Keeper (2025) | A beautifully shot slow-burn horror that whispers threats all movie long, then politely declines to follow through. #jackmeatsflix

My quick rating - 5.3/10. Keeper is one of those films that hooked me early with mood, promise, and pedigree, then slowly drifts into stranger territory without ever fully cashing in on its ideas. Directed by Osgood Perkins, coming off recent genre standouts like Longlegs and The Monkey, this one had my attention well before release. The trailer teased something eerie and unsettling, the kind of distinct horror Perkins has been getting increasingly good at delivering. Unfortunately, while Keeper has flashes of that same atmospheric power, the story itself never quite keeps pace.

The film opens with a really disturbing, several-year-spanning montage of the things people do for love, punctuated by screaming, bloodied women. It’s effective, uncomfortable, and immediately signals that this won’t be some cozy cabin getaway story. From there, we follow Liz (Tatiana Maslany) and Malcolm (Rossif Sutherland) as they head off for a romantic anniversary weekend at a secluded cabin. Almost immediately, a conversation highlights the age difference between them, something the film clearly wants us to think about, but the casting doesn’t help sell it. Maslany and Sutherland look far too close in age for the dynamic the script is trying to establish. Oddly enough, Malcolm’s cousin Darren (Birkett Turton) and his date Minka (Eden Weiss) are a much clearer example of the imbalance the film seems interested in exploring.

Once Malcolm abruptly returns to the city, Liz is left alone at the cabin, and Keeper begins its slow descent into isolation and dread. Perkins does what he does best here, framing shots that subtly suggest something is off. Forests loom, shadows linger, and the camera frequently sits at odd angles or presses into tight spaces. Jeremy Cox’s cinematography is easily one of the film’s strongest assets, giving Keeper a hazy, hallucinatory feel that sustains tension even when the script falters.

There are genuinely disturbing moments scattered throughout, including a major “what the hell was that?” scene involving Minka in the woods that feels ripped straight from a nightmare. The film toys with multiple horror threads - serial killer implications, woodland creatures, monstrous figures, and even hints of witchcraft - but it never fully commits to one. Instead, these elements drift in and out, building atmosphere without delivering much payoff.

Maslany carries the film well and serves as its emotional and visual centerpiece. Her performance drives the story, especially as it becomes clear Liz may be more than just a victim. She also reflects manipulation as the story assigns her a “side piece” role. If you’ve ever been that woman, or felt like it, Keeper will probably resonate more deeply. For everyone else, the experience will likely land somewhere in the middle.

Nick Lepard’s script ultimately feels underdeveloped, especially compared to the confidence of the filmmaking. After the central mystery reveals itself, the film doesn’t do much with it, opting for ambiguity over escalation. While Perkins’ direction and Cox’s cinematography do a lot of heavy lifting, it’s hard for me not to feel disappointed given the director’s recent output.

Keeper isn’t a bad film - it’s an intriguing, well-shot one - but it’s a lesser entry in Perkins’ growing horror catalog. Creepy, slow, and occasionally unsettling, it builds tension beautifully, then lets it dissipate when it matters most.

Keeper (2025)

https://jackmeat.com/keeper-2025/

The Running Man (2025) | A modern but uneven update that nails the action and performances, even if the tone clashes with its darker themes. #jackmeatsflix

My quick rating - 6.4/10. Going into The Running Man, I’ll admit my bias right up front: I really enjoyed the 1987 Arnold Schwarzenegger version, and I’m also a fan of Stephen King’s original Bachman novel. That’s a tricky balance for any remake or reimagining to navigate, and while this new take doesn’t always stick the landing, I thought it does enough right to justify its existence.

This reboot centers on working-class Ben Richards (Glen Powell), who struggles under a system that blacklists him from every job for trying to do the right thing and leaves him unable to afford basic medicine for his sick daughter. With no options left, Ben falls for a pitch from The Running Man producer Killian, whom Josh Brolin plays with charming but deadly intensity, and signs on as a contestant in the brutal game show.

