Bugonia (2025) Film Review

Two conspiracy-obsessed men kidnap the CEO of a major company when they become convinced that she’s an alien who wants to destroy Earth.

Bugonia is directed by Yorgos Lanthimos director of Dogtooth (2009), The Lobster (2015), The Killing Of A Sacred Deer (2017), The Favourite (2018), Poor Things (2023), Kinds Of Kindness (2024) and a few others.

Part of what makes Yorgos Lanthimos such a fascinating director is his ability to take the viewer into a much different world in each of his films. Even if you don’t fully like a certain film of his you always have to give him credit where credit is due, he makes the world of said film unique. That’s certainly the case here with Bugonia and it just might be one of his very best films, every single corner there is something going on whether it be the character’s movements, a score that is almost mocking the characters with this triumphant opera even though what’s shown is the exact opposite. Plus a lot of unexpected twist and turns make this film a very bizarre ride. Although Bugonia is a remake of South Korea film Save the Green Planet! The film manages to be its own thing!

Emma Stone as usual delivers in every single way possible. Her approach to such a bizarre script feels natural, her interactions with Jesse Plemons and Aidan Delbis alone make the film worth watching. She captures the bizarre atmosphere and balances the humor and the film’s darker moments masterfully. The chaos between her character Michelle Fuller and Teddy Gatz (played by Jesse Plemons) only shows how incredible her performance really is.

Jesse Plemons and Aidan Delbis are both fantastic here as well. Teddy Gatz is a character whose trauma, abuse and anger leads him down a path that isn’t reality. The way Plemons portrays this is incredibly effective and only shows the unhinged nature that Teddy has piled in him. One moment he can seem somewhat in reality and the next moment he can be spouting the most nonsensical things you ever heard of, these are the moments in particular that really shows how incredible Plemons’s performance really is. In between all of this Aidan Delbis delivers some humanity, while his performance isn’t as grand or large in scale as Stone or Plemons. He delivers a more quiet yet impactful performance that sticks to the viewer in the end.

The writing is fantastic, there’s a lot going on here thematically. Such as conspiracies caused by corporate pain, the loss of truth, corporations reducing their employees and such much more. Each of these themes is tackled masterfully, with a lot of exploration of the characters and just overall fascinating character and world writing that gives such bizarre picture. Seeing how and what pushed Teddy over the edge was some of the film’s most important moments, it does not necessarily sympathize with him it just hands you these scenes and asks you “what do you make of this?”

The cinematography from cinematographer Robbie Ryan and the score from Jerskin Fendrix combined together create something truly fascinating. The cinematography gives this film a small scale look yet feels much bigger, that’s mainly because a majority of the film we are in this one house. Yet when the film does switch to the outdoors in some scenes it feels massive, it’s a nice balance that keeps it very natural and strangely grounded. The score as I said at the beginning almost has this humor to it, there’s this triumphant opera that points a finger at the character and laughs at them when something doesn’t go according to plan. It’s hilarious and quite effective something you don’t see a whole lot of films attempt to do mainly because it’s hard to nail down.

Finally there’s the last bit of the film and the bizarreness of the film in general. Despite being bizarre this strangely feels like one of Lanthimos’s most grounded films, rabbit holes like this do exist and people’s trauma and abuse can lead them down a dark path. The final act has one of the best song uses of 2025, I won’t say what it is here because it truly is effective and creates this haunting yet calming picture. The bizarre nature of the film is both comedic yet atmospheric, there’s a lot going on here that only adds up as the film goes on.

Overall Bugonia is one of the best films of 2025, a fascinating film that has so much to explore with excellent performances.

Bugonia is available on all VOD platforms.

10/10 A+

Sorry, Baby (2025) Film Review

After a tragic event, a woman finds herself alone while everyone else continues with their lives as if nothing had happened.

Sorry Baby is directed by Eva Victor which is their directorial debut.

