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  • Jason Goes to Hell: The Final Friday (1993)

    Jason Goes to Hell: The Final Friday (1993)

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    On a $5 million budget, Friday the 13th Part VIII: Jason Takes Manhattan grossed $14 million, making it a disappointment. Due to declining box office numbers, Paramount decided to sell the franchise rights to New Line Cinema. Sean Cunningham, who left the series after directing the original, came back to produce the first installment under New Line. Cunningham hired first-time filmmaker Adam Marcus to helm the project due to his love of the franchise. Marcus hired Jay Huguely to write the screenplay, but Cunningham, who was dissatisfied, brought in Dean Lorey to rewrite it. Despite giving the greenlight, New Line executive Michael De Luca hired Leslie Boam for further rewrites. Filming started in July 1992, though Cunningham reshot half the film after disagreeing with Marcus’ vision. After numerous reshoots and reedits, Jason Goes to Hell: The Final Friday hit theaters in August 1993.

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    Synopsis

    Jason Voorhees (Kane Hodder) chases a woman through the woods, only to be led into a trap. FBI SWAT members destroy Jason, and his remains are taken to the morgue, seemingly ending his reign of terror. However, demonic voices persuade the coroner (Richard Gant) to eat Jason’s heart, allowing his soul to possess him. As Jason continues his bloody rampage, local bounty hunter Creighton Duke (Steven Williams) is tracking him down. He tries recruiting a waitress named Diana Kimble (Erin Gray), claiming she’s the only one who can stop Jason. Unfortunately, Jason kills her, and her murder is pinned on her daughter’s ex, Steven Freeman (John D. LeMay). In prison, Duke tells Steven that Diana was Jason’s half-sister, and only her daughter, Jessica (Kari Keegan), can defeat him. Will Jason’s reign of terror continue anew, or will this be where Jason Goes to Hell?

     

    Review

    Perhaps more than any other film in the franchise, Jason Goes to Hell: The Final Friday divided the fanbase. People either love this movie and consider it among the best, or they wish death on Adam Marcus. I’m in the middle; for me, it doesn’t top The Final Chapter or Jason Lives, but it has its moments. Before I get into my issues with the film, I want to highlight what worked for me. For starters, the opening sequence is a fun spoof of the series tropes, and seeing Jason get decimated is entertaining. Steven Williams steals the show as badass bounty hunter Creighton Duke, delivering some great lines with a suave charm. John D. LeMay does a great job as the unlikely hero who rises up to the occasion. Also, this film has some great gore, including wrist snapping, a girl cut in half, and a jaw caved in.

    While I applaud Adam Marcus’s attempts to add mythology to the series, I think it’s largely unnecessary. Does Jason being a deadite from The Evil Dead really add anything new that makes him scarier? Why does a relative of Jason’s have to be the one to bring him down finally? Also, having Jason’s essence be manifested as a parasite that infects people makes no sense. It feels like Adam Marcus tried to apply logic to the series to appease fans who were obsessed with continuity. The franchise never had the most consistent continuity, but these weren’t meant to be anything more than just fun slashers. Plus, the “Goes to Hell” monikor is only partially true since Jason goes to hell, but not until the end. Granted, this movie was only supposed to set up Freddy vs. Jason, but that wouldn’t happen for another 10 years.

    However, as much as I complain about the nonsensical plot, it’s so bonkers that I enjoy it. So much new stuff is needlessly added in that it becomes more hilarious than infuriating after a while. Also, it’s a shame that Jason appears so little here because his look in this movie is among his best. Another positive I can give this movie is that the humor is, for the most part, on point. From the tabloid news station to the diner taking advantage of Jason’s demise, it’s entertainingly dark humor. At only slightly under 90 minutes, the movie moves at a decent pace, so it never feels like it’s dragging. While I don’t think Adam Marcus deserves all the hate he’s received, he may have tried too hard here. Overall, Jason Goes to Hell: The Final Friday certainly tries, but it doesn’t quite stick the landing.

     

    Buy Jason Goes to Hell: The Final Friday from Amazon: https://amzn.to/46ztNYj.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Jason Goes to Hell: The Final Friday (1993)

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  • Send Help (2026)

    Send Help (2026)

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    In late 2019, Columbia Pictures announced they would be producing a new movie with frequent collaborator Sam Raimi. Written by Mark Swift and Damian Shannon, of Freddy vs. Jason fame, the film eventually landed at 20th Century Studios. For the lead role, Raimi cast Rachel McAdams, with whom he worked on Doctor Strange in the Multiverse of Madness. Opposite her would be Dylan O’Brien, who starred in the Maze Runner trilogy and provided the voice of Bumblebee. With a relatively low $40 million budget, filming started in February 2024 in Los Angeles, Sydney, and Thailand. Raimi recruited three of his most frequent collaborators: cinematographer Bill Pope, editor Bob Murawski, and composer Danny Elfman. Despite some disagreements between Raimi and O’Brien, filming wrapped in April 2024, two years before its release. After premiering at Grauman’s Chinese Theater, Send Help opened in theaters in January 2026.

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    Synopsis

    Having worked as a corporate strategist for years, Linda Liddle (Rachel McAdams) is anticipating a promotion. Her former boss promised her a VP position once his son, Bradley Preston (Dylan O’Brien), took over as CEO. Unfortunately, Bradley gave the role to one of his golfing buddies and plans to demote her to a low-level position. Linda confronts him, and he begrudgingly has her accompany him on a flight to Bangkok to finalize a company merger. Unfortunately, the plane suffers an engine discharge and crashes, killing everyone onboard except Linda and Bradley. While Bradley’s stuck with a bad leg, Linda has masterful survival skills and sets up a shelter and supplies. Now, Linda’s in charge and Bradley has to do what she says, much to his chagrin. Can they work together to survive, or will they tear at each other’s throats before anyone can send help?

