Protanopia (2024) | Protanopia doesn’t hold your hand. It blindfolds you, spins you around, and says, “Good luck figuring this out.” #jackmeatsflix

My quick rating - 4.8/10. Some movies ease you in. Protanopia throws a Bible verse about cleaning a leprous house into our face, then challenges us to follow along. It is the film equivalent of handing us a puzzle, but half of the pieces belong to another puzzle. Somehow, this seems to be the whole point.

Right from the jump, Protanopia tells you this isn’t going to be a straightforward flick. The title itself, referencing a form of color blindness, isn’t just there to sound artsy in a film festival catalog. It’s basically a warning label. What you’re about to see is fragmented and intentionally disorienting. It starts with ominous narration, eerie music, and a woman sprinting like she just remembered she left the stove on. Except the stove is probably haunted. Then, boom, missing persons flyer. Mallory’s gone. No warm-up, no gentle exposition, just dread.

From here on out, it is all fast cutting and seemingly random visuals. If you are one of those people who enjoy films to gently hold your hand, Protanopia is going to toss you in a dark room and lock the door behind you. Yet, if you allow it, there is a bizarre beat to the madness.

Timothy J. Cox’s Alan Roscoe Jr. is a standout in the “something is deeply wrong here” category. After inheriting his father’s house, Alan treats it less like a home and more like a sacred, possibly cursed artifact. His scenes swing between awkward social humiliation (a homeowners’ meeting that feels like an HOA nightmare) and unsettling introspection. When he starts having visions of his father giving cryptic instructions, the film dives headfirst into low-budget dream logic. Complete with hazy visuals that feel like someone discovered a smoke machine (half the film's budget LOL) and refused to stop using it. What fun.

https://vimeo.com/929606406

Then there’s Luke (Anthony Carey), our emotional anchor. If you can call anyone in this film “grounded.” He’s dealing with his sister’s disappearance while being plagued by visions of the same mysterious house. His interactions with Jack (Matthew Mahler, not to be confused with that bottle of Jack) add another layer of “are we connecting dots or just drawing new ones?”

And just when you think you’ve adjusted to the film’s wavelength, Protanopia hits you with…wait for it. An a cappella sequence. Yes, really. I was seriously wondering, “Did I accidentally switch movies?” but somehow it still fits the film’s dreamlike, off-kilter energy.

The sensory experience here is…aggressive. Around the 55-minute mark, the movie obnoxiously yells at you to stay awake, blaring noise that feels less like a jump scare and more like my TV was staging an intervention. Add in the constant strobing lights and flashing visuals, and we are straddling the line between psychological horror and a full-on sensory endurance test.

However, there is something happening underneath all the chaos. Protanopia can be considered a surrealistic portrayal of solitude, loss, and the deterioration of the suburban neighborhood. There is a certain madness lurking beneath all the manicured lawns and gated entrances, and “Protanopia” manages to capture this madness in its full intensity. Had you said "Budget of $100 Million," I may have had a different reaction. Keep that in mind.

Protanopia (2024)

This isn’t a movie for everyone. And it doesn’t want to be. But if you’re in the mood for something that feels like a hallucination with a story hiding somewhere, Protanopia might be a bizarre trip worth taking. Just don’t watch it if you’re already sleep-deprived. Or prone to questioning reality.

If this sounds interesting to you, check it out for free on Vimeo or FilmFreeway. And thanks go to Timothy J. Cox for sending this one over for me to take a look at.

https://jackmeat.com/protanopia-2024/

Cheerleader Camp (1988) | It’s like someone pitched Friday the 13th but got distracted by Playboy and never circled back to the plot. #jackmeatsflix

My quick rating - 4.9/10. I've seen slasher movies, sometimes at a summer camp, and then there’s Cheerleader Camp. A film that looks at both of those ideas and says, “What if we added pom-poms, mascots, and a welcome amount of topless distraction?” The concept alone deserves a slow clap. A murder mystery set at a cheerleading camp where even the mascot gets screen time? That’s either genius or a late-night dare that somehow got funded.