Sorry Baby is one of the most authentic films of the year, tackling the topic of sexual assault and the struggles of depression that comes with it is already a challenging task. But what Eva Victor does here is truly something special, not only do they tackle this in a way that’s incredibly real and flat out honest. But there is so much empathy and the film never loses track of its heart and soul, the humor is done in this clever way that brings these characters to life. Combining all of this makes for a unique watch that is unforgettable.

Eva Victor as Agnes is one of the best performances of the year hands down, the moment we are introduced to Agnes we get this raw feel. A woman who’s living her everyday life just like the average person, Victor does an excellent job of portraying this especially when it comes to having conversations with the rest of the cast. When the sexual assault eventually takes place, Victor’s performance becomes devastating. We can see the trauma eating away Agnes and showing trauma evolves over time and never really goes away. Underneath all of that however is shining heart that is Eva Victor’s performance, there’s this certain beauty and moving element that remains throughout this film.

One huge moment is Agnes having a conversation with Pete (played by John Carroll Lynch), the acting from Eva is truly fantastic here and the way they are able to constantly switch from many different feelings so effortlessly is truly incredible. Eva Victor captures depression in this way that everyone can identify and there were parts where I did see myself in Agnes. Agnes is a real character going through a terrible situation that happens to so many people and the way Victor portrays Agnes is truly magnificent.

The supporting cast is also fantastic here, Naomi Ackie, Lucas Hedges and John Carroll Lynch especially. Ackie and Hedges give very raw performances and capture the friend role perfectly. John Carroll Lynch has a huge moment towards the end that really fills in this type of person who is the kind of nice at a certain moment that you need. It’s an honest and beautiful performance that is one of the film’s many highlights.

The writing from Eva Victor is exactly what you would think of when someone says “a film that tackles its subject matter in a very grounded way.” The film starts out as any normal day and then quickly gets into its subject matter that so many people unfortunately went through. As I said before Victor tackles this in a very honest way, Victor shows the very real aftermath of sexual assault. It’s horrifying and we see Agnes trying to make sense of what happened. The film does not show the sexual assault instead the camera has this still frame outside of the house, we see it turn from day to night and that’s when Agnes emerges from the house with a silent track home. It’s an incredibly effective decision that gets the point across to the viewer effectively.

Yet underneath all of this as I said before there’s this light, Victor mixes in some humor, there are moments of beauty in small yet effective actions of humaneness. There are moments of healing, there is a small moment of a stray cat that Agnes finds and decides to take in. It’s a beautiful moment that tells the viewer a lot about Agnes as a character with only her actions. The theme of moving forward is also present here, the film does not really have an answer as to what moving on exactly is. That’s the sort of thing that varies from person to person, however the film does leave the viewer on a hopeful note one that is truly meaningful and powerful.

Sorry Baby is a powerful film that will leave the viewer with this certain level of beauty in its impact. The film manages to be funny, painful and loving all at the same time. Eva Victor’s level of attention to detail with the character writing of Agnes plus their direction is truly remarkable. Eva Victor is a name we are going to be seeing and hearing for a very long time.

Sorry Baby is available on all VOD platforms.

10/10 A+

Christy (2025) Film Review

Christy Martin never imagined life beyond her small-town roots in West Virginia, until she discovered a knack for punching people. Fueled by grit, raw determination, and an unshakable desire to win, she charges into the world of boxing under the guidance of her trainer and manager-turned-husband, Jim. Flaunting a fiery persona in the ring, her toughest battles start to unfold outside of it as she confronts family, identity, and a relationship that just might become life-or-death.

Christy is directed by David Michôd director of Animal Kingdom (2010), The Rover (2014), War Machine (2017) and The King (2019).

Christy tells the story of Christy Martin which mainly tells her rise to becoming America’s best known female boxer in the 1990s and later her coach turned husband James V. Martin’s attempted murder of her.

What starts out as a very by the numbers biopic ends up turning into something genuinely interesting and even disturbing, Michôd’s choice of mixing both the rise of Christy’s career and the abuse she faced is a very risky move but one that ultimately does payoff which is mostly thanks to the performances.

