Ready or Not: Here I Come (2026) | Grace just wanted to survive one terrible night, but apparently murdering one rich family unlocks the deluxe edition of hell. #jackmeatsflix

My quick rating - 6.6/10. I meant to check this one out a while ago, but somehow it got lost in the ever-growing watchlist. Honestly, it’s probably a good thing it waited until #Shocktober. I thoroughly enjoyed the first Ready or Not, and this sequel delivers another generous helping of family dysfunction, bloodshed, and people discovering that rich Satan-worshipping families really need to find a better hobby.

Moments after surviving an all-out attack by the Le Domas family, Grace (Samara Weaving) stumbles out of the mansion covered in blood and promptly collapses into the arms of the authorities. You’d think surviving a murderous family would earn her a quiet hospital stay and a nice cup of tea. Nope. Before long, she discovers she’s advanced to the next level of the nightmarish game, this time with her estranged sister Faith (Kathryn Newton) dragged into the festivities.

Apparently, killing one obscenely wealthy family isn’t enough. Now four rival families want Grace dead so they can claim the High Seat of the Council that controls the world. Because nothing says responsible global leadership quite like a bunch of privileged nutjobs murdering each other over a Satanic game.

Old man Chester Danforth (David Cronenberg) gets word of Grace’s survival, and the news spreads across the globe. His children, Ursula (Sarah Michelle Gellar) and Titus (Shawn Hatosy), have their own parts to play, while Elijah Wood pops up as the Lawyer, delivering some wonderfully deadpan expressions. Nothing like a little legal representation when your family business involves ritualistic murder.

The rules are explained thoroughly enough, and the families certainly seem committed to following them. So committed, in fact, that it doesn’t take long for the sisters to come under attack in the hospital. Holy explosions! I guess the fine print on this particular inheritance agreement is bloody important.

The basic setup is familiar. Survive until dawn while a bunch of rich weirdos try to kill you. Except there’s not a whole lot of hiding going on. It’s more like hunt the sisters, with Grace and Faith improvising their way through increasingly ridiculous encounters. One fight, accompanied by Bonnie Tyler’s Total Eclipse of the Heart, is an especially amusing combination of romantic power ballad and spectacular violence. If you enjoy watching people explode, congratulations, you’ve found your flick.

Weaving once again proves she can carry a movie, balancing the action and humor without turning Grace into an invincible killing machine. The sisters survive through a healthy combination of desperation, luck, and sheer bloody-mindedness. Newton makes a solid addition, while Gellar is always welcome at my lunch table.

It’s an unnecessary sequel, sure, but it’s also a thoroughly entertaining one. Same basic fun as the original, plenty of clever moments, and enough carnage to keep the family reunion interesting.

Ready or Not: Here I Come (2026)

https://jackmeat.com/ready-or-not-here-i-come-2026/

Zombie Night (2013) | You'd think a movie about zombies coming out at night would have a few scares. Zombie Night scared me with its acting and storytelling. #jackmeatsflix

My quick rating - 3.5/10. Zombie Night is proof that zombies aren't the only things that can come back from the dead. Looks like basic storytelling can also be resurrected, stumble around aimlessly for a while, and then collapse in a heap. This particular zombie flick has a simple premise. The undead emerge after dark, leaving the living to survive until morning. Sounds promising enough, doesn't it? Unfortunately, the brains appear to be in short supply both on-screen and behind the camera.

The biggest problem with Zombie Night isn't the zombies. It's the acting, which is so wooden in places that I half expected termites to become the main antagonists. Daryl Hannah at least makes a valiant effort to inject some life into proceedings, but there's only so much one person can do when the rest of the production appears to have been assembled during a particularly uninspired lunch break. And then there's Anthony Michael Hall, who somehow ended up in this mess. You have to wonder what was going through the minds of these otherwise recognizable actors when they read the script. Was the pay good? Was there free catering? Did someone promise them a much better movie would be made later?

