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/

The Bride! (2026) | The Bride! proves even Frankenstein just wants someone to talk to, preferably someone who won’t run when he accidentally snaps a person in half. #jackmeatsflix

My quick rating - 5.4/10. The Bride! opens with one of the bolder flexes I’ve seen lately. Mary Shelley, herself, popping in to remind us she wrote Frankenstein on a dare, like she invented horror because someone told her she couldn’t. Jessie Buckley, fresh off snatching an Oscar for Hamnet, pulls double duty as both Shelley in an interview and Ida/Penelope, the poor woman Shelley decides to spiritually haunt for the sake of crafting a sequel. Buckley wastes no time announcing, “Yes, I can act circles around this entire room, but allow me to show you anyway.” Shelley even warns us that if the original story frightened us, The Bride! will make us scream “HELP,” which is exactly the energy this movie tries to run with.

Christian Bale plays Frank(enstein), lumbering into 1930s Chicago like a lonely tank with feelings. He explains his desire for a companion isn’t about sex. He just wants someone to talk to. Bale plays Frank with this raw, tender, hulking sadness that occasionally erupts into shockingly brutal outbursts. The man can absolutely fold someone in half when he’s irritated, which, honestly, makes him one of the more efficient protagonists of 2026. And the actor is one of the best roaming around Hollywood right now.

When Frank asks Dr. Euphronius, played with Annette Bening’s signature “I know exactly what I’m doing” vibe, to resurrect a young woman, Ida is reborn almost too easily. No wires sparking, no assistants yelling “It’s alive!” Just a quick zap and boom, The Bride is here. If only renewing a passport were that smooth. Ida wakes up powerful, confused, and ready to disrupt society in ways neither Frank nor Euphronius planned. This leads to romance, police attention, and a spontaneous social movement that feels one hashtag away from trending.

But the tone? Oh boy. The Bride! has both kinds of weird. Delightful weird, and “why is this here?” weird. One minute we’re in a moody 1930s drama, and the next we’re in a dance club blasting music that absolutely did not exist before Elvis was born. There’s even an odd dance sequence that appears, waves hello, and disappears without explanation. I’m all for a goofy detour, but this one looks like it wandered in from another movie and got lost.

It’s evident that Maggie Gyllenhaal had quite a wide range of ideas, and she felt like experimenting with each and every one of them. Loneliness in contemporary society, similarities to MeToo, feminism, tragedy, romance, existential fear – the movie has it all. The only problem with The Bride! is that it can’t cope with such an overloaded storyline.

Despite their brilliant performances that bring the film to near-brilliance, Buckley and Bale can barely save the disjointed plot. With better editing and about three less subplots, The Bride! could have been excellent rather than simply ambitiously good.

The Bride! (2026)

Still, if you enjoy beautifully acted tragic love stories with a side of elegant chaos, there’s something here worth resurrecting. Just don't be surprised if you really like it while your best friend hates it. It is one of those that is either hit or miss.

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

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/