The setup is pure ‘80s comfort food. Alison (Betsy Russell) is our troubled lead, haunted by nightmares as she heads into an all-state finals training camp. Naturally, those nightmares start blending with reality once people start dropping like flies. Is she losing her mind? Is she the killer? Or is this just another case of “everyone here is suspicious because the script said so”? You already know the answer is “yes,” to all.

Let’s address the elephant in the cabin. This movie is far more interested in hormones than horror. The “camp” feels less like a training facility and more like a very loosely supervised excuse for characters to remove clothing at a moment’s notice. Not that I’m complaining. This is practically a time capsule of late ‘80s sleaze, but it does mean the actual slashing takes a backseat to…well, bouncing. The filmmakers clearly had priorities, and terror wasn’t one of them.

And the cast, which feels like it was assembled while flipping through a Playboy. You’ve got Teri Weigel popping up as Pam (yes, that Teri Weigel - blink and you’ll miss her being clothed), Rebecca Ferratti thrown in for good measure, and somehow Leif Garrett wanders in as Brent like he got lost on the way to the unemployment office. Meanwhile, George “Buck” Flowers shows up and does what he always does. Quietly steals scenes just by existing.

But the true MVP? Lucinda Dickey as Corey the gator mascot. Yes, really. The Breakin’ star spends this film in a gator suit, and somehow that’s not even the weirdest thing happening. That alone should tell you exactly what kind of flick you’re in for.

In other words, Cheerleader Camp succeeds where it matters. B-grade production, bad acting, and all those beautiful, practical effects that make you realize just why the '80s were great in this genre. Unfortunately, there aren't any really impressive kills in here. If you're looking for the creative gore, you'll probably have to hold your horses while it switches back to skinny dipping.

Dream scenes are definitely a highlight. Concentrating on Alison's jealous and paranoid attitude, along with just enough weirdness to make it entertaining. The problem is that the ending seems rushed, as though the writers finally remembered they had forgotten to add one. No fanfare, no real payoff. Just a cheer and roll credits.

Is this a “good” slasher? Not even close. But is it FUN? Absolutely! If your definition of fun includes low production values, baffling character decisions, awkward dialogue, and a soundtrack that sounds like it escaped from a broken boombox. It’s the kind of movie you throw on, expecting insanity, and get exactly that.

Cheerleader Camp (1988)

Cheerleader Camp isn’t winning any trophies. But as a bizarre, cheer-filled fever dream of the ‘80s slasher era, it definitely earns its place on the watchlist. Just don’t expect the horror to cheer very loudly.

https://jackmeat.com/cheerleader-camp-1988/

The Forbidden City (2025) | She came to find her sister and accidentally started a one-woman demolition job on the Roman underworld. #jackmeatsflix

My quick rating - 7.0/10. The Forbidden City looked like one of those “this could either slap or completely fall apart” watchlist gambles. Basically, it more "punches and kicks" in a way that kept me entertained enough not to complain.

Right out of the gate, you’re dropped into a scenic martial arts training sequence that screams important backstory incoming…except the movie forgets to translate the text explaining it. So unless you’re fluent, you’re just nodding along like, “Yep, mountains…training…this will definitely matter later.” It’s a bold strategy. Confuse first, explain maybe never, but thankfully, the film quickly pivots into something universally understood. People getting absolutely wrecked.

Enter Mei (Yaxi Liu), who wastes no time establishing herself as the human equivalent of a wrecking ball. The opening fight alone is worth the price of admission, featuring tight choreography and one of the more creative uses of a compact disc you’ll ever see. Seriously, somewhere out there, DVDs just got nervous. Mei doesn’t just fight, she improvises, turning anything within arm’s reach into a weapon. It’s chaotic, fast, and a clear nod to some of Jackie Chan's best.