     

    Review

    January is typically seen as a dumping ground for movies studios have no faith in. Knowing that, it’s remarkable just how good Send Help is, and it makes you wonder why it wasn’t released sooner. Raimi hasn’t directed a proper horror film since 2009’s Drag Me to Hell, which was almost 20 years ago. This film reminds us why he’s considered a master of horror, particularly in his sensibilities and filmmaking style. Granted, it takes a while for his style to come through, which could be intentional, reflecting the mundane office setting. But soon, you get his signature motifs: extreme close-ups, whip cuts, POV shots, cartoonish violence, and even Bruce Campbell. Still, these wouldn’t be possible without Pope and Murawski, who worked with Raimi on Darkman, his Spider-Man trilogy, and more. Also, Danny Elfman delivers another excellent score, blending playful and sinister elements.

    While there are several actors here, most of the focus is on Rachel McAdams and Dylan O’Brien. They both crush their roles: McAdams as the seemingly meek but strong Linda and O’Brien as the stereotypical jerky boss. Seeing them at odds with one another is fantastic, especially as the power dynamics switch between them. Many of us have a horrible boss we’ve wanted to see get their comeuppance, so watching this is cathartic. However, there comes a point in the film where you start to wonder if Linda’s actions are justified. Granted, the film doesn’t portray Bradley as sympathetic, but you wonder whether he deserves the hell he endures. The film is an excellent showcase of their talents, both their comedic timing and their physicality. Sure, the whole “eat the rich” theme is nothing new, but the way it’s done here is uniquely satisfying.

    As enjoyable as the movie is, some flaws keep it from being a modern classic on par with Raimi’s best. While there’s plenty of practical blood and gore, there’s some dodgy CGI that sticks out like a sore thumb. Also, there are so many obvious set-ups that you can see from a mile away. For instance, Linda warns Bradley not to go beyond a certain area because there are tons of poisonous plants. Once she mentions it, you think, “Gee, I wonder if someone’s going to go there despite being warned not to?” Without going into spoilers, the movie goes off the rails in the last 15 minutes or so. With a runtime slightly under two hours, parts of the film drag, but the pacing is still tight. Overall, despite its flaws, Send Help is a wonderfully deranged thriller with two great performances and plenty of Raimi’s flair.

     

    Send Help is in theaters.

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    Where to watch Send Help (2026)

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  • 28 Years Later: The Bone Temple (2026)

    28 Years Later: The Bone Temple (2026)

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    After years of development, the long-awaited 28 Years Later hit theaters in 2025 to critical and commercial success. The film grossed $151.3 million worldwide against a $60 million budget and made numerous “Best of” lists. Before its release, filmmaker Nia DaCosta entered negotiations to direct a sequel in 2024, with Alex Garland writing. While Garland and original director Danny Boyle oversaw production, they gave de DaCosta plenty of creative freedom. With a $63 million budget, principal photography started in August 2024, three weeks after the last film. Much of the cast from the last one returned, including Ralph Fiennes, Jack O’Connell, Alfie Williams, and Chi Lewis-Parry. Filming wrapped in late 2024, with its release scheduled for 2026, allowing the filmmakers extra time for post-production. In January 2026, Nia DaCosta’s follow-up, 28 Years Later: The Bone Temple, hit theaters worldwide.

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    Synopsis

    After being rescued by The Jimmys, Spike (Alfie Williams) gets initiated into the gang through a fight to the death. Meanwhile, Dr. Kelson (Ralph Fiennes) continues maintaining his bone temple while monitoring the local infected. He takes an interest in an alpha infected, whom he dubs Samson (Chi Lewis-Parry), due to his imposing figure. With help from a sedative, Kelson develops a friendship with Samson as he tries to bring out his humanity. Across the way, the Jimmys capture a small group of survivors under orders from Sir Lord Jimmy Crystal (Jack O’Connell). He and the others sacrifice the victims as part of a satanic ritual, much to Spike’s revulsion. Soon, The Jimmys find Dr. Kelson and believe he’s Satan because of his orange skin and his interactions with Samson. But what Kelson discovers through his friendship with Samson will change the course of history forever.

     

    Review

    While I enjoyed 28 Years Later, I thought some things held it back from being truly exceptional. The tone was inconsistent, some of the editing choices were odd, and the new lore seemed unnecessary. So, color me surprised that 28 Years Later: The Bone Temple somehow improves on the last movie. For the record, I didn’t dislike Danny Boyle’s return to the franchise, but I think it could’ve been better. While Boyle’s direction felt somewhat dated, Nia DaCosta’s more deliberate directing style feels fresh and exciting. She makes excellent use of wide-angle shots, natural lighting, and close-ups that allow the actors to emote more. It probably helps that, while the last movie used iPhone cameras, this one used an Arri Alexa 35 camera. Not saying that you need high-end equipment to make a good movie, but the difference is very noticeable.

    Just as in the last film, Alfie Williams gives an outstanding performance as Spike, bringing the same depth and emotion. You can see in his face how desperately he wants to escape, but knows he can’t because there’s nothing else. Just like in Sinners, Jack O’Connell is fantastic as the sadistic Sir Lord Jimmy Crystal, exuding charisma and terror. Ralph Fiennes is also superb as Dr. Kelson, and his scenes with Samson are among the highlights. Granted, the subplot more or less cribs off of Dr. Frankenstein and Bub’s relationship from Day of the Dead. Still, it’s done uniquely, and Samson’s regaining of humanity leads to some spectacular set pieces, particularly in a subway car. Also noteworthy is Erin Kellyman as Jimmy Ink, the only Jimmy who befriends Spike and disagrees with Jimmy Crystal’s methods. Everyone puts in a great performance, and I’m curious to see what they do next.