Sydney Sweeney does an excellent job here, it does take a bit of time for her to get into the core of her performance but she ultimately leaves the viewer with a very powerful impression. This is a much different type of performance for Sweeney, one that pushes her to her limits and brings out this raw and at times upsetting performance. The final act of the film brings this into detail brutally with one scene in particular that is quite upsetting, Sweeney delivers this incredibly well with genuine pain and betrayal in her eyes and voice, its horrifying and never really leaves your mind even after the credits roll. Sweeney is a main part of why Christy works as well as it does, she paints this portrait of Christy Martin a woman who had beautiful rise but also horrifying betrayal.

Ben Foster as James V. Martin is the other half of what makes the film work so well. Foster delivers a terrifying and disturbing performance, when the film explores the abuse Christy faced the film suddenly becomes this disturbing ticking time bomb. Foster’s ability to switch someone who is kind and constantly praising Christy to a manipulative and abusive monster who wants to destroy Christy is both quite impressive and disturbing at the same time. The interactions between the two have this horrifying rawness that could potentially feel relatable for abuse victims, both Foster and Sweeney truly bring this film from a traditional biopic into something a lot stronger and interesting.

The writing as I said starts out as this typical biopic, we explore the highlights of Christy Martin’s career and her rise to fame. Even if this does have familiar beats, you can’t help but root for her. Christy and her team are fun and engaging, some of the supporting cast do not get a whole lot to do but they make the most of it. As we get into the film’s exploration of abuse that’s when the film strays away from the usual biopic and brings in a much different atmosphere and direction.

The film’s fight scenes are pretty solid as well, there definitely are some odd camera choices but those are a far and few in between. For the most part you get these up close and striking shots that have strength on their own. The film does suffer a bit from padding in some areas and the supporting cast does feel a bit underutilized.

Overall Christy is a very solid film with fantastic performances and tells Christy Martin’s story of her career and her survival very well. It’s horrifying yet ends on a positive note for Christy.

Christy is available on all VOD platforms.

8/10 B+

Lightning Round: Rabbit Trap, Hell House LLC: Lineage and The Hand That Rocks The Cradle (2025)

Married couple Daphne and Darcy Davenport are two musicians who moved from London to a cottage in Wales to complete their new album. By accident they record a mystical sound never heard before and gradually disconnect from reality.

Rabbit Trap is directed by Bryn Chainey which is his directorial debut.

Rabbit Trap is one of those movies that has a lot of the right ingredients to make for an interesting little movie, but unfortunately drops the ball when it comes to adding detail to the story. Especially with its heavy use of being way too cryptic with the story.

The performances are all strong here, Dev Patel has a lot of charisma as an actor and here is no different. It might not be one of his absolute best performances, but he does capture the mysterious atmosphere the movie is going for and does a really solid job with his chemistry with the rest of the cast. Rosy McEwen offers great support for Patel (although I really do wish the movie went a bit more into her character), even if she is given the least amount to work with. Finally there’s Jade Croot who gives a quite terrifying performance, as soon as Croot enters the movie you feel the atmosphere completely change into something haunting. That’s present throughout the entire experience and is by far the movie’s best asset, it’s a mesmerizing performance that gets under the viewers skin very quickly.

When it comes to technical aspects, Rabbit Trap is quite strong. Sound designer Graham Reznick hits it out of the park, he takes the simple concept of sound and made it quite terrifying. There’s a mix of folklore here as well which does bring in some interesting moments. Cinematographer Andreas Johannessen and production designer Lucie Red give the movie this hauntingly beautiful feel and look that helps it standout a bit more. There’s this atmosphere that captures this feel of mystery where anything can happen or appear out of nowhere, the folklore like feel is also there something a lot of movies who try to go for this feel often miss.

