Mike & Nick & Nick & Alice (2026) | It’s like a crime movie collided with a time machine and nobody bothered to read the instructions first. #jackmeatsflix

My quick rating - 6.5/10. If you walk into Mike & Nick & Nick & Alice expecting a straightforward crime caper, you’re already in the wrong timeline. Literally. BenDavid Grabinski wastes no time drawing us in, opening with Ben Schwartz’s Symon casually singing Oliver and Company while tinkering away, only for a glowing doorway (never a good sign) to interrupt the vibe and immediately escalate things to gunfire. It’s the movie equivalent of “this meeting could’ve been an email,” except the email is a bullet.

From there, the film structures itself in what feel like chaotic “chapters,” kicking off with The Party. And any party hosted by Keith David as Sosa is automatically operating at a different level of cool. But the real engine of the movie is the buddy dynamic between Vince Vaughn’s Nick and James Marsden’s Mike. What starts as a simple “chloroform this guy” job (as one does) quickly spirals into a plot that refuses to sit still, layering in time travel, shifting loyalties, and enough double-takes to make you question whether you missed something. Or whether the movie is just messing with you on purpose.

My guess? It probably is.

Vince Vaughn is having an absolute blast here, especially juggling multiple versions of Nick without missing a beat. He leans into his fast-talking charm but adds just enough variation to keep each version distinct. Marsden, on the other hand, plays the audience surrogate. The guy who is painfully aware that none of this makes sense and isn’t afraid to say it. Watching him try to process time travel logic in real time is half the comedy. His chemistry with Eiza González just works despite the madness, even when the script is gleefully pulling the rug out from under them.

And you often see me mention Dolph Lundgren. Here he plays The Barron, who shows up as if he strolled in from a completely different (and much more serious) movie, which somehow makes him even funnier. The film thrives on these tonal clashes. Dark humor, sudden violence, and absurdity all collide in ways that shouldn’t work, but absolutely do.

By the time you hit the After After Party, yes, that’s a real thing, and eventually the After After After Party (they really commit to the bit), the movie is fully hammering its own ridiculousness. There are running jokes (including an unexpected obsession with Gilmore Girls references) that somehow never overstay their welcome, and the final stretch delivers a surprisingly long, energetic action sequence that feels like a reward for keeping up.

Technically, the film keeps things tight. The directorial vision from Grabinski is assured and stylish but never intrusive, and the cinematography by Larry Fong is just fancy enough to make the picture stand out. The editing deserves kudos as well. Because with a story like this, one wrong cut and the whole thing collapses into nonsense. Instead, it (mostly) holds together, even when it’s intentionally trying not to.

Mike & Nick & Nick & Alice crackles with wit, fun energy, and genuinely clever time-travel twists. It’s messy in a “we meant to do that” kind of way, powered by a cast that fully commits to the insanity. And yes, it even sneaks in a proper sequel tease. Surprised? In this universe, why stop at one timeline when you can break a few more?

Mike & Nick & Nick & Alice (2026)

https://jackmeat.com/mike-nick-nick-alice-2026/

Infiltrate (2026) | Paper-thin plot, but hey, at least she beats people up convincingly enough to distract you from thinking too hard. #jackmeatsflix

My quick rating - 4.7/10. Infiltrate comes in hot, screaming action, moral conflict, and high-stakes espionage…and then immediately trips over its own shoelaces in the opening scene. We’re thrown into a flashback of Agent Lily Chen (Orphée Ladouceur-Nguyen) being interrogated, only for her to ditch the wedding ring and stroll straight into a drug deal like she’s grabbing groceries. No backup, no weapon, no plan. Bold strategy. Let’s see if it pays off.

Spoiler: it doesn’t. At least not logically.

The first thought that hits is how nobody in that room clocks her as a cop. Not one person. Either Lily Chen is the greatest undercover agent of all time, or these criminals collectively share one brain cell. Probably the latter. Still, the scene does give us a taste of what the movie actually does well. Action. When things inevitably go sideways, Chen fights her way out with some impressively brutal choreography. That leg shot? Yeah…you’ll feel that one.

