Dolly (2026) | Imagine Texas Chainsaw had a porcelain-faced cousin with anger issues. That's our 70s grindhouse family reunion from hell starring Dolly. #jackmeatsflix

My quick rating - 6.1/10. I was not expecting Dolly to slink out of the woods and politely ask if I wanted to take a brutal trip. So glad that she did. Made on glorious grainy 16mm film stock, the movie plays up its 70’s grindhouse, 80’s slasher aesthetic to such an extent that I expected to see tracking lines appear on my television screen. It perfectly captures that second feature at the drive-in feeling. A little sleazy, a lot unhinged, and absolutely not concerned with giving anyone a reason for the carnage. Served up just for us.

Our doomed couple, Macy (Fabianne Therese) and Chase (Seann William Scott), head into the woods for a hike, maybe a proposal, definitely a bad time. Walking off the trail is step one in “How to Become Horror Movie Protein,” and Dolly takes this to heart. Enter the monstrous figure played by Max the Impaler. Imagine a feral cryptid who watched Texas Chainsaw Massacre too many times and said “yeah, this is my personality now.”

The film chapters its chaos, starting with Mother, where we get the slightest taste of backstory. Just enough to whisper “something horrible happened here,” but not enough to ruin the mystery stew. Then comes The Daughter, where Dolly herself takes center stage. A silent, masked, porcelain-headed nightmare who moves like she’s permanently living in a different genre than everyone else. She stims frequently, clearly meant as a character trait, but viewers close to autism might not appreciate how the film ties that behavior to the “crazy killer” angle. It’s not mean-spirited, but it is…awkward.

What Dolly lacks in sensitivity, it makes up for in gleeful brutality. The practical gore is outrageous in the best possible way. There’s a moment that made me say “jaw-dropping,” and you’ll understand why after you see it. Just trust me, you won’t forget it even if you try. By Chapter 3 (Home), we’re deep in the family’s house of horrors, complete with a crib scene that belongs in a museum of bad ideas. From there, Father, Reunion, Fight, and Goodbye tear through what’s left of the cast and your ability to unclench.

Rod Blackhurst clearly worships at the altar of The Texas Chainsaw Massacre, and the film is packed with winks, nods, nudges, and an Ethan Suplee character named Tobe that practically announces, “Yes, we meant that reference.” Like Terrifier, there’s no motive, just murder as a family hobby. And sometimes? That’s exactly the kind of horror palette cleanser I want.

Stick around after the credits, because the door isn’t just open, it’s slightly ajar with a “maybe” sign taped to it. Dolly is absolutely a must-watch for horror fans who love messy, mean, grindhouse-soaked mayhem. Shut your brain off, lock your doors, and enjoy the ride.

Dolly (2026)

https://jackmeat.com/dolly-2026/

Only Feet (2025) | A broke couple gets rich off toe pics, but the scary part is Jace thinking his online admirer isn’t a retired pervert named Joe. #jackmeatsflix

My quick rating - 4.1/10. Only Feet kicks off with one of those “I went to film school, and here is what I learned” opening credits. Full black and white, a guy wandering down a stairwell like he’s trying to find his lost dignity. And the credits really want you to understand this is a Wright-made Wright-funded Wright-flavored production. Nothing wrong with a little ego, but after the third “Wright,” I started wondering if the Wrights also did craft services and drove everyone home at night.

Once we shimmy past the artsy intro, we land with our couple, Jace (Chance Johnson) and Bella (Robin Covington), having that same financial meltdown conversation every modern renter knows by heart. Bella decides she’ll look for a job. How thoughtful, you know, in the year 2025, when food, rent, and electricity all still cost money. Meanwhile, the movie keeps encouraging the idea that selling foot pics online is a reasonable alternative. I guess Only Feet didn’t get the memo that the internet is less “sexy mystery stranger” and more “old men typing ‘hiii bby’ at 3 AM.” Jace, of course, believes he’s being wooed by some velvety-voiced goddess. Sure, buddy. Keep dreaming.

