Is There Going To Be A New Digimon Adventure Movie?

By Brandon T. McClure

On August 1st Toei Animation released a special livestream to commemorate the anniversary of the original Digimon Adventure series (Digimon: Digital Monsters season 1 in America). The stream consisted of newly animated footage from the original series and some announcements of new merchandise that fans can find in the coming months. While light on news this year, the stream ended with a mysterious date overlaid on a screenshot of a familiar image to Digimon fans. The date reads January 1, 2025, and tells fans to save the date for a special announcement. This could be just speculation at this point, but it could imply a follow-up to Digimon Adventure 02: The Beginning.

While primarily anthological, Toei Animation has returned to the Digimon Adventure timeline a few times over the years. Digimon Adventure Tri, Digimon Adventure: Last Evolution Kizuna and the Digimon Adventure 2020 reboot have been notable returns in recent years, but Digimon Adventure 02 (released in America as Digimon: Digital Monsters Season 2) was their first attempt to keep the timeline going. That series follows a new generation of DigiDestined and their partners, while also keeping the original cast of characters in mentorship roles. However, history hasn’t been kind to this sequel series. The general consensus is that it’s not a very popular series. While the above-mentioned films have returned to the timeline of Digimon Adventure, the characters introduced in Digimon Adventure 02 have been largely absent.

Digimon Season 02

The beginning of Digimon Adventure Tri shows the 02 DigiDestined falling to an unknown foe (that turns out to be Alphamon), and are hardly mentioned but never seen again. With every subsequent release of Digimon Adventure Tri, fans were hoping that they would return, but they never did. Due to the current reputation of Digimon Adventure 02, Toei might have assumed that fans wouldn’t care, but they were wrong. In 2020, two years after Digimon Adventure Tri concluded, Toei Animation released Digimon Adventure: Last Evolution Kizuna. This film was meant to be the final concluding chapter of Tai and the gang's story and this time they brought along Davis, Ken and the other 02 kids. This was met with tons of praise, so Toei Animation quickly revealed that the next Digimon Adventure film would be all about Davis and his friends, called Digimon Adventure 02: The Beginning.

Digimon Adventure 02: The Beginning

Digimon Adventure 02: The Beginning was released in Japan and America in 2023 and saw Ken, Davis, V-Mon, and the rest take the reins of the franchise for the first time since their series ended in 2000. The film follows those characters as they meet Lui, a DigiDestined who claims to be the first kid to ever partner with a Digimon. Lui claims that it was his wish for more friends that made the partnerships between Digimon and humans possible. As the initial hype of the film began to wear down, fans began to notice a glaring problem with it. It’s not about the 02 Digidestined. It’s about Lui, a brand new character that serves to retcon the franchise (for the third time?), and his struggle to reconnect with his Digimon partner Ukkomon. After years of asking, fans were given a film that has these characters play supporting roles to a brand new character. 

Hope springs eternal, however. While fans were left largely disappointed with Digimon Adventure 02: The Beginning, there was still the chance that a new film could make up for it. After all, the filmmakers and Toei Animation still insist that the epilogue of Digimon Adventure 02  is canon (Despite all the evidence to the contrary). For those who may not remember, the epilogue of the original show jumps forward to the year 2027 and shows a world where everyone on the planet has a partner Digimon, including Tai, Matt, and Sora, who notably lost their Digimon at the end of Digimon Adventure: Last Evolution Kizuna. This is important to bring up because eagle-eyed fans immediately recognized the screenshot from the mysterious save-the-date message at the end of the Digimon Day stream as the exact shot that transitions the show into its epilogue. 

It’s important to mention that this is all wild speculation based on a single image. Well, a single image and one more thing. At the end of the Digimon Adventure 25th Anniversary Special, a special that consists of famous scenes recreated with new animation, there’s a shot of Agumon that doesn’t exist in the original series with a single line of dialogue: “Tai, see you later.” Well, of course, Digimon fans are going to run rampant with speculation about the inclusion of this scene. If the epilogue of Digimon Adventure 02 is still canon then at some point in the near future, Tai and the others have to be reunited with their Digimon partners. One of the exciting things that Digimon Adventure 02: The Beginning did was get rid of the Digivices. Once a device believed to be the source of the bond between Digimon and humans, now serves no purpose. This severed element could be the first step to reuniting people with their Digimon partners since the Digivice seemed to dictate how long a Digimon could be with their Digidestined. Now no Digidestined would ever be faced with losing their partner like Tai or Mat did. A new movie could cover this story, but that would potentially mean sidelining the 02 kids a fourth time.
It’s hard not to feel lied to when it comes to Digimon Adventure 02: The Beginning. There’s no great new enemy to face, there’s no new digivolutions to experience, and it isn’t about the supposed main characters of the film. So of course Digimon fans are going to look into any tiny detail that could hint that a new film is on the horizon. Let's just hope that it’s actually about the 02 kids this time.

Movie Review/ "Woman of the Hour"

By Anthony Caruso

Woman of the Hour is a fascinating true story brought to life as a tense and tight thriller, and it marks an impressive directorial debut by Anna Kendrick. The film is an engaging retelling of the chilling events surrounding real-life serial killer Rodney Alcala, and Kendrick manages to capture both the terror and the bizarre nature of Alcala's crimes in a way that feels fresh and compelling.

Kendrick herself is wonderfully energetic and charismatic in the role of Cheryl Bradshaw, the unsuspecting bachelorette who came face-to-face with Alcala on "The Dating Game". Her "girl next door" charm, which has always been one of her defining traits, works perfectly here, making her portrayal both relatable and sympathetic. Watching her navigate the unsettling tension of the situation keeps the audience on edge throughout. Daniel Zovatto, meanwhile, is equally remarkable, delivering a performance as Alcala that is both unnerving and oddly charming. He strikes a chilling balance between charisma and danger, making Alcala’s ability to deceive those around him all the more terrifying. Zovatto’s portrayal of Alcala as a charismatic predator is one of the film’s highlights, and Zovatto's performance adds layers of suspense to every scene he’s in.

At its core, Woman of the Hour is a gripping and disturbing exploration of how Alcala used his charm to hide his monstrous nature, and the film’s pacing keeps the tension high throughout. It’s an entertaining, compelling, and frightening watch that never feels too exploitative, instead focusing on the psychological dynamics of both predator and prey. Kendrick’s direction is tight, ensuring that every moment serves to either build character or heighten suspense.

In short, Woman of the Hour is a fantastic debut for Anna Kendrick as a director - and proof that she's just as talented behind the camera as in front of it - and a must-watch for fans of true crime thrillers. It's a deeply engaging film, with standout performances and a story about random chance and random encounters with danger that will stick with you long after the credits roll. I definitely recommend this one! (It's even frightening enough that while, not a traditional "Spooky Season" film, is one you can count as one of your annual Halloween watches this year!)

Movie Review/ "Smile 2"

By Anthony Caruso

Smile 2 is a wonderfully unsettling sequel, even if it stumbles a bit with pacing. While the beginning is slower than I would have liked, once the film gets going, it doesn’t let up. In fact, it’s an even more visceral and terrifying experience than its predecessor, taking the haunting concept of the first film and ramping up the intensity in a way that’s both relentless and deeply disturbing.

Naomi Scott absolutely shines in the lead role of pop star, Skye Riley, delivering a performance that’s nothing short of remarkable. She showcases incredible range, taking us on a journey through every imaginable emotion—fear, anger, grief, and despair—while never missing a beat. Her portrayal grounds the horror in genuine human experience, making it all the more impactful as the terrifying entity encroaches on her world. Scott’s performance is the emotional anchor of the film, and it’s one of the best I’ve seen in - and out - of the genre this year.

Where Smile 2 stands out is in its willingness to go darker and more serious than the original. While it’s an entertaining and well-crafted horror film, I wouldn’t call it “fun” in the traditional sense. This movie doesn’t let up, delivering a gut punch of a story that goes beyond jump scares and dives into real emotional and psychological trauma. Like the first film, it’s a meditation not only on mental health but also on addiction and recovery, with the metaphorical elements playing a huge role in how the story unfolds. The beauty of the film lies in its ambiguity. Whether the events are real or a manifestation of the protagonist’s spiraling mental state is left up to the viewer’s interpretation until the horrifying entity’s physical appearance towards the end. (Though even then, you could make the argument it's all a figment of Naomi's spiraling mental state.) And speaking of that ending - I hope this film does well and the next installment capitalizes on the promise of this movie's conclusion. 

Despite how good the film is, its pacing and length keep it from reaching greatness. At times, the film feels stretched a little too thin, and some scenes - specifically the rehearsal stuff - drag on longer than necessary. The slow burn at the beginning could have been tighter, though as I said above, once the tension ramps up, it becomes a relentless rollercoaster ride of fear. Even with all of these flaws, however, Smile 2 is a worthy sequel, delivering a satisfying continuation of the first film’s story, themes, and atmosphere.