From there, Infiltrate settles into its main groove - Chen being blackmailed into assassinating targets to save her kidnapped husband. It’s a setup we’ve seen countless times, and the film doesn’t exactly reinvent the wheel. It barely rotates it. The plot is paper-thin, held together by a series of “just go with it” moments and a mysterious voice feeding her targets like it’s a violent podcast subscription.

What keeps things watchable is Ladouceur-Nguyen herself. She commits hard to the physicality of the role, and the fight scenes are where the movie actually wakes up. A notable scene is the fight sequence between the couple who have lost their minds, as if they wandered in from some erotic nightclub. It’s messy, plenty violent, and very entertaining to watch.

And yes. Finally, someone figured it out. The high heels come off and become weapons. It took long enough for action cinema to embrace that idea, but here we are, and it works.

The violence is crunchy in all the right ways. Bones snap, blood sprays, and hits feel like they hurt. If you’re here for Lily Chen wrecking people in increasingly creative ways, you’ll have a good time. If you’re here for story…maybe lower those expectations significantly.

Because when the film tries to elevate itself with a big twist, it stumbles again. The reveal leans into the now very tired “AI was behind it all” angle, and it feels more like a last-minute patch than a well-earned payoff. It doesn’t ruin the movie. It just doesn’t add anything meaningful either.

And then, just when you think it’s over, Infiltrate has the audacity to crack the door open for a sequel. Bold move for a film that barely justifies its own existence.

There is something here. Ladouceur-Nguyen proves she can absolutely carry an action film, and honestly, she deserves better material. Give her a tighter script, a smarter plan (please), and maybe a villain with more than basic programming, and you could have something genuinely great.

Infiltrate (2026)

As it stands, Infiltrate is a messy but mildly entertaining beat-‘em-up. Come for the fights, stay despite the plot, and don't overthink the rest of it.

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

The Yeti (2026) | Decent-looking creature, but the movie cuts away so often you’ll start wondering if the Yeti is camera-shy. #jackmeatsflix

My quick rating - 4.4/10. I was quite leery when I saw this title, and the poster didn't do it any favors. But my tagline says it all, so I hit play. The Yeti wastes absolutely no time reminding us that being indoors is a great life choice. We kick things off in 1947 Alaska with a group of guys playing cards, one random woman whose job description seems to be “stand there,” and, boom - someone gets yanked through a roof like the cabin just unsubscribed from having a ceiling. Blood rains down, screaming ensues, and just like that, the movie promises something wild.

Then it immediately gets lost. Literally and narratively.

We jump to a press conference with Merriell Jr. (Eric Nelsen), who promises to rescue his father, and introduces us to his elite team to do so. Then we cut to Ellie (Brittany Allen) giving a lecture before being recruited into said rescue mission to find her missing father. This should feel important. Instead, the film treats it like a casual side note you’re expected to remember 90 minutes later when it suddenly matters. The early structure is all over the place. Jumping timelines, dropping characters, and holding back key motivations like it’s guarding state secrets.

Once the expedition heads into the wilderness, the movie actually makes a few smart moves. For a while, The Yeti keeps its creature mostly hidden. Growls, quick cuts, blurry glimpses - the classic “we don’t have the budget, so let’s build suspense” approach. I'd say it works.

When the Yeti finally shows up in full, it’s surprisingly decent. Practical, furry, and not an obvious CGI disaster. You almost want to applaud it. But then the movie remembers it’s allergic to showing anything cool. The creature attacks? Cut away. Someone dies? Cut away. Need proof something happened? Don’t worry, the Yeti will hold up a random limb afterward like a trophy. Every. Single. Time.

For a monster movie, it’s impressively committed to not showing the monster doing monster things.

The human side doesn’t help much either. Most of the cast falls into “generic expedition member #3” territory, but when the missing fathers, Corbin Bernsen and William Sadler, finally appear, they bring some much-needed presence. No surprise. They’re professionals dropped into a movie that mostly forgot to write characters. However, Leander Coates (Linc Hand) did have an interesting wrinkle to him.