Unfortunately Rabbit Trap suffers from a lot of writing issues. As great as the acting is, there’s just not a lot of strong character writing here and the lack of development really shrinks the impact the movie attempts to go for. The story’s cryptic and confused results lead to the viewer getting completely taken out of the movie.

Rabbit Trap falls short in what could have been a hidden gem that’s an atmospheric ride, but ultimately becomes quite forgettable.

Rabbit Trap is available on all VOD platforms.

5/10 C

Haunted by visions and recurring nightmares years after a near-death experience, Vanessa Shepherd finds herself living in the town of Abaddon, unable to break free from its unexplainable hold on her. When people around her suddenly and inexplicably begin to die, she soon uncovers her terrifying connection to the Abaddon Hotel, the Carmichael Manor, and the mysterious murders that have been occurring for decades.

Hell House LLC: Lineage is directed by Stephen Cognetti director of every installment in the Hell House LLC franchise (2015-2025) and 825 Forest Road (2025). Hell House LLC: Lineage serves as the fifth and final installment to the franchise.

Dropping the found footage element of your series with its supposed final installment is an incredibly questionable move. I’m not going to sit here and act like the Hell House LLC franchise are these masterfully written movies, they are flawed but outside of Lake Of Fire (2019) they are at the very least fun and capture this Halloween (not the film) type of feel that works in the series’s favor. The documentary style combined with the found footage element made this series more interesting and enjoyable as the viewer tried to unravel what exactly is happening in these movies. Lineage unfortunately strips all of this a settles for a dull, boring (I hate using that word but it’s very accurate here) and mixed with poor acting, direction along with terrible pacing.

The performances are terrible, everyone here is trying their best but with such an empty script and lifeless direction you can only do so much. The one who looks best walking out of this movie is Elizabeth Vermilyea (that’s not exactly saying much.) Lineage is incredibly lore heavy and attempts to expand the mythology of the franchise, but by this point it’s way too late. We get so many long a drawn scenes of incredibly dull dialogue that fails to bring the viewer into the movie.

I do think the movie’s attempts at trying to breathe new life into the franchise are somewhat admirable but ultimately end up being incredibly misguided. While there are some great shots thanks to cinematographer Brian Keenan, that does not end up meaning all that much when the rest of the movie is a complete and total mess. The direction just does not have the same charm or excitement that the rest of the series had in the past, say what you will about Lake Of Fire (2019) but at the very least the charm was still there. With Lineage it feels like the energy of the franchise is gone, the atmosphere that made the previous movies fun is just not present here.

Overall Hell House LLC: Lineage is easily the worst of the franchise, it’s a very confused and closing ending to the series that offers incredibly little to fans or casual watchers of the series.

Hell House LLC: Lineage is available on Shudder.

1/10 F

An upscale suburban mom brings a new nanny, Polly Murphy, into her home, only to discover she is not the person she claims to be.

The Hand That Rocks The Cradle is directed by Michelle Garza Cervera director of Huesera: The Bone Woman (2022). The movie serves as a loose remake of the 1992 film of the same name.

I had some sort of hope for this one considering Michelle Garza Cervera impressed with Husera: The Bone Woman (2022) a few years ago, unfortunately this feels like it was directed by an entirely different person. It’s also one of those remakes that completely fails to add anything interesting or try to tackle the story with a different approach.

Maika Monroe and Elizabeth Winstead are great here, but unfortunately the Lifetime Channel like script bogs down any sort of power that the two’s performances could have brought to the movie. There are moments here where you even wonder “how did this not end up on the LifeTime Channel?” the thinly layered script gives the movie absolutely no room for any sort of suspense or atmospheric moments, it’s all just one implausible situation after another.

The 1992 version is not a film I would say is one of my favorites, but it had the script, firepower and the atmosphere to back it up. All of that combined made it into a thrilling little ride that does not overstay its welcome. The remake however is dull and just does not have anything interesting going for it.

The Hand That Rocks The Cradle is available on Hulu.