I can’t wait to watch this again once it hits streaming and add it to my annual Spooky Season rotation. It may not reach the perfect heights of some horror classics, but it’s definitely one of the better offerings in the genre this year and one that will stay with you long after the credits roll.

Movie Review/ "The Apprentice"

By Anthony Caruso

The Apprentice offers an eye-opening glimpse into Donald Trump's life during the 1970s and 1980s, capturing his rise to prominence, wealth, and fame. Anyone who has followed Trump, particularly his presidency and post-presidency, is familiar with his lamentation: "Where’s my Roy Cohn?" After watching The Apprentice, that phrase should resonate with people more, as it's made clear why Trump always muses about it to close confidantes. This film paints a fascinating picture of the symbiotic relationship between Trump and his notorious lawyer, Roy Cohn, and how their partnership helped shape the course of American history. In many ways, this movie is Trump's origin story, depicting a descent into moral compromise and showing us not only how someone can achieve the American Dream, but also how that pursuit can corrupt them. Even for those who have meticulously followed Trump’s life, The Apprentice's portrayal of his transformation is captivating.

Writer Gabriel Sherman and director Ali Abbasi create a nuanced and compelling portrait of Trump, one that humanizes him without glossing over the darker aspects of his personality. The film walks a fine line, portraying a young, ambitious Trump who craves love and approval, particularly from his father, yet ultimately makes a deal with the devil to get everything he’s ever wanted. There’s no real plot here per se— "The Apprentice" is more of a character study and a sequence of key moments in Trump's life that span two decades — but the sharp, well-written script balances humor and drama skillfully. While the film warns viewers that some events are fictionalized, anyone familiar with Trump's history will recognize many of the stories as being grounded in fact. In addition to Sherman's script, Abbasi’s direction also shines here. He manages to capture the feel of 1970s and '80s New York with a fever-dream type of energy. The grainy filter used throughout makes the movie feel as though it could have been made during that era itself, adding to the authenticity.

What makes this movie work, however, is Sebastian Stan's performance as Donald Trump. He truly delivers a masterful one, perfectly capturing his essence without leaning into the caricature we've seen many actors rely on. It’s extraordinary to watch Stan evolve the character over the course of the film's two-hour runtime as he moves from a driven young real estate mogul to the egotistical billionaire we know today. By the film’s end, Stan has fully embodied the Trump persona—mannerisms, voice, and all—and is practically unrecognizable as himself. It’s an immersive, transformative performance that will likely earn Stan some serious Oscar buzz.

Equally riveting is Jeremy Strong, who delivers a tour-de-force performance as Roy Cohn, the ruthless lawyer who helped mold Trump into the figure we know today. Strong portrays Cohn as both terrifying and oddly pitiable, and his journey from being Trump’s mentor to his fixer, and ultimately to being discarded by him, is fascinating to watch. Like Stan, Strong humanizes Cohn without glossing over his many flaws. Even Roger Stone, a real-life associate of Cohn, has praised Strong’s performance, calling it uncanny—proof that the "Succession" star truly inhabited the role and, like Stan, will most likely earn himself some awards buzz. 

The entire ensemble deserves praise, though. There's not one weak link to be found. And though this is obviously both Stan's and Strong's movie, it also features standout performances from Maria Bakalova as Ivana Trump and Martin Donovan as Fred Trump Sr. And as for the soundtrack? It imbues the film with nostalgic energy, adding a fun layer to the proceedings and helping transition us through time from scene to scene.

Overall, The Apprentice is not just a compelling character study but also a cautionary tale about the dark side of ambition and power. It’s a must-watch, especially with the upcoming presidential election. Despite the lack of marketing and its underperformance at the box office, it’s easily one of the best films of the year, and I’m eager to revisit it once it hits streaming. Although it's unlikely to happen, I would love for the same cast and creative team to return for sequels that build upon the character work done in this movie, covering more eras of Trump’s life— such as "Trump the entertainer" and "Trump the president" - because there’s truly so much more to explore.

Movie Review/ "Terrifier 3"

By Anthony Caruso

I've been a massive fan of the Terrifier franchise and Art the Clown since the very beginning. To give you an idea of how big a fan I am, I received more messages wishing me well upon the release of Terrifier 3 than I did for my birthday last month! While I understand why some people aren't fans of the series, it's absolutely my kind of horror, and I will die on the hill that Art the Clown is one of the most iconic horror villains to grace the silver screen since Ghostface. Needless to say, I had extraordinarily high expectations going into Terrifier 3. Did it live up to them? Well, not only did it meet them, it exceeded them. This is the best entry in the franchise by far, taking everything that worked in the previous films and doubling down with a more polished product.

The film picks up five years after the events of Terrifier 2, immediately resolving the cliffhanger with Art and the possessed Victoria. The time jump, while practical for explaining the aging of the characters, adds depth to the story. Terrifier 3 is centered around Lauren LaVera's Sienna Shaw, who is dealing with the trauma and grief from her last encounter with Art. This installment not only continues to highlight Sienna’s badassery, but also her fragility as she grapples with accepting her role as the chosen one destined to defeat the demonic clown. LaVera's performance is nothing short of phenomenal, adding new emotional layers to a character who's become a modern horror icon. While Elliott Fullman's Jonathan doesn’t have as much screen time as he probably deserves, the little he does get still carries weight, showcasing the character's evolution and how his own trauma impacts Sienna’s journey.

Art the Clown, as portrayed by the brilliant David Howard Thornton, is as captivating as ever. Thornton’s performance hits a new high here, perfectly balancing Art's childlike glee, dark humor, and chilling menace. The slight weariness and frustration we see in Art, due to Sienna and Jonathan having defeated him in the previous film, only makes his return to form that much more satisfying. This is easily his best performance as Art to date, and he dominates every scene he’s in. Meanwhile, Samantha Scaffidi's return as Victoria Heyes, now fully possessed by the entity that was the Little Pale Girl, brings a sinister new dynamic to the story. Scaffidi's performance is wonderfully unnerving, and she holds her own against Thornton, even making Art feel uncharacteristically on edge at times. The final showdown between her, Art, and Sienna is the kind of high-stakes, bloody, and intense climax horror fans dream of.

The rest of the cast is equally strong, with a notable standout being Antonella Rose’s Gabbie, Sienna's young cousin who injects the film with much-needed innocence and heart. Gabbie’s relationship with Sienna is one of the highlights of the film and allows the audience the occasional break from the relentless carnage.

Damien Leone's writing and directing have improved dramatically since the previous films. He not only expanded on the franchise’s mythology and set up future installments, but managed to craft a film that stands on its own as well. This time, the story takes place during Christmas, which is an inspired move. There's not enough Christmas-themed horror, and the contrast between festive cheer and Art’s blood-soaked rampage is both darkly humorous and deeply unsettling. And the holiday-themed set pieces are unforgettable! Some of my personal favorites are Art meeting "Santa Claus", his interactions with kids at the mall, a now-infamous shower scene, and the jaw-dropping final fight that will stay with you long after the credits roll. On top of that, there's a wonderful original Christmas song that will make a fun addition to anyone's holiday playlist!

While some fans may be upset about the fact that Terrifier 3 leaves us with a cliffhanger ending, and the fact that certain questions remain unanswered (such as the mystery surrounding Sienna’s father), these didn’t bother me much since Terrifier 4 has already been confirmed to be coming. If anything, all it's done is make me more excited for the next chapter in the franchise! Hopefully, we get it sooner rather than later, as the wait is guaranteed to be torture!

Look, I'll be the first to admit that the Terrifier franchise isn't for everyone. The extreme gore, violence, and unapologetically brutal tone obviously turn many people away. But for those like me, who’ve been on board since the beginning, Terrifier 3 is the crowning achievement of the series thus far. The fact that this franchise, once a low-budget passion project, has grown into a modern and beloved horror classic is nothing short of incredible. Indeed, the prospect of Terrifier 3 outgrossing Joker: Folie à Deux this weekend is a testament to its meteoric rise, and should inspire any aspiring creatives out there to follow their dreams and pursue their passion projects.

I can continue rambling on and on about how much I love this movie, but I'll just sum things up by saying that Terrifier 3 was everything I hoped it would be and more. I can’t wait to rewatch it in theaters, own it when it drops digitally, and rewatch it every Halloween and Christmas. Bring on Terrifier 4! And long live Art the Clown and Sienna Shaw—one of the greatest horror villain/Final Girl pairings to ever grace the big screen!