Now, the music. My god, the music. Imagine trying to have a heartfelt conversation while someone blasts a marching band directly behind you. The actors are practically yelling their lines just to compete. Subtitles aren’t a suggestion. They are survival.

As Jace and Bella ascend the economic ladder thanks to his secret toe-modeling career, Only Feet tries to balance romance, humor, and thriller vibes. Bella flaunts her butt like she’s in a sponsored ad. Keep in mind, every time you see that, it is his foot pictures going for 5K. Jace takes dirt-covered selfies in what looks like the world’s cleanest hotel room, and neither of them seems to notice their entire relationship is basically a group project where only one person is doing the work.

We drift into a pseudo-thriller plot involving the mysterious “Sugar Boss,” who I absolutely hoped would be an axe murderer just to spike the energy. Instead, we get a sting operation filmed so darkly I wasn’t sure if I was watching a crime sequence or checking for dead pixels on my screen. I think we are supposed to be seeing the villain(s) here as a metaphor for the Internet as a whole. And the villain’s obsession with shaving Jace’s head? That lasts longer than some marriages.

There’s heart in Only Feet, and WW, sorry, Walter Wright, clearly has an eye for smooth, thoughtful shots. But there’s just not enough movie in the movie. Too many make-out scenes, not enough stakes. Too many long takes, not enough tension. And when your climactic fetish moment involves store-bought dirt on a tarp, well…let’s just say realism didn’t make the call sheet.

Only Feet (2025)

Only Feet isn’t bad. It’s just a few trims, a few rewrites, and maybe one less bag of mulch away from something sharper. Thank you for sending this one over, WW (Walter Wright). I look forward to what is coming in the future. Currently, there are no streamers to list, but click HERE to watch for free on the movie's official website.

https://jackmeat.com/only-feet-2025/

Scream 7 (2026) | It’s slashy, it’s nostalgic, and the killer reveal hits with all the impact of a lukewarm microwave burrito. #jackmeatsflix

My quick rating - 5.4/10. Scream 7 kicks off exactly the way every Scream movie since the Clinton administration has begun. Someone picks up a phone and soon regrets picking up the phone. At this point, the franchise could open with a cooking montage, and we’d all still be waiting for the knife to enter frame like it’s a contractual obligation. But hey, the good news? Once that familiar Scream 7 title card slashes across the screen, Neve Campbell shows up. Yes, returns. As in, she’s finally back, playing Sidney Prescott again, and immediately giving the movie a boost it desperately clings to. She’s living her best suburban life with Mark, played by Joel McHale, which is either perfect casting or a cosmic prank, and their daughter Tatum (Isabel May) completes the Evans household. Cute family, shame one of them instantly becomes Ghostface’s new hobby.

Kevin Williamson returning to direct was one of those decisions that made fans whisper, “Okay, we might actually be cooking again.” In a way, he does bring Scream 7 closer to the vibe of the early entries, though he also looks like someone who rewatched the classic trilogy and said, “Ah yes, nostalgia. Let’s dump the entire bucket in.” Strangely, despite the franchise’s rep for meta humor, this one plays like a straight-up slasher. It sprints out of the gate, throws the killer on-screen almost immediately, and dares us to question whether we should trust our own eyes. Or did we just get pranked by someone who spent too long on Reddit conspiracy boards? Hard to say.

The opening sequence? Easily one of the best in years. Big, bold, bloody, and genuinely gripping. But once the movie starts racking up bodies like it’s trying to beat its own high score, the pacing gets wobbly. There’s a difference between suspense and “Wait, who died? Was that the barista from earlier?” And then we reach the Ghostface reveal, which lands somewhere between a shrug and an accidental spoiler in a YouTube comment. It’s less “OMG!” and more “Wait…who?”

Still, Neve Campbell remains the beating heart. Time has treated her so well that she could headline Scream 14 and still be the definitive final girl without breaking a sweat. She carries Scream 7 through its weaker spots, proving the series really does work best when she’s the one on the hitlist. It may not be at the level of the original Scream, but Campbell immediately makes this sequel better.