3/10 D-

Dracula (2025) Film Review

In modern Transylvania, vampire hunts and labor strikes mix with sci-fi, romance, and AI tales. Multiple storylines blend folklore, horror and contemporary elements for a fresh take on Dracula’s legend.

Dracula is directed by Radu Jude director of Do Not Expect Too Much from the End of the World (2023), Sacred Hearts (2016), Everybody in Our Family (2012) and many others.

To say that Radu Jude’s Dracula is a very odd film would be the understatement of the year, the very first moments of the film is a bunch of AI-generated renditions of Dracula saying a variation of “suck my dick” the film is a take on how AI is sucking the life out of filmmaking and even how people think. It’s an excellent satire that although a bit too long is still incredibly effective.

The performances are all quite fascinating, each of the cast goes all out with what the script requires and are not afraid to add their own flavor into the mix. They also capture the satirical atmosphere well and bring the viewer into the film quickly due to just how bizarre they act. There are some genuinely meaningful moments during the film’s final moments which lead to some of the best acting of the film.

The main part of what makes Dracula successful is the themes and how they are executed, as mentioned before there’s the theme of AI and how it’s ruining filmmaking. This is not a case where the movie just ends up saying “AI bad” the film points out how ridiculous AI is in this humorous way, people’s line of thinking is lost since they do not have that special connection of filmmaking especially when relying on ChatGPT and OpenAI.

This is made clear with the character simply known as “The Director” (played by Adonis Tanta) who talks to the camera about using generative AI which creates a bunch of subplots that are nonsensical, the director is used as a vehicle for Radu Jude to explore the themes of technology and society, such as how modern society or AI is bloodsucking and taking away from human connection and filmmaking. Adonis Tanta does such a fantastic job with his performance as the director, he’s unhinged and completely matches the film’s overall atmosphere.

Then there’s the film’s final moments which says that the nature of being human is starting to feel less human each day, which is an incredibly scary thought to think about and explore. But it’s done in this way that is truly meaningful and while it can feel like a whiplash after you have sat through the majority of the film’s bizarre nature, you still feel impacted and it’s a genuinely clever place to end on.

Do not go in expecting a faithful adaption to Bram Stoker’s material, you are just not going to get that here. However if you are looking for something completely different this is definitely the film for you!

Dracula releases tomorrow in theaters.

8/10 B+

Trust (2025) Film Review

A Hollywood starlet retreats to a remote cabin after a scandal — but she’s not alone. Betrayed by the man she trusted the most, she soon finds herself trapped in a brutal game of survival.

Trust is directed by Carlson Young director of The Blazing World (2021) and Upgraded (2024).

Trust is quite honestly baffling, this is an example of a movie that jumps from one character to the next where it’s not exactly sure who to focus on. It’s an absolute shame because this comes from Carlson Young a director whose previous two films I liked. Unfortunately Trust is way too scatterbrained and incredibly messy to the point where it loses the viewer midway through.

When it comes to performances, Katey Sagal is the standout. She gives the movie this complete and total opposite feel that it’s going for, in any other case this would be considered a negative but here it’s a breath of fresh air due to just how dull the rest of the movie is. Her interactions with the rest of the cast are genuinely hilarious at times and she makes for fun comedic relief that did not need to be there but you will be thankful that it is there by the end.

Sophie Turner does fine enough here but unfortunately her character Lauren is stuck in a boiler for 90% of the movie. She’s given very little to work with, heck the movie claims that Lauren is the central character we follow but instead we see more of the villains who are about as deep as the average movie henchmen character wise. It’s a very confused mess character writing wise and even though I do enjoy Katy Sagal’s scenes the movie ends up following her quite a bit, it’s sort of a whiplash between Lauren being trapped and on the brink of death while Katy Sagal’s character Loretta bumbles around in various locations until the plot asks her to go to Lauren’s remote cabin.