    Like any good horror film, this one dishes out plenty of gore, though it’s more disturbing than the last movie. You still get Samson ripping someone’s head off with the spine attached, ala Mortal Kombat, but it’s less cartoonish here. There’s also a horrific scene where people have their torsos skinned in a ritualistic manner by The Jimmys. While you only see the aftermath, it’s a grisly scene illustrating humanity’s fall in a post-apocalyptic world. The movie also makes excellent use of music, both the score by Oscar-winning Hildur Guðnadóttir and the licensed music. One memorable scene features a massive performance by Kelson, set to “The Number of the Beast” by Iron Maiden. At 109 minutes, the film moves at a decent pace, though there are some slow scenes that could’ve been trimmed. Overall, 28 Years Later: The Bone Temple surpasses the previous installment in almost every way.

     

    28 Years Later: The Bone Temple is in theaters.

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    Where to watch 28 Years Later: The Bone Temple (2026)

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  • FilmNerd’s Best and Worst Films of 2025

    FilmNerd’s Best and Worst Films of 2025

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    2025 has come and gone, and now we’re into 2026, which promises a lot for movie fans. Looney Tunes fans will finally get to see Coyote v. Acme after the studio tried to bury it. Millennials can expect legacy sequels to The Devil Wears Prada and Practical Magic, plus new Toy Story and Scream movies. Christopher Nolan’s latest epic, The Odyssey, will undoubtedly wow moviegoers, while Disney continues with their soul-sucking live-action remakes. But before we look ahead, let’s take a minute to see what 2025 had to offer. As with past lists, this is only my opinion, and your lists may differ from mine. Also, I didn’t see every movie last year, so if any aren’t there, that’s why. So, without further ado, these are what I consider to be the Best and Worst Films of 2025!

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    #10: The Day the Earth Blew Up: A Looney Tunes Movie

    Even if Warner Bros. doesn’t seem to care about them, The Looney Tunes are a pop culture staple. Despite underperforming at the box office, The Day the Earth Blew Up helped reintroduce the Looney Tunes to today’s audience. In a world dominated by 3D animated movies, this one shows that 2D animation still has its place. The artists here successfully captured the fluidity and anarchy of animators like Tex Avery, Bob Clampett, and Chuck Jones. While the plot is pretty predictable, and some of the gags don’t land, the movie succeeds more than it fails. Like the classic shorts, young and old alike can enjoy this wacky tale of friendship, overcoming obstacles, and chewing gum. If you missed it in theaters, give The Day the Earth Blew Up: A Looney Tunes Movie a watch. Ironically, while the old shorts are unavailable, you can still watch the movie on HBO Max.

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    #9: Superman

    Despite its few bright spots, the DC Extended Universe was mainly a failure of unrealized expectations and below-average quality. When the news broke that James Gunn would reboot the universe, audiences weren’t sure whether he could pull it off. Thankfully, his Superman proved that he is more than capable of succeeding where Zach Snyder couldn’t. While Man of Steel was a bleak, desaturated mess that did Superman a disservice, Gunn’s movie was hopeful and fun. David Corenswet and Nicholas Hoult fit their roles as Superman and Lex Luthor perfectly, with the supporting cast also excelling. The action is excellent, the humor is mostly on-point, and the film leaves you with a sense of hope. Though I generally think a “cinematic universe” has been done to death, Gunn’s movie shows tons of promise. But whatever the future holds, we can safely say James Gunn delivered a quality Superman movie.

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    #8: One Battle After Another

    Paul Thomas Anderson is a filmmaker who’s consistently delivered high-quality work, including Boogie Nights and Punch-Drunk Love. One Battle After Another is another solid effort, even if it takes some time to get going. Once it gets going, the action keeps going, from intense gunfights to some of the best car chases ever filmed. Heavy hitters like DiCaprio, Penn, and Del Toro deliver great performances, while relative newcomer Chase Infinity shows tons of promise. Not only is this film a great action-thriller, but it also has a satirical edge that doesn’t feel condescending. The movie pokes fun at political issues and modern societal norms in a refreshingly honest way. Admittedly, the film takes a while to find its footing, but once it does, you start to understand its message. While it’s not as good as others say, it still earns a spot among 2025’s best films.

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    #7: KPop Demon Hunters

    I have to give a major shoutout to Patreon supporter BodaciousLab for requesting that I review this movie. If not for him, I probably wouldn’t have watched KPop Demon Hunters, let alone reviewed it for my site. Going into this movie, I didn’t know what to expect, so color me shocked when I ended up enjoying it. The animation is stunningly fluid and stylish, brimming with color and high energy without feeling overwhelming. Additionally, the characters feel strong but flawed, which is refreshing in a world of “girl boss” stereotypes. Each of the girls has their own personality that makes them distinguishable and memorable rather than acting like cardboard cutouts. The action is exciting, the songs are catchy, and the film explores themes anyone can relate to. Regardless of age, race, gender, or societal standing, you’ll find something here that you’ll enjoy.

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    #6: The Fantastic Four: First Steps

    For the past few decades, The Fantastic Four have never had an excellent or even good movie made about them. While the unreleased 1994 film tried, neither it nor the 2005 or 2015 movies managed to capture the characters successfully. After years of disappointment, The Fantastic Four: First Steps comes along and gives the characters the justice they deserved. Each of the four leading actors delivers an exceptional performance and has excellent chemistry with the others. Additionally, Julie Garner and Ralph Ineson make for exceptional villains, making them feel three-dimensional and threatening. The 1960s aesthetic fits the film perfectly, making the world feel unique and lived-in rather than just window dressing. Unlike past MCU movies, this one dials back on the humor and CG-infested fights in favor of greater storytelling. No matter what the future holds for the MCU, they at least got Marvel’s first family right.