Then there's the plot, or whatever passes for one. The dead are walking, people are in danger, and everyone seems to be making decisions that suggest survival is very much a secondary concern. Why have the dead risen? Is this a regular nightly occurrence? What's actually going on here? Don't expect satisfying answers. Zombie Night seems to have decided that explaining anything would only get in the way of its relentless pursuit of mediocrity.

Of course, there's a certain entertainment value in watching a movie spectacularly fail to get its act together. You reach a point where you're no longer invested in the characters or their survival. Instead, I am watching out of sheer morbid curiosity, waiting to see what fresh nonsense the filmmakers will throw at us next. It's the cinematic equivalent of witnessing a car crash in slow motion, except the car is made of cardboard and the driver apparently hasn't passed a single driving lesson.

Sadly, accidental comedy can only carry a film so far. The daft decisions, uninspired performances, and gaping holes in the story might provide a few unintentional laughs, but they don't magically transform Zombie Night into a hidden horror gem. Even a low-budget zombie movie needs something to keep the audience engaged, and a cast of familiar faces wandering through a barely coherent story isn't quite enough.

Zombie Night is a lame, mindless horror film that makes you wonder whether the zombies got the better end of the deal. Unless you're a fan of gloriously inept horror or simply enjoy shouting at characters who seem determined to get themselves killed, your evening would probably be better spent watching something else.

After all, life is too short for bad movies. And if you're going to spend a night with the undead, at least pick one that doesn't kill off your brain cells before the opening credits are over.

Zombie Night (2013)

https://jackmeat.com/zombie-night-2013/

Trick and Treats (2025) | Peter, Peter, pumpkin eater takes a very dark turn in this Halloween horror that has some decent tricks but not nearly enough treats. #jackmeatsflix

My quick rating - 4.8/10. My watchlist for movies to hide in clearly isn’t enough, because I also have playlists for specific holidays, including #Shocktober Flix. Trick and Treats has been tucked away on that list, so it’s time to untuck it and see what Halloween treats, or tricks, it has in store.

It’s Halloween, and Ashley (Loren Ledesma) and her costumed friends find themselves locked inside a bar in the middle of nowhere, threatened with torture and death by a gang of bikers. Things kick off with a familiar voice telling us that, like most stories, this one is based on actual events. The trick is figuring out which parts are true. That voice certainly sounds like Malcolm McDowell, who also voices Trick, the pumpkin. A quick look at the credits confirms there are a few more McDowells lurking about, although they’re confined to bit parts. Apparently, pumpkin duty runs in the family.

Before we get to the main event, we travel back to around 1800, where a fellow named Peter rides about in a horse-drawn carriage with a giant pumpkin. His wife, Elizabeth (Anastasia Edwards), must be possessed by a demon, because apparently that’s the only reasonable explanation for her infidelity. When whipping the evil out of her fails, Peter resorts to binding her inside a pumpkin. That’ll require some practical effects to squeeze a whole woman in there! Stop me if you’ve heard this one before: Peter, Peter, pumpkin eater…Keep singing, and you’ll get my point.

After that delightfully twisted opening, we jump to modern-day Halloween, where the credits somehow make ordinary costumed kids look downright creepy. Then, look who’s preaching. Gary Busey as a pastor. Meanwhile, three scantily dressed girls and a guy are heading to a party when they swerve to avoid a child in the road and end up in a ditch. Looking for help, they wander into the wrong bar, where Trick the pumpkin awaits and has quite a story to tell.

The bikers are certainly committed to their threats, although I’ve rarely seen potential abusers spend quite so much time mucking about before getting down to business. The story isn’t particularly original, but it’s still a reasonably entertaining little horror tale. You might, however, get tired of the girls’ constant crying and wailing. At some point, I wanted the pumpkin to eat the soundtrack.

One particularly nasty torture scene deserves credit for doing more with less. Rather than showing us a questionable makeup job or bargain-basement CGI, writer-director Eric Hector cleverly keeps the aftermath out of sight. It’s an effective way to work around budget limitations without drawing attention to them. Sometimes, what you don’t see really is scarier than what you do.

Ledesma also makes a convincing badass when Ashley finally gets going, and a late twist helps round things out nicely.

