Ready Or Not 2: Here I Come (2026)

After surviving one deadly game, Grace and her sister Faith must now outrun four rival families competing for a powerful throne – winner takes all.

Ready Or Not 2: Here I Come is directed by Matt Bettinelli-Olpin and Tyler Gillet directors of Devil’s Due (2014), Ready Or Not (2019), Scream (2021) Scream VI (2023) and Abigail (2024). The film serves as a sequel to Ready Or Not (2019).

Ready Or Not (2019) is a modern classic at this point, whenever someone brings up the conversation about their favorite horror films from the 2010s. Ready Or Not (2019) is going to be mentioned at least 10 times and rightfully so, it was an incredibly fun film that was genuinely really good. Samara Weaving and the rest of the cast were fantastic, the film’s gore, atmosphere, direction and humor were all incredibly effective as well. Ready Or Not 2: Here I Come does everything a sequel should do and even makes the argument of being better than its predecessor.

First and foremost the cast give fantastic performances across the board, Samara Weaving returns as Grace and she is just as great here as she was in the previous film. I would even argue with the film’s bigger scale, Weaving gives a much grander performance that ends up being quite effective. Weaving has only grown as an actress since the previous film and we really see that here in this film, it’s truly a wonderful sight to behold plus with the added bonus of learning a lot more about Grace as a character.

Kathryn Newton as Faith (Grace’s sister) is such a strong addition to the story, Newton works incredibly well with Weaving and has this natural chemistry that you feel almost immediately when she enters the film. She balances the humor with the more dramatic moments, the sisterhood element is genuinely charming and actually does have a few heartfelt moments at times. Newton has this charm that fits like a glove here, whether it’s the natural chemistry with Weaving or the chaotic energy she brings at times. There’s so much she delivers constantly throughout the film.

The rest of the cast are quite fantastic as well. Elijah Wood has a bunch of great moments here that are genuinely hilarious, Sarah Michelle Gellar and Shawn Hatosy are both really strong here especially the latter who delivers a quite brutal scene involving Kathryn Newton. Gellar and Hatosy work well together and have plenty of scene stealing moments.

The writing is quite strong here, there can be the occasional hiccup when it comes to some character moments. However the film still delivers in all fronts, whereas the first one leaned more into the horror side. I definitely think this film leans more into the comedic side of things which quite honestly makes sense and fits the story being told. That’s not to say there aren’t any straight up horror moments because there are plenty of those and they are all quite effective.

Some might see this as a bit of a rehash of the previous film which is fair to say, but I do think the film manages to bring just the right amount of new elements combined with a larger scale to differentiate itself. The gore is back and just as fun as it was in the previous film, we get a lot more action sequences as well that effectively use the larger scale which the film takes advantage of.

Overall Ready Or Not 2: Here I Come is a ton of fun from beginning to end, there might not be anything huge thematically going on here. However between the performances, charm, writing and the large scale it’s next to impossible to come out of this movie thinking you didn’t have fun with it.

Ready Or Not 2: Here I Come is available on all VOD platforms.

9/10 A

Hokum (2026) Film Review

A horror writer visits an Irish inn to scatter his parents’ ashes, unaware the property is said to be haunted by a witch.

Hokum is directed by Damian McCarthy director of Caveat (2020) and Oddity (2024).

Damian McCarthy is a name that is slowly rising in the horror genre, while Caveat was just fine (to be absolutely fair I haven’t seen it since it released so perhaps a rewatch is in order.) Oddity struck gold with its genuinely terrifying atmosphere, the excellent performances and the nice throwback to the classic haunted house film. Hokum continues the effectiveness of Oddity and doubles down on showing engaging McCarthy is as a director.

The performances are all quite great, I’m not typically a huge fan of Adam Scott so his performance here really shocked me. He has his comedic moments but for the most part it’s this tense performance that is exploring the world around him. In a lot of ways Scott’s character Ohm Bauman connects with the viewer, when he is creeped out we are creeped out. It’s this experience that Scott really brings you in and it’s truly fascinating and makes the film all the more terrifying. David Wilmot also gives a great performance, it’s not an incredibly deep role however it has a nice balance of comedy and seriousness.