Movie Review/ "Hellboy: The Crooked Man"

By Anthony Caruso

It's astonishing just how good Hellboy: The Crooked Man turned out to be given its almost non-existent marketing campaign and incredibly tight budget. I’ll be honest, I was fully expecting a disaster going into it, but I was so pleasantly surprised by it! In fact, for a while there, I thought it might become my favorite Hellboy film to date. The opening half is an intimate, atmospheric, slow-burn of a horror movie, and I was hooked immediately. Unfortunately, while the film starts strong, it loses some steam in the second half before ultimately managing to win me back in the end.

Let’s get the negatives out of the way first. After such a moody and personal start, the back half slips into familiar comic book movie territory with over-the-top, overly-long action sequences. Now, there’s nothing inherently wrong with that - I enjoy a good fight scene as much as anybody else! - but here, the action felt a bit excessive, and with the constraints of a small budget, the bad CGI really sticks out like a sore thumb. Indeed, some of the visual effects were downright distracting and laughably bad, which pulled me out of the story at times despite how good all of the practical effects and makeup jobs were. In addition, the transitions between scenes were often clunky, and those unnecessary “chapter cards” made me question why they were even included; they were a stylistic choice that just didn't work.

All of that said, there’s a lot to love here. First and foremost, as I mentioned above, this is a horror film, and it really leans into that aspect beautifully. The Appalachian Mountains setting is pitch-perfect for the eerie, gothic tone that director Brian Taylor works so hard to cultivate. This world feels dark and lived-in, filled with old witch lore that's appropriately creepy and fascinating. I'm thrilled that they didn't shy away from the darker, more supernatural elements of the Hellboy lore as it's really what makes it such a distinct property! Luckily, the mood established here is appropriately oppressive in the best possible way, and the decision to set the story in the 1950s, rather than the present day, gives the film an extra layer of authenticity and charm. It feels like a story ripped from another era, in all the right ways. Even though I’ve never read Mike Mignola’s original comic that this film is based on, The Crooked Man has made me want to pick it up and see how closely it follows the source material. If the film is anything to go by, I imagine the story is one of the more unique and creepy arcs in Hellboy's canon. 

Then, there’s Jack Kesy as Hellboy himself. Honestly, he nails it. We’ve had three different actors portray the character now—Ron Perlman, David Harbour, and Kesy—and not one of them has dropped the ball. Kesy brings his own flavor to the role while still maintaining that iconic Hellboy feel. His performance is gruff, witty, and tough, just as it should be, and by the end, I found myself fully buying into him as "Big Red". The rest of the cast is solid too, with Adeline Rudolph and Jefferson White turning in particularly strong performances that ground the more fantastical elements of the story.

At the end of the day, Hellboy: The Crooked Man may not quite reach the heights of Guillermo del Toro’s two entries in the series (and yes, I’m still holding out hope we get a third film and final film in that planned trilogy someday), but it’s certainly on par with Neil Marshall’s 2019 reboot, if not better in many respects. It’s a damn shame this movie was relegated to streaming in the United States and didn't get a wide release internationally, for despite its small budget, it won't turn a profit and thus will never get a sequel, which it absolutely deserves. Nevertheless, I highly recommend you check this out if you're a fan of the character, comic book films, or gothic horror. Like me, you might just find yourself pleasantly surprised by how good it actually is.

Movie Review/ "Monster Summer"

By Anthony Caruso

As someone who’s always had a soft spot for coming-of-age stories, I was more than ready to dive into David Henries' second directorial feature, Monster Summer. Going into it, I wasn't exactly sure what to expect given the lack of marketing for the movie, but let me tell you—it exceeded my expectations! Monster Summer is a delightful mix of horror and heart, a gateway horror film that entire families can enjoy together. It even has a witch as the primary antagonist! That made me very happy as I've long lamented how witch content is so scarce compared to films about vampires, werewolves, and other monsters.

Now, I’ll start with a minor gripe: while this movie shines in many areas, it does lean heavily into clichés. We’re talking about your standard beats from the 'kids banding together to defeat evil' playbook. From the wide-eyed wonder to the ever-reliable "let’s split up and search for clues" trope, this movie doesn't really offer anything new. But I'll give credit where it's due: the script, written by Cornelius Uliano and Bryan Schulz, smartly sidesteps being just another derivative nostalgia trip by setting the movie in the nineties instead of the overdone eighties. (And I have to admit, I feel incredibly old now that the nineties are so far back that they elicit nostalgia. I still think they were only ten years ago!) Clichés aside though, there’s something truly special about Monster Summer, and that's thanks in large part to director, David Henrie. As mentioned above, this is only his second feature film, but he handles the material with confidence and style. The way he captures the coastal beauty of Martha’s Vineyard is stunning, giving the film a timeless, almost magical atmosphere. More importantly, he nails the tricky balance between horror and comedy—a sweet spot where films like The Goonies and The Monster Squad have thrived. Henrie clearly has vision, and I can’t wait to see where his career goes from here.

But a movie like this doesn’t work without a solid cast, and Monster Summer delivers on that front. Mason Thames, who I know from his wonderful turn in The Black Phone, leads the charge as our young protagonist, delivering a heartfelt performance that grounds the supernatural elements. And what a pleasant surprise it was to see Mel Gibson in the role of the curmudgeonly, retired detective with a tragic past! He brings just the right amount of gravitas and old-school charm to the character without overpowering the younger cast and is a large source of much of the film's humor. Lorraine Bracco is also a standout, while fans of The Sandlot are in for a treat, as Patrick Renna (yes, "Ham" himself!) shows up as a little league umpire in a small but pivotal role. It’s a delightful homage to his iconic turn in that classic, that's sure to make all of the former nineties kids in the audience grin from ear to ear.

And yet, while the ensemble cast works wonders, I do wish the film had spent more time developing the relationships between the younger characters, especially our main trio. Their bond, while sweet, felt a bit rushed and undercooked, as if we missed out on some of the emotional depth that would have made their journey more impactful. With just a bit more attention to those friendships, this movie could have soared to greatness. But even with that slight misstep, the film’s charm and heart more than make up for it.

For fans of The Sandlot, Stranger Things, and The Goonies, or even for those who just enjoy a good coming-of-age tale with or without paranormal elements, Monster Summer is a must-see. It’s a shame that the marketing for this film has been practically non-existent because it’s exactly the kind of movie that would attract a wide audience if more people knew about it. But mark my words, once it hits digital and streaming platforms, it’s going to find its audience and become a cult classic in no time. While it's not perfect, it’s the kind of film that you’ll want to revisit, especially toward the end of the summer when that first autumn breeze rolls into town. So, if you’re in the mood for a fun, family-friendly horror adventure that’ll give you just the right amount of chills and chuckles, don’t sleep on "Monster Summer". It’s one I can most definitely say I'll be watching again.

Movie Review/ "Saturday Night"

By Anthony Caruso

"Live from New York, it's Saturday Night!"

It's incredible that it took this long for a movie to be made about Saturday Night Live given the fact that the show is one of television's most enduring cultural staples. But the wait was well worth it, as Saturday Night - written and directed by Jason Reitman - is a fast-paced, manic, and downright hilarious take on the behind-the-scenes chaos that unfolded just before the show first aired. As someone who’s always thought SNL was just okay, I didn’t expect this movie to grab me as much as it did, but wow! I feel confident saying without any hesitation at all that this is the most fun I’ve had at the movies all year. (And given what a phenomenal year this has been for movies, that's saying something!) 

Let me start with the magic at the heart of this film: the tension. It’s real-time (or at least tries to maintain that illusion) and relentless, building up to the moment when the first episode of SNL goes live. The incredible part? The tension shouldn't work. We, as the audience, already know how everything turns out! We know history was made, and yet, you’ll still find yourself on the edge of your seat, feeling the pressure as everything that can go wrong does. Reitman masterfully captures that sense of uncontrollable chaos behind the scenes and it is absolutely electric. Similar to how Lorne Michaels managed to capture lightning in a bottle when he first assembled the original SNL cast, Reitman does the same here, bringing together an incredible ensemble that keeps the energy crackling throughout.

Speaking of Lorne, the character portrayal here is fascinating. Lorne Michaels has a well-known reputation as this dictatorial, enigmatic figure in real life, but Reitman’s script is surprisingly kind to him. Gabriel LaBelle plays him with just the right mix of anxiety and determination, making him almost angelic in comparison to the often ruthless figure he's been described as. Michaels should be thanking Reitman for this portrayal, for LaBelle’s Lorne is sharp, fast-talking, and, above all, maintains the illusion of control, even when everything around him is falling apart. It’s one of those performances that makes you root for the guy, even though you know his brand of perfectionism has probably driven countless people up the wall.

