Cold Storage (2026) | When a space fungus escapes containment, 2 employees & Liam Neeson face the worst night shift imaginable in this slimy horror comedy. #jackmeatsflix

My quick rating - 6.2/10. If you ever thought the biggest danger from Skylab crashing back to Earth in 1979 was a chunk of metal landing on someone’s Buick, Cold Storage would like to politely inform you that the real problem might have been a killer fungus hitching a ride home.

The film opens with some simple text exposition explaining that most of the scientific experiments aboard Skylab were destroyed during re-entry. The keyword here is “most.” And if horror movies have taught us anything, it’s that the remaining 1% is always the thing that wipes out humanity. We’re quickly shown the consequences when a surviving container becomes a roadside tourist attraction in a small town. Naturally, something escapes the tank and proceeds to wipe the place off the map in messy, fungal fashion.

Enter three scientists tasked with containing the outbreak, including Robert Quinn, played by Liam Neeson. Quinn and company manage to collect a specimen while demonstrating exactly how fast this nightmare spreads, before solving the problem the traditional cinematic way: by erasing the entire village from existence. Containment achieved… mostly.

Cut to Teacake (Joe Keery), a guy just trying to get through a regular shift at his storage facility job. Unfortunately for him, the night shift is about to become the worst career choice of his life. Joining him is Naomi (Georgina Campbell), the facility’s new security employee, who also seems destined to discover that “biological containment failure” was not listed in the job description.

Like most creature features, Cold Storage relies on a fair share of questionable decision-making to keep things moving. Doors get opened that absolutely should stay closed. People investigate noises they should absolutely ignore. But the film leans into the absurdity just enough that it becomes part of the fun instead of a frustration.

The humor here is dark but effective. It never quite drifts into the full camp territory of The Return of the Living Dead, though the zombie-like infected and the generous amounts of green slime spraying around definitely give off that vibe. The movie also strikes a nice visual balance between practical effects and CGI. Bursting spores, twitching limbs, and fungal tendrils creeping through vents all feel tactile and gross in the best possible way.

Neeson is clearly having fun playing the grizzled bioterror operative who treats this bizarre fungal apocalypse with complete seriousness. Watching him deliver deadpan one-liners while saving the world is half the entertainment. Meanwhile, Keery and Campbell have solid chemistry. Keery, in particular, manages to separate this character nicely from his Stranger Things persona.

What Cold Storage does best is walk the thin line between ridiculous and semi-serious. If it went too far into parody, it becomes a joke. Play it too straight, and the movie collapses under its own weirdness. Instead, it lands comfortably in that late-night popcorn zone where you’re laughing, and occasionally wondering why anyone thought keeping that sample was a good idea.

Cold Storage (2026)

The ending doesn’t exactly hide its intentions either. The possibility of what comes next is hinted at well before the sequel tease, so when the reminder arrives, it feels less like a surprise hook and more like director Jonny Campbell giving us a knowing wink. If the next shift is anything like this one, I am in for another round of gooey fun.

https://jackmeat.com/cold-storage-2026/

The Secret Agent (2025) | The Secret Agent looks fantastic and nails the 70s vibe, but the slow pacing and drawn-out conversations nearly put me into hibernation. #jackmeatsflix

My quick rating - 6.9/10. It’s been a while since I managed to watch every nominee in the Best Picture lineup, but this year I get to make an educated guess at the eventual winner after watching all 10. Unfortunately, The Secret Agent probably won’t be the one taking home the big trophy.

Set in Brazil during 1977, the film follows Marcelo, a quiet technology expert played by Wagner Moura. He is on the run and trying to reconnect with his son. His journey leads him to Recife during Carnival, which sounds like the kind of crazy celebration where someone on the lam might blend in nicely. Wrong! The city quickly proves to be anything but a safe haven.

The Secret Agent opens with a montage of old photographs and upbeat music that paints the era full of "great mischief". Almost immediately, though, things get strange in that artsy “this might mean something or it might just look cool” way. One early scene features police standing near a dead body that seemingly has nothing to do with them, just lying there like an awkward party guest no one wants to acknowledge.

After some road travel through genuinely gorgeous scenery, we arrive at Part 1: Boy’s Nightmare. Marcelo settles into an apartment building run by the warm and seemingly innocent Dona, played by Tânia Maria. Naturally, when someone is introduced as adorable in a thriller, your brain immediately starts asking how long that innocence will last. The building houses a variety of refugees and oddball residents, including a cat with two faces that looks like it wandered in from a completely different genre. Symbolism? Possibly. Reoccurring nightmare? On the way.

Director Kleber Mendonça Filho doesn’t shy away from the grisly when the moment calls for it. A shark-related scene involving a body and a missing leg proves that point pretty quickly. Meanwhile, the story splinters into other threads, including a grim execution sequence in São Paulo that suggests multiple storylines will eventually connect.