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    #5: Bugonia

    Yorgos Lanthimos is another filmmaker who I feel always delivers quality cinema, from The Favourite to Poor Things. 2025’s Bugonia, which also stars Emma Stone, is no exception, giving us the absurdist satire he’s known for. Stone delivers another exceptional performance, and Jesse Plemons also works great, but huge props go to newcomer Aidan Delbis. Like Chase Infiniti, he shows a lot of promise for his first film, and I’m excited for his next project. The movie not only works as a satirical piece on conspiracy theorists but also as a deconstruction of humanity. The fact that so many otherwise insignificant scenes are made to look larger than life contributes to the satire. Though labeled as a comedy, the movie is more cynical than laugh-out-loud funny, so your mileage may vary. However, if you liked Lanthimos’ other works, you’ll no doubt enjoy this.

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    #4: Frankenstein

    I don’t think I’m saying anything new when I say that Guillermo del Toro is a master filmmaker. Every single one of his movies has more heart, soul, and creativity put into them than most Hollywood blockbusters. His adaptation of Mary Shelley’s Frankenstein is no exception, delivering the same gothic look and grand scale he’s known for. From Tamara Deverell’s excellent production design to Dan Laustsen’s brilliant cinematography, this film looks beautiful. Additionally, the performances across the board are outstanding, especially from Oscar Isaac, Mia Goth, Christoph Waltz, and Jacob Elordi. The way the film tells the Frankenstein story is also unique, splitting it between the doctor’s and the monster’s perspectives. Despite some dodgy CGI and a slow pace, this is an expertly crafted film from a highly celebrated filmmaker. Even at two and a half hours long, this is a monster movie that you shouldn’t miss.

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    #3: Weapons

    Zach Cregger exploded on the scene with 2022’s surprise hit, Barbarian, and he continues to prove his talents with Weapons. He takes a simple concept and crafts a compelling horror-thriller that takes you to unexpected places. What could’ve been a simple missing children story turns into a conspiracy involving town secrets, hidden deception, and even witchcraft. Julia Garner and Josh Brolin deliver some exceptional performances, and Amy Madigan deserves all the praise she gets. Like the best horror films, this one builds suspense and tension effectively before providing a great payoff. Larkin Seiple’s cinematography, combined with the musical score by Cregger, Ryan Holladay, and Hays Holladay, adds a hauntingly eerie feeling. While the nonlinear storytelling and tonal shifts might be off-putting, that shouldn’t dissuade you from checking it out. Fingers crossed that Zach Cregger will be able to deliver on that Resident Evil movie he’s working on.

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    #2: Warfare

    Like last year, this film and the next one were fighting neck-and-neck for the #1 spot. Even though Warfare is at #2, that doesn’t mean it’s any less of a film. Much like Platoon or Saving Private Ryan, this is the closest a movie has come to accurately depicting wartime combat. However, what sets this film apart is how the filmmakers put you right in the middle of the action. You genuinely feel like you’re with the soldiers holed up in this house, fighting for their lives against insurmountable odds. It probably shouldn’t come as a shock, considering that the director, Ray Mendoza, served in SEAL Team 5. From the camerawork to the editing, everything feels chaotic and frenetic, just like in an actual war. Combined with some great performances, Warfare is a reminder of how war can change a person forever.

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    #1: Sinners

    I don’t claim to be a fortune teller, but I knew Sinners would be great once I saw the trailer. However, what I couldn’t have seen was that the movie would blow my expectations out of the water. The film is an excellent spin on the vampire story, making them the ones in power rather than the outsiders. Thankfully, it never feels like the filmmakers are more concerned with delivering a message than making a good movie. Ryan Coogler understands how to tell a good story with a message baked in, and he does it here. The performances are excellent, the music is phenomenal, the suspense is on point, and it’s a blast to watch. The fact that my only complaint is that some scenes could’ve been trimmed speaks volumes about the film’s quality. With all of that said, Sinners rightfully earns its place as my favorite film of 2025.

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  • Invasion U.S.A. (1985)

    Invasion U.S.A. (1985)

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    After the box office success of 1984’s Mission in Action, Cannon Films offered Chuck Norris a six-picture deal. For the first film in this contract, Norris got inspiration from a Reader’s Digest article about terrorists hiding in America. Norris hired James Bruner, who previously wrote Missing in Action and An Eye for an Eye, to helm the screenplay. Since he directed Missing in Action for Cannon, Joseph Zito of Friday the 13th: The Final Chapter fame returned here. With a $12 million budget, filming took place across Florida and Georgia for 10 weeks. Zito, Bruner, and Norris agreed that the film should be big, so they aimed to stage some elaborate action sequences. For example, they got permission from Hartsfield–Jackson Atlanta International Airport to blow up real houses scheduled for demolition. After a grueling shoot and numerous reedits, Invasion U.S.A. exploded onto screens in September 1985.

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    Synopsis

    Retired CIA agent Matt Hunter (Chuck Norris) is enjoying a quiet life in Florida when he’s called back into duty. His old rival, Soviet operative Mikal Rostov (Richard Lynch), is launching a massive invasion of America to destabilize the country. Rostov and his goons destroy a suburban neighborhood, kill several Cuban immigrants, and plant a bomb at a crowded mall. The hope is that these acts of terrorism cause mass hysteria and destroy the country from within. After nearly surviving an attempted assassination, Hunter agrees to stop the invasion and settle his score with Rostov. Along the way, nosy reporter Dahlia McGuire (Melissa Prophet) follows Hunter to try to break the story wide open. As Hunter thwarts his attempts, Rostov becomes more infuriated to the point where his desire for vengeance derails everything. It all builds to an explosive climax as Hunter and Rostov confront each other one last time.