Now let’s talk about the rest of the ensemble that Reitman managed to assemble: they are absolutely pitch-perfect, especially the actors portraying SNL’s original "Not Ready for Primetime" players. Rachel Sennott, whom I have a massive crush on, is incredible as Rosie Schuster, Lorne’s wife, right-hand woman, and a comedy genius in her own right. She brings a sharp wit and grounded intensity to the role that balances out LaBelle’s frantic energy. But the real stars? The actors playing the very first SNL cast members. Cory Michael Smith nearly steals the film as Chevy Chase, perfectly capturing the deadpan, absurd humor that made him a household name back in the day. And it’s not just him—every single one of the original players is given their moment to shine. You can almost feel the magic in the air every single time Dylan O'Brien's Dan Aykroyd, Matt Wood's John Belushi, Ella Hunt's Gilda Radner, Kim Matula's Jane Curtin, Emily Fairn's Laraine Newman, and Lamorne Morris's Garrett Morris step onto the screen. Each actor nails their mannerisms, quirks, and comedic timing so well, you’ll swear at multiple points you're watching that original, iconic cast back in their heyday! 

It’s hard to categorize Saturday Night as a traditional plot-driven movie because while there’s definitely a story arc here, it feels more like a collection of scenes capturing the personalities, the drama, and the absurdity of creating a live show episode of television. There’s a real charm to watching these larger-than-life figures clash and fumble their way through the insanity of the ninety minutes leading up to that historic show, and the real joy of the movie is watching these characters pull off the impossible.

I could go on, and on, and on about this film, but my opinion can be summed up succinctly: Saturday Night is an absolute blast! The pacing is so fast and the dialogue so sharp that I know I missed a few jokes and Easter eggs, and I can’t wait to see it again and catch all the little details I missed the first time around. Whether or not you’re a fan of SNL, have any interest in how live television is produced, or just someone looking for a damn good time at the movies, I urge you all to run - don't walk - to see this movie. I guarantee that you will not be disappointed.

Movie Review/ "Salem's Lot"

By Anthony Caruso

As a huge fan of vampires, I’ve always held Stephen King’s Salem’s Lot in high regard. The novel is one of my absolute favorites, and while I’ve enjoyed the two prior adaptations, neither felt like the definitive take on King's chilling tale in the way Andy Muschietti’s It Chapter One and It Chapter Two feel for King's It. As such, to say I was looking forward to Gary Dauberman’s remake would be an understatement. However, after all the delays, the shelving, and its quiet drop on Max, I finally got to see what the holdup was. And while it’s not the disaster I feared, it’s definitely far from the definitive adaptation fans like me were hoping for. Honestly, it feels more like a low-budget, made-for-TV movie than the grand, terrifying version of Salem’s Lot that the novel deserves.

Now, that’s not to say this movie is bad. I’ll start with the positives: Lewis Pullman is phenomenal as Ben Mears. He brings a gravitas and depth to the character, making him instantly likable and easy to root for. Bill Camp is equally great as Matthew Burke, the wise elder who helps Ben uncover the sinister forces at play in the town. Their performances were highlights, and I'd even go so far as to say they helped anchor the film in moments where it risked drifting off into mediocrity. And speaking of highlights, Barlow’s design? Spot on - for the most part. There are some shots where he looks like the demonic nun, Valak, from "The Conjuring" franchise and other shots where he looks like a horrible CGI creation. But I digress. Most of the time, he looks terrifying, exactly how the character should be. 

But aside from the movie's aforementioned positives, everything else falls squarely into the "fine" category. The rest of the cast is serviceable, but their performances veer into campy territory at times. Now, don’t get me wrong, I’ll take camp over flat-out bad acting any day, but considering the source material, it’s a little disappointing. It’s especially frustrating because the vampire effects—Barlow aside (again, for the most part)—are more laughable than scary. At times, it truly did feel like I was watching a SyFy original from the early aughts rather than a film shot with today's modern CGI capabilities.

I have to give credit where it’s due, however: Dauberman’s direction isn’t entirely without merit. Some of the shots are beautiful, especially the sweeping views of the town and the imposing Marsten House. That setting looks as creepy and foreboding as you’d hope, looming over the town like a dark omen. But for every impressive wide shot, some interiors feel strangely cheap, as though they ran out of money before shooting wrapped. It’s a shame because the atmosphere of Salem’s Lot is where half the terror of the book derives from, and while the Marsten House works, the rest of the town feels like a Halloween haunted house attraction. And unfortunately, Dauberman misses out on delivering iconic moments that would elevate the film into something truly memorable. One of the most terrifying scenes in the original adaptation of the novel is Danny Glick floating outside Mark Petrie’s window - a scene that remains pure nightmare fuel that haunts viewers to this day. Here though? It falls completely flat and has no effect on the viewer whatsoever. Sadly, this film is completely void of any kind of visceral and lasting scares like the kind we got in prior adaptations. The horror sequences, while competent, never reach the heights of terror that the source material so masterfully builds.

In the end, Salem’s Lot is fine. It’s an entertaining enough watch if you’re in the mood for some vampiric fun during Spooky Season, but it’s not the definitive adaptation we’ve been waiting for. Hardcore King fans like myself will likely walk away feeling unfulfilled and still craving the ultimate adaptation of this iconic story.

Queen Mary Dark Harbor 2024

So excited to share the return of the Queen Mary’s Dark Harbor! It’s been four years since we last stepped foot on the legendary haunted ship. It has been said that the ship and it’s hotel is one of the most haunted hotels in the country, but the event had to take a pause during Covid and allow some time to do repairs to the ship. But 2024 they are back and better than ever!

What makes this such a go-to attraction during the halloween season is the simple coolness of the environment. You’re on a haunted ship for Pete’s sake! A marine layer adds some additional natural fog on certain nights that make any fog machines secondary. Walking through the deepness of the boiler room, or down the service hallways (usually without a lot of lights) is pretty darn creepy.

What sets Dark Harbor out from the other haunts is 100% the cast of characters. The event does an absolute fabulous job in casting every member of the event. Lady Mabel, Samuel the Savage, Graceful Gale, every Slider. bartender, food vendor and of course The Ringmaster makes the experience feel intimate no matter how crowded it can get on a sold out night. Add in the opportunity to score a coin from one of them that allows access to hidden speakeasy’s through the event makes this top notch fun in our book.

“The Spirit Rise Once Again” is the perfect welcome back. Catch an epic night to get in the Halloween spirt! Running from September 20th through November 2nd, 2024 at 1126 Queens Hwy, Long Beach CA 90802.

Movie Review/ "Joker: Folie a Deux

By Anthony Caruso

Given the massive impact Joker had back in 2019, I didn’t think its sequel could be more divisive. I went into this under the assumption that if you loved the first film, you’d probably love this one, and if you hated it, you’d likely hate this one. But after watching this film, I can confidently say Joker: Folie à Deux won't just be divisive, but it’s going to split people right down the middle more than the original ever did. My own wife and close friend, both of whom adored the first movie, walked out of this one completely disappointed. And here’s the kicker—it wasn’t even the fact that it’s a musical that bothered them. They just found it "boring". As for me? I absolutely loved this film. I think it’s just as much of a masterpiece as the first "Joker," if not more in some ways. It’s still dark, still gritty, but the musical elements add this infectious, rewatchable charm that makes it stand apart. Don’t get me wrong - this movie is still bleak, but the songs bring a strange kind of lightheartedness that contrasts sharply with the courtroom drama at the core of it all. And believe me, it works.

Joker: Folie à Deux picks up right where the first film left off, with Arthur Fleck sitting in jail for the chaos he unleashed. Watching it right after the original really helped bring the full weight of the story together. It’s a direct continuation, almost like we’re still stuck in the fever dream that is Arthur’s unraveling mind. The film digs deeper into questions of mental health, specifically making us question whether or not Arthur Fleck is the Joker and responsible for all of his crimes or whether the Joker a separate persona that Arthur can’t control. The film also brilliantly layers in commentary on how society and the media sensationalize its villains, often turning them into antiheroes for the lost and disillusioned. This is where Lady Gaga’s Harleen "Lee" Quinzel comes in. She’s someone obsessed with the Joker, drawn in by the media coverage of his crimes, and she’s hellbent on pushing Arthur to embrace the chaotic clown persona even more.