And then there’s the logic. There is a lack of it. By the time we reach the finale, the last survivor is desperately trying to escape…by dragging a rowboat to the water. No oars. Just vibes. Maybe the Yeti wasn’t the biggest threat after all. Poor planning clearly has a higher body count.

What’s frustrating is that The Yeti had the bones of a fun, campy throwback creature feature. Instead, it plays everything weirdly serious, as if it’s aiming for prestige horror while actively avoiding the fun parts. Less restraint and more ridiculousness might’ve actually saved it.

The Yeti (2026)

As it stands, The Yeti is a decent-looking monster trapped in a movie that refuses to let it shine. Equal parts missed opportunity and accidental comedy, with a rowboat finale that actually made me LOL.

https://jackmeat.com/the-yeti-2026/

Murdercise (2023) | Murdercise is EXACTLY what you would expect so knowing that, you may get a few laughs out of it #jackmeatsflix

My quick rating - 3.9/10. Murdercise came in with that exact kind of reputation that made me suspicious. People online (Twitter) swear it’s “not as bad as it sounds,” which usually means it absolutely is. Just in a way you might weirdly enjoy. And to its credit, the movie wastes zero time letting you know what kind of flick you’re in for. Within minutes, it’s throwing out gratuitous nudity like it’s getting paid per frame, basically screaming, “Yep, we’re doing 80s slasher, cue the tropes.”

Right away, the acting is…something else. We’re talking next-level awkward, stiff, borderline “did they just pull these people off the street?” bad. But here’s the twist. It feels intentional. Like, too bad to be accidental. At a certain point, you start questioning reality a bit. Are they terrible actors, or are they secretly geniuses committing to the bit? Either way, it weirdly works in the movie’s favor. You’re laughing with it. Or at it. Or both at the same time.

But here’s the thing, Murdercise isn’t just blindly copying that era. It’s very clearly taking the piss out of it. Writer/director Paul Ragsdale leans so hard into the clichés that it loops back around into satire. The constant fixation on "tits" isn’t subtle (at all), but that’s part of the joke. It’s less “we’re exploiting this” and more “remember when every horror movie did this for no reason?” The repeated jabs at “Reagan’s America” just pile onto that absurdity in the best way.

The story follows Phoebe, played by Kansas Bowling, a fitness fanatic who stumbles her way from background nobody to…well, something much more unhinged. Her journey takes a wild turn once she links up with Isabella (Nina Lanee Kent), a chaotic mafia princess type, and from there, the movie just spirals into a series of bizarre, often ridiculous murder setups. It should be where the film really shines - but here’s the catch. The kills are surprisingly underwhelming. For a movie that screams “over-the-top slasher,” the lack of memorable gore is a major letdown.

Still, Murdercise knows exactly what it is. It’s loud, shameless, and ridiculously self-aware. It proudly wears its campiness like a badge of honor and dares you not to have at least a little fun with it. Is it good? Not really. Does it fully deliver on the slasher side of things? Also no. But is it strangely entertaining if you’re in the right mood and willing to embrace the nonsense? Absolutely.

Just don’t expect a hidden gem. You’re signing up for a sweaty, neon-soaked experience that occasionally forgets it’s supposed to be a horror movie. And somehow…that’s part of the charm.

Murdercise (2023)

https://jackmeat.com/murdercise-2023/

Psycho Killer (2026) | There’s a great horror movie hiding in here somewhere but keeps pulling over for snacks instead of actually finding it. #jackmeatsflix

My quick rating - 5.1/10. I found it oddly inviting that this flick opens with some “hey, there’s a killer on the loose” headlines. Is Psycho Killer politely giving us a chance to back out before things get slashy? Naturally, that ain't happening. We lean in. And almost immediately, we’re on a highway with a guy who just screams, “do not make eye contact at a gas station.”

The setup is solid. After the brutal murder of her husband, Georgina, played by Georgina Campbell, goes into full tunnel vision revenge mode. She’s tracking down a killer who isn’t just your average slasher. This guy, portrayed by James Preston Rogers, treats murder like a cross-country hobby. Midwest road trip, but instead of souvenirs, it’s victims. Not exactly something you can scrapbook.

