I Know What You Did Last Summer (2025) | A self-aware, bloody nostalgia trip where new faces slash competently, but the OG cast still steals the spotlight. #jackmeatsflix

My quick rating - 5.4/10. I went into 2025's I Know What You Did Last Summer with expectations firmly in place at “fun, dumb, nostalgic slasher,” and for the most part, that is what I received. In this installment, a group of friends make a fatal error in a car accident, quickly conclude that punishment is for wimps, and fall back upon that trusty horror movie strategy of making a pact not to speak of it again. Naturally, one year later, someone absolutely remembers. And not in a “hey, let’s talk this out” way, but in a sharp, pointy, murdery way.

The formula is very loyal to the original, but it's nice that this specific team doesn’t feel like they're carbon copies of the original group from 1997. They act like a messy, morally dubious group of friends, and this helps this flick feel like it can stand on its own merit - at least until the nostalgia train comes charging in. Madelyn Cline is clearly having a blast as Danica, the queen bee with attitude to spare, while Chase Sui Wonders brings a carefree, watchable presence as Ava. Tyriq Withers’ Teddy feels eerily similar to what we recently saw him do in HIM, and he’s also involved in one of the more head-scratching scenes in the film… the kind where you just stare at the screen and mutter, “No one thought this through, huh?”

Freddie Prinze Jr. is okay, and Sarah Michelle Gellar appears in a genuinely creepy dream sequence. The film is completely self-aware, at least when it incorporates Jennifer Love Hewitt’s iconic line, "What are you waiting for, huh?" It works…but it also reminds you just how much the OG cast overshadows the new blood.

The fact that director Jennifer Kaytin Robinson isn’t afraid of the blood and actually gets it on screen is a definite plus in my book. The kills here range from nasty and mean-spirited to occasionally brutal in a fashion that passes the test for a modern studio slasher film. There’s also a weirdly unrealistic amount of time spent waiting for someone to check video footage, set in a graveyard, no less, which had me rolling my eyes. I miss the early days of the WWW, when I bought an actual meat hook online to finish my Halloween costume. Simpler times. More buffering.

The finale? I didn’t mind it. The problem is the aggressively “Hollywood” wrap-up that follows, sanding off some of the edge the film earns along the way. And yes, in true franchise fashion, the sequel door is left wide open. Stick around during the credits, because Brandy Norwood shows up to ice that sequel cake nicely.

In the end, this is just a fun, no-brainer kind of slasher flick that comes out just above average. It’s fun, occasionally gory, and yeah, kind of retro without being completely mortifying. Too bad the new cast will never live out of the originals' shadow, but hey, what are you waiting for? You know you’re watching it anyway. You just won't be talking about it 30 years later.

I Know What You Did Last Summer (2025)

https://jackmeat.com/i-know-what-you-did-last-summer-2025/

Saw X (2023) | Part II for New Year's - later Saw sequels. Another gruesome and satisfying retro visit with Jigsaw. #jackmeatsflix

My quick rating - 7.2/10. I was really hoping to squeeze Saw X into my #Shocktober lineup, and honestly, it turned out to be a pretty fitting way to close out the month. In a horror franchise that has often struggled with sequel fatigue and increasingly convoluted timelines, Saw X surprisingly emerges as a dark, inventive entry that breathes some much-needed life back into the series. Who would’ve thought that movie number ten would be the one to pump fresh blood into the trap-filled veins of Saw and not Chris Rock's Spiral?

Taking place between the events of the first Saw and Saw II, this entry sees the series put its sole emphasis on the man himself, John Kramer, once again acted to perfection by the inimitable Tobin Bell. Confronted with his own imminent death, Kramer flees to Mexico in a bid to locate a cure for his plight. Unfortunately, playing around with false hope and the consequences of exploiting the patient’s circumstances turns out to be a very, very bad decision when the patient happens to be Jigsaw. Especially when the man happens to be dying.