     

    Review

    Invasion U.S.A. is precisely what you’d expect from a Cannon action movie: explosive, chaotic, and over-the-top. Even with just a $12 million budget, Cannon spared no expense in delivering some massive action set pieces. From wreaking havoc in a working mall to getting access to military personnel and equipment, it’s absolutely wild. While a movie like this wouldn’t ever appear at the Oscars, let alone earn a nomination, that doesn’t matter. You expect to see explosions, gun battles, fight scenes, and one-liners delivered with a sly smirk. Chuck Norris, along with Charles Bronson, was Cannon’s go-to action star, and it’s easy to see why. His fighting prowess, together with his rugged looks and quiet charm, made him a force to be reckoned with. Even if his performance was one-note, he struck that one note with gusto.

    Every good action movie hero needs a strong villain, and Richard Lynch’s Rostov is a perfect foil. Lynch plays the part with a cold intensity that makes him chilling and easy to root for his downfall. Admittedly, it does come off as silly when Rostov gets so flustered over Hunter that it takes over his headspace. Still, his blowing up suburban homes and plotting to blow up a church make his demise even more satisfying. Speaking of memorable villains, character actor Billy Drago stands out in his brief part as a drug dealer. Melissa Prophet, on the other hand, feels wasted as an independent reporter who comes and goes throughout the movie. Granted, much of her role was trimmed for more Chuck Norris action, so it’s hard to criticize her performance. Still, you get the sense that there was more planned for her that we’ll never see.

    On that note, while this movie is all about significant action and massive stunts, that doesn’t mean it’s flawless. For one, the pacing feels more episodic, each scene going from one action sequence to another without much in between. Much of this pacing could be chalked up to Cannon Films demanding numerous reedits to focus more screentime on action. Still, Joe Zito is a competent director and does a great job staging massive set pieces while injecting some horror. Adding to the bombastic tone is the score by Jay Chattaway, which gets the blood pumping early on. At slightly under two hours, the film gets in and out without any unnecessary filler, though without meaningful characterization. If you want something insightful, this isn’t for you, but if you want action, you can’t go wrong with this. Overall, Invasion U.S.A. is peak Cannon: explosive, ridiculous, and fun.

     

    Buy Invasion U.S.A. from Amazon: https://amzn.to/4pmVHh6.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Invasion U.S.A. (1985)

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  • What Ever Happened to Baby Jane? (1962)

    What Ever Happened to Baby Jane? (1962)

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    In 1960, Henry Farrell’s novel, What Ever Happened to Baby Jane?, was published by Rinehart & Company. Just a few weeks later, producer Richard Rush tried to acquire the film rights, but without success. Instead, the rights went to producer/director Robert Aldrich, who secured financing through Seven Arts Productions and Warner Bros. For the leads, the studio hired veteran actresses Bette Davis and Joan Crawford, both of whom wanted to work together. Filming began in July 1962 on an initial budget of $600,000, which quickly rose to slightly over $1 million. Rumors began circulating of an intense feud between Davis and Crawford, despite their denials of one in interviews. Still, the general public knew of their mutual hatred, which the studio played up for marketing purposes. Despite these issues, What Ever Happened to Baby Jane? premiered in Cincinnati in October 1962 before moving across the country.

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    Synopsis

    As children, “Baby Jane” Hudson (Julie Allred) was a big star, while her sister, Blanche (Gina Gillespie), was sidelined. However, as they get older, Jane begins to lose relevance and succumbs to alcoholism, while Blanche rises to stardom. Unfortunately, things come crumbling down when Blanche gets into a car accident that leaves her paralyzed. Years later, Blanche (Joan Crawford), now in a wheelchair, lives in a mansion with Jane (Bette Davis) tending to her. Now that they’ve reversed roles again, Jane asserts her dominance over Blanche and constantly abuses and gaslights her. Jane tries to reclaim her fame by hiring pianist, Edwin Flagg (Victor Buono), while Blanche desperately cries out for help. After learning that Blanche plans to sell the house, Jane restrains and locks her away while going about her day. Will Jane manage to reclaim her former stardom, or will her innumerable crimes come to a head?

     

    Review

    Upon its initial release, What Ever Happened to Baby Jane? received mixed reviews from critics. However, over the years, people have recognized that the film is more nuanced and brilliant than was initially thought. The movie explores themes of jealousy, mental illness, rivalry, delusion, and wanting to cling to the past. Sure, nothing presented here is subtle in the slightest, but the lack of subtlety makes the film much more powerful. Given when this movie came out, it was pretty progressive in its portrayal of how Hollywood discards women over time. Especially back then, actresses would lose work because of their age or because people thought they were irrelevant. This film shows what happens when someone who was once famous loses her star power and spirals into depression. Plus, the movie also shows how their decline can affect those close to them, including family and friends.

    It goes without saying that Bette Davis earned her Oscar nomination for her portrayal of “Baby” Jane Hudson. From her exaggerated makeup to the worn-out dresses she wears, she’s trying desperately to cling to her childhood fame. That said, the movie shows that underneath the frilly dresses and cutesy songs, Jane is cruel, mean-spirited, and bellicose. She acts like a spoiled child who never grew up, always needing to get her way despite what others say. By contrast, Joan Crawford gives a quiet, restrained performance as Blanche, a once-famous actress who uses a wheelchair. While Jane lost her stardom due to irrelevance, Blanche had hers taken away, which makes her more sympathetic. Seeing Davis and Crawford together makes the film more thrilling and tense, especially knowing their real-life rivalry. Also, the ending is brilliant in how it makes you question the dynamic between the two sisters.

    Aside from Davis and Crawford, another standout is Victor Buono as the outsider dragged into the madness. He acts as the audience surrogate, witnessing the chaos and reacting as anyone would, but with a sardonic attitude. Robert Aldrich’s direction, though minimal, adds to the feeling of claustrophobia through his use of tight angles and long shots. The black-and-white photography heightens the sense of dread, making even something as pleasant as a beach feel eerie. Granted, many of these creative choices, including a few locations, were limited by budget, yet still work. At just slightly over two hours, a few parts drag, but it’s never dull or feels like padding. While some moments might come off as campy, the film as a whole is both frightening and tragic. Overall, What Ever Happened to Baby Jane? is a classic psychological thriller bolstered by two incredible performances.