Whereas Oddity reminds you of the classic haunted house film, Hokum reminds you of those 90s computer horror point and click games and I mean this in a positive way. There’s just something about the atmosphere that hits you with that sort of feel, you never know what’s going to pop out from around the corner. When you combine this with excellent and focused camerawork from cinematographer Colm Hogan who really does such a brilliant job of bringing the viewer into the film almost immediately, you truly get some thrilling results that are spread throughout the film.

The film’s script is straightforward yet very effective, the mystery itself is genuinely engaging and has this classic feel that you can’t help but appreciate. The examination of repressed trauma combined with Irish folklore helps keep things fresh, the film also gives the hotel a lot of character with tons of attention to detail. We get so much to look at with certain floors of the hotel and as we explore you slowly but surely get an idea of what’s going on here. This is the sort of film that rewards the viewer for being patient, it leads into the film’s final act where it does get truly tense and the atmosphere comes at you in your face.

Overall Hokum is an excellent film, it’s a straightforward yet very effective story that is truly worth it for the experience.

Hokum is currently in theaters.

9/10 A

The Bride (2026) Film Review

In 1930s Chicago, Frankenstein asks Dr. Euphronius to help create a companion. They give life to a murdered woman as the Bride, sparking romance, police interest, and radical social change.

The Bride is directed by Maggie Gyllenhaal director of The Lost Daughter (2021).

The Bride is not what you expect at all, sure it does take inspiration from the 1935 film Bride of Frankenstein. But rather than just being yet another Frankenstein adaption, this one chooses to go a very different route with some choices that are admittedly some huge swings. Not everything here works, but the elements that do really help this film stand out.

Jessie Buckley is quite fantastic here which isn’t really a surprise given how great of an actress she is. She actually plays a dual role, she plays The Bride and plays Mary Shelly, the ghost of the author of Frankenstein. She plays both these performances quite well, Buckley delivers an incredibly unhinged performance that has this unpredictable energy where it’s hard to read what she is going to do next. One minute she is having a somewhat normal conversation with someone and the next she’s twitching, yelling and saying the most bizarre sentences you could think of. In some cases this would be points against the movie, however Buckley does such a fantastic job of really capturing the bizarre atmosphere the film asks for that it ultimately works.

Christian Bale meanwhile plays Frank (or Frankenstein’s monster) who looks beaten up and has been through this multiple times before. He is sad, lonely, strangely gentle at times and can even get terrifying when needed. It’s a very different take on the character that is admittedly really neat and something that we the audience typically don’t lean into. I do think Bale’s best moments are when he and Buckley are causing chaos together. There is this nice yin and yang type of feel going on here with The Bride and Frank (at least in the beginning) that the film does explore.

As I said earlier the film is unhinged and it’s proud of it, there are times where the film definitely does not go far enough. However I do think the ideas presented are fascinating, the whole Mary Shelley’s ghost element strangely works incredibly well and fits into the narrative being told. Rather than showing how tragic these characters are, Gyllenhaal goes for a much more playful energy where these characters are chaotic and they are trying to figure out love, identity and revenge. Which I do think benefits the film far more in the end, sure thematically there is a bit of a mess going on here. But it’s the sort of mess that you can’t help but have fun with and genuinely appreciate.

The technical aspects are really strong here, especially the cinematography from cinematographer Lawrence Sher who goes for this large in scale 1920s film that mixes gangster movies and gothic movies. It’s an incredibly strange hybrid that works in the context of what the film is presenting. The score from Hildur Guðnadóttir fits the mood of the film and really brings the viewer into the experience.

Overall not everything in The Bride works but in the end it does end up being such a fun and genuinely great film. I admire the film for taking the swings it took and really not caring what anyone else thinks.

The Bride is available on all VOD platforms.

8/10 B+

Good Luck, Have Fun, Don’t Die (2026) Film Review

A man from the future takes hostages in a diner to find a team to help him fight a future AI apocalypse, leading to a chaotic, time-loop-adjacent adventure.

Good Luck, Have Fun, Don’t Die is directed by Gore Verbinski director of The Ring (2002), the first three films of the Pirates of the Caribbean (2003-2007) series, Rango (2011), The Lone Ranger (2013), A Cure For Wellness (2016) and a few others.

Gore Verbinski is back with quite a very odd film that is perhaps even stranger than A Cure For Wellness (2016), Good Luck, Have Fun, Don’t Die is a film that pokes fun at the whole AI landscape that is currently going on, it’s a hilarious ride that does have it’s flaws but overall sticks the landing quite well.