I believe one of the film’s biggest strengths is its smart, calculated storytelling. Rather than existing solely to rack up a body count, Saw X actually feels like it has something to say. The story fills the gap of the previously mentioned Saw flicks and creates a path of its own, immersing itself in Kramer’s troubled mind as he navigates his weakness, his fury, and his twisted determination for justice. Kevin Greutert, along with writers Pete Goldfinger and Josh Stolberg, somehow manages the impressive feat of making you pull for John Kramer, which feels morally wrong…yet undeniably effective.

Amanda, brought back by Shawnee Smith, is a good way of connecting this film to the rest of the series. She gets to explore this emotional conflict and loyalty that would be a natural thing to experience. Especially when she is standing right beside Jigsaw on what is so clearly a personal mission. It is actually a good call to make, and it adds well to this continuity without being obvious.

Of course, this is still a Saw movie, and the traps do not disappoint. They're innovative, gruesome, and visually compelling, and they showcase the “sadistic ingenuity” the series has come to be known for. What makes Saw X different from a lot of the “Saw” films, on the other hand, is the fact that the narrative is given the focus it deserves for the first time in a long while, and the writing does not disappoint either

Ultimately, Saw X feels like a proper return to form. The movie pays respect to the legacy of Jigsaw while infusing fresh life so it never feels stale. With performances that have heft, kills inventive in concept, and an exploration into morality and justice unexpectedly thoughtful, Saw X proves even ten movies in, this series still has a few traps left worth stepping into. Whether you want to or not.

Saw X (2023)

https://jackmeat.com/saw-x-2023/

Spiral: From the Book of Saw (2021) | New Year, old traps - a later-era Saw double feature that delivers gore and twists, even if the tension never fully sharpens. #jackmeatsflix

My quick rating - 5.7/10. Getting my watchlist under control is officially my New Year’s resolution, which led me back to Spiral: From the Book of Saw. I was also fairly certain I’d already seen this one at some point, yet my database had absolutely nothing logged. Never a good sign. Still, curiosity (and franchise loyalty) won out.

Working in the long shadow of his respected police veteran father (Samuel L. Jackson), brash Detective Ezekiel “Zeke” Banks (Chris Rock) and his rookie partner (Max Minghella) become embroiled in an investigation that uncannily reminds him of events in the past that seemed all too familiar. Before long, Zeke becomes embroiled in a macabre scenario that has all the hallmarks of a Saw movie, despite its pretense that this is something new.

The reason this film exists is no secret. This was very much a passion project for Chris Rock, who’s been open about being a big fan of the Saw franchise. You can feel that enthusiasm in the concept, but execution is another story. While the gore is absolutely on point - no complaints there - the film struggles badly with tension. The AI-synthesized voice used for the killer is a major misstep; it never instills fear or dread, and instead comes off oddly flat and artificial. If this was meant to signal a new generation of Saw, it’s hard not to think the franchise course-corrected far more successfully with Saw X by returning to the era when Jigsaw was still alive and filling in narrative gaps that actually mattered.

That said, Spiral isn’t without its moments. While the conclusion does offer some interesting ideas, there’s enough torture, cat-and-mouse action, and franchise cliches to keep loyal viewers somewhat enthralled. In fact, this one does not feel out of place among the better late entries when measured against some of the other follow-ups to the original. The character arc, as predictable as the plot, makes the consequences feel telegraphed.

Chris Rock’s performance is another sticking point. His acting feels off throughout, lacking both his usual stand-up energy and the presence needed to sell the darker material. It never fully clicks as serious, which creates an odd tonal imbalance. Sam Jackson does what he can, but the script doesn’t give him much room to shine. Overall, Darren Lynn Bousman's direction is solid, the script is mediocre, and the acting is uneven.

As a hardcore Saw fan, and knowing this is technically the ninth installment, my expectations were already low - and even then, Spiral still feels like one of the weaker entries in the franchise. It’s not a “bad” movie, but it’s also not very memorable. There are elements that work, sure, but the sum of its parts leaves a lot to be desired. Not the best horror film by any stretch, but still worth a watch if you’re after some quick, disposable entertainment.