Let’s take a moment to acknowledge Joaquin Phoenix, who turns in another phenomenal performance as Arthur. This role is a goldmine for him, and I honestly wouldn’t be surprised to see him earn another Oscar nod, and maybe even a second win, for reprising the part. His Joker is just as raw, unhinged, and heart-wrenching as ever. And as for Lady Gaga? She more than holds her own. Her version of Harley Quinn, or “Lee” as she’s called here, is as unique and haunting as Phoenix’s Joker. If I had one minor complaint, it’s that her character isn’t given quite enough to do in the grand scheme of things. That said, when she’s on screen, she owns it. The chemistry between Phoenix and Gaga is absolutely electric. It's so palpable, that you can feel it radiate off the screen. Meanwhile, the ensemble cast this time around is even larger, and everyone brings their A-game. Brendan Gleeson, in particular, is a standout as Jackie Sullivan, a guard at Arkham Asylum with his own arc that adds layers to the story. There’s this brilliant tension between the larger-than-life leads and these supporting characters that makes the whole film feel like a tapestry of twisted, fascinating personalities.

Now, onto the musical aspect. Yes, this is a musical, and while that idea might sound jarring on paper, Todd Phillips proves once again that he knows how to subvert expectations. The music adds a wild new layer to the storytelling, lifting some of the movie’s bleakest moments with ironic, almost surreal levity. It’s absurd but in the best possible way. Both Phoenix and Gaga shine in their performances, and I’m already looking forward to buying the soundtrack and having it on repeat.

Speaking of Phillips, he’s outdone himself again with this one. This is pure cinema in every sense of the word. It doesn’t just toe the line of what we expect from comic book movies but erases the line entirely. Joker: Folie à Deux is a dark, thought-provoking, complex film, and once again, Phillips delivers a product that transcends its comic book origins to become something more. It’s a movie that stands proudly beside its predecessor but also carves out its own unique space.

Did we need a sequel to Joker? No. Did it need to be a musical? Definitely not. But here we are, and frankly, we’re better off for it. These two films watched back-to-back, are going to make for one hell of a double feature. Together, they tell one continuous story - one that’s complex, disturbing, and, yes, divisive. While I personally loved every second of this movie and believe it will be celebrated as a classic in the future, I know not everyone will feel the same. This is a movie that demands an open mind, and it’s sure to stir up all kinds of reactions. That being said, I highly recommend rushing to see it on the biggest screen possible. Whether you love it or hate it, Joker: Folie à Deux is an experience worth having.

Movie Review/ "My Old Ass"

By Anthony Caruso

It's rare for a comedy to strike such a delicate balance between humor and heart, but "My Old Ass" achieves it effortlessly. Directed by Megan Park, this 2024 film is more than just a delightful comedy—it's a warm hug of a movie that will likely become a go-to comfort watch for many. While it doesn’t pack the kind of gut-busting laughs you might expect from its fantastic trailers, it offers something even more valuable: a touching, deeply relatable story about time, love, and self-acceptance that resonates long after the credits roll.

Megan Park's direction here is nothing short of excellent. Every frame is visually stunning, with the kind of cinematography that feels vibrant and alive, making all of the many quiet moments of the film feel like something special. But it’s her writing that truly elevates "My Old Ass" from good to great. This is a coming-of-age story that transcends age, speaking to the fleeting nature of time, the importance of living in the moment, and the need to embrace both the people and opportunities we encounter in life. It’s the kind of film that makes you want to call your best friend and/or your parents, tell them you love them, and remind yourself to live without fear and regret.

On top of that, it’s wonderfully progressive to boot. At its core, this film is about accepting who you are and embracing the people in your life who see you for who you truly are. The queer representation is handled beautifully, woven into the fabric of the story without ever feeling forced. It’s one of those rare films where everyone can find a little piece of themselves in the characters, regardless of where they are in life.

Speaking of characters, Aubrey Plaza, as expected, is fantastic in the role of the adult version of our main character, Elliott. Sexy, sarcastic, and effortlessly funny, she lights up the screen whenever she appears. But here’s the thing—if you’re going into this movie for a heavy dose of Plaza, you might be a little disappointed. Contrary to what the marketing suggests, this is Maisy Stella's movie. As the younger version of Elliott, she absolutely steals the show, delivering a performance that is tender, vulnerable, and full of charm. Her portrayal of a young adult navigating the tricky waters of self-discovery is the emotional core of the film, and she carries it with such grace and authenticity that you can’t help but root for her.

At just ninety minutes, "My Old Ass" flies by. When it ended, I found myself wishing it were just a little longer, if only to spend more time with these wonderfully crafted characters. While I wouldn’t necessarily recommend rushing out to see it in theaters, it’s a must-watch when it becomes available for home viewing. It’s one of those rare films that offers something for everyone—young or old, queer or straight, lost or found. And while there is a bit of nudity and language, even younger viewers could get something valuable from it.

So, should you see "My Old Ass"? Absolutely. Just maybe wait until you can cozy up on the couch with a blanket, some tea, and the time to reflect on how fleeting and precious life really is.

Book Review: "I'm Starting to Worry About This Black Box of Doom" By Jason Pargin

By Matt Spaulding

Abbot thinks he is picking up just another ride-share customer when he pulls into a quick-stop parking lot. Instead, he meets Ether, a mysterious woman who has a large, sealed black box she has been hired to transport clear across the country to Washington D.C. in just a few days in time for the Fourth of July. Soon, the two become the subject of multiple conspiracy theories and a cross-country chase.

I’m Starting to Worry About This Black Box of Doom is the first definitive novel about the modern internet age. Pargin has crafted a narrative about all the issues facing our country today: isolation, mental health, radicalization and the rapid spread of misinformation. He perfectly captures the way that a small misunderstanding and a lack of information can balloon into insane conspiracy when fed through the internet hive mind.

One of the intriguing things in this novel is how the character we start the book with, Abbott, changes throughout. When we meet him, he’s riddled with anxiety and has lots of social issues and problems with his dad. We think he’s a lovable loser. But, the more we get to know him, the more we learn that might not be the case.

Conversely, when we meet Ether, we begin to think that she’s perhaps part of something shady. We aren’t sure at all what she’s about. But, ultimately, she ended up being the best character in the book, in my opinion. Through Ether, Pargin said a lot of things that I’ve known for a long time that I think too many people don’t know but need to hear. Despite a note from Pargin at the end of the novel about how everything in the book is fictional and tries to distance himself personally from the characters, Ether feels most like the character who is expressing his views. I have no way of knowing this, of course, but she’s so authentic it’s the feeling I walked away with.

Another major player is retired FBI agent Key, who can’t leave her job behind. She specialized in online radicalization and tracking terror threats, and the story of Ether and Abbot convinces her there is a major threat to national security. She’s pretty ridiculous, just as unable to accept actual evidence (or lack thereof) as anyone she’s studied on a message board. She’s an example of how even the best of folks can get roped into things under the right circumstances.

The story being told is gripping, mysterious, and hard to put down. And, though Pargin would deny it, it’s an important story, too. Some folks may argue that fiction can’t be important, but I disagree. The power of stories is strong. Fiction allows us to explore other points of view and ideas we may not have considered before. Because of that, I consider I’m Starting to Worry About This Black Box of Doom to be one of the most important pieces of fiction of our time. Because, even though I can’t give it away, what’s inside the Black Box of Doom isn’t what anyone thinks it is. But what is in the box still has the power to wreck the world, and we all need to figure out how to stop it.

Movie Review/ "Creeping Death"

By Anthony Caruso

Let’s get straight to it: "Creeping Death" is a charmingly flawed yet delightful addition to the modern horror landscape. A Screambox original that was released earlier this month, it has all the hallmarks of a classic Spooky Season watch, perfect for those chilly October nights. While it may not be a technical masterpiece, it’s a love letter to the Halloween spirit that will surely find its way into your annual rotation.

As many of these movies do, the film centers around a group of teenagers trying to have a fun and irresponsible Halloween night out. While the acting ranges from serviceable to outright cringeworthy, the cast is refreshingly relatable. They look like real kids, not polished Instagram models, which adds a layer of authenticity. The exception is Delian Lincourt, who is  stunning in an almost unrealistic girl-next-door type of way, and who I also feel confident in saying is the best character in the film. She draws you in with her natural charm and charisma, and her character is the kindest of the group. The group's chemistry overall, however, is palpable, and you genuinely care about their fates as they face off against a terrifying monster rooted in Irish folklore: the Aos Si. I have to commend the creature design: it's cool and intimidating and is an interesting take on what is essentially a type of fairy or elf in Celtic mythology. And while it's your standard mindless horror movie beast, it's memorable enough to elevate it above a lot of run-of-the-mill creatures found in a lot of slashers nowadays.

Regarding the writing, it's fine. It's nothing special and leans into cliches, but Matt Sampere - who didn't just write this film, but directed it and stars as the lead character, Tim, as well - knows exactly the kind of movie he wants to make. And there is some really good stuff in the average script. Indeed, the movie's strongest aspect is the heartbreaking subplot surrounding Tim’s mother battling brain cancer, which I found to be a nice touch to the film that helps ground it amidst all of the supernatural chaos. It hits all the right emotional beats, adding weight to Tim’s struggles, and makes you truly invested in his journey.