There’s nothing groundbreaking here. No reinvention, no surprising twists, no fresh angle. But fans of the original run will find enough nostalgia, familiar faces, and callbacks (Courteney Cox, Matthew Lillard, Laurie Metcalf, to name a few) to keep the ride fun. And yes, AI finally gets dragged into the plot, though in the most predictable, “Yep, that tracks” way possible. If you expected Skynet, you’ll be disappointed. If you expected something you’ve seen in five Black Mirror episodes already, congratulations.

Scream 7 (2026)

Scream 7 may not carve a new path, but it slices through 2 hours with enough style, legacy, and Neve-power to make it worth the watch. Especially for those of us who keep showing up for Ghostface like we never learn. And since this was clearly a long sequel setup for the future of Isabel May, I'll be in line.

https://jackmeat.com/scream-7-2026/

Wanted Man (2024) | A serviceable action thriller that benefits from its star power but ultimately falls short of its potential. #jackmeatsflix

My quick rating - 4.6/10. I’m apparently forever a sucker for a Dolph Lundgren vehicle, because Wanted Man had me pressing play with the same optimism I reserve for late-night tacos and B-tier action flicks. Add Kelsey Grammer into the mix, and suddenly my weekly Frasier watches are bleeding into cartel shootouts. Honestly, a crossover I didn’t know I needed.

The setup in Wanted Man is as familiar as Dolph’s signature stoic glare. Lundgren plays Nick, a police officer with the personality range of granite but the charm of, well…Dolph Lundgren. When he's tasked with retrieving Rosa (Christina Villa), the sole eyewitness to a DEA massacre, things go sideways fast. The cartel’s involved, bodies drop, and somewhere along the road trip of doom, Nick discovers that the real villains might not be wearing the expected uniforms. Shocking, I know. Corrupt American forces? In a 2024 action thriller? Groundbreaking.

Dolph is exactly what I ordered. Tough, square-jawed, and carrying the depth of a man contemplating whether to add more protein powder to his diet. And it works. The man understands his lane and speeds through it with hazard lights off. Grammer, meanwhile, pops in to remind us he can class up literally anything. Crime scenes, interrogation rooms, possibly even a gas station microwave burrito. His screen time is limited, but always nice to see Frasier Crane wander into an action film and decide to stay.

The supporting cast in Wanted Man is…present. Christina Villa does what she can with a character written somewhere between “traumatized witness” and “generic plot courier.” There’s potential there, but the script gives her about as much depth as a puddle in the desert. The antagonists, meanwhile, are so one-dimensional that they may as well have worn shirts reading “Bad Guy #3.”

Because yes, Lundgren not only stars. He also directs and co-writes. And while the man can snap limbs on screen like breadsticks, Wanted Man doesn’t exactly reinvent the genre. The action is competent, sometimes even crisp, but rarely thrilling. Kind of like watching someone who knows all the choreography but doesn't do anything with the punches. And the pacing also stumbles. I felt it grab my attention just long enough for the script to wander back to a cliché, like it’s revisiting an old friend.

The central twist? Let’s just say if you don’t pick up on it early, you might be watching this movie with your eyes closed. It lands fine, it just doesn’t surprise.

Wanted Man (2024)

All that said, Wanted Man is polished enough to keep your attention. Especially if you’re a Lundgren loyalist or a Grammer nostalgist. The cinematography looks sharp, the standoffs are decent, and it runs smoothly as a background watch. However, do not go in with high expectations. You have seen this film before, and you have seen it done much better.

https://jackmeat.com/wanted-man-2024/

Refuge (2026) | Refuge asks, “How far would you go for your kid?” Apparently, it's kidnap your friends and interrogate them like it’s a Temu "Saw". #jackmeatsflix

My quick rating - 4.5/10. Here is what would happen if four grown men went on a “bonding” fishing trip and immediately remembered they don’t actually like one another. Refuge demonstrates it with 87 minutes of yelling, pleading, and one increasingly desperate dad holding a gun like it’s the only thing keeping his sanity taped together. The film kicks off with a frantic 70s–80s thriller energy. A father calling the police about his missing daughter, voice shaking, tension already thick enough to filet. It’s a good start, and for a moment, I thought we might actually get a calm buildup before the blowup. Spoiler: absolutely not.