Spiral: From the Book of Saw (2021)

https://jackmeat.com/spiral-from-the-book-of-saw-2021/

The Great Flood (2025) | A mother fights rising waters and impossible choices, proving that survival means nothing without protecting the child who defines her. #jackmeatsflix

My quick rating - 5.9/10. The Great Flood lands on Netflix as what initially looks like a fairly straightforward disaster thriller, but it quickly becomes clear that this isn’t just about water levels rising and people scrambling for higher ground. Directed by Byung-woo Kim, the film opens with a global flood event that has pushed humanity to the brink, narrowing its focus to a single apartment building and a mother’s desperate attempt to save her child on what may be the final day on Earth. I went into this one dubbed, having seen a trailer weeks earlier that did a solid job of selling tension and scale, and it definitely got my attention.

Kim Da-mi plays An Na, a mother pushed to emotional and physical exhaustion, and the film wastes no time putting her through the wringer. Her child is, frankly, a whiny little nightmare, but that’s very much by design. The kid isn’t written to be cute or charming; he’s stressful, demanding, and often infuriating, which only amplifies the sense of panic and responsibility hanging over every decision An Na makes. Parenting under normal circumstances is hard enough - parenting during the apocalypse is something else entirely.

What fascinates me specifically about The Great Flood is that it refuses to be purely a survival tale of a natural disaster. Clearly, more than one thing is going on beneath that surface, and much is quietly hinted at in these first moments. So long as you're paying attention, you'll notice that something is “off” well before that point at which the movie ceases being coy about that. It is, in this specific case, things like minute details of clothing that suggested something was amiss long before that point.

At its core, this is a story about motherhood: the bond between parent and child, the sacrifices involved, and the emotional journey that never really ends. That thematic shift is ambitious, but it’s also where the film becomes divisive. The tonal and genre pivot - drifting into more abstract, sci-fi territory - can feel abrupt and may discourage you if you signed up for a more conventional disaster flick. The film also doesn’t clearly communicate its internal rules, which adds to the sense of disorientation.

As far as what it looks like in the world around them, it has been well-realized with effective visuals that convey just what kind of “chaos” represents “water in all the wrong places.” Kim Da-mi is a strong performer who holds everything together well with a credible performance in which her tolerance level for such a mischievous kid borders on heroics.

The Great Flood is a story that does require patience and an openness to think rather than be shown answers to all the questions that may be floating around as you watch. I would've been far more into this had the story not gotten so convoluted towards the end. It may not be to everyone's taste, but in any case, it is one story that lends something to everyone who may be keen on following this flick until the end. Especially Mothers.

The Great Flood (2025)

https://jackmeat.com/the-great-flood-2025/

Bambi: The Reckoning (2025) | A mutant, grief-stricken deer hunts an entire family with unexpected laughs and just enough insanity to stay weirdly entertaining. #jackmeatsflix

My quick rating - 4.8/10. Bambi: The Reckoning is one of those movies where the title alone tells you exactly what kind of ride you’re in for, and to its credit, it mostly delivers. I tossed this onto my Christmas horror watchlist thinking it was Rudolph, which…close enough, I guess. Instead of a glowing nose, we get a grief-fueled, mutated deer on a revenge rampage, and honestly, that’s a holiday miracle in its own right.

The film opens with an animated backstory explaining how deforestation and human cruelty may have pushed the forest’s animals over the edge. It’s surprisingly earnest, laying the groundwork for why Bambi has gone full apex predator. After a car accident strands a mother and son, they quickly discover they’re not just injured, they’re prey. Bambi isn’t content with a simple hit-and-run either; his wrath extends to their entire family, including the matriarch (Nicola Wright), who suffers from dementia and shares a strange, unexplained psychic connection with the deer. The movie never really digs into that bond, but it’s weird enough to keep things interesting.