Director Gavin Polone deserves some credit here because, visually, Psycho Killer knows how to look good. I enjoyed those slick highway shots. Especially the ones capturing the reflections in the killer’s sunglasses. There’s also a moment where he’s casually watching a documentary about serial killers, because of course he is. And yes, Charles Manson gets a nod. Nothing says “normal evening” like taking notes from history’s worst people.

Now, let’s talk kills. The movie definitely has one scene that will stick with you. The confession booth murder. That one? Yeah…you’re not unseeing that anytime soon. It’s creative, disturbing, and earns its place in my horror memory bank. The other is a pretty solid axe-wielding scene that delivers. Aside from that, the rest of the kills are surprisingly tame. For a movie called Psycho Killer, it often feels more like Mildly Concerned Killer.

Where things start to stumble is the pacing. For a cat-and-mouse thriller, I was expecting some cat-and-mouse action. Not really. Georgina tracks this guy down way too fast, and when they finally collide, the aftermath feels weirdly low-stakes. You expect tension, fallout, something. Instead, it shrugs and moves on. Even when Malcolm McDowell shows up as Mr. Pendleton (every creepy story benefits from Malcolm McDowell), the film never fully kicks into gear.

The effects, though, deserve a shout. The blend of CGI and practical blood is actually impressive. Nothing looks overly fake or distractingly digital. It’s one of those rare cases where the balance works, and you appreciate the effort even when the story is dragging.

At 91 minutes, Psycho Killer doesn’t overstay its welcome, but it never hits any top speed. More just cruise control. The chase lacks urgency. The tension comes in bursts rather than a steady build. And then , we get a finale that feels like it just woke from a nap. Knowing the script by Andrew Kevin Walker has been floating around since 2007 (Wiki), it does kinda explain why it feels a bit out of sync with modern horror. It’s like a time capsule. And it hasn't been updated.

Still, it’s not a total loss. There are flashes of creativity and a couple of genuinely memorable moments to keep you entertained. And yes, it even throws in a sequel tease backed by the pounding beats of 3TEETH, because nothing says “round two is coming” like aggressive industrial music.

Psycho Killer (2026)

Psycho Killer isn’t a bad movie. It just should’ve been better. It has the pieces, but it just never quite assembles them into something better than adequate. But hey, at least we got that confession booth scene. And I doubt you'll trust motel documentaries again.

https://jackmeat.com/psycho-killer-2026/

Grotesque 2 (2024) | Grotesque 2 proves you can kill people on screen for $12 and still have a good time if Mildred is in charge of the fun. #jackmeatsflix

My quick rating - 4.3/10. If Grotesque was my “guilty pleasure” slasher, then Grotesque 2 is that guilty pleasure’s weird cousin. Completely uninvited, kicks the door in on roller skates, and insists you listen to synthwave at full volume. Mildred Moyer (Elizabeth Chamberlain) is back. Yes, back. And apparently alive enough to continue her campaign of vengeance, wide-eyed optimism, and questionable accessory choices. TBH, the moment this thing opened with neon lights and a drug deal on wheels, I knew I was in the right place.

The acting? Oh, it’s awful. Absolutely terrible. And I swear it’s intentional. Like the cast all collectively agreed, “Let’s shoot this like an after-school special but with gore.” The opening kill sets the tone. Messy, practical, and fun in that “I can see the prop guy sweating just off-screen” kind of way. Then Grotesque 2 starts introducing quirky characters at a pace that felt like the director found a grab-bag of archetypes and said yes to all of them. Every one of them is somehow tied to Spretzer Christian Ministries. A name that radiates shady megachurch energy so hard I got flashbacks to the one time I stepped into that cult, Willow Creek. I left feeling exactly the same way I felt watching this movie. Confused, amused, and definitely concerned.

Mildred herself is still a delight, even if everyone keeps mistaking her for “that crazy girl who killed a bunch of people.” Her disguise? Glasses and a ponytail. Clark Kent would be proud. And just when you think Grotesque 2 might try to behave, the movie bundles everyone off to a church retreat in the woods. A retreat. In a horror sequel. Nothing suspicious at all.

