Normal (2026) | Bob Odenkirk wanders into a quiet little town called Normal and immediately discovers absolutely nothing is normal there. #jackmeatsflix

My quick rating - 6.3/10. Normal opens in the last place I expected a movie called Normal to begin. Osaka, Japan. Because apparently the best way to kick off a neo-Western thriller set in snowy Minnesota is with a Japanese version of “Paranoid,” a brutal loyalty test, and the kind of pinky-removal situation that makes you instinctively hide your own hand behind your back. Things escalate quickly too. Refuse the loyalty test? Off comes your head. Casual stuff. Before long, someone ships two very unlucky guys off to the tiny town of Normal, Minnesota, where things definitely do not plan to stay normal.

Enter Bob Odenkirk as Ulysses. He's a substitute sheriff temporarily escaping some personal & professional baggage. If there is one thing Odenkirk does exceptionally well these days, it is playing exhausted men who look like they desperately need a nap. Yet still fully capable of ruining your day. Through amusing narration and some genuinely funny small-town interactions, Ulysses settles into Normal, meeting locals, including the Mayor, played by Henry Winkler. Whenever the Fonz, er...Winkler shows up in something, there is an immediate boost, even if the movie surrounding him is quietly threatening to spiral into complete chaos.

The town itself feels oddly cozy at first. Snow-covered streets, quiet routines, everyone seemingly knowing each other. As someone who misses snowy weather, Normal absolutely scratches that itch with its chilly atmosphere. It looks cold enough that I practically wanted to throw on another blanket while watching.

Then comes the bank robbery. Except in a tiny town like this, a robbery feels less like an inconvenience and more like the apocalypse arriving fifteen years early. Ulysses walks in, hoping to calm things down, and from there… yeah, I am deliberately keeping things vague because where Normal goes is far more entertaining if you discover it yourself. This is one of those films where every reveal lands better without spoilers, and trust me, some of them are gloriously weird.

Director Ben Wheatley continues his tradition of making films that seem mildly offended if you expect comfort or straightforward answers. Normal is strange, unsettling, and intentionally awkward in all the right ways. The story doesn’t hold your hand, and honestly, it feels like Wheatley standing in the corner saying, “Figure it out, mate.” Somehow, that works here. The off-balance tone gives the movie personality, even if it occasionally leaves you blinking at the screen wondering if you accidentally missed ten minutes.

There is also some solid action mixed throughout, including moments of accidental violence that caught me completely off guard and genuinely made me laugh. The movie balances tension and absurdity surprisingly well without tipping fully into parody.

Inevitably, Normal will get compared to Odenkirk’s recent Nobody films, and I’d personally put it around the level of Nobody 2. Not quite reaching the heights of the first Nobody, but still a fun, violent ride with enough unpredictability to keep things interesting. Outside of Odenkirk, don’t get too attached to anybody either. This movie makes it very clear that survival is more of a suggestion than a guarantee.

If you’re a fan of Odenkirk, strange action thrillers, or movies that enjoy keeping you slightly uncomfortable while occasionally making you laugh at accidental deaths, Normal will probably be worth checking out. Just don’t expect anything remotely…well, normal.

Normal (2026)

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

Dark Floors (2008) | I had to check out this Finnish horror flick from the band Lordi, winners of Eurovision in 2006. #jackmeatsflix

My quick rating - 5.1/10. I went into Dark Floors knowing nothing about it being a Lordi film. That being said, I am glad to have found this review from someone named "flamewall" located in Finland (the movie is Finnish).