Trick and Treats isn’t a great horror movie, and it could have done considerably more with the horror elements it introduces. Still, there’s enough pumpkin-flavored nastiness to make it watchable for a Halloween playlist. Just don’t expect it to haunt your memory long after the credits roll. A trick, perhaps, but not much of a treat.

Trick and Treats (2025)

https://jackmeat.com/trick-and-treats-2025/

Beliath (2026) | Beliath isn't the worst found-footage horror I've seen, but that's like winning a prize for being the least irritating person in the room. #jackmeatsflix

My quick rating - 3.6/10. Beliath begins with the text - “2001. There were several brutal murders in Sussex. The following footage was recovered from a London flea market years later.”

Oh goodie! My favorite kind of horror movie: found footage. No straight face on that comment.

Beliath introduces us to Mark (Evan Emanuel) and Rachel (Caitlin Cameron), two aspiring journalists following the story of a 22-year-old woman whose body has been discovered in the woods. When the police tell them to clear off, naturally, the sensible response is to leave. Just kidding! These geniuses decide they need one more shot of the crime scene. Getting a good angle for the documentary is more important than avoiding becoming the next episode of Unsolved Mysteries. And they get a tasty surprise, which ends up being the best scene in the whole movie.

What begins as a routine crime report soon spirals into eerie folklore, buried cults, and unsettling discoveries that blur the line between journalism and obsession. Sounds promising, right? Unfortunately, the line between journalism and stupidity gets considerably more attention.

There are warning signs everywhere that these three (we never see the camera guy, Martin) are in way over their heads, but that doesn't stop them from making one dumb decision after another. Apparently, common sense didn't make the equipment list. And while I can appreciate characters making mistakes in horror movies, there's a difference between believable human stupidity and deliberately walking into danger because the plot needs another ten minutes.

The acting doesn't do this any favors, either. I'm not blaming Caitlin Cameron, as she's working with what's been written, but Rachel is seriously irritating. Now, all we need is some snotting directly into the camera, and we'll have the complete found-footage experience. Mark, meanwhile, spends enough time staring at walls that I was beginning to wonder whether the walls had a more interesting story to tell. At least he nailed the assignment.

On the plus side, the underground tunnels make for some pretty cool locations. There's an atmosphere here, and the opening genuinely grabbed my attention. Sadly, that initial promise disappears faster than common sense in a horror movie. The ending is predictable, and the cult storyline feels like a massive missed opportunity.

Beliath starts strongly but goes absolutely nowhere interesting. Rather than exploring its folklore and cult mythology, it settles for familiar found-footage nonsense, irritating characters, and an ending you can see coming from miles away. Seriously, if you're going to introduce a creepy cult, do something with it! Instead, we get the equivalent of, “There used to be a cult here. Not anymore. Oh, wait, you mean the cult I'm in? OH, THAT ONE.” Brilliant. Somebody alert the Pulitzer committee.

I've seen worse found-footage movies, but that's hardly a ringing endorsement. Unless you're a die-hard fan of this nauseating genre, I'd give this one a miss. There's a decent horror movie buried somewhere in here. Unfortunately, finding it would probably require a documentary crew, several brutal murders, and a trip to a London flea market.

Beliath (2026)

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

What Lives in Room 214? (2026) | Everyone in this motel keeps insisting they can leave whenever they want. Sure you can, buddy. #jackmeatsflix

My quick rating - 4.8/10. Fame is a funny thing. One minute you're the star of The Corner Room, the next you're living in a motel with a television that appears to have exactly one job, and it's not very entertaining. Welcome to What Lives in Room 214?, a psychological horror featurette from Brandon Rice that explores the cost of fame, the dangers of getting comfortable, and the suspicious number of people who insist they can leave anytime they want. Seriously, is there a support group for that particular problem?