     

    Buy What Ever Happened to Baby Jane? from Amazon: https://amzn.to/4rW69hU.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch What Ever Happened to Baby Jane? (1962)

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  • Wake Up Dead Man: A Knives Out Mystery (2025)

    Wake Up Dead Man: A Knives Out Mystery (2025)

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    As mentioned in my Glass Onion review, Netflix purchased the rights to produce two sequels to Knives Out. Thankfully, the first sequel received similar critical acclaim and netted Rian Johnson another Oscar nomination for Best Adapted Screenplay. For the next installment, Johnson again drew inspiration from Agatha Christie, plus Edgar Allen Poe and John Dickson Carr. He also drew on his own experiences of being raised in Evangelism, though he chose to focus on Catholicism. Along with the returning Daniel Craig, the cast included Josh O’Connor, Josh Brolin, Glenn Close, Cailee Spaeny, and Andrew Scott. Jeremy Renner also joined the cast, making this his first feature role since his near-fatal accident in 2023. Filming began in early 2024 around London, with additional filming in New York later that year. After premiering at the Toronto International Film Festival, Wake Up Dead Man: A Knives Out Mystery opened in late 2025.

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    Synopsis

    After punching out a deacon, former boxer-turned-priest Rev. Jud Duplenticy (Josh O’Connor) gets reassigned to upstate New York. He goes to Our Lady of Perpetual Fortune, run by Msgr. Jefferson Wicks (Josh Brolin), who preaches gloom and doom. During a Good Friday service, Hicks unexpectedly dies from a backstabbing, making Jud a prime suspect. To help with the investigation, police chief Geraldine Scott (Mila Kunis) hires world-renowned detective Benoit Blanc (Daniel Craig). Other suspects include Wicks’ assistant, Martha Delacroix (Glenn Close), Dr. Nat Sharp (Jeremy Renner), and lawyer Vera Draven (Kerry Washington). There’s also author Lee Ross (Andrew Scott), cellist Simone Vivane (Cailee Spaeny), and groundskeeper Samson Holt (Thomas Haden Church). As the investigation continues, more is learned about the church’s history and how Wicks’ family ties into it. Just who is responsible for Wicks’ death, and is Jud guilty, or is there something more going on?

     

    Review

    Compared to the last installment, Wake Up Dead Man is a marked improvement in many ways. For one, the pacing is much better, sprinkling in the flashbacks rather than derailing halfway through, as before. The flashbacks feel more woven into the narrative and help slowly reveal more information as the film goes on. Also, while the bright, tropical style of Glass Onion was nice, I prefer the darker edge of this installment. From the church’s Gothic architecture to its minimal lighting, there’s a macabre mood that draws you deeper into the mystery. Interestingly, Rian Johnson claims to have drawn inspiration from Francis Ford Coppola’s Dracula, which makes sense. Both movies have a strikingly dark vibe in their production design and cinematography, which lend themselves well to the material. Admittedly, this is more subjective than objective, so your mileage may vary based on your tastes.

    As with the previous two installments, Daniel Craig turns in another stellar performance as Benoit Blanc. Interestingly, we see a different side of Blanc, one that questions his faith and doubts his methods. Alongside him, Josh O’Connor excels as a priest torn between his violent past and his desire to do good. Cailee Spaeny, who shone in last year’s Civil War and Alien: Romulus, once again delivers as a broken cellist. Josh Brolin works as an incendiary priest, and Glenn Close shines as Wicks’s sycophantic assistant, giving an all-star performance. Washington delivers a subtle charm, Renner and Scott are entertaining, and Church makes the most of his limited screentime. Speaking of, Jeffrey Wright steals his scenes as a quiet priest who’s unafraid to speak his mind, even if vulgar. Mila Kunis is good, if slightly out of place, in her role, and Noah Segen returns as a friendly bartender.

    Like Glass Onion, this film takes a satirical jab at aspects of today’s culture, including conspiracy theories and cancel culture. For instance, there’s a great gag about Lee Ross finding success but not with the audience he wanted. The movie also explores faith and religion, though it never feels like the filmmakers are condemning people for their beliefs. Instead, it’s more of a commentary about how some religious figures can use their power for nefarious purposes. For instance, while Jud tries to welcome people in, Wicks is content preaching fire and brimstone to drive them away. Admittedly, the film takes some leaps in logic to make the mystery work, but so do many other movies. Plus, at roughly two hours and twenty minutes, parts feel slow, but not enough to ruin the experience. Overall, Wake Up Dead Man: A Knives Out Mystery is another great mystery thriller worth investigating.

     

    Wake Up Dead Man: A Knives Out Mystery is in theaters.

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    Where to watch Wake Up Dead Man: A Knives Out Mystery (2025)

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  • Glass Onion: A Knives Out Mystery (2022)

    Glass Onion: A Knives Out Mystery (2022)

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    On a $40 million budget, Knives Out grossed over $312 million worldwide and earned universal critical praise. Daniel Craig and Ana de Armas earned Golden Globe nominations, while Rian Johnson got a Best Original Screenplay Oscar nomination. With its success, Lionsgate greenlit a sequel in 2020, but Netflix bought the rights in 2021 for $469 million. Johnson, his producing partner Ram Bergman, and Craig all returned to make two sequels for roughly $100 million. Aside from Craig, none of the original actors returned, as Johnson wanted a standalone sequel over a direct follow-up. Filming started in June 2021 on the Greek island of Spetses, with additional filming in Belgrade. The movie premiered at the Toronto International Film Festival in 2022, followed by screenings in London, Miami, and Los Angeles. Glass Onion: A Knives Out Story had a limited theatrical run in November before premiering on Netflix that December.