The writing is what almost immediately destroys this movie, as I said before the movie is not even focused on Lauren it’s more so focused on the people involved. With a majority of them having very little character and at best murky motivations, the atmosphere is also not thrilling at all. Especially since this is one of those movies where you can easily tell what exactly is going to unfold before it happens, the movie also fails to use the boiler room effectively. It’s an empty room that slowly becomes flooded and that’s about as much as we get.

Overall Trust is a baffling mess, it completely abandons what could have been some interesting elements in favor of dull antagonists, poorly written dialogue and a very poorly explored protagonist.

Trust is available on all VOD platforms.

2/10 F

Witchboard (2025) Film Review

In present-day New Orleans, a cursed artifact unleashes a vengeful witch, drawing a young couple into a deadly spiral of possession, temptation, and occult terror.

Witchboard is directed by Chuck Russell director of A Nightmare On Elm Street 3: Dream Warriors (1987), The Blob (1988), The Mask (1994), Eraser (1996), Bless The Child (2000), The Scorpion King (2002), I Am Wrath (2016), Junglee (2019) and Paradise City (2022). The film serves as a remake to the 1986 film of the same name.

I really don’t think anyone was clamoring for a remake of Witchboard (1986) but they have made more questionable remakes in the past so I guess anything is on the table. With that out of the way it should come to no surprise that this remake is not very good, outside of a few performances and some unintentionally hilarious moments this is an incredibly empty remake that has very little to offer.

Madison Iseman is fine enough here (although she has given better performances) and tries what she can with such an empty script. Jamie Campbell Bower (who plays a character that wasn’t in the original) goes full on cartoon character mode here and it leads to some quite hilarious and the movie’s more entertaining moments.

Unfortunately that’s where the movie ends for me, if I could describe this movie in a one word review it would be empty. There’s nothing going on here thematically or anything that the viewer can sink their teeth into, the dialogue between the characters is lifeless and even when the movie tries to explore some of the bonds between the group it ends up falling flat immediately due to the many cliche directions it takes. The pacing was painfully slow and when you combine that with a 112 minute running time you are in for an incredibly dull ride that will make you want to quickly get off.

The plot gets very convoluted for absolutely no reason, the movie is trying to do things a bit differently than the original. Which is all well and good but it takes an understandable experience and makes it convoluted for no real reason outside of drawing the movie out longer.

Overall there is just not anything meaningful or noteworthy to say about Witchboard. It’s the very definition of a remake that you seriously question why it was made as you watch it.

Witchboard is available on all VOD platforms.

3/10 D-

Ick (2025) Film Review

a high school science teacher who must confront a parasitic alien invasion and his personal life, which gets complicated by a new student who may be his daughter.

Ick is directed by Joseph Khan director of Torque (2004), Detention (2011) and Bodied (2017).

Ick is sort of noteworthy due to the soundtrack consisting of several pop-punk hits you probably heard in the 2000s, Yellowcard, Creed, blink-182, Paramore, The Killers and many others have at least one of their songs appear throughout the movie and I would be lying if I said I was not feeling at least bit nostalgic.

Ick is also a throwback to some of the monster/creature horror films of the 2000s such as Slither (2006), which there are points the movie does a decent job of capturing the spirit of those movies. Even if Ick is admittedly not as good as the movies were.

The performances are decent enough here, Brandon Routh plays the leading role and he actually does a solid job here. He’s able to blend in with Joseph Khan’s messy style decently well and his interactions with the rest of the cast result in a few laughs, the rest of the cast unfortunately don’t leave a mark on the viewer. So much of it is due to cliche character types and very little development all around, while yes at the end of the day Ick is a monster movie so I wasn’t expecting any grand character writing. But lazily written characters who spout just a bunch of one liners are a huge distraction that completely takes you out of the movie.

The writing is what really holds the movie back, within the first 10-15 minutes it’s very clear that “The Ick” is supposed to be a COVID-19 allegory and it’s not subtle at all. I wouldn’t say that the allegory is done poorly here as it does result in some of the movie’s few laughs. With that being said it’s not exactly breaking any new ground either, at this point we have seen the conspiracy theorists, the Alex Jones type of characters and such get the parody treatment in a lot of different media. What Ick does here isn’t any different and if you have already seen these types of jokes before then you are not going to get anything different here.