We meet Sam, played by Adam Sinclair, arriving first at the cabin to prep for what he claims is a fishing trip, but is very obviously an interrogation/emotional demolition derby. He’s got a gun, an attitude, and zero interest in discussing bait. When Jay (Christopher Dietrick), Mike (Adam Dorsey), and Barry (Donald Paul) show up, it becomes instantly clear why these four fell out of touch. They don’t act like old friends reconnecting. They act like coworkers forced into a weekend retreat after an HR complaint. Refuge doesn’t even pretend they enjoy each other. They walk in mid-argument and somehow never stop.

Once Sam flips the script and accuses one of them of being involved in his daughter’s disappearance, the cabin transforms into a pressure cooker of constant shouting and desperate self-defense. I’ll be honest - after about twenty minutes of these guys whining, screaming, and contradicting each other, I started to understand why Sam brought the gun. If I were stuck in a cabin with this group, someone would’ve been tossed into the lake long before accusations started flying.

The acting, thankfully, saves Refuge from collapsing into pure noise. Every performance feels fairly believable, which helps maintain the mystery even when the pacing stretches scenes like taffy to hit that feature-length runtime. And with the entire film taking place inside the same cabin, there isn’t much visual flair to lean on, so the cast really does most of the heavy lifting. It also taps into that dad-brain fear. “How far would you go for your kid?” Apparently, the answer here is “invite your annoying friends to the woods and scream at them for hours.”

Refuge (2026)

What baffled me was the ending, specifically the crew walking away from the cabin as if both trucks didn’t mysteriously vanish during all the chaos. Did the bickering disable the engines? Did the cabin eat them? Someone forgot the keys and just decided hiking was easier? Refuge won’t win awards for plot density, but as a low-budget, well-intentioned thriller, it works. It’s simple, tense, and at times, ridiculous. Still enjoyable enough for what it is, even if I was constantly thinking, “Yeah…I’d have killed these three guys just for my own sanity.”

https://jackmeat.com/refuge-2026/

Operation Taco Gary's (2026) | This flick tries so hard to be funny, it probably pulled something, but mostly I laughed at myself for watching it sober. #jackmeatsflix

My quick rating - 4.5/10. Operation Taco Gary’s is a movie that proudly walks into a room wearing a tinfoil hat, then acts offended when you ask why. It follows Danny, played by Simon Rex, doing his usual sun-fried conspiracy-theorist energy, and Luke (Dustin Milligan), the brother who clearly regrets every shared chromosome. Their cross-country road trip somehow involves Taco Gary’s, a fast-food chain so unassuming it might as well have “definitely not alien HQ” printed on the sign. Naturally, this is the one place on Earth hosting an extraterrestrial takeover plot, because nothing says “universal domination” like discount tacos and fluorescent lighting.

The early stretch of Operation Taco Gary’s actually works in a goofy, shrug-and-go-with-it kind of way. Rex and Milligan bounce off each other nicely, especially once Luke realizes Danny was right about everything. Every conspiracy, every theory, every late-night rant. You can practically feel Luke’s spirit trying to escape his body. And yet, the movie doesn’t know when to quit a joke. The ankle-twisting gag goes on so long it starts to feel like the film itself slipped on a sidewalk and couldn’t get back up. The “I wasn’t completely honest with you” line is dragged behind the truck, over gravel, through hedges, then revisited just in case we didn’t groan hard enough the first three times.