That said, "Creeping Death" does have its shortcomings. It frequently looks cheap—obviously, a product of its streaming roots—and some background actors are caught in the throes of overacting, reminiscent of the B-movie charm found in films like "Terrifier." But let’s be real; something is endearing about its self-awareness. Matt Sampere's direction captures this essence beautifully, turning potential flaws into delightful quirks. And what really sets "Creeping Death" apart from a lot of Spooky Season fare, in my opinion, is Sampere's clear love for the Halloween holiday itself. Every single frame is filled to the brim with a vibrant autumnal atmosphere. It oozes Halloween vibes throughout its entire runtime - hell, even all of our teenage characters are dressed like the characters from the holiday classic, "It's the Great Pumpkin, Charlie Brown"! - making it a perfect film to watch while sipping apple cider or a nice, hot pumpkin spice latte while carving pumpkins. In short, despite its low budget, it evokes that classic spooky feel that many recent horror films often miss.

In the end, I found myself really enjoying this movie and wanting to spend more time in this universe. "Creeping Death" is good enough that I’d love to see a sequel, perhaps with a bigger budget and a deeper dive into the mythology of the Aos Si. Here’s hoping it garners enough views to make that happen. Whether or not it does, however, this one is worth a watch on its own - especially if you’re looking for a film that captures the spirit of Halloween with a blend of heart, humor, and just the right amount of scares. Add "Creeping Death" to your annual Spooky Season lineup—you won’t regret it!

Movie Review/ "The Substance"

By Anthony Caruso

Prepare yourself for a wild ride—“The Substance” is nothing short of a roller coaster, delivering a twisted and deranged modern fairy tale that will leave you breathless. Directed and written by the incredibly talented Coralie Fargeat, this film stars Demi Moore and Margaret Qualley in roles that blur the lines between an ugly old witch and a naive, beautiful princess; decay and youth. It’s a brilliantly crafted parable about femininity, the pressures that society places on people to retain their youth, and the relentless expectations the entertainment industry imposes on women to remain eternally fit and beautiful.

From the very first scene, Fargeat’s visionary direction captivated me. The script is a riveting blend of unsettling drama and dark humor. The direction turns the mundane into something genuinely terrifying through unnerving close-ups that pierce through the fairy tale-esque camera filter that gives the movie a dreamlike quality. This isn’t just "body horror" for the sake of "body horror"; it’s a deeply layered narrative that explores the human experience. As someone who usually steers clear of "body horror" themselves, I found “The Substance” to be a refreshing exception in the genre that resonated with me on multiple levels.

As alluded to above, in terms of visuals, the film possesses an almost dreamlike quality, enhancing its fairy tale essence. Each shot is crafted with precision, making even the most ordinary moments feel fraught with tension and foreboding. This aesthetic mastery is a testament to the cinematography, which should undoubtedly earn accolades come awards season.

Now, let’s talk about the performances. Demi Moore and Margaret Qualley deliver Oscar-worthy turns that are both mesmerizing and raw. It’s thrilling to see Moore back in such a commanding role, effortlessly showcasing her depth as an actress. But it’s Qualley who truly blew me away—her portrayal of a woman who spirals into darkness is nothing short of astounding. This has been a remarkable year for her - she was one of the highlights in "Kinds of Kindness" too, after all! I’d love to see her cast as Catwoman in the upcoming DCU reboot!

Besides being one of the most disturbing movies I've ever seen, it's also one of the sexiest! Indeed, both our lead actresses spent a large portion of the film completely nude, and a substantial portion in skimpy outfits, shot in a way that's almost pornographic. In terms of the nudity, while prevalent and provocative, it serves a purpose beyond mere titillation. Moore and Qualley embrace their bodies in a way that’s both daring and liberating. Fargeat doesn’t shy away from showcasing imperfections, challenging the audience’s perceptions of beauty and vulnerability. As a hot-blooded viewer, I certainly appreciated the sensuality and naked bodies, but I was equally impressed by the intent behind it.

While the movie is great, it’s worth noting that it isn’t flawless. It runs a bit too long, and the third act veers into chaotic territory that may be a tad much for some viewers - including myself. It works for the movie, however, and the film's ambition and thematic depth writ large far outweigh any shortcomings, which are mere nitpicks in the grand scheme of things.

Overall, “The Substance” is one of my favorite films of the year thus far. It’s a creative masterpiece that tackles relatable themes about aging with fascinating commentary on societal pressures, all while delivering compelling performances that linger long after the credits roll. Rush to theaters to experience this gem on the biggest screen possible —it deserves to be a box-office success. In fact, it was so damn good, I hope to see it at least one more time before it leaves theaters, and I know I'll be watching it often when it eventually hits streaming.

Movie Review/ "Speak No Evil"

By Anthony Caruso

Blumhouse’s 2024 remake of "Speak No Evil" is a chilling, inventive update that redefines the boundaries of psychological horror with its sharp, tension-filled screenplay and incredible performances. This remake is a testament to how a fresh take on a disturbing story can succeed by amplifying its core elements while delivering a new twist on the original's unsettling narrative.

The film’s screenplay, penned by James Watkins, masterfully builds tension from start to finish. The pacing is meticulously crafted, gradually escalating the sense of dread with every scene. The story’s uncomfortable humor is both unsettling and darkly comic, skillfully toeing the line between cringe-worthy and hilariously awkward. This balance adds layers to the narrative, making the horror feel all the more palpable and real as the viewer is drawn deeper into the disturbing events.

The performances in "Speak No Evil" are nothing short of stellar. The cast brings remarkable depth to their roles, transforming what could be a purely disturbing story into a deeply engaging psychological exploration. James McAvoy and Mackenzie Davis in particular deliver portrayals that are both nuanced and intensely believable, leaving viewers on the edge of their seats as they watch the increasingly perilous situation unfold before them. The chemistry between the characters is both compelling and eerie, enhancing the film's tension and adding to its emotional impact.

While the third act of this remake doesn’t delve as darkly into despair as the original, it remains effective in its own right. The shift in tone aligns with the film’s unique take on the story, offering a resolution that fits the remake’s overall approach while still delivering a satisfying and unsettling conclusion. This decision to adapt rather than replicate is one of the film’s strengths, showcasing a creative vision that respects the original's lessons about listening to your internal warning instincts while making a distinct statement of its own. 

Bottom line? This remake is a must-watch and is better than it has any right to be. Blumhouse has delivered a film that is as thought-provoking as it is terrifying, ensuring that "Speak No Evil" will be remembered as a standout entry in the horror remake canon. (A feat that is all the more impressive when you take into account the crappy year that Blumhouse has been having up until this point!)

Movie Review/ The Front Room

By Anthony Caruso

When I saw the trailer for The Front Room, I thought it looked like a very self-aware horror-comedy that could be a lot of fun. After all, is there anyone on this planet, regardless of how well they get along with their in-laws, who can't relate to the "mother-in-law from hell" trope? So, I was immediately in after watching the trailer. And it helped that Brandy was set to star after being M.I.A. for years. Unfortunately, The Front Room was not the film that its trailers advertised. It's billed and marketed as a horror movie, but this is absolutely not a horror film. At best, it's a dark comedy. And one that amounts to nothing whatsoever at that! As such, I can see a lot of people getting pissed off with this one. 

On its surface, The Front Room is about Belinda, a newly pregnant woman whose life goes to hell when her elderly mother-in-law, Solange, moves in after her husband dies. Now, the trailers made it seem like Solange was after the baby, possessed by a demon posing as the holy spirit. If that was the case, this would have been a far more interesting and fun movie; not to mention a far more focused one. Unfortunately, at its core, this film is merely about a mother-in-law who is trying to make life as difficult for her stepson and his bride as possible, seemingly for no reason at all. Is it because Belinda is black and Solange is a proud daughter of the United States Confederacy? I think the movie tries to be about racism at times, but more often than not, it’s directionless and doesn't know what it's about. Yes, it appears to be about racism a lot of the time. But at times it's about the body horror that's associated with pregnancy. Other times it's about motherhood. And yet, at other times it's about religion. For much of the movie, it's about the loss of dignity that comes with aging (shown by a lot of scenes involving shit). That's the biggest flaw with this film, it's completely directionless and doesn't know what it wants to be about. As such, feels overstuffed with undercooked ideas, all of which amount to a boring third act that amounts to absolutely nothing. 