We begin with a narrator reflecting on a decade since his first stay in room 214 at the Sunset Hills Motel. This appears to be Corey King (Adam Joseph Turner), whose moment in the spotlight came courtesy of The Corner Room. After being encouraged by the locals to stay, Corey calls Ellie Wilkes (Jennifer Rizzi Horvath), launching us into a series of clips, including a podcast enthusiastically discussing his former glory. The old-school VHS fuzz during the channel changes is a nice touch. And that blue pause-and-play screen? It might be the second most famous blue screen we've all encountered. I'll leave you to decide what takes first place.

Corey soon crosses paths with Paul (Timothy J. Cox), and it's clear the locals know more about him than they're letting on. There's also the small matter of why he hasn't actually left town. He keeps assuring everyone, including himself, that he can leave whenever he likes. Naturally, he then invites himself to Paul's party. Nothing screams independence quite like settling into someone else's gathering while insisting you're free to go.

Their conversation around the firepit is one of the stronger scenes. They discuss showbiz, identity, and the timeless career advice of "fuck 'em." LOL. The banter feels natural, and both actors deliver solid performances. Then Corey returns to his room to find Mandy (Rachel Moore), who helpfully informs him that she, too, can leave anytime she wants. I'm detecting a theme here. Either that, or this motel has the world's least convincing checkout policy.

From there, reality starts getting slippery. Channel 2 offers a rather peculiar card game, while the limited practical blood effects remind us that this isn't exactly a Hollywood-sized production. Fortunately, the horror relies more on atmosphere and unsettling shifts in reality than buckets of blood.

Rice shows an appreciation for the masters of unconventional filmmaking, with moments that brought David Lynch to mind. The shifting perspectives between Corey and Paul's lives leave plenty of room for interpretation. And the not-so-subtle pounding on the Room 237 door for help LOL.

Ultimately, What Lives in Room 214? is an imperfect but intriguing cautionary tale about chasing fame and losing yourself along the way. It won't work for everyone, and its deliberately obscure approach can test your patience. Still, Rice shows promise behind the camera. He's a filmmaker worth watching, even if I'd think twice before accepting a complimentary night's stay at the Sunset Hills Motel.

What Lives in Room 214?

Thanks to Timothy J. Cox for sending this one over. If you happen to be in Ohio and in this area, support indie film and go check out the premiere. And if you would like to know when this becomes available for streaming, get an email when streaming links become available.

https://jackmeat.com/what-lives-in-room-214-2026/

Don't Move (2026) | Murr pens a spider nightmare, Q turns up as a ranger, and Sal wisely stays home. And Sal might be the smartest Joker here! #jackmeatsflix

My quick rating - 5.1/10. Being a huge fan of the Impractical Jokers, seeing that James "Murr" Murray wrote the best-selling book Don't Move immediately grabbed my attention. Naturally, I was on board for the movie adaptation. Because if there's one thing I want from a horror movie, it's a giant prehistoric spider and the knowledge that one of the guys responsible for making Joe (yes, I remember you), Q, Sal, and Murr suffer is now branching out into making fictional characters suffer. Progress!

A church group's annual camping retreat turns deadly when they wander into the wrong part of the Ozark wilderness. Suspicion initially falls on Ricky (Russ), the group's resident troublemaker, but there's something much worse lurking in the forest. A monstrous prehistoric arachnid hunts by vibration, meaning every step could be someone's last. Suddenly, keeping still becomes a lot more important than remembering your morning devotionals.

The movie opens with cheerful music and a family enjoying a day at a local carnival, where Murr himself makes an appearance as a game operator. Dad and son head into a haunted house while Mom Megan (Lyndsy Fonseca) stays behind. Let's just say the ride ends up being considerably more brutal than your average carnival attraction. It's a mean-spirited opening that sets the stage for the events a year later, when Megan joins a church camping trip led by Pastor Rizzo (Tom Cavanagh), whom us fans remember from The Flash.

The group also gets a memorable driver in Rob Riggle, because apparently getting lost in the wilderness wasn't enough of a warning sign. After parking, the campers face a two-hour hike to Davies Canyon. You know, that sign you just passed. I'm no wilderness expert, but when a horror movie tells a group of people to walk deep into the woods, I generally recommend doing the exact opposite.