Here is their review: "I got to say that I went to see this movie with low expectations. I didn't believe that a Lordi movie could be good because I actually couldn't imagine it as a whole. Though, after I saw the movie, I was amazed at how well the writers and the director pulled it off. It is often said that horror is the most delicate type of movie because there is only a slight difference between scary and ridiculous. but this doesn't concern Dark Floors because it is not (at least in my mind) a full-blooded horror movie. The movie has many horror elements but doesn't still come off as horror-ish. That doesn't make it bad it just means that you can't go into the theater wishing that you will be scared out of your nickers. The visual and audio feel of the movie was excellent, and there is nothing anyone can say about that. The plot did leave an annoying amount of plot holes, the ending didn't really clear any of them up, and the viewer was just left to guess what the plot was all about. Still, it didn't bother half as much as the under-use of the Lordi band members. I have never liked Lordi and never listened to them but while watching this movie I became interested in the different monsters they play. Sadly, the plot did hardly anything at all to use the unique backgrounds and looks of the different ghoul parts from the different superpowers they all demonstrated. What I am saying is that I would have liked this movie to be more about the monsters than the victims... really who gave a goddamn thing about what happened to the all-knowing copper or the businessman type. The only character I got even a bit curious was the weird hobo with superpowers and a weird telepathic relationship with the girl but he is never explained in any way(a big mistake). In retrospect, I think they could have done much better, but I also think there is a lot of good in this film, and I hope it will be a financial success. There is just one thing Finns can't tolerate: a successful Finnish movie if it is not a drama." (That review was heavily fixed by Grammarly in case you look it up)

My take on the movie as a whole is an interesting mix of “monsters”, ghosts, and zombies (updated again 9/18/23). This flick does have some decent practical effects. Now, at least you can say you’ve now seen a Finnish horror film (The most expensive movie ever made in Finland at the time), even if it is pretty damn nonsensical. The obstacles the characters would overcome were completely uneven, with some way too easy to defeat threats. Director Pete Riski never tells us why the mask-wearing Vikings are so angry, and the writers left way too many plot holes and unanswered questions to be rated any higher than I gave it. I assume many will go far lower due to the plot being all over the place with no resolution. The atmosphere and overall ambiance of the flick are what carry it through. Scenes are well put together, even if the locations can be confusing. In case you are wondering, in 2006, Lordi won Eurovision partially due to the shock value of walking on stage dressed up like the monsters that appear in this movie. Video here.

Apparently, I reviewed this years ago as well LOL (6/14/14): Movie review: "Dark Floors" Well, Lordi made their way onto the screen (before looking that up, I wasn't familiar). The movie has tons of atmosphere, some of which is creepy just by being so bizarre and empty. The actors (winking at you, little girl) were good. The pacing was done well, and the story itself led to a nice WTF at the end. Kills were slightly repetitive. Don't expect to understand this movie, so sit back and enjoy. Oh, the ghost effects were good, btw.

Dark Floors (2008)

https://jackmeat.com/dark-floors-2008/

Lee Cronin's The Mummy (2026) | The Mummy felt like Evil Dead, and The Exorcist had a cursed little horror baby wrapped in bandages. #jackmeatsflix

My quick rating - 6.5/10. Lee Cronin’s The Mummy feels he tossed his memories of The Exorcist into an Egyptian tomb, sprinkled in what he learned making Evil Dead Rise, and said, “You know what this needs? More nightmare children.” Surprisingly, that recipe works pretty well, even if it occasionally forgets to fully crank the chaos dial.

The movie gets moving fast. We open with a happy family singing in the car, which in horror terms is basically a giant flashing sign that says, “Enjoy this while it lasts.” Mom already looks one chorus away from losing her patience, but things take a turn when the family gets home and finds their pet bird mysteriously dead in its cage. Because apparently cursed family drama likes to arrive early.

From there, The Mummy starts layering in creepy family business best left for audiences to discover. Let’s just say if creepy basements already make you uncomfortable, this movie may have you reconsidering ever walking downstairs again. Most people store old furniture or Christmas decorations. This place feels like someone casually hid a sarcophagus downstairs and hoped nobody would ask questions.

Things escalate when young Katie (Emily Mitchell) encounters the not-so-friendly neighborhood “magician” next door. She hands Katie a nectarine, which turns into a wonderfully unsettling moment with a bug popping out and heading straight into Katie’s mouth. That scene should have you eyeballing every piece of fruit sitting in that bowl on your kitchen counter.

Soon after, Charlie (Jack Reynor) discovers Katie has vanished, leading to a frantic chase through the streets of Cairo as a sandstorm swallows the city whole. Then comes the gut punch. An eight-year jump forward shows the family trying to move on in Albuquerque, New Mexico, now with a younger daughter while carrying the weight of what happened.

Of course, horror movies love reopening old wounds. After a mysterious plane crash in Egypt uncovers an ancient coffin, investigators find a mummified girl inside. And unless this is your first horror flick, you already know it is Katie (Natalie Grace).