Part 2, Identification Documents Service, slows things down considerably. In fact, it slows them down so much that some conversations stretch far beyond the payoff. It takes nearly two hours before the film finally snaps back to life with a moment that, without spoiling anything, gives someone a very literal “leg up” on the sexual revolution. Yes, the movie suddenly wakes up just long enough to remind you it has a sense of humor buried somewhere inside its moody runtime.

Part 3, Blood Transfusion, arrives with about 40 minutes left and finally delivers some real urgency. A shootout turns graphic quickly, reinforcing the director’s commitment to showing violence without flinching. At some point, the storytelling approach becomes more interesting. I missed exactly when we first see it, but students listen to old tape recordings documenting past events. The film visually reconstructs what they’re hearing as the story unfolds.

Visually, The Secret Agent is excellent. The production design nails the 1970s look, especially the cars, and Recife feels like a living, breathing character rather than just a backdrop. The film is packed with eccentric personalities played by an equally eccentric cast, keeping the atmosphere unpredictable.

Moura gives a solid performance, but it’s far too subdued for me to give him the Best Actor nod. Marcelo spends most of the film operating at the same emotional volume level, which doesn’t always match with what is swirling around him.

The Secret Agent (2025)

In the end, what could have been an inventive political thriller ends up feeling like a collage of familiar Brazilian themes. Corruption, nostalgia, and political tension - without enough weight to tie it all together. It’s technically accomplished and looks great, but dramatically hollow and, frankly, way longer than it needed to be.

Sometimes, style carries a film a long way. Here, it carries it 20 minutes shy of three hours…which was way too far in my eyes.

https://jackmeat.com/the-secret-agent-2025/

Whistle (2026) | Teens discover a cursed death whistle and immediately blow it, which becomes the horror version of dealing with our population problem. #jackmeatsflix

My quick rating - 5.5/10. This recent release, Whistle, takes the classic “cursed object dooms a group of teens” formula and gives it a supernatural remix with a very loud piece of ancient nightmare fuel. An Aztec death whistle. If that sounds like something you probably shouldn’t blow unless you enjoy summoning your own demise… well, congratulations, you already have better judgment than most of the characters in this movie.

The film kicks things off with what looks like a standard high school basketball game. Last-second shot, crowd, going wild, all the usual sports movie energy. Except there’s also a flaming demon stalking one of the players across the court. Yeah, that escalates quickly. The fiery encounter sets the tone immediately. Whistle is not aiming for subtlety, and it’s better off for it.

Enter the new girl at school, Chrys, played by Dafne Keen. She’s the lucky student who discovers the mysterious whistle tucked away in her assigned locker. Naturally, it’s an ancient artifact with ominous writing on it. During a shakedown in the hallway where punishments are being handed out like Halloween candy, the group of teens ends up together in detention. This is where the teacher, Mr. Craven (Nick Frost), confiscates the eBay-destined whistle.

So, if you come across an item with a label like “Summon the Dead” on it, the proper response would be to lock it in a box, throw the key in a river, and move to another country. But Mr. Craven, being the whistle-blower he is, has other plans. Obviously, he is a man who believes in the tried and true scientific method known as FAFO.

Once the whistle is activated, the teens quickly reclaim it and begin experimenting with it, because apparently nobody in this town has heard the phrase “terrible idea.” Eventually, they learn the full translation of the inscription actually means “Summon YOUR death.” And just like that, every blast of the whistle calls forth the way each person was destined to die, except now that fate shows up early and ready to get the job done.

The concept behind Whistle is definitely out there. The idea that blowing the whistle summons a future version of your own death is wildly far-fetched, but the movie runs with it confidently. To stretch the mayhem further, the rules conveniently expand so the summoned deaths can target anyone within earshot. Horror math at its finest.

One of the film’s standout sequences takes place inside a gigantic haunted maze at a local carnival. The thing is absurdly massive. Honestly, the kind of attraction most horror fans would have begged their parents to visit as teenagers. Naturally, it becomes the perfect playground for chaos once those deadly manifestations arrive.

When death finally shows up, the movie does not hold back. The gore level jumps dramatically, and the kills land with satisfying brutality. The only moment that really earns a penalty flag is a scene where someone uses a defibrillator on a victim lying in a pool of water…while kneeling in the same water to administer it. That’s not just questionable medical practice. That’s lightning roulette.

Still, Whistle mostly succeeds by embracing its ridiculous premise and delivering the carnage audiences expect. The ending wraps things up in a way that works well enough if you buy into the film’s homemade mythology. Then the story jumps forward three months for the obligatory sequel tease. But the real surprise comes during the credits, where an even better sequel setup appears, and it’s actually pretty clever.

Whistle (2026)

If nothing else, Whistle proves one very important lesson. If you find an ancient artifact labeled “death whistle,” maybe…just maybe…don’t blow it.