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    Synopsis

    Feeling isolated due to the pandemic, tech billionaire Miles Bron (Edward Norton) invites his friends, the “Disruptors”, to a party. There’s scientist Lionel Toussaint (Leslie Odom Jr.), governor Claire Debella (Kathryn Hahn), and model-turned-designer Birdie Jay (Kate Hudson). Along with her assistant, Peg (Jessica Henwick), there’s alpha male streamer Duke (Dave Bautista) and his girlfriend, Whiskey (Madelyn Cline). However, two guests arrive who complicate things: Miles’ ex-partner, Andi (Janelle Monáe), and renowned detective Benoit Blanc (Daniel Craig). Miles invites everyone to a murder mystery, which Blanc solves easily, but things escalate quickly as the night goes on. It turns out that everyone on the island has a motive to either keep Miles alive or have him killed. Soon, we learn that not everything is as it seems, or rather, people aren’t who they say they are. All of this and more will be revealed after peeling the Glass Onion.

     

    Review

    Knives Out was one of my favorite films of 2019, so I was excited about the follow-up, Glass Onion. While it’s not as good as the original, this is still a solid thriller with some comedy sprinkled in. For one, the cast is incredible, featuring some of the best actors in recent memory. Along with Craig, you’ve got Edward Norton, Kate Hudson, Leslie Odom Jr., Kathryn Hahn, Dave Bautista, and Janelle Monáe. Everyone gives a terrific performance, with Craig again taking charge as the enigmatic and eccentric Benoit Blanc. Norton fits the egotistical but clueless tech CEO perfectly, and Hudson is fun as the vapid socialite. Hahn and Odom Jr. work well as the voices of reason, and Bautista works as the blockheaded alt-right streamer. However, Monáe steals the show with her femme fatale performance and cold, conniving line deliveries. Also, Noah Segan is fun as the slacker Derol.

    Rian Johnson’s direction is once again on point, taking full advantage of the Greek island locales. He also makes excellent use of shadows, low lighting, and sweeping camera angles to elevate the atmosphere. This style is primarily thanks to Johnson’s frequent cinematographer, Steve Yedlin, who knows how to frame a shot expertly. Also, Rian’s cousin, Nathan Johnson, who scored his past few movies, returns to deliver another thrilling score. Like the last film, this does a great job of leaving just enough hints without giving away the entire mystery. It makes for a fun second viewing, looking back on certain moments and seeing how they tie into the revelations. Additionally, the movie is an entertaining satire of modern society, particularly cancel culture, privileged lifestyles, and egotistical CEOs. You could easily see comparisons between Miles Bron and people like Elon Musk, Mark Zuckerberg, and Jeff Bezos.

    However, while most of the movie works, several issues prevent it from matching its predecessor. The original sprinkled in flashbacks here and there to advance the story without feeling intrusive. But here, the movie stops dead about halfway through to deliver one extended flashback before catching back up. Not only does this wreck the film’s pacing, but so much information is thrown at you all at once. I’m not saying there’s anything wrong with nonlinear storytelling, but it needs to make sense in context to what’s happening. Also, while the ending is satisfying, it doesn’t feel like solving the mystery had anything to do with the resolution. Even if it doesn’t match the original’s quality, this remains a solid follow-up that mystery thriller fans will enjoy. Overall, Glass Onion: A Knives Out Mystery is an entertaining thriller that, while not perfect, still delivers where it counts.

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    Where to watch Glass Onion: A Knives Out Mystery (2022)

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  • Sisu: Road to Revenge (2025)

    Sisu: Road to Revenge (2025)

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    In a 2023 interview, filmmaker Jalmari Helander expressed interest in directing a sequel to Sisu if it were a hit. Thankfully, the film was a success, grossing $14.3 million against a €6 million budget and earning critical acclaim. Later that year, the film’s star, Jorma Tommila, said he wanted to return as the protagonist. Helander confirmed that a sequel was in development, with a final budget of roughly €11 million ($12.2 million). Filming began in early 2024 in and around Finland and Estonia, primarily in Rapla and Lääne Counties. While Lionsgate was the domestic distributor for the first film, Sony Pictures’ Screen Gems replaced them in early 2025. The film premiered at Fantastic Fest that September, followed by a special screening in Helsinki the following month. Roughly two years after its predecessor, Sisu: Road to Revenge opened in US theaters in November 2025.

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    Synopsis

    After WWII, Finland ceded Karelia to the Soviet Union, forcing many Finnish citizens to leave their homes. Among them is ex-commando Aatami Korpi (Jorma Tommila), who tears down his house to move it further inward. Korpi gained a reputation for single-handedly killing 300 Soviet soldiers after his family’s execution during the Winter War. Upon hearing that Korpi is on USSR soil, the government enlists officer Igor Draganov (Stephen Lang) to take him down. However, no matter how many men Draganov sends after him, Korpi brutally massacres them one by one. We soon learn that Draganov was responsible for the death of Korpi’s family, making this more personal. Even after being run off the road and surviving a tank explosion, Korpi keeps getting back up and won’t stop. Before, he was only trying to rebuild his life, but now, Korpi’s on the road to revenge.

     

    Review

    Going through my review catalog, I’m shocked that I never reviewed Sisu; suffice it to say, I loved it. Sisu was one of the most raw, visceral, over-the-top, and entertaining action movies I’d seen in a while. Thankfully, the sequel is just as good as the original, even if it loses some of its freshness. While not quite as gruesome as the original, Sisu: Road to Revenge still delivers on the over-the-top violence. Jalmari Helander knows what the audience wants and gives us precisely that: nonstop action and tons of viscera. What helps is that this is a more personal film since it deals with the lead’s past. Not only is he moving his house piece by piece, but he’s targeted for what he did to the Soviets. The movie gives us just enough backstory without diminishing the protagonist’s coolness factor.