Sam Rockwell gives such a bizarre, hilarious yet charming performance that you can’t help but love in the end. His interactions with the rest of the cast is what really makes his character (who is simply known as man from the future) truly work especially when you combine the amount of fun that Rockwell is clearly having. Rockwell has excellent comedic timing that balances well with the film’s more dramatic moments, jokes that would otherwise not work entirely are elevated thanks to Rockwell’s timing.

Juno Temple who plays Susan a woman who is grieving after her son is killed in a school shooting ends up allowing from him to be cloned into an AI deadbot is quite fantastic. While there is a bit of humor here and it’s very clearly satire, there is some genuinely touching moments we see and that’s thanks to Temple’s performance, she conveys pain and suffering as well as wanting to do anything to bring her son back. Pain and suffering can consume a person over time to the point where you are willing to do almost anything and that is displayed incredibly well here.

Haley Lu Richardson is quite fantastic as Ingrid, we gradually learn more about her as the film goes on and the character writing is quite strong here. We get to see her backstory plus her joy, happiness, sadness and disappointment which all combined together shape her into a quite interesting character that yearns for closeness, Richardson’s performance is touching and has this beautiful balance of humor and dramatic moments that really display Richardson’s talent as an actress. She is definitely the heart of the film and that is especially expressed during the film’s final act.

The writing has this strong balance of humor and sci-fi bizarreness, there is one scene in particular during the film’s final act that does a pretty spectacular job of summing this film and its world up in a nutshell. The character writing isn’t perfect by any means, but it does have extra little details that the film could have easily skipped over, a lot of these characters could have easily been forgettable (some of them still are) but the film does give most of them some sort of backstory that helps fill the interest from the viewer.

The design of the AI and the many robots that show up in the film are bizarre yet incredibly intriguing, very creative ideas that interact with the characters incredibly well. There is this genuine charm that really sticks to the viewer and keeps the design fresh in your mind as you explore this film’s bizarre world.

The film does have its flaws, the ending definitely does feel like they ran out of time so they slapped something together very quickly. Plus I do think the film goes on for a bit too long, with that being said I do think the film is able to overcome its flaws quite easily due to the rest of the film being so creative and fun.

Overall Good Luck, Have Fun, Don’t Die is an incredibly fun and creative film that is able to deliver some great performances. It’s definitely not going to be for everyone but I still do recommend giving this one a go!

Good Luck, Have Fun, Don’t Die is available on all VOD platforms.

8/10 B+

Wuthering Heights (2026) Film Review

A passionate and tumultuous love story set against the backdrop of the Yorkshire moors, exploring the intense and destructive relationship between Heathcliff and Catherine Earnshaw.

Wuthering Heights is directed by Emerald Fennell director of Promising Young Woman (2020) and Saltburn (2023).

Wuthering Heights film adaptions have always existed, you have the 1939 film with Laurence Olivier, the 1992 version with Ralph Fiennes and Juliette Binoche, the 2011 film directed by Andrea Arnold and there is a TV movie plus a mini series. Emerald Fennell’s version is definitely more stylized which leads to both some really interesting elements and some elements that do hold this one back.

Before we get started I do want to say that I have not read the source material, I’m going to judge the film from what was presented. If you are interested in the controversies surrounding the film such as the casting choices I highly recommend looking that up as there are people who talk about this that are far more knowledgeable with the source material than myself. Now with that said, let’s get the ball rolling.

The performances are all quite solid although some are definitely better than others. Margot Robbie does have a few moments where she can feel a bit out of place with the film’s time period, despite that however she is able to land a great performance. I definitely think it’s one of those cases where as the film goes on the better her performance becomes, she adjusts to the film’s atmosphere and is able to make a decently compelling performance. Jacob Elordi is in the same spot as Robbie where I do think it takes him a bit of time to fit in with the atmosphere. But once he does, he is able to land some quite strong moments especially towards the end.

Robbie and Elordi are at their best when they share a screen together, these are by far the film’s better and more investing moments. Their dialogue bounces off of each other decently well and there is some firepower behind certain scenes. The chemistry has some quite strong moments that do bring the viewer into the film’s world, there are definitely some hiccups which mainly comes from how long the film is. But overall I do think the two are able to match the tragic picture that’s being painted.