Then we meet Marcello (Enrico Borello), who spends a good portion of the film getting physically and verbally bullied by Mei while trying to figure out what she’s yelling at him, in Chinese. The language barrier becomes an ongoing gag, and honestly, it works. Watching Mei aggressively demand answers while the Italians scramble for Google Translate energy is oddly hilarious. It adds a layer of charm you don’t usually get in revenge-driven action films.

Of course, the tone shifts hard once Mei finds her sister. What starts as a rescue mission turns into a revenge story, and that’s where The Forbidden City kicks into a more emotional side. Director Gabriele Mainetti actually gives these quieter moments room to breathe, pairing them with strong visuals and a fitting score. It doesn’t feel like filler. It feels earned.

The dynamic between Mei and Marcello also develops in a surprisingly natural way. Despite not sharing a language, they still manage to connect. And why not take a nice little scooter ride through Rome that’s equal parts awkward and genuinely sweet. It’s here that the film drops some heavier backstory about the sisters, and it lands better than expected.

That said, the pacing does stumble. The shift from high-energy action to emotional drama can feel a bit like slamming on the brakes at full speed. I am thoroughly enjoying Mei dismantling entire rooms of criminals, and suddenly, I'm in a quiet, melancholic reflection scene. It works individually, but the transitions aren’t always smooth.

But when it comes to the important stuff, The Forbidden City nails it. Innovative action sequences, an unusual intercultural relationship, and just enough emotion to prevent it from becoming a mindless beatdown. And if you enjoy seeing a strong woman take control of a roomful of thugs who can’t even comprehend what she’s saying, this is the movie for you.

The Forbidden City (2025)

https://jackmeat.com/the-forbidden-city-2025/

Captive (2023) | Feels like a horror-comedy that forgot both the horror and the comedy even though Scout Taylor-Compton showed up ready. #jackmeatsflix

My quick rating - 3.7/10. Just a great poster, combined with a familiar name, can work for me, and this time, Captive (2023) did just that. Put Scout Taylor-Compton in a horror comedy scenario about some stoners sneaking into a house and finding a strange captive in the basement? Yeah, that should be a recipe for chaos, laughs, and at least a few “oh damn” moments.

Instead, it’s more like a recipe where someone forgot half the ingredients…and nearly burned what was left.

The premise keeps these moving early on. A group of party-hungry stoners decides to squat in a random house for the weekend (always leads to good things), only to stumble across something they definitely didn’t sign up for. A chained-up stranger downstairs. That’s a great launching point for paranoia and some darkly comedic stupidity. You can already imagine the arguments, the bad decisions, the inevitable “we should NOT be here” realization.

Unfortunately, Captive mostly just…hangs out.

These characters have been ripped straight out of the “Generic Stoner Archetype Starter Pack,” minus the fun. There are so many opportunities for laughs, and yet the movie manages to fail at being funny despite itself. How do you not find any amusement when you have guaranteed madness, stupidity, and an actual mystery in your basement?

On the horror side? Not much better.

Captive (2023) never quite figures out what it wants to be. It’s not goofy enough to work as comedy, and it is not scary enough to be horror. It simply hangs out in that uncomfortable middle. I kept waiting for it to pick a lane, hit the gas, and take off, but it never did.

On the performance level, Scout Taylor-Compton is the only memorable one. She seems to have walked in right from another film that she actually did well in and is trying to keep it together as best she can. The rest? Well, let’s just say that the effort varies widely. It becomes difficult to root for any particular character’s survival or demise.

And then there are the effects. When your horror elements look like they were filtered through a social media app circa 2015, it’s tough to feel any real sense of dread. Instead of pulling you in, they kind of took me straight out of the moment entirely.

In the end, Captive (2023) is one of those frustrating “almost” movies. The concept is solid. The setup is there. And there are glimpses of what should have worked, but it never comes together. It’s not terrible in a #turkey way, it’s just…there.

Captive (2023)

Think of it as a party you were excited to go to, only to realize halfway through that nobody brought music, snacks, or a keg.