The retreat montage is comedy gold, especially if you enjoy camp activities that look like they were filmed by three interns and a phone borrowed without permission. Then comes that decapitation with the bizarre camera effect. Honestly, I laughed harder than I probably should have. Zero blood. Not even a polite trickle. Just pop, head gone, as if Brandon Rhiness suddenly remembered he had $34 left in the FX budget.

And finally, after nearly an hour of setup and baffling side quests, Mildred flips into vengeance mode. The ankle crack kill? Delightfully stupid. Every death after? Equally ridiculous. Elizabeth Chamberlain is clearly having the time of her life, and it’s contagious. Even when the movie threatens to drown itself in unnecessary character scenes nobody asked for.

Grotesque 2 absolutely delivers once it gets going, even if the humor won’t land for everyone. Not every joke hits, but the ones that do are an absolute riot. It’s messy, cheap, goofy, and exactly the kind of absurd sequel I didn’t know I wanted but somehow needed anyway.

Grotesque 2 (2024)

https://jackmeat.com/grotesque-2-2024/

Touch Me (2026) | Here is a movie where everyone needs therapy, especially the alien who thinks TikTok dancing solves trauma. #jackmeatsflix

My quick rating - 4.3/10. Touch Me kicks off with Joey recounting her alien hookup to a therapist in the most matter-of-fact tone imaginable, like she’s explaining a mild parking dispute instead of intergalactic intimacy. Honestly, if you’re casually dropping “I slept with an alien at a bar,” therapy isn’t a red flag. It’s overdue. Ten minutes later, our extraterrestrial rendezvous wrap-up hits the credits, and Touch Me slaps its title onscreen as if announcing, “Okay, NOW the weird stuff starts.”

From there, we drift into the classic young-adult tragedy - discovering that rent, roofs, and food all cost money. Joey and Craig, played with just the right amount of co-dependency by Olivia Taylor Dudley and Jordan Gavaris, quickly find themselves near homeless, jobless, and clearly not thriving. Enter Brian, Joey’s mysteriously charming ex, who looks like he floats instead of walks and talks like he meditates for a living. Lou Taylor Pucci plays him with the exact level of otherworldly energy that says “I can heal your heart” and “I might also devour you” in the same breath.

Brian claims he can erase anxiety with a touch. Big promise, suspicious vibes. But Joey and Craig accept his weekend invitation to a secluded compound because nobody in horror has ever regretted that phrase. Brian also demonstrates his cosmic vulnerability. He’s deathly allergic to lemonade. Yep. A splash of citrus and the man collapses for a full five seconds. If that’s supposed to make me feel safe, it does the opposite. Imagine depending on someone whose kryptonite is an Olive Garden free sample.

And because this is Touch Me, we get TikTok dances too. Brian’s version of “meditation,” apparently. I’m convinced aliens have a dictionary of Earth words and only bother reading every fourth page. The film also throws in some wild color filters, blue, purple, cosmic neon, especially during what can only be described as “live hentai energy” scenes. After Brian gets intimate with both Joey and Craig (if that’s the correct term for what’s happening), the two immediately go feral for more alien tentacle love nectar. Ah yes, the universal problem of relationships. Competing for your partner’s addictive extraterrestrial fluids.

Once the sci-fi chaos kicks in, Touch Me actually delivers some clever and fun practical effects. The tone does snap between dark humor and serious drama with the enthusiasm of a toddler flipping light switches, but when the movie leans fully into its weirdness, it works. The final alien reveal… well, let’s just say the budget was doing its best. And remember that citrus poison? Continuity takes a hit since now it is OVERLY effective.

.Writer/director Addison Heimann definitely created something unique with Touch Me. Just not something especially thrilling. Still, the ending lands about where you’d expect, and there’s enough oddball charm, bizarre sex, and creative gore to make the trip slightly worthwhile, even if you can’t take any of it seriously.

Touch Me (2026)

https://jackmeat.com/touch-me-2026/