The film was not only written by Sam and Max Eggers but directed by them, too. To cinephiles the name "Eggers" will be associated with "Robert Eggers" of The Witch, The Northman, The Lighthouse, and the upcoming Nosferatu fame. I can only imagine his brothers got this gig based on nepotism alone. Direction-wise, they do nothing special and don't seem to have a unique style or even a coherent vision. Their screenplay is badly paced and gets progressively worse as it goes along. In their defense, this movie is based on Susan Hill's story of the same name, so I don't know if the source material is this bad or not. But given the fact that Hill wrote the incredibly scary "The Woman in Black", I find it hard to believe that's the case, and I have to believe that the Eggers brothers botched the material when adapting it for the screen. 

In terms of the cast, it's mainly three people: Brandy as Belinda, Kathryn Hunter as Solange, and Andrew Burnap as Norman, Belinda's husband and Solange's stepson. Burnap is nearly a non-entity in this film. Brandy does the best she can with the material she's given and, honestly, it was so nice to see her starring in a movie again that she could have completely phoned it in and I'd have been happy. It's Kathryn Hunter's transformative performance as Solange that steals the show, however. Not only does she completely disappear into the role, thanks to a phenomenal makeup job, but between her grating accent, her disgusting demeanor, her overbearing nature, and her racist double entendres, Hunter truly makes Solange a despicable character you want to see drop dead, even if, in the end, she's merely a woman and there's nothing supernatural going on whatsoever. 

I know it sounds like I hate this movie, but I truly don't. Granted, it's nothing special, and I don't know if I'd ever stop to watch it again unless literally nothing else was on television. But it's fun for what it is when you get past the fact that its trailers sold you a false bill of goods and that you're not getting a supernatural horror flick. Would I recommend rushing to theaters to see this one? Absolutely not - especially if you don't have A-List or you're not part of some other movie membership club. But on a rainy Sunday afternoon if you see it pop up on TBS and need something to watch, and there's nothing better on television, I think it's worth a viewing. As long as you temper your expectations accordingly, you might enjoy yourself! Especially since there are far worse movies than this one out there, and far worse movies that have been released this year alone!

Movie Review/ Beetlejuice Beetlejuice

By Anthony Caruso

"The juice is loose!"

Given how successful the original "Beetlejuice" was, how much of a following it's garnered over the past three decades, and what a Halloween staple the film and the titular character have become, it's incredible to me that it's taken thirty-six years for a sequel to be made! But, we live in incredible times. Now here we are in the year 2024 and Tim Burton, Michael Keaton, Winona Ryder, and Catherine O'Hara have finally all returned for the first official follow-up to the beloved 1988 film. As an enormous fan of the original, my expectations for this movie couldn't have been higher, and I'm extraordinarily happy to report that not only were they met, they were exceeded. "Beetlejuice Beetlejuice" was absolutely worth the wait! It's not only a worthy successor to the original film, but it's an amazingly fun film in its own right!

Let me get my one nitpick with this movie out of the way first: it is a busy movie. There is a lot going on here. There are so many subplots that it feels simultaneously overstuffed and undercooked. Given its under two-hour runtime, it's to be expected that not every subplot would feel properly serviced or needed. Indeed, given how fast this film flew by, I wish it had been longer so that every thread introduced here was given the attention it deserved. That said, all of these seemingly disparate threads coalesce beautifully into such a wonderful third-act finale that’s exciting, side-splittingly funny, and incredibly zany that I imagine many, like myself, will walk out of the film extremely forgiving of how stuffed it is.

It's clear that Tim Burton loved making this movie. It's the most Burton movie we've received from the unique filmmaker in years, and his dark humor and morbid sensibilities are on full display here, as is his abundance of creativity. Part of what makes this movie so great, and what makes it feel like such a natural follow-up to the original, is that the majority of effects, sets (which look as though they've been painstakingly recreated), and costumes are done practically when possible. This feels like a movie ripped right out of the eighties, and it's all the better for it! Burton also stayed true to the original film in terms of crafting this story. Picking up in real-time, every original character is exactly where you would expect them to be nearly forty years later. Even Adam and Barbara Maitland, who were so essential to the original movie but are missing here, are referenced and we're given an explanation as to what happened to the lovable ghosts. And, despite Jeffrey Jones not as Charles Deetz due to the actor's personal legal issues, the character is still essential to the plot, and his presence is felt throughout. Of course, the fact that Danny Elfman returns to score the film helps make it feel like a natural extension of the first movie as well. In fact, the man does something I didn't think possible, he makes the iconic "Beetlejuice" theme somehow more epic! The whole score, and the accompanying soundtrack, is a banger though, and it's one I'll be listening to on repeat for a while. The movie does for Richard Harris' "MacArthur Park" what "Beetlejuice" did for Harry Belafonte's "Banana Boat (Day-O)" in one of its best sequences!

Michael Keaton once again dons the black-and-white pinstriped suit as Betelgeuse, the lecherous demon, and he slips right back into the role without missing a beat. He's as disgusting, slick, and fast-talking as ever, and he has even more tricks up his sleeves this time. While some may say it's Batman, I have always argued that Betelgeuse is Keaton's definitive role, and this movie goes a long way to proving my point. The man was born to play the trickster demon, whose backstory we delve into here. And that story is appropriately gruesome. Going into the movie, I was afraid that Burton was going to make the demon more of an antihero this time around, but that's not the case. He's still, without a doubt, a bad guy, even if he can be manipulated into helping the cause of good. That goes a long way toward keeping him so fun and exciting to watch. In addition, Burton shows an incredible amount of self-restraint with the character. Given his enduring popularity, it would have been easy to have him in every scene of this film. But he's used as sparingly here as in the original, which makes him more effective whenever he does pop up. Like "Beetlejuice", "Beetlejuice Beetlejuice" left me wanting more of the demon himself, which is the biggest compliment I can give the film.

Keaton's not the only returning cast member though! Winona Ryder is back as Lydia Deetz, who is still living with ample amounts of trauma following her encounter with Betelgeuse as a teenager. She's channeled that trauma into hosting a hit paranormal talk show, while also becoming a highly over-protective parent. Ryder is fantastic, and she gets far more to do with Keaton this time around. Suffice it to say, their repartee is easily the best part of the movie. It's Catherine O'Hara's Delia Deetz who very nearly steals the show though. O'Hara is a comedic treasure, and she absolutely chews the scenery throughout the film’s brisk runtime. It's wonderful we get so much of her this time around, including in the bureaucratic afterlife! I felt it impossible to tear my eyes from her whenever she was on screen, even when she was sharing it with Keaton's over-the-top demon. In the intervening years since the original movie, Delia has made a fortune via her weird, modernist art, and it's only made her more insufferable, which is a boon for audiences watching the movie! I will say, the relationship between Delia and Lydia is one of the most unexpected aspects of this film, and also one of the most heartwarming; the two have come a long way with their relationship since 1988!

The returning cast is joined by Jenna Ortega, who is perfectly cast as Lydia's daughter, Astrid. Justin Theroux plays Lydia's entertainment manager and love interest, Rory, who is just as slimy (in his own way) as the demon that's stalking her. And Willem Dafoe plays the dead B-List actor who’s become a detective in the afterlife, Wolf Jackson. Dafoe's character in particular is so damn fun, and feels inspired by the beloved Beetlejuice cartoon in particular. So does the final new character, Monica Bellucci's soul-sucking witch, Delores, who in life was Betelgeuse's wife. Bellucci has such a presence here! She’s gorgeous with her pale skin, black dress, and stapled body parts, which pull themselves together in a wonderful sequence set to The Bee Gees' "Tragedy", while her powers are demonstrated in a truly intimidating way. Unfortunately, it's her character who gets the short end of the stick in the movie. Indeed, her character and entire subplot could have been lifted out of here completely and the movie would barely have changed. I do wonder whether Burton should have done that and saved her to be the main focus of a potential third movie. Nevertheless, she's memorable with the little she is given to do here. And though he gets no dialogue, and I'm unsure of who plays him, I must shout out the character of Bob, one of Betelgeuse's shrunken-head employees who is sure to become a fan-favorite given his oddly adorable, silent demeanor, and his bigger-than-expected supporting role.

Is "Beetlejuice Beetlejuice" as perfect as the iconic original? No, but it nearly is. I would rank it a smidge beneath that film, but only just. Regardless, I cannot wait to watch the two back-to-back for many years to come in what's sure to be a wonderfully fun double-feature. "Beetlejuice Beetlejuice" is not just a legacy sequel done right, but one of the best legacy sequels in years. It leans hard into nostalgia and engages in just the right amount of fan service without overdoing it. At the same time, it carves out its own identity and is a wonderful stand-alone movie on its own. And though a sequel to the original movie, it pays a lot of respect to the animated cartoon and Broadway show as well, which fans of the entire franchise are sure to enjoy! Don't walk, but rush to see this film on the biggest screen possible. I guarantee you that there is no better way to kick off Spooky Season this year. I, for one, look forward to seeing it on the big screen at least one more time before we're able to summon it at home whenever we want by speaking the title aloud three times.