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

Forbidden Fruits (2026) | It’s like The Craft met Heathers at a food court, then spent an hour posing before remembering to be violent. #jackmeatsflix

My quick rating - 5.2/10. There’s a very specific feel Forbidden Fruits is going for, and to its credit, it commits to it. Even if it sometimes feels like it’s more interested in being cool than actually being, you know, entertaining.

Right out of the gate, the film sets the tone with a radio-dial intro, landing us in full Shudder territory before introducing Apple (Lili Reinhart), who casually manipulates a guy in a parking lot like it’s just another Tuesday. Subtle? Not even slightly. But it does immediately tell you what kind of world you’re stepping into. One where the Free Eden girls rule the mall like it’s their own slightly cursed kingdom.

Apple, along with Cherry (Victoria Pedretti) and Fig (Alexandra Shipp), runs a secret witchy femme cult out of a mall. Of course they do. It’s giving The Craft with a heavy splash of Heathers, and yeah…I could feel those influences in basically every frame. Sometimes that works. Sometimes it feels like the movie is one sarcastic monologue away from just admitting it has both films on speed dial.

The dynamic gets shaken up when new hire Pumpkin (Lola Tung) enters the mix, immediately calling out the group’s performative “we’re all sisters” energy - which, let’s be honest, had red flags all over it from the start. There’s also the legend of Pickle (yes, Pickle), the mysterious fourth member who’s no longer around, complete with a whole “Ballad of Pickle” detour that feels like the film daring you to stay invested.

And here’s the thing. For a solid chunk of its 103-minute runtime, Forbidden Fruits is all buildup. A lot of attitude, a lot of aesthetic, a lot of “look how edgy we are”…and not a whole lot actually happening. You’ll start to feel it creeping in. That little voice in your head going, “Are we going somewhere with this?”

Then, almost on cue, something finally does happen.

The third act kicks in like the movie suddenly remembered it promised horror, delivering a blood-soaked payoff that includes, of all things, a weaponized escalator. Yes, really. And honestly? It works. The kills are creative, the tone fully dives into dark comedy absurdity, and there’s even a twist that doesn’t feel like it was pulled out of a clearance bin. It gives the film a bit of meaning and, shockingly, sticks the landing better than expected.

Bonus points for dodging the typical Hollywood ending, too. It doesn’t go where you think it will, which is refreshing in a genre that often plays it safe.

That said, you can’t overlook the amount of time it takes to get there. Act one and two feel like an extended hangout that doesn’t know when to leave, but not all viewers will be willing to sit through that long for the reward. If you appreciate a good dose of '80s mall culture, however, then this might work for you.

And just when you think it’s all over, the post-credit scene reveals Sharon (Gabrielle Union), because apparently, this mall has more secrets to spill.

Forbidden Fruits (2026)

In the end, Forbidden Fruits isn’t terrible. It’s just uneven. More dark comedy than horror, more vibe than substance for the most part. But when it finally decides to bite, it at least leaves a mark.

https://jackmeat.com/forbidden-fruits-2026/

Immortal Combat (2026) | This movie made me nostalgic for losing quarters in the arcade, because at least Mortal Kombat earned my pain. #jackmeatsflix

My quick rating - 2.2/10. The moment that Immortal Combat started, I knew I had just accidentally punished myself. However, it did not become apparent to me how far off track it is until the battle scene set in France in 1429. This is where Joan of Arc (Eve Fournier) is seen in the middle of a war in Orleans, just seconds before being shot by an arrow, when she is suddenly transported to the future as if something went wrong in the History Channel boardroom.

This latest pile of mockbuster trash comes courtesy of The Asylum, which would've been the only warning I needed. Somehow, this one slipped past my defenses before I hit play. But my inability to hit "stop" after that is my own damn fault. The greatest fighters in history, like Attila the Hun (Sasha Di Capri) and Joan of Arc, have been pulled from their own times and placed in a life-and-death fight to the death under the guidance of a mysterious organization headed by Aria (Dominique Swain). Of course, it is just like its title implies. It’s a terrible knock-off of Mortal Kombat 2.