The cast does a perfectly respectable job, with no ridiculous overacting to distract from the story. The filmmakers also wisely hold back the creature for roughly an hour, building anticipation before unleashing their enormous, terrifying spider. Unfortunately, that patience comes at a cost. The first hour moves slowly, and there's only so much suspense you can squeeze out of people walking through trees.

Once the spider arrives, however, things pick up. It's ferocious, surprisingly quick, and cleverly filmed. Quick glimpses, creepy webs (clearly not practical, unfortunately), and those enormous legs do a lot of the work, helping disguise the budget while delivering a couple of decent scares.

Fans of the Jokers also get Brian Quinn popping up as a ranger. Sadly, Sal Vulcano sat this one out. Perhaps he read the script and decided the safest option was to stay home.

Don't Move (2026)

Ultimately, Don't Move is a fun, slightly undercooked creature feature. It could use more scares, better pacing, and maybe a bit less hiking, but it sure does provide ample entertainment with its giant spider. Keep in mind - if your next church retreat involves a suspiciously quiet forest, maybe pray from home.

https://jackmeat.com/dont-move-2026/

Deathgasm 2: Goremageddon (2026) | Imagine "Bad Taste" meets a heavy metal concert, then somebody throws a bucket of intestines into the audience. Welcome back, Deathgasm! #jackmeatsflix

My quick rating - 6.1/10. I enjoyed the first Deathgasm quite a bit, so naturally, I was ready for another helping of heavy metal, practical gore effects, and people making all kinds of bad decisions. Deathgasm 2: Goremageddon wastes no time reminding us what kind of party we have signed up for. The credits kick things off with heavy metal music and a barrage of images preparing us for another wonderfully disgusting journey. After hearing all about Brodie during the intro song, we finally meet the man himself, waking up on the floor covered in his own vomit. Classy! Even better, Giles (Daniel Cresswell) wakes up naked at his place. Ladies, try to contain yourselves. LOL.

Brodie (Milo Cawthorne) is now washed-up, broke, and seemingly destined for small-town purgatory. However, the arrival of NoizeQuest, a battle-of-the-bands competition, gives him a chance at redemption and possibly another shot with Medina (Kimberley Crossman). There's just one tiny problem: his drummer is missing an arm, and the rest of his band is dead. Fortunately, Brodie still has the pages of The Black Hymn, because apparently, finding replacement musicians is much easier when you have access to the afterlife.

The dialogue is quick-witted, and the humor fits right in with the New Zealand horror comedies I enjoy. I suspect writer/director Jason Lei Howden has studied one or all of Peter Jackson's films, particularly Bad Taste and Braindead. When somebody delivers the line "You ate my fucking dog," it's hard not to appreciate the influence and the cheeky nod to us fans. The cemetery resurrection scene arrives quickly, mixing physical comedy with undead antics and a generous supply of inventive, practical gore. Nothing says friendship quite like dragging your dead bandmates back to life for a gig.

Naturally, we get a metal montage featuring the newly resurrected crew frolicking in a park while ripping out intestines. It's practically a music video for people who think flower picking is overrated. There's also an amusing cameo from Matt K. Heafy of Trivium, who handles the original music.

The zombie mayhem eventually reaches a place called Glory Holes, which sounds like a terrible destination even before the undead arrive. The resulting antics are every bit as disgusting as you'd imagine. And while a necklace of ears might be unsettling, Dion (Sam Berkley) takes things considerably further with his necklace of penises. Yes, really. There's also a good Dungeons & Dragons joke and a fun WWE cameo from Adam Scherr, better known as Braun Strowman, playing a NoizeQuest security guard.

Ultimately, Deathgasm 2: Goremageddon lands in much the same territory as its predecessor. Ridiculous, gory, funny, and thoroughly committed to its heavy metal madness. It doesn't reinvent the genre, but it knows exactly what its audience wants and delivers the goods. If you enjoyed the first movie, this is another enjoyable blast of splatter-metal insanity. Just don't wear your best clothes.

Deathgasm 2: Goremageddon (2026)

https://jackmeat.com/deathgasm-2-goremageddon-2026/