the pulse of determination. It’s emotional, and perfectly pitched for every twist and turn of the film. F1 isn’t just a racing movie—it’s a celebration of endurance, passion, and the unyielding human spirit. Whether you’re a die-hard motorsport junkie or not a fan at all, F1 will grab you by the collar, strap you in, and take you on one hell of a ride. Easily the best film of the year so far.F1: The Movie