The premise leans grim, and the film pushes its message about media manipulation and ideological control without subtlety. At times, the movie hammers the point so hard it resembles an anvil labeled “Lesson in So-Called Progress,” yet the idea of a country feeding on the spectacle of watching someone fall, or die, still packs a potent punch.

One of the film’s biggest strengths is its action. The chases and shootouts are shot clearly, with solid impact and choreography, and you can always tell what’s going on. When bullets are flying, the movie locked my attention, and there are several finely crafted action sequences that genuinely deliver. This isn’t shaky-cam chaos - it’s confident, readable action, which goes a long way in a movie like this.

Powell absolutely carries the film. His characterization of Ben Richards successfully projects a combination of desperate father, stiff-necked moral hero, and slightly deranged everyman who just might have a prayer in a fixed game of death. He possesses the gritty, visceral essence you can support him with, even when the film is hitting a low spot. While Brolin, in a different sort of evil, succeeds with a degree of corporate insanity.

The dystopian world itself is interesting: a media mega-corporation effectively running the country, AI-generated propaganda turning contestants into public enemies, and a society encouraged to hunt them down alongside professional killers. It’s dark, ugly, and depressingly plausible. That’s also where I saw the movie’s biggest issue creep in. This is material that really calls for a heavier, more serious tone. We’re dealing with poverty, desperation, and public executions as entertainment. And yet the film keeps dropping in jokes and light banter. Most of those jokes don’t land, and they undercut the gravity of what’s happening.

You can tell Edgar Wright was trying to walk the line between honoring the Stephen King book and satisfying fans of the original movie, and surprisingly, he mostly pulls that off. Even King himself praised the film, "He felt it captured the angry spirit of the original Bachman novel but updated it for a modern audience, noting the film was faithful enough for fans but fresh enough to keep him engaged."-Yahoo. That’s probably the best way to sum it up: flawed, uneven, but ambitious.

The Running Man (2025)

I won’t spoil anything, but the ending very much lets you have your cake and eat it too. It may not be the definitive Running Man, but it’s a solid, entertaining update that mostly earns its place in the conversation.

https://jackmeat.com/the-running-man-2025/

The Carpenter's Son (2025) | Ambitious and moody, but largely boring, this biblical-inspired flick provokes discussion far more than it provokes fear. #jackmeatsflix

My quick rating - 3.8/10. I knew The Carpenter’s Son was going to be wrapped in controversy, whispers of blasphemy, and marketing hype that promises far more horror than the movie ever actually delivers. Directed and written by Lotfy Nathan and based on the apocryphal Gospel of Thomas, the film revisits the childhood of Jesus Christ through a darker lens, one that is clearly meant to unsettle. Whether it succeeds depends largely on what you’re expecting going in. I personally missed all the negative press down here, so I had hardly any expectations.

Set in Roman-era Egypt, the story follows a carpenter, his wife, and their young son, known only as “the Boy” (Noah Jupe) - as they live in hiding while supernatural forces circle closer. Nicolas Cage plays the Carpenter with a constant air of nervous restraint, a man weighed down by fear, responsibility, and an unspoken truth. The Boy, meanwhile, begins to question his guardian and rebel, discovering mysterious abilities that hint at something far beyond a normal coming-of-age arc. As these powers surface, the family finds itself facing both natural and divine horrors, eventually tipping the film into what could generously be called spiritual warfare.

I thought that the setting was one of the movie’s strengths. It is a dark, persuasive portrayal of living through such times. Both physically, with regard to lighting, sound, and so on, the movie often looks excellent, and the ambition of what is trying to be done is certainly evident. It is this notion that epic characters can be captured with raw humanity that the movie reveals with the greatest clarity of purpose. The father’s worry, mother’s stoic power, or boy’s temptation/rebellion are depicted effectively enough, aided by sound performances from everyone involved.

That said, the film has a major problem: it’s boring. For a movie that was hyped in some circles as shocking or terrifying, there’s very little here that qualifies as horror. Any “divine” threat remains largely abstract, and the sense of danger never truly escalates into something visceral or frightening. I can safely say the PR backlash and outcry surrounding the subject matter is by far the most intense thing about this release. This is not an early-Christ splatter film. Not even close. It plays more like a somber, slow-burn coming-of-age story with religious overtones - which, frankly, should surprise no one.