Hong Chau and Alison Oliver are also pretty solid here, Hong Chau’s more quiet performance compared to the rest of the film being on a more louder scale makes for an interesting contrast. Alison Oliver provides the film’s more bizarre angle, she has this comedic relief aspect that slowly becomes more dark as the film goes on. Oliver captures this quite well and is not afraid to go all out.

The film’s best aspects have to be its cinematography combined with the music. The cinematography from Linus Sandgren is undeniably gorgeous, it matches the atmosphere the film requires and brings this large scale to the story. Even the film’s more simple shots have a whole lot going on in them, there is a striking amount of beauty going on here that does capture the film on this wondrous scale. The music from Charli xcx works incredibly well here, each of the songs are able to stand on their own and they complement their respective scenes. The music definitely does a lot of the heavy lifting when it comes to bringing the viewer into the experience of it all, a few notable mentions go to “Always Everywhere”, “My Reminder”, “Out Of Myself” and “Funny Mouth”.

Overall I do think Wuthering Heights as it stands is a decent film, it does go on for a bit longer than it should and it does have a very bumpy start. But I do think it gets better as it goes on resulting in a decent enough film.

Wuthering Heights is available on all VOD platforms.

7/10 B

Faces Of Death (2026) Film Review

A content moderator finds videos that appear to be recreations of the original Faces of Death film and must determine if the violence is real or fake.

Faces Of Death is directed by Daniel Goldhaber director of Cam (2018) and How to Blow Up a Pipeline (2022). Faces Of Death is a reimagining of the 1978 film of the same name.

The first question on anyone’s mind when the discussion of a Faces Of Death remake comes up is “how do you make a film like that nowadays?” The simple answer is you don’t, you rework it into a clever and quite thrilling horror film that manages to capture the disturbing and unnerving feel in its own way. Faces Of Death is a very surprising film due to just how much of it really works and how effective the atmosphere, performances and story is.

The performances all around are fantastic. Barbie Ferreira gives a raw and investing performance that navigates this incredibly disturbed world, she matches the atmosphere in a heartbeat and gives her character Margot Romero a lot of depth. The few second flashbacks we get of her has this quite tragic feel that adds to the atmosphere. She also works incredibly well with the rest of the cast, the back and forth between Arthur Spevak (played by Darce Montgomery) are by far some of the film’s best moments.

Speaking of which Darce Montgomery is the film’s secret weapon, Montgomery perhaps gives one of the most unnerving performances so far this decade, every single moment he’s on screen you feel this sense of dread, his character Arthur throughout the film recreates the deaths from the original Faces Of Death. Montgomery gives a down right evil and terrifying performance that leaves the viewer stunned. His ability to go from a normal everyday person to a deranged individual is truly astonishing, when you add in the atmosphere into the mix his performance only gets more and more effective.

The script from Isa Mazzei and Daniel Goldhaber is quite clever, the film goes for this meta approach which could have very easily went downhill incredibly fast. But the film brings this inspired approach that doesn’t leave the original film in the dust, in fact it’s part of the story as mentioned before with a serial killer recreating deaths from the original. The dialogue is also quite strong as well, there are a few hiccups here and there but a majority of the time you are fully invested to see where exactly this film goes next.

The film’s atmosphere right from the beginning brings you into the film, even during the film’s more relaxed moments you always feel like something is around the corner. The film’s scale is haunting and especially when the film enters its third act where the build up brings its final results which are quite effective. The gore is nasty especially when you combine it with Montgomery’s performance. Finally Goldhaber once again shows that he knows how to create a thrilling atmosphere, he displayed this with his previous two films Cam (2018) and How to Blow Up a Pipeline (2022) and he shows that here in such disturbing and thrilling detail.

Overall Faces Of Death is an incredibly effective film that has excellent performances, a disturbing atmosphere and an investing world that is quite terrifying.

Faces Of Death release tomorrow on all VOD platforms.

9/10 A

Hoppers (2026) Film Review

A 19-year-old animal lover uses technology that places her consciousness into a robotic beaver to uncover mysteries within the animal world beyond her imagination.

Hoppers is directed by David Chong director of We Bare Bears: The Movie (2020).

On the surface Hoppers may not seem like much, however once you get into the film there is a whole lot of heart as well as so much to love here. Between the animation immediately attracting the viewer’s eyes, to the well written characters that you instantly invest in and to the film’s familiar yet strong pro-environmental message. There is so much to really explore and appreciate here with Hoppers.