Then we meet Klyle. Yes, spelled like a license plate glitch. Played by Tony Cavalero, doing what appears to be an impression of his DMV character from…well, everything I have seen him in. It’s the same energy, the same voice, the same vibe, just relocated to a plot about aliens hiding in a taco joint. And you know what? It somehow fits. Brenda Song pops in as a Canadian badger girl named Allison (because of course she is), and she’s genuinely cute and charming, though half the script seems unsure what to actually do with her. She looks familiar because I just recently finished the video game The Quarry, where she played Kaitlyn. But the movie never gives her more than “quirky wilderness girl who knows things” to work with. Then again, she kind of played the same person in the game. Hmmm.

By the time Jason Biggs shows up, Operation Taco Gary’s loses whatever comedic momentum it had managed to build. Nothing against Biggs, but calling him a billionaire elite surviving the apocalypse is a joke meant for someone who was probably standing just off camera laughing at their own inside reference. The humor becomes increasingly niche, increasingly self-indulgent, and increasingly unfunny. Mikey K - writer, director, and possibly Biggs’ best friend at summer camp - never quite pulls the film out of its YouTube-sketch-with-a-budget vibe.

Operation Taco Gary's (2026)

Operation Taco Gary’s has a couple of amusing alien gags and a handful of moments that almost work, but most of it feels like a parody that overshoots every target. You might chuckle here and there, but you’ll probably walk away as I did. Mostly disappointed and wishing the jokes had been as sharp as Danny’s conspiracy theories.

https://jackmeat.com/operation-taco-garys-2026/

The Mortuary Assistant (2026) | If you like your horror dimly lit, claustrophobic, and slightly confused, The Mortuary Assistant has your embalming table ready. #jackmeatsflix

My quick rating - 4.5/10. If you ever wanted to spend 91 minutes trapped inside a humid little mortuary where the lighting is 90% “flickering fluorescent hellscape” and the other 10% “someone forgot to pay the bill,” then The Mortuary Assistant is happy to embalm that dream for you. I played the game back in the day. Well, tried to finish it before a bug halted my progress into the abyss, and walking into the movie felt like stepping right back into River Fields Mortuary. The office? Perfect. The embalming room? Spot on. Those narrow hallways that make you feel like something is breathing on your neck even when you're alone? Chef’s kiss. Set decorator Grace Taylor Haun deserves a raise, or maybe just a stern “never do this to us again,” because it works a little too well.

Rebecca Owens, played by Willa Holland, shows up for her first night shift like she's taking on a normal job instead of starring in The Mortuary Assistant, where demons treat OSHA guidelines like suggestions. She’s greeted by Raymond Delver, portrayed with intentional dryness by Paul Sparks. Seriously, the man delivers lines like he's legally required to use only half his vocal range. Early on, Rebecca heads to the basement for supplies, only to get told, “There is NO reason to be down there.” All I heard was "There are seventeen reasons not to go down there, and all of them will kill you." And since I already spotted something lurking at the bottom of the stairs, you know we’ll be punching that ticket eventually.

Atmosphere is the MVP here, and The Mortuary Assistant heavily relies on what made the game unsettling. Bodies look just wrong enough to make you question whether they’re dead, alive, or simply on break. The demons look great, too. Practical makeup, eerie silhouettes, and none of that “AI-generated CGI ghoul #47” nonsense we’ve been force-fed lately. While the film does a good job building tension…until the constant use of flashbacks kicks the door in and releases it like a demon from a Tupperware container, never to be seen again, chopping the pacing to bits and occasionally making it hard to follow.

Holland does a solid job carrying the film with believable reactions. Equal parts “professional mortuary worker” and “why did I agree to this shift again?” Sparks, while dry, hits the secretive weirdo boss energy perfectly. The cinematography and lighting keep things atmospheric, eerie, and appropriately suffocating. But despite strong pieces scattered throughout, The Mortuary Assistant never fully assembles them into something unforgettable. As a game adaptation, it’s faithful enough to avoid embarrassment. As a standalone horror movie? It’s average, entertaining enough for one night, and likely to fade from memory faster than the sun rises after Rebecca’s shift.

The Mortuary Assistant (2026)

https://jackmeat.com/the-mortuary-assistant-2026/