Interestingly, Isla Johnston’s Stranger is by far the most compelling character in the film. Whenever she’s on screen, there’s a spark of unpredictability and tension that the Boy himself often lacks. Her presence hints at a more unsettling movie lurking just beneath the surface, one that I never saw.

Ultimately, The Carpenter’s Son is an ambitious but uneven film. It will absolutely be a love-it-or-hate-it experience, largely because many viewers will judge it solely on its religious material. Some will cry blasphemy, others will embrace it simply because it challenges Christian iconography. Stripping all that away, what’s left is a thoughtfully made but underwhelming flick that succeeds more as a moody historical drama than as a horror movie. And judging it purely on its merits, not its controversy, it simply doesn’t have the bite its reputation suggests.

The Carpenter's Son (2025)

https://jackmeat.com/the-carpenters-son-2025/

Sweet Meats (2024) | Sweet Meats proves that when Troma goes country, the secret ingredient is still amusing and unsettling. #jackmeatsflix

My quick rating - 4.6/10. Sweet Meats wastes absolutely no time telling you exactly what kind of ride you’re in for, and that ride smells faintly of grease, country twang, and questionable sanitation. Bobby Sweet (Ricky Glore) is a legendary country music figure and the smiling face of the wildly successful “Sweet Meats” restaurant chain, which he founded with his wife back in 1978. The question hanging over the entire film is simple: how did this roadside meat empire explode so fast, and what exactly makes the meat so…sweet? As the old saying goes, you’d probably be disgusted if you knew what you were really eating - and yes, that warning applies here in the most Troma way possible.

The movie kicks off with Bobby being interviewed by Kerry Swallows (Kaitlin Stephens Guenther), and it’s immediately clear this is going to be fun. When she mentions that the secret ingredient is “the people,” Bobby visibly tenses until she clarifies that she means the people who make the food. That nervous reaction isn’t accidental, and the film slowly lets you in on why. “Slowly,” unfortunately, is doing a lot of heavy lifting here. The story is broken into children’s book–style chapters, presumably to help us keep track of the “intricate” plot, which mostly involves eccentric characters, musical numbers, and a whole lot of stalling before the big reveal.

Jerry Gruoch (Timmy H. Barron) joins Bobby in one of his music videos and quickly becomes a focal point. He’s the intelligence-challenged son of restaurant owner Nick Gruoch (Andrew Gordon), and yes, the actors are roughly the same age, a choice the movie doesn’t even try to justify. While meeting the family, we also get Laddie (Eileen Earnest), the overbearing daughter who rounds out this aggressively uncomfortable family dynamic. The customers are a parade of oddballs with amusing quirks, and the film humorously credits nearly every song as part of the Sweet Meats original soundtrack, just in case you forget whose passion project this really is.

In classic Troma fashion, there’s an extended toilet-unclogging scene, because of course there is. The setup for how the restaurant got started is mildly amusing, but spending roughly 45 minutes circling the mystery of the secret ingredient feels excessive. When the truth finally arrives, it plays like a strange hybrid of Motel Hell and a low-budget country western musical. Surprisingly, the gore is pretty mild for a Troma release, which feels like a missed opportunity given the premise. The music isn’t remotely my thing, but I’ll admit the lyrics are often funny, even if the songs overstay their welcome.

Lloyd Kaufman pops up as Lloyd Duckwood in a fake TV commercial encouraging viewers to “get your suck on,” which is worth the price of admission for us Troma fans. Stick around through the credits for a bonus song, a band getting killed more violently than anything in the actual movie, and an extra video highlighting Jerry’s deeply weird obsession with bananas. Credit where it’s due: Ricky Glore stars, writes, directs, and performs the music, making Sweet Meats an undeniable passion project. If you love Troma humor, you’ll probably have a good time, even if this one lacks the studio’s signature creative gore, so don't expect another Toxic Avenger. It’s an acquired taste, and while there are stronger entries in the Troma library, there aren’t many that come with this much country-fried weirdness.