The Massive-Verse Coming To The Big Screen?

By Brandon T. McClure

In 2021, Kyle Higgins and Marcelo Costa began publishing Radiant Black for Image Comics, which launched what became known as The Massive-Verse. Consisting of books like Rogue Sun, Inferno Girl Red, and Dead Lucky, the Massive-Verse has carved out a successful corner of the world of comic books with no sign of slowing down. At this year's San Diego Comic Con, Kyle Higgins revealed a very exciting new project in the works, the Massive-Verse is taking a leap to the big screen. 

One of the most recent entries in the Massive-Verse comes in the form of No/One by Kyle Higgins, Brian Buccellato, and artist Geraldo Borges. This ten issue limited series has been a unique entry in the Massive-Verse due to its multi-media approach to storytelling. The series follows the aftermath of an event in Pittsburgh known as the Accountability Murders where a man going by the name Richard Roe began killing corrupt people in power. These people had been doxed by a keyboard vigilante known as No/One, whose goal was to bring their corruption to light. He signed off his initial message with “No one is above the law, and I am No/One.” The mystery surrounding No/One is at the center of the series, as well as the identity of a new killer, claiming to be the original Richard Roe. No/One’s centers on the theme of accountability and how every act, big or small, has ripple effects. Plus a little bit of The Purge mixed in.

No/One Preview Issue #1 - Artist: Geraldo Borges / Colorist: Mark Englert

No/One was paired with a in universe true-crime podcast called Who Is No/One, which was hosted by characters in the book played by Rachael Leigh Cook and Patton Oswalt as well as guest stars from the likes of Todd Stashwick, Yuri Lowenthaall, and Loren Lester as No/One. Each episode of the podcast picked up after the end of each issue, and discussed the aftermath of the comic books events. It created a very engaging and unique reading experience but the ending of the book still left many lingering questions. Most notably the question at the heart of the comic, “Who is No/One and why did he do this?”

During the “Enter The Massive-Verse” panel at San Diego Comic Con 2024, No/One interrupted Kyle Higgins with a video proclaiming that “I am No/One and this is my story.” This video was followed by the reveal that an in-universe feature length documentary is in the works. The documentary, titled I Am No/One, will recap the events of the comic and podcast and shed new light on those same events as well as act as a sequel to the series, and seemingly answer the question at the heart of No/One once and for all. I Am No/One will be directed by Kyle Higgins and is looking to start filming sometime next year. Seemingly, the cast is already set as Higgins stated he cast the podcast with an eye towards this documentary, but it’s unclear at this time how many are due to return.

For this ambitious project, director Kyle Higgins will utilize “sit down interviews, phone and drone footage, news coverage, and first-person GoPro and helmet videography from the “NO/ONE” operation itself” according to The Wrap. This may be Higgins first time directing a feature length film, but this isn’t the first time he’s done something like this. Higgins has directed many short films that have tied into his comics, most notably The League (tie-in to C.O.W.L.), Versus (animated short film from Radiant Black), and Power Rangers: Shattered Grid (promo for the comic event of the same name). He loves to experiment with multi-media stories, such as Bear McCreary’s comic/album The Singularity, so I Am No/One is the logical next step.

Massive-Verse / Radiant Black

At this time, there is no official word yet on how this documentary will be distributed but it is being produced by Black Market Narrative, ZQ Entertainment, producers Ara Keshishian, Petr Jakl, Stuart Manashil and Steven Schneider (Insidious, Late Night with the Devil, and Paranormal Activity), and, of course, Kyle Higgins and Brian Buccellato. As far as distribution goes, it’s likely this will be a streaming release, possibly on the Black Market Narrative YouTube channel, since there may not be a large enough audience for No/One to warrant a theater release. The Massive-Verse may be popular but an in-universe true crime documentary may be a tough sell to general audiences. But it’s hard to rule anything out at this moment since it’s still a ways away from release. Even if it’s incredibly niche to a general public, it’s still incredibly exciting for Massive-Verse fans. Especially for the fans who were hungry for more after the end of No/One

The collected edition of No/One is due out in November, and will no doubt find new readers looking for this kind of biting political commentary. But No/One has a very particular structure when paired with the podcast, so It’ll be interesting to see how the creators include the podcast without the benefit of a monthly publishing schedule. Likewise, the documentary may also struggle. While it’s exciting now, I Am No/One will likely be out two years after the book wrapped up. It’s not unreasonable to wonder if the hype surrounding this multimedia story will sustain that long. But Massive-Verse fans are in it for the long haul and will no doubt show up when the documentary drops.

The Massive-Verse started as one comic but has grown into one of the most exciting comic book universes on the market. It’s a truly exciting time in the Massive-Verse, as Radiant Black’s “The Catalyst War” event wraps up, a card game on the horizon, the return of C.O.W.L., an audio drama based on the first volume of Radiant Black due out this Fall, and the I Am No/One in-universe documentary. It’s an embarrassment of riches coming from one of the most exciting comic book universes the industry has ever seen.

MOVIE REVIEW/ AfrAID

By Anthony Caruso

Wow! Blumhouse has had quite the streak this year! Three films released in 2024 - Night Swim, Imaginary, and now AfrAId - and all three have been complete duds. It's a shame considering the fact that Blumhouse used to be a huge powerhouse in the horror space. Now, however, when their company logo pops up, I always end up giving an involuntary shudder and expecting the worst. 

The basic premise of AfrAId is promising enough: a family is chosen to test a new smart home AI called AIA, which ends up become self-aware and dangerously begins to interfere with and manipulate their lives. While it's definitely not an “original” idea, it's normally a solid enough idea that it usually spawns entertaining films. Not AfrAId, however. Despite the kernels of an interesting story about the dangers of artificial intelligence that are buried within Chris Weitz's muddled screenplay, and despite some interesting setup, AfrAId never takes off or lives up to the promise of its premise's potential. Especially not when it comes to its story, its characters, or its direction. Indeed, Chris Weitz - who also directed this film - ends up delivering to audiences what amounts to a Lifetime Original Movie. He tries to nicely gift wrap the dangers of AI in a story about a struggling, if loving, family. Not only does it look cheap, as though it has the budget of a made-for-TV movie, but it's also just boring on top of being bad. There never appear to be any real stakes, nor do you care enough about the film's characters to actually give a damn about what happens to them!

The cast of this movie is trying their best, and is actually quite charming, but they're never quite able to elevate the material they're given. They are unable to deliver memorable enough performances where I could say that the acting was good at the very least. That's a shame, because avid filmgoers will know that this cast is comprised of very good actors! John Chu has really come into his own over the past few years, demonstrating that he's more than just a go-to for stoner comedies but is somebody that’s actually capable of delivering true dramatics. Katherine Waterston is underrated and undervalued in a lot of ways, mainly due to the material she's been given in recent years like the bland Harry Potter spinoff films, Fantastic Beasts and Where to Find Them. Unfortunately, the two, who play husband and wife here, have next to zero chemistry, and their characters seem intent on making the dumbest decisions possible at every turn. Meanwhile, after a star-making leading man performance in Late Night With the Devil, it was absolutely jarring to see David Datsmalchian in such a one-note supporting role as one of the supposed creators of the villainous AI. Speaking of AIA, though, the strongest performer in this film is actually Havana Rose Liu who not only voices her to perfection, but plays Melody - the flirty and mysterious "advance employee" at the tech company that invented her.

Between the cast, which seems to be simultaneously bored with the material while trying their best, and Weitz's uninspired direction and a story, AfrAId is a movie that is made of a bunch of disparate, jarring components that never coalesces into a coherent or satisfying whole. It's also a movie that, at an extremely short eighty-four minutes including credits, feels far longer than it actually is. And while the ending is interesting, and will leave you with a squeamish feeling in the pit of your stomach due to its real world implications, it's not earned at any point over the course of the entire film leading up to it.

In a lot of ways, this was Blumhouse trying to remake their very successful film, "M3GAN", while discarding everything that made that movie work - including its iconic AI doll - and doubling down and expanding upon its flaws. And though "AfrAId" isn't the worst film of the year - it's no "Borderlands", "The Crow", "Madame Web", or even "Night Swim" - it comes pretty damn close to being it. There's nothing salvageable about this movie, and it's not even interesting or fun enough in a "so bad it's good" type of way; it's just bad and boring, which is an even worse sin. Even for fellow A-List members, I wouldn't recommend rushing to see this one, nor would I recommend watching this one when it hits streaming. It's just not worth your time, and is merely another swing and a miss for a once great horror production company.