The voice cast all do a fantastic job and really bring out the character’s personalities. Our protagonist Mabel Tanaka especially, she has a heart of gold who much like her deceased grandmother had this beautiful appreciation for nature and animals. Piper Curda does such a fantastic job adding so much detail to Mabel Tanaka, she brings the right amount of comedy and dramatic moments to make Mabel memorable as a character. Jon Hamm does a solid job at voicing Jerry Generazzo a greedy neighbor, Dave Franco gives a hilarious supporting performance as Titus and Bobby Moynihan gives a surprisingly nuanced performance as King George the Mammal King.

The animation is where Hoppers really shines, it’s the type of animation that instantly brings you into the film’s world. You feel like you are sitting on a park bench watching the animals interact with one another, or when Mabel transfers her mind into a lifelike robotic beaver you can feel the scale change. The world gets even bigger and the animation just seems to really keep pushing with the detail.

The writing is also quite strong, you can very easily tell the writers and the voice cast had a blast with this film. That’s all you really need sometimes to create something special, the film has some bizarre ideas that actually work in the film’s favor. But what it does deliver on the most is being able to communicate its central thesis that bringing back this focus onto ourselves in this wider community while also connecting to nature will help us become closer, it’s quite a beautiful message that combines both humor and more sad moments to effectively tell its story.

Overall Hoppers is a very solid film that has this fun and heartfelt energy that brings the film together. Some ideas might be familiar however in the end the film is worth the watch.

Hoppers is available on all VOD platforms.

8/10 B+

Affection (2026) Film Review

Ellie confronts a disturbing condition resetting her memory, unable to recognize her husband and daughter. Each reset disorients her, leaving haunting recollections of an unfamiliar life.

Affection is directed by BT Meza which is his directorial debut.

Affection is one of those movies where it throws you right into things, in some cases this can be a good thing and in others it can be messy. Affection it’s this strange middle ground that as it goes on it starts to hurt the movie.

The main reason to watch this movie is for the performance from Jessica Rothe, she once again shows how exciting of an actress she really is. When the atmosphere requires her to bring in this raw direction she’s able to bring it to the table almost immediately, she brings a lot of layers to her character Ellie and works with the script as well as she can. Even with the writing’s weaker points, Rothe is able to turn in a genuinely great performance that leaves the viewer with some sort of impact.

The movie’s atmosphere is also quite effective, right from the beginning you get this Black Mirror like atmosphere and it does bring a lot of intrigue to it all while also complimenting the characters. The gross out visuals are inspired and have this unnerving feel to them, they bring some sort of focus to the movie’s more bizarre moments. Cinematographer Jason Hafer does a great job of giving the movie some great detail in during the gross out moments.

What does hold Affection back however is the writing and pacing, for a 90 minute movie this feels 2 hours long. The first bit of the movie takes an incredibly long time to get going, it’s not until the tip of the end of the second act is where things finally start to speed up. The writing is a bit too predictable for its own good, once you grasp what is exactly going on here. You can very easily figure out what’s going to happen next, the simplicity of the movie’s ideas also really stop the movie from exploring them to their full potential.

Overall Affection has its moments of greatness, but it does not quite come together as a full picture. Had this been a 30-50 minute short I think the results would have been far better and much more fitting.

Affection releases tomorrow in theaters.

5/10 C

Michael (2026) Film Review

The early life of the famous musician Michael Jackson, known as the King of Pop.

Michael is directed by Antoine Fuqua director of Training Day (2001), Olympus Has Fallen (2013), The Equalizer trilogy (2014-2023), Southpaw (2015), The Guilty (2021), Emancipation (2022) and many others. Michael follows the early life of Michael Jackson, covering the period from his involvement in the Jackson 5 up until to the Bad tour.

Michael is something that I like to call a “textbook biopic” in short this basically means biopics that feel like you are reading straight out of a textbook or Wikipedia page. They don’t say anything or do anything interesting they just simply tell you information that you already know, in cases where the subject of the biopic is lesser known that isn’t necessarily a bad thing. There has been cases in the past where biopics about far lesser known figures have done this and succeeded. However when you tackle figures like Michael Jackson who was one of if not arguably the most famous person on the planet and your biopic is very textbook like there comes a lot of issues.