Lastly there’s the editing which is a mess and is sort of to be expected when it comes to Joseph Khan’s films. Detention (2011) had a similar style, but at the very least it did not feel like overkill and ultimately fit the atmosphere of the movie. With Ick it very much goes into the forgettable territory and much like the rest of the movie fails to leave an impression on the viewer.

Overall Ick has a really solid soundtrack, a decent performance from Brandon Routh and a few good jokes but not much else.

Ick is available on all VOD platforms.

4/10 D+

Night Of The Reaper (2025) Film Review

College student Deena visits home and is roped into babysitting. The local sheriff is mailed a piece of evidence and is led on a scavenger hunt to reveal the killer of another babysitter.

Night Of The Reaper is directed by Brandon Christensen director of Still/Born (2017), Z (2019), Superhost (2021) and The Puppetman (2023).

When you first start watching Night Of The Reaper you will almost immediately catch on that it’s going for this 70s and 80s retro style. There’s a clear When A Stranger Calls (1979) and Halloween (1978) influence here, the movie is basically a late 70s and early 80s period piece. We have seen plenty of these types of movies in the past and unfortunately Night Of The Reaper really fails to standout among them.

The acting is a hit or miss, Jessica Clement is doing a lot of the heavy lifting here as she does manage to capture the 70s and 80s feel that the movie is looking to achieve. Everyone else however is given the short end of the stick as their performances range from terrible to very below average, the actors are trying their best with what they are given but due to the movie’s terrible script there’s so much missed potential here.

There’s a few scenes here that work decently well, there’s one scene in particular that makes use of some great practical effects. The movie’s twist is a great idea at first but ultimately gets completely buried under the shallowness of the rest of the movie, there just is not enough here to back up the twist. Instead of capitalizing off of the twist the movie strangely does the exact opposite by throwing bad dialogue and a lot of cliche moments that take away from it.

Overall Night Of The Reaper had a lot of potential here, but due to the script and the shallowness of the movie it’s ultimately a very forgettable experience.

Night Of The Reaper is available on Shudder.

3/10 D-

Eenie Meanie (2025) Film Review

A reformed teenage getaway driver is dragged back into her unsavoury past when a former employer offers her an opportunity to save the life of her chronically unreliable ex-boyfriend.

Eenie Meanie is directed by Shawn Simmons which is his directorial debut.

Eenie Meanie is a movie I appreciate more than I like it, don’t get me wrong I still think it’s a fun time and it’s a decent movie to put on. But Simmons tackling a Baby Driver (2017) sort of approach with his directorial debut is an interesting move that partly works!

The acting is pretty solid here, Samara Weaving is always fun to see and here is no exception. This might not be one of my favorite performances of hers but she is so much fun here and it’s admittedly different from what she usually does. Karl Glusman, Steve Zahn and Marshawn Lynch are all pretty great here as well, they are fun in their own right even if their characters leave a lot to be desired in the character writing department.

The action scenes are what makes the film, incredibly high of energy and they capture the atmosphere the movie is going for. The car chase scenes are a whole lot of fun and give the film’s world more flavor, they aren’t anything we have not seen before but they are filled to the brim with style and capture this grindhouse movie feel that does make them standout a bit.

The atmosphere of the film has this 70s and classic B-movie feel, it’s something that remains consistent throughout the film and captures a lot of the fun nature that B-movies typically have.

The main problem comes in with most of the character writing, while there are some decently heartfelt scenes towards the end that are actually quite touching. A majority of the film does not have that and it becomes a bit of a too little too late sort of situation. I still recommend giving this one a go if you are just looking for a blast, just don’t expect any spectacular character work.

Eenie Meanie is available on Hulu

6/10 C+