This is where The Mummy becomes properly unsettling. Katie’s makeup is deeply disturbing, from the cracked skin to the teeth and especially those horrifying fingernails. The sound design deserves credit, too. That constant teeth chattering? Absolutely not. Straight-up skin-crawling material. Cronin clearly learned a few tricks from Evil Dead Rise, bringing over the same nasty energy of possessed people saying awful things at maximum taunting levels.

The kids are, without a doubt, the main stars, and the special effects certainly add to the fright more than the flashy CGI effects. In fact, this reimagining feels far less like a traditional mummy story and more like an Evil Dead cousin wearing ancient wrappings for Halloween.

Still, Lee Cronin’s The Mummy never quite goes as hard as it feels like it wants to. Several scenes tease full horror insanity before easing off the gas, especially an open-casket moment that feels like it stopped just short of legendary gross-out status. The movie also runs a bit too long and lands one good ending before oddly deciding it needs another.

Even with those flaws, Lee Cronin delivers a creepy, brutal horror mashup that works more often than not. Just don’t go in expecting old-school mummy adventure. This version would much rather chatter its teeth at you in the dark and ruin your sleep schedule.

Lee Cronin's The Mummy (2026)

https://jackmeat.com/lee-cronins-the-mummy-2026/

Buffet Infinity (2026) | Buffet Infinity feels like someone found a cursed VHS tape of late-night commercials and somehow made it strangely hilarious. #jackmeatsflix

My quick rating - 6.3/10. I went into Buffet Infinity mostly because the trailer looked weird enough to grab my attention, and weird it most definitely is. This is one of those movies where, within the first few minutes, you’re either thinking, “Oh, this is going to be my kind of bizarre,” or already wondering if someone accidentally changed the channel to a forgotten Canadian cable station from 1993 at 2:17 a.m.

Buffet Infinity takes place in a time warp inspired by ‘80s and ‘90s late-night TV. It starts with a barrage of logos before launching into those homemade commercials. It feels oddly authentic, like someone found a dusty VHS tape in the attic and decided to make a horror-comedy universe out of it. The Crossroads shopping complex acts as the center of the madness. Buffet Infinity itself sits among a collection of local businesses, and before long, it becomes very clear that weird things are happening around town. And evolving fast. Not “the vending machine ate my dollar” weird. More “something feels deeply wrong here, but I can’t stop watching” weird.

It is evident that director Simon Glassman knows exactly what tone he wants to capture by copying the tone of SCTV through cutting various commercial clips, including bizarre commercials, weird local advertisements, and strange news broadcasts. Some of these commercials are actually very funny. Ahmed’s Pawnshop ads were easily among my favorites and felt like the kind of thing you’d half-laugh at while also wondering, “Wait… did this actually air somewhere?” There’s some genuinely funny stuff buried in the chaos.

What impressed me most is that despite the endless stream of weird, low-budget commercials and outlandish skits, there’s an actual storyline happening underneath all the absurdity. The characters and businesses begin forming this sinister, interconnected small-town narrative, and it works surprisingly well for a while. The movie absolutely nails the nostalgic feeling of fake local TV programming, sparking memories of cheesy commercials, weird infomercials, and the kind of low-budget broadcasting you’d stumble across while aimlessly flipping channels before streaming existed and stole all our patience.

That said, Buffet Infinity eventually runs into the same problem many experimental genre films face. It starts loving its gimmick just a little too much. The middle section feels stretched way beyond what the premise can comfortably support. At some point, I found myself thinking, “Okay, this needed someone in the editing room armed with scissors and zero emotional attachment.” A leaner cut would have done wonders here, or alternatively, expanding the actual story to match the runtime could have helped justify the wandering pace.

The ending also didn’t land as hard as I hoped, even with the slight nod to one of my favorites, Bad Taste, buried in there. After all the interesting yet bizarre buildup, it left me wanting something stronger. It’s brilliantly crafted and undeniably creative, but once the novelty wears off, Buffet Infinity ends up drowning in its own brilliance.