Sweet Meats (2024)

https://jackmeat.com/sweet-meats-2024/

Beneath (2025) | I found it hard to stay immersed when the characters move like malfunctioning animatronics at an abandoned aquarium. #jackmeatsflix

My quick rating - 3.5/10. I haven't seen a movie that has me questioning my own eyes in a while. Beneath did that to me in the first thirty seconds. I was gearing up to make a joke about the opening shot looking like someone used stock CGI footage of a spaceship, if such a thing existed, only to realize the entire movie is CGI. That discovery hits right about the time the characters appear, sporting some of the most awkward animated facial expressions I’ve seen since Chandler tried to smile on Friends. I felt like I was watching an extended episode of Love, Death & Robots, just…a mediocre one.

The premise itself isn’t the issue. An exploration mission to an ocean moon of Saturn goes sideways, trapping the crew beneath the ice and dragging them deeper into pressure-crushing waters. They’re running out of air, running out of options, and something toothy is lurking out in the dark. On paper, it’s a fun setup. In execution, it’s a rough ride.

The sharks, if we can call them that, look strangely fake, and not in a stylistic or animated way. More in the “cheap special effects test render” way, you hope no one will ever see. The animation quality varies wildly scene to scene, punctuated by herky-jerky movements that pop up without warning and yank you straight out of the story. Whole sequences feel like placeholders, and by the halfway point, I genuinely wasn’t sure if I was watching an unfinished cut of a movie or stitched-together footage from a video game’s cinematic mode.

The odd part is that the voice acting ends up being the strongest component. Javarius Conway and Helen Stryder - two names I wasn’t familiar with going in - deliver performances that are honestly better than this production deserves. They give the characters a depth that the visuals can’t support, and every time the script leans on them instead of the animation, the film briefly feels alive.

But those flashes aren’t enough. Beneath carries the vibe of something that escaped the editing bay before quality control even got a chance to clock in. The ideas are there, the atmosphere occasionally clicks, but the execution never catches up. It’s too sloppy, too inconsistent, and too unpolished to land in the mainstream in its current form.

I can’t recommend this version, but I am curious, morbidly so, to know what this project is supposed to be. Is this an early cut? A proof-of-concept? A piece of something larger and more refined that’s still coming? Whatever the case, if a more finished product surfaces, I’d be willing to take another dive. As it stands, though, Beneath sinks long before it ever reaches depth.

Beneath (2025)

https://jackmeat.com/beneath-2025/

Wildcat (2025) | Wildcat jumps timelines like it’s late for work, but never jumps into greatness. Beckinsale tries - the script, not so much. #jackmeatsflix

My quick rating - 4.7/10. Wildcat follows an ex–black ops team that reunites for one last desperate heist, all to save the life of an eight-year-old girl. I’m always a sucker for a Kate Beckinsale action flick. If you’ve seen any of the Underworld movies, you get it. She opens the film with a quick burst of exposition before the story jumps in with both feet, and the movie wastes no time delivering its heist, which is over before the 80s-style Bond credits start rolling. That’s certainly one way to pace a film.

We flash back to “10 years earlier,” where Ada (Beckinsale) and Roman (Lewis Tan) reappear to ponder the idea of kids and admit they’re both married to the job. It’s a quiet moment, but the movie doesn’t let it breathe. Instead, it vaults ahead to “10 days before the heist,” suggesting the past didn’t have much left to say. If you’re enjoying the bouncing timeline, the film then jumps again - this time to “10 hours before the heist” - where the real story finally decides to begin.

Alice Krige steps in as Ms. Vine, a villain with a perfectly sharpened tone that fits the role like a glove. The script scatters extra plot threads around in an attempt to elevate the film above a standard heist setup. A detour through the wrong London neighborhood that erupts into a full-on gang riot adds some needed chaos, and for a moment, you can see the movie shooting for something wilder. But most sequences stretch longer than they should, and even with a few solid pieces of choreography, the momentum stalls more than it sprints.