    Speaking of, Jorma Tommila once again delivers as the silent but tough commando-turned-farmer, Aatami Korpi. He’s able to communicate his emotions through just his facial expressions and body language, without saying a word. You can sense the raw anger in his eyes, and watching him struggle to get back up is satisfying. Stephen Lang is fantastic as the villainous Igo Draganov, though it feels like anyone could’ve played the part. While it’s great to see Stephen Lang in the role, any actor could’ve played it without anything changing. Still, seeing Lang at odds with Tommila is fantastic, and it’s great whenever Tommila gets one over on him. Character actor Richard Brake, from Mandy and Barbarian, also appears as the KGB officer who sends Draganov. Though he has limited screentime, he makes the most of his scenes every time.

    Like the first film, this one revels in the excess: tons of blood, cartoonish violence, and over-the-top action. The plot, such as it is, is very threadbare, but a movie like this doesn’t need an intricate story. Mika Orasmaa’s cinematography is phenomenal, making the most of the Estonian locations and capturing vivid panoramic views. It also helps that they manage to capture the action on screen without shaking the camera throughout. Several scenes feel like a classic Western, highlighted by the minimalist score by Juri Seppa and Tuomas Wainola. Admittedly, if you’re looking for a powerful message, an intricate plot, and deep characterization, you’ll be disappointed. However, if you like ridiculous action, simple but compelling stories, and larger-than-life characters, this is for you. Overall, Sisu: Road to Revenge manages to maintain what worked in the original and then some.

     

    Sisu: Road to Revenge is in theaters.

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    Where to watch Sisu: Road to Revenge (2025)

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  • A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)

    A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)

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    With a $1.1 million budget, A Nightmare on Elm Street grossed over $57 million worldwide and earned critical acclaim. Given its success, New Line Cinema immediately wanted a sequel despite Wes Craven declining to return as director. Instead, New Line hired Jack Sholder, who previously helmed 1982’s Alone in the Dark, to direct. Like the first film, the cast comprised relatively unknown actors, including Mark Patton and Lisa Myers. The studio initially had a stuntman play Freddy to save money, but soon realized their mistake and rehired Robert Englund. Filming started in July 1985 around Los Angeles and Pasadena, though Sholder claims he didn’t have time to prepare. Since the original makeup artist, David Miller, was unavailable, a then-unknown Kevin Yahger came aboard to redesign Freddy’s makeup. Only a year after its predecessor, A Nightmare on Elm Street Part 2: Freddy’s Revenge slashed its way to theaters.

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    Synopsis

    High schooler Jesse Walsh (Mark Patton) has been having horrific nightmares ever since moving to his new house. Struggling with his parents, Ken (Clu Gulager) and Cheryl (Hope Lange), Jesse finds comfort in his friend, Lisa (Kim Myers). Soon, he’s visited in his dreams by Freddy Krueger (Robert Englund), who wants to possess Jesse’s body to kill. Through him, Freddy kills the gym coach, Schneider (Marshall Bell), and Jesse’s friend, Ron Grady (Robert Russler). As the bodies continue piling up, Jesse struggles to maintain a grip on reality as Freddy tries to take over. Lisa tries to help him break Freddy’s control, but Jesse’s fear keeps Freddy bound to him. Soon, Freddy makes his way back to the real world and starts going on a rampage at a pool party. Can Jesse be saved from this overwhelming evil, or will Freddy’s terror continue to reign down on Springwood?

     

    Review

    Out of every entry in the series, A Nightmare on Elm Street Part 2: Freddy’s Revenge is the most controversial. While many people praise the film for its daring approach to the formula, others groan at the homoerotic subtext. From Jesse talking about someone being inside him to wandering into a gay leather bar at night, it’s very conspicuous. Personally, I’m not bothered by the homosexual themes explored, especially compared to movies like Top Gun and Rocky III. For me, my biggest issue with the film is that you can tell this was a rushed production. Whereas the original had a clear and defined set of rules, this one throws all of that out the window. Plus, things happen with no rhyme or reason, such as birds bursting into flames or dogs with human-like faces. These feel like ideas that were never fully fleshed out.

    On a more positive note, performances across the board are fantastic, especially those of the lead actors. Mark Patton gives Jesse both likable charm and genuine vulnerability, making you root for him. You feel the torment and anguish he’s experiencing as this thing tries to come out to hurt those around him. Kim Myers is also fantastic as Lisa, who shares great chemistry with Patton, even if not romantic. Robert Rusler is also entertaining as Jesse’s arrogant jock friend, and Marshall Bell is memorably detestable as the stern coach. Robert Englund is as menacing here as in the original, even adding some subtle dark humor to his performance. This attitude, combined with Kevin Yagher’s redesign, makes Freddy feel more conniving and sinister. Plus, the late, great Clu Gulager and Hope Lange are memorable as Jesse’s oblivious yet sincere parents trying to help.

    Though not as skilled as the late Wes Craven, Jack Sholder still does a good job directing. He manages to make the nightmare sequences as trippy and otherworldly as Craven, though not quite to the same extent. To Sholder’s credit, he had less prep time since New Line wanted to get the sequel out right away. Also, while this film has more kills than the first, only two are memorable: Schneider’s and Grady’s. As much fun as seeing Freddy slicing up teens at a pool party is, it also diminishes his scariness slightly. Plus, even at 87 minutes long, parts of the movie drag on for way longer than they should. Still, despite these flaws, I believe there’s plenty that works, and people should give this film another chance. Overall, A Nightmare on Elm Street Part 2: Freddy’s Revenge is easily the most underrated in the series.

     

    Buy A Nightmare on Elm Street Part 2: Freddy’s Revenge from Amazon: https://amzn.to/4oOmK5e.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)

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