Buffet Infinity (2026)

For fans of analog horror and deeply unconventional filmmaking, this might be right up your alley. For everyone else, your mileage may vary somewhere between “hidden gem” and “what in the VHS Massacre did I just watch?”

https://jackmeat.com/buffet-infinity-2026/

Badland Hunters (2024) | If you are seeking a mindless, action-packed diversion with a dash of gore, this Korean flick is worth a watch. #jackmeatsflix

My quick rating - 6.1/10. There are movies that know exactly what they are, and then there’s Badland Hunters, which feels like it spun a giant “post-apocalyptic chaos” wheel and decided to include every genre it landed on. Earthquake disaster? Yep. Mad scientist? Sure. Mutants? Absolutely. Zombie-ish weirdness? Why not. Brutal fistfights? Thankfully, yes. It's basically throwing leftovers into a blender and hoping somehow it becomes a gourmet meal. Sometimes it kind of works. Mostly, it just tastes confusing.

Set in a ruined, lawless Seoul after a catastrophic earthquake turns society into dust and survival mode, Badland Hunters follows Nam-San, played by the always dependable Ma Dong-seok (aka the human equivalent of a freight train with fists). When a teenager is abducted by a deranged doctor running experiments that scream “this probably violates several ethical guidelines,” Nam-San heads out on a rescue mission with his trademark blend of intimidation and punching things into next Tuesday.

And honestly? Ma Dong-seok is the main reason this movie stays upright.

The man walks into scenes carrying enough charisma to power the entire wasteland. His performance has that familiar action-hero confidence fans love, where he somehow looks both mildly inconvenienced and fully prepared to flatten six people at once. Every time Badland Hunters threatens to disappear into its own ridiculousness, Ma shows up and drags it back with pure screen presence. You almost start wishing the movie would stop talking and just let him silently wander around solving problems with his fists.

Because the story itself? Bit of a mess.

The film piles on dystopian clichés like it got charged per unused trope. The CGI-heavy setting gives Seoul a decent enough ruined-world look, but it often feels overly artificial, like a very expensive video game cutscene stretched into a feature film. Fast-paced? Definitely. Memorable? Not so much.

Then there’s the tonal whiplash. Badland Hunters desperately wants to be everything at once. Survival thriller, creature feature, action spectacle, horror movie, dark comedy. Take your pick. And instead ends up feeling like five different movies awkwardly sharing a tiny apartment. Some comedic moments land with all the grace of someone stepping on LEGO during the apocalypse, while several performances outside of Ma Dong-seok veer into overacting territory hard enough to yell, "Alrighty then!"

Still, boredom is not a word that ever crossed my mind. The movie moves fast, throws plenty of weirdness at the screen, and delivers some satisfyingly brutal gore. Especially during the finale. Gorehounds looking for crunchy action and mutant mayhem should walk away happier than anyone looking for deep meaning.

Badland Hunters (2024)

In the end, Badland Hunters is a mixed bag. We get big punches, strange choices, and wasted potential. If you want a mindless, action-packed diversion with a bit of gore and a whole lot of Ma Dong-seok being awesome, it’s worth watching. If you’re after something smarter or more original, you’re probably better off revisiting his Roundup films.

https://jackmeat.com/badland-hunters-2024/

Crime 101 (2026) | A cool-looking heist flick that sometimes takes the scenic route, but still lands the plane with Hollywood confidence. #jackmeatsflix

My quick rating - 6.9/10. Crime 101 starts with a nice upside-down shot of Los Angeles taken at night. Already here, I can tell that this is trying to appear as stylish as possible, and thank goodness, it is. Set against the sun-bleached grit of L.A., this crime thriller follows an elusive thief, played by a very charismatic Chris Hemsworth, whose elaborate robberies along the iconic 101 freeway have authorities scratching their heads. Planning one last giant score (because apparently, criminals in movies always think retirement is realistic), he crosses paths with a struggling insurance broker played by Halle Berry. Meanwhile, a relentless detective portrayed by Mark Ruffalo inches closer to blowing the whole thing apart.

One of the immediate highlights for me was seeing Nick Nolte show up as the head honcho, Money. Nolte just has one of those faces where you instantly believe he has seen some things, and probably yelled at at least three people before breakfast. He brings a gritty old-school energy to Crime 101 that works perfectly for the world it is building.