Before that however, I’ll jump into what made the movie work because there are a few elements here that worked. Jaafar Jackson who is Michael Jackson’s nephew plays Michael and does such a fantastic job as him. He sounds like him, he acts like him and he even has the spark of what made Michael such an entertaining performer. It’s especially impressive considering this is Jaafar Jackson’s first acting role, even when the script is incredibly lacking in depth. Jaafar Jackson is able to make the material work simply due to his body language and how much charisma he has. I’m not exactly sure what Jaafar Jackson has planned next, whether he’s going to act in different films. But I would love to see that happen if he decides to go forward.

The music is of course excellent, this goes without saying but Michael Jackson’s music is some of the most celebrated pieces of music of all time and the set pieces during the music moments do a good job of explaining why that’s the case. From Beat It to Thriller to Bad it’s all well done and admittedly I was tapping my foot, it really does capture of what Michael such a great singer and performer.

Then the rest of the movie happens and unfortunately this is where Michael completely falls on its face, the rest of the performances while not particularly bad just don’t end up landing effectively. None of Jackson’s brothers are given any time to really shine, Nia Long does have a couple of sweet moments but is ultimately not given a lot to work with in the writing department.

Colman Domingo as Joe Jackson has his effective moments, but ultimately comes off as this mustache twirling villain. The abusive nature of Joe Jackson is captured (and those moments are genuinely uncomfortable) but the rest of his personality really does feel very exaggerated. Also quick fun fact, Michael is the second biopic within the last couple months to include Don King (the first one being Christy.) Finally there is Miles Teller who feels out of place, it’s not his worst performance as there is one sort of great moment towards the end. However you can’t help but feel like he’s in a completely separate movie.

The dialogue is the equivalent of those motivational posters you see in a classroom which to be fair to Michael, a lot of other music biopics are guilty of this it’s a common trope at this point to expect. Michael just so happens to be a prime example of it, almost every scene ends in this “believe in yourself” or “you can do this” sort of vibe. Which isn’t necessarily a bad thing, but when you end so many scenes like this it does start to become incredibly grating.

Finally the movie itself almost feels like a montage of Michael’s greatest moments, it’s nice to see these moments on the big screen. But without any sort of strong writing in between said moments it ultimately leaves the question of “why bother?” The movie fails to really paint the whole picture of what made Michael such an interesting person, as I said before. It does capture what made him a great performer and singer, but as a person? There is a whole lot missing here even when the movie is split into two parts.

Overall Michael is entertaining at times and has a fantastic performance from Jaafar Jackson, but that’s as far as the movie goes. It’s very unfortunate because there are a ton of hints to a great movie here, a lot of it is just stuck in this generic realm.

Michael is currently in theaters.

5/10 C

How To Make A Killing (2026) Film Review

A disinherited man, Becket Redfellow, systematically murders his way up the line of succession to claim his family’s fortune.

How To Make A Killing is directed by John Patton Ford director of Emily The Criminal (2022).

How To Make A Killing has its flaws, but it’s an overall entertaining ride with a solid cast that does lift the material in entertaining ways.

Glen Powell shows a lot of charisma here, he plays Becket Redfellow in this humorous and charming way that you can’t help but feel invested into him as a character. He works with the cast quite well particularly with Margaret Qualley and Jessica Henwick. Margaret Qualley brings this charm to the film as well and brings this femme fatale into the mix that is quite effective, Jessica Henwick has great chemistry with the cast. Her story can feel a bit out of place with the chaos happening, but she manages to make it work in the end.

The writing has some very humorous moments and brings this satirical edge to the mix as well. There definitely are moments where the film does get a bit too ridiculous and admittedly the ending does give off the vibe of rushing something together due to not really knowing how to close out the film. But I do think everything that came before the ending does work together decently well.

The pacing can be very inconsistent at times, some sections of the film have this nice atmospheric and fun feel, while others have this rushed feel that doesn’t flow together all that well. The character moments are fine enough and although brief, the flashback scenes do give us a bit more information about Julia Steinfeld (played by Margaret Qualley.)

Overall there really isn’t a whole lot to say here, How To Make A Killing isn’t really saying anything new. But it is admittedly a very entertaining ride that does have a fun cast, great humor and works purely on charm.

How To Make A Killing is available on all VOD platforms.

7/10 B