As if an enraged kaiju-sized deer weren’t enough, the plot piles on additional chaos with a group of bounty hunters hired to capture or kill the creature, plus other mutated animals roaming the woods. The standout offenders are the rabbits, who have somehow become carnivorous murder machines. Watching them go feral reminded me of the bunny from Monty Python and the Holy Grail on blood thirsty steroids. It’s ridiculous, but it works within the film’s aggressively campy tone.

Let’s talk scale. Bambi’s size fluctuates wildly depending on the scene’s needs, but the first attack establishes him as car-sized, literally flipping a vehicle before standing atop it like an angry woodland god. Later moments stretch logic even further, including a genuinely hilarious shot of Bambi delicately turning a round doorknob with his hoof. This comes immediately after he smashes straight through a window and the wall supporting it, because consistency is optional in movies like this.

Roxanne McKee brings a bit of polish to the proceedings, while Joseph Greenwood’s Harrison is engineered to be absolutely unbearable, and kudos to director Dan Allen for ensuring that a character this obnoxious gets the kind of send-off he truly earns. The kills, overall, are a pleasant surprise. Several are genuinely well-staged, with the chase sequences and Harrison’s encounter with the bunnies standing out as my highlights.

The CGI is better than expected for a film of this ilk, and fans of the original Bambi will appreciate a certain familiar rabbit making an appearance. Sure, there are nitpicks - flares definitely last longer than thirty seconds - but after all the absurd carnage, Bambi: The Reckoning ends up being far more watchable than it has any right to be. It’s silly, violent, occasionally clever, and fully aware of its own insanity, which makes it a solid choice if you’re in the mood for campy creature chaos.

Bambi: The Reckoning (2025)

https://jackmeat.com/bambi-the-reckoning-2025/

Five Nights at Freddy's 2 (2025) | This 104 minute trailer for part 3 has more robots & more noise, but when Fazfest happens, common sense leaves town. #jackmeatsflix

My quick rating - 5.3/10. Five Nights at Freddy’s 2 picks up one year after the events at Freddy Fazbear’s Pizza, a place whose very real horrors have been conveniently repackaged into a kitschy local myth complete with the town’s first-ever Fazfest. Former night guard Mike (Josh Hutcherson) and police officer Vanessa (Elizabeth Lail) are still sitting on the truth, choosing to shield Mike’s 11-year-old sister Abby (Piper Rubio) from what really happened to her animatronic “friends.” Naturally, secrecy plus trauma plus sentient murder robots is a terrible combination, and when Abby sneaks out to reconnect with Freddy, Bonnie, Chica, and Foxy, the past comes roaring back with rusted joints and unfinished business.

I thought it opened strongly with a voiceover teasing a spectacle before launching into a flashback set twenty years earlier. A young girl senses that something is very wrong beneath the flashing lights and forced smiles, and her curiosity leads to a brief but genuinely unsettling peek behind the curtain. This sequence, capped off with a fun animated credit roll, is easily one of the sequel’s best moments.

Sadly, with the return to the present time comes the return to the more typical horror filler of obnoxiously loud “ghost hunters” that split up seconds after their entrance, as if they had scanned the manual on horror cliches on their way in. Because of the PG-13 rating, the gore is limited, so my hopes of a meaningful massacre are squashed quickly.

Director Emma Tammi returns and does manage to wring some eerie imagery out of the expanded locations, with several nicely framed shots that remind you why this franchise works visually. Audrey Lynn-Marie is particularly unsettling as Charlotte, delivering one of the film’s more disturbing performances. On the casting front, however, the script makes a baffling choice by introducing both a Michael (Freddy Carter) as Vanessa’s brother and a Mike as her boyfriend. The name confusion adds nothing but needless irritation. Matthew Lillard’s involvement as their father, on the other hand, is a welcome addition and a reminder of how much stronger the series feels when it leans into its legacy players.