Then we get Maya, played by Monica Barbaro, who literally crashes into Hemsworth’s life after slamming into his car. They exchange information like normal people after a fender bender, except this is a movie, so naturally, he turns that number into a date opportunity. Smooth? Questionable. Effective? Apparently. But the relationship had me laughing for reasons I don’t think were entirely intentional. Date number one, she is acting completely weirded out about going to some fancy restaurant, like she accidentally wandered into a billionaire convention. Date number two? Suddenly, she rolls up in a jet-black evening dress, looking like she owns the place. Pick a lane, woman! Or maybe more accurately…pick a lane, writer/director Bart Layton.

Speaking of Layton, I would bet good money he has watched Heat a few times. Actually, probably more than a few. Crime 101 shares a few similarities with that classic robbery film from 1995, from the game of cat and mouse to the criminals attempting to get one last big payday. Regardless of whether this similarity originated from Layton or the author of the book, Don Winslow, Crime 101 still had me thinking back to checking out Heat at the drive-in.

Thankfully, Crime 101 develops its characters enough that the story has some depth. Nobody feels like cardboard filler standing around waiting for explosions. The actors keep things entertaining, and the suspense is built up nicely toward the finale. That said, there are definitely some dull moments that occur from time to time when you get the feeling that the movie is stuck in traffic on the 101.

Still, Crime 101 is an enjoyable, stylish crime caper with more than enough gloss, good acting, and showbiz bravado to keep you entertained. With what could easily be regarded as the perfect Hollywood ending. Which works sometimes, and doesn’t always work other times, but after sitting through the entire 142-minute run time, I was willing to let it have its moment.

Crime 101 (2026)

https://jackmeat.com/crime-101-2026/

Lure (2026) | If you’ve ever wanted Saw-lite with less everything and more accidental comedy, this 2026 movie, Lure, has you covered. #jackmeatsflix

My quick rating - 3.6/10. Somewhere out there, a filmmaker watched Saw, thought “what if this had less money, more awkward acting, and a rich girl handing out death games like party favors?” and thus, Lure (2026) was born.

The movie kicks off with a random guy sprinting through the woods like he is late for the bus, only to get snagged by a conveniently placed barbed wire trap and collected by a mysterious woman. Nothing says “good start” quite like immediately wondering if you accidentally sat on the wrong streaming title. Soon after, we meet Tom (Kit Esuruoso), who arrives at an invitation-only party hosted by the mysterious and alluring Islay (Silvia Presente). And by “party,” I mean a deeply concerning social gathering where tied-up men are casually displayed like centerpieces. Islay politely introduces each one as if she’s hosting The Bachelor: Cult Family Edition.

The setup is simple enough. Six men compete in a series of games to become the perfect suitor for the rich girl. Romantic, right? Of course, there’s a catch. Mouth off to Islay and your head may quite literally explode. The movie wastes little time turning into discount Saw, with a bunch of self-inflicted tasks and survival challenges thrown into the mix. Unfortunately, the quick-cut camera work makes it weirdly difficult to even tell what some of the contestants are actually doing half the time. It feels less like building suspense and more like the editor accidentally drank six energy drinks before touching the timeline.

As expected, logic takes a holiday. Thankfully for Tom, six-shooter revolvers apparently come with magical self-reloading technology in Lure’s universe. Who needs realism when the gun decides, “You know what? Let’s keep this scene moving.”

Performance-wise, Silvia Presente does a decent enough job as the sinister Islay, carrying herself with the right blend of charm and menace. There’s at least something there to keep your attention. Gregory Fung as Markus, though, delivers one of the strangest performances in the film. At times, it genuinely feels like he wandered into frame, unaware filming had already started. The rest of the cast mostly blends into one forgettable pile of disposable victims.

The technical side does not exactly save things either. The effects are basic, the CGI splatter lacks punch, and somehow the music frequently overpowers the dialogue. Granted, nobody is exactly delivering life-changing philosophy here, but it would still be nice to hear what people are saying before someone inevitably gets maimed.

Maybe Lure (2026) would have landed differently if it had existed before Saw. Or if it had a budget bigger than the price of a decent takeaway dinner. As it stands, this is a silly little death-game thriller with a straightforward setup, weak execution, and not much to chew on beyond Silvia Presente’s screen presence.

Lure (2026)

Not the worst horror movie lurking in the bargain bin, but definitely a pass. You can find better.

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