It’s impossible for me not to mention Beckinsale’s appearance. Whether the culprit is CGI smoothing or heavy makeup, the effect gives her a strangely plastic sheen. The inconsistency becomes distracting, especially when her look shifts between flashbacks. I hate calling it out, but it pulls attention away from her performance, and that’s never ideal when she’s the biggest draw.

The action scenes that do land are fine. Serviceable, competent, easy to follow, but rarely push past average. The whole movie carries that familiar STS energy: a mid-budget action project built to spotlight a recognizable star. There’s nothing wrong with that lane, but Wildcat doesn’t do much to stand out. It moves from beat to beat without ever gripping me, and even the higher-stakes moments never rise above “just okay.”

Beckinsale deserves scripts with more bite because she still sells intensity better than most. Wildcat, meanwhile, sits firmly in the middle of the action-movie pack - watchable enough, but unlikely to leave much of an impression after the credits fade.

Wildcat (2025)

https://jackmeat.com/wildcat-2025/

Blood Rush (2025) | Blood Rush proves 64 minutes can still feel like punishment. No blood, no boobs, and no talent - nice trifecta. #jackmeatsflix

My quick rating - 1.2/10. Every now and then, a movie comes along that challenges the very definition of the word "movie". Blood Rush not only challenges it - it straight-up denies it, spits on it, and then trips over itself while trying to run away. Clocking in at 64 minutes, this thing barely qualifies as a long TikTok, which is honestly why I picked it. Short runtime? Check. Troma distributed? Check. A promising mask tied to a serial killer named Bryan? Well… technically check. But once the film starts, it becomes painfully clear that Bryan isn’t the only killer here. The sound quality is murdering every single scene with reckless abandon.

I could hear the audio issues immediately. I imagine the sound editors threw their hands up and said, “Let them suffer.” And suffer we do. The acting quickly joins the party, matching the sound in a synchronized swan dive straight into the abyss. At one point, the camera quality changes between shots so drastically that I’m convinced someone’s phone died and they just grabbed whatever else was lying around. Less than ten minutes in, and they’re already reusing footage - shocking not because it’s lazy, but because none of the girls were even topless yet. Rookie mistake for a film this desperate.

The wind hitting the microphone during the pool scene deserves its own IMDb credit. And there’s this “tension” sound effect they put on loop. A droning, soul-eroding hum that plays for twenty straight minutes. By the time it stopped, I was more relieved than any of the actresses.

Someone appears to be filming the girls, but whether it’s explained or simply lost to the audio void is anyone’s guess. Eventually, it looks like they’re shooting some kind of movie-within-the-movie, but the staged masked-attacker sequence is so pathetic it wouldn’t pass as role-play even for people with very forgiving fetishes. Writer/director/actor Jamie Grefe, the triple threat no one asked for, helms the project and also plays Bryan, presumably the masked dude stumbling through scenes like he’s late for a dentist appointment.

The victims all get exhausted in the same sad little room, and not a single one fights like an actual human being. When the final girl tries the same exit doors that everyone else rattled uselessly, they accidentally just… open. That’s the biggest plot twist in the entire film, why they didn't reshoot the scene.

Let’s talk horror fundamentals: Plot. Blood. Boobs. Even the worst films manage ONE of these. Blood Rush scores a flawless zero. The “kills” are choreographed with all the realism of middle-school improv. There isn’t a drop of blood, even during gut stabbings performed with the knife turned sideways like Jamie Grefe has never seen a sharp object before. In his final stabbing, we literally watch the knife stop six inches from the cop, who politely climbs onto the bed to get “killed” too.

Normally, I spare actors’ names when they’re trapped in disasters like this (you are welcome to the 4 lovely ladies), but Grefe earns his eternal spotlight. Troma, I love you - you’ve lifted indie cinema for fifty years - but this one should’ve been caught by your spam filter. If ever there was an example of "not every movie needs to be distributed," this is IT. And seeing the Cinema Epoch logo at the start explains a lot. Their last turkey was Red Static Rising. Looks like they’ve cooked up another.

Blood Rush (2025)

https://jackmeat.com/blood-rush-2025/