I mean, I grew up happily feeding quarters into Mortal Kombat arcade machines, so I’ll admit the idea had just enough shamelessness to keep me curious. Historical warriors in a futuristic death match? Sure, why not? But Immortal Combat takes that mildly entertaining concept and destroys it every chance it gets. One of the earliest gems is the explanation that everyone can suddenly speak English thanks to a “language interface” implant. And delivered with such straight-faced seriousness that I almost had to admire the audacity. Almost.

The fight scenes are, frankly, horrendous. These aren’t battles so much as awkwardly staged shoving matches with the occasional slow, telegraphed punch. Every time the movie tries to build momentum, it trips. Characters die and then are somehow brought back through some vague, never properly explained method that seems less like plot and more like the writers refusing to let 'em die. The effects are “special” in the most charitable way. I say AI can do better. and the acting ranges from wooden to accidentally hilarious.

Still, I have to give it this. For an Asylum production, it is somehow not the worst piece of cinematic trash I have sat through. That might be the nicest thing I can say. Even the mid-credits sequel tease feels like the film itself shrugging and saying, “Sure, why not another one?” Maybe their next incarnation can upgrade the AI model they were using here.

The real tragedy here is that I made the mistake of watching it, so you do not have to. Learn from my suffering. Immortal Combat is the kind of movie that makes you appreciate bad movies that are at least entertainingly bad. This one mostly had me checking the time remaining.

Immortal Combat (2026)

https://jackmeat.com/immortal-combat-2026/

Border (2018) | If weird movies had airport customs, Border would breeze right through and still leave everyone confused and impressed. #jackmeatsflix

My quick rating - 6.8/10. Border (2018) is one of those flicks that caught me by surprise, as it quietly whispered, “You have absolutely no idea where this is going.” Seriously, that’s the best way to go into this one.

Going in, I thought that it would be a thriller of a sort, maybe something dark and involving crime with a supernatural aspect. Instead, what I ended up watching was a peculiar, oddly charming, yet extremely disturbing romantic thriller. This is not your typical “customs officer catches the bad guy” movie. Not even close.

The premise alone is fascinating. Tina (Eva Melander) works at border control and has an extraordinary ability. She can literally smell guilt, fear, and hidden emotions on people passing through customs. It’s a great hook, and the film uses it brilliantly right away. Watching her sniff out suspicious travelers like the world’s most intimidating bloodhound gives Border an immediately eerie charm. It’s almost darkly funny at times. Imagine trying to sneak contraband past someone who can practically smell your bad decisions.

Then along comes Vore (Eero Milonoff).

The moment he appears, Border (2018) does a complete u-turn into something completely out of the ordinary. Tina’s never-before-failed intuition faces an equal opponent. She senses something is off, but not in any way she can understand. From here, all the mysteries of the movie unravel bit by bit.

And that’s really where Border shines.

I suggest going in as blind as possible. The less you know, the better. The reveal works so well that talking about it will take away everything that makes it great. It continues to peel back the layers until it evolves from being just another thriller into a weird yet thought-provoking one.

That said, the pace is rather slow. The movie moves into areas where it appears to have nowhere particular to go and ends up walking around in circles in its efforts to get there. In some cases, the sequence seems to last longer than necessary, and occasionally the plot becomes disoriented.

The part that stands out is just how unapologetically weird this movie is. And that isn't just Tina's appearance. Border fully commits to its concept, and because of that, it stands out in a sea of more formulaic thrillers. It’s almost haunting. A little romantic, a little disturbing, and not something you forget five minutes after the credits roll.

It is not what I was expecting, and believe me, that is a good thing. If you do plan on checking out Border (2018), avoid spoiler-heavy reviews. This is one of those films where the mystery is half the experience.

Border (2018)

https://jackmeat.com/border-2018/