Where the movie goes from bad to worse is in terms of writing, Scott Cawthon. The last act of this movie is a mash of plot points, most of which are glossed over with a simplistic "because it’s a plot point" explanation. The bigger, better sequel angle, I guess, involves this movie being larger than the first. There are more animatronic enemies, there are more places to explore, there is more noise, but bigger doesn’t always mean better.

The plot, of course, relies on a string of dumb luck moments, including a "car broke down in the middle of nowhere" bit where help conveniently shows up without a second’s notice. Perhaps even dumber, however, is this location being abandoned and left to decay, but conveniently located a stone’s throw from everyone.

Five Nights at Freddy's 2 (2025)

In the end, Five Nights at Freddy’s 2 is consistent with the first film but not an improvement. It feels less like a complete movie and more like a 104-minute trailer for Part 3, with some cool animatronic designs sprinkled in for good measure. Stick around through the credits if you need confirmation. The sequel bait is loud and proud. I was hoping this round would level up. Instead, the script collapses like an announcer’s table at a WWE pay-per-view.

https://jackmeat.com/five-nights-at-freddys-2-2025/

Now You See Me: Now You Don't (2025) | A fun, flashy sequel that adds new blood but sidelines the originals. Enjoyable misdirection, just not peak Horsemen magic. #jackmeatsflix

My quick rating - 6.2/10. I went into Now You See Me: Now You Don’t cautiously optimistic. I enjoyed the first two films for what they were - slick, globe-trotting magic capers that leaned hard into style, misdirection, and charm even when logic took a backseat. With this third entry positioning itself as the closing chapter of a trilogy (at least for now), the big question was whether it could stick the landing. The answer is… mostly, but not without fumbling a few cards along the way.

The setup is familiar but escalated. The original Horsemen are reunited, this time partnering with younger illusionists, for a challenge against the likes of Veronika Vanderberg (Rosamund Pike), the heiress of a vast diamond fortune running a criminal enterprise based on money laundering and human trafficking. It’s a tougher, more ruthless villain, which, theoretically, is the perfect premise for the Horsemen to finish what they started. Instead, the film splits its focus a little too evenly, and that’s where things start to wobble.

We’re introduced to several new players, and I’ll say this without spoiling anything: if I were Atlas (Jesse Eisenberg), my answer would’ve been, “I’ll take you two, and you” - pointing directly at Bosco (Dominic Sessa) - “can go jump in the nearest pond.” That reaction is clearly intentional, and to Sessa’s credit, he plays the role exactly as designed. The problem is that the movie never fully earns the payoff for that annoyance. Justice Smith’s Charlie, the resident brainiac, and Ariana Greenblatt’s June, a sleight-of-hand prodigy, are solid additions, but they’re sketched so thin that it’s hard to truly care about them beyond their usefulness to the plot.

The returning cast is where the movie shines. Isla Fisher is back (fresh off Playdate), and it’s great to have her energy reintroduced into the mix. Woody Harrelson and Dave Franco slide effortlessly back into Merritt and Jack Wilder, and Morgan Freeman’s Thaddeus remains a welcome presence. The film really leans into franchise nostalgia too. Yes, Lula (Lizzy Caplan) pops up, and yes, there’s a little sequel tease involving Mark Ruffalo’s Dylan for anyone wondering if there’s still life left in this series.

There’s plenty of expected magic and glossy misdirection, and the final heist is visually impressive. Unfortunately, it lacks the deeply satisfying payoff that made the first two films so much fun. The twists feel forced, the revenge-driven plot drags, and sidelining the now five-member Horsemen in favor of underdeveloped newcomers is a questionable choice.

Still, this isn’t a bad movie, just a missed opportunity. The cast carries it, the energy is mostly there, and if you loved the first two, you’ll find enough spectacle to enjoy. I just don’t feel the same level of magic.

Now You See Me: Now You Don't (2025)

https://jackmeat.com/now-you-see-me-now-you-dont-2025/