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

NFT: Cursed Images (2026) | NFT gives the crypto craze a horror twist, and I'll admit watching digital monsters hunt greedy collectors is oddly entertaining. #jackmeatsflix

My quick rating - 4.7/10. NFT: Cursed Images tries to tap into modern internet paranoia by asking a simple question: what if your overpriced digital collectible didn’t just tank your bank account…it also tried to murder you? The concept alone has enough eerie potential to build a solid horror flick around, even if the execution ends up a little rough around the blockchain.

The film opens with a quick street kill in London that feels intentionally mysterious. A woman briefly mentions a cursed NFT before chaos unfolds, though the sequence is more suggestive than graphic. It’s one of those “something bad just happened, trust us” openings designed to hook your curiosity before the story rewinds to London, 2021.

That’s where we meet our main group of seven friends, and buckle up, because they talk. And talk. And talk some more. Nearly twenty minutes of the film is devoted to drawn-out conversations about digital investments, crypto trends, and eventually the fateful Crypto Horrors NFT collection. It’s the kind of irritating dialogue that will either make you nod knowingly or check your watch, wondering if the monsters are stuck buffering.

Once those cursed NFTs are dropped, the film finally shifts gears. The digital creatures attached to the pixelated images begin to come to life. Popping up in the real world to hunt the owners. The special effects are fairly basic, but the monsters do have a genuinely creepy vibe. Considering this is a low-budget movie, the editing does a decent job of ensuring these ghouls are integrated into the scene without looking too cheesy.

Plot-wise, NFT: Cursed Images runs pretty thin. The movie never really explains how these NFTs gained their supernatural killing powers. They’re cursed… and that’s about the extent of the explanation. Sometimes a mannequin head shows up on the ground for extra weirdness, but even that isn't gonna qualify as gore. It’s one of those horror films where the concept does most of the lifting. The script just hopes you don’t ask too many questions.

The pacing also slows down in the middle, with some scenes dragging on. Since none of the characters had much of a background, I didn’t really care who lived or not. Surprisingly, though, the cast still manages to pass off this ridiculous scenario. Despite how weak the plot is, the actors portray this curse like it’s actually happening, so it’s still watchable.

The one familiar face here is Najarra Townsend as Sue. I recognized her from Contracted, where she delivered a much more intense performance. While NFT: Cursed Images doesn’t give her nearly as much material to work with, she still stands out among the group.

Director Jonas Odenheimer deserves some credit for stretching a limited budget as far as it will go. The scares are minimal, and the gore is almost nonexistent, but the atmosphere occasionally lands. And the cursed NFT idea is undeniably a fun modern horror hook. Thank you to Justin Cook for sending this one over to check out!

NFT: Cursed Images (2026)

In the end, NFT: Cursed Images feels like a proof-of-concept horror film built around a clever premise with an undeveloped mythology. It’s not particularly scary, the plot is thin, and the middle drags, but the cast commits, and the concept itself is oddly entertaining. If nothing else, I'll give this flick points for finally asking the horror question nobody wants an answer to. What if your digital art collection decides to kill you?

https://jackmeat.com/nft-cursed-images-2026/

Sentimental Value (2025) | Sentimental Value proves sometimes the drama isn’t explosions, it’s uncomfortable family conversations that peel back years of baggage. #jackmeatsflix

My quick rating - 7.5/10. Coming into the home stretch of my 2026 Best Picture Oscar nominees to check out. I only had two left to go, one is Sentimental Value. Unfortunately, the final two nominees decided my aging eyeballs needed a workout because both required reading subtitles. That also means my normal note-taking routine goes out the window. When you’re busy reading every line of dialogue, stopping to write notes usually means you miss the next five lines. Or I make the movie take 5 hours to watch. So this review may be a little lighter on details than usual, but the overall impression stuck with me.

The film revolves around two estranged sisters, Nora and Agnes, who reconnect with their once-famous filmmaker father Gustav after their mother's death. Gustav, portrayed by Stellan Skarsgård, is trying to revive his flagging career through a very personal film project. Naturally, he wants Nora, played by Renate Reinsve, to be a part of the film. However, she refuses to be a part of it. He goes out and signs a Hollywood star for the film, portrayed by Elle Fanning. This sets off a whole can of issues that have been brewing in the family for years.

Sentimental Value opens with some really nice camera work around an old house that immediately sets the tone. There’s a quiet, reflective feeling. So you know this film is going to be more about emotions than explosions. No surprise. Shortly after that, we see Nora being led onto a stage, and she acts like she’s being escorted to the electric chair. Look, I understand stage fright…but this reaction was next-level.

Visually, the film looks fantastic. The cinematography from Kasper Tuxen is outstanding. Interior scenes have a warm, intimate look, while the outdoor shots feel almost lonely. It’s one of those films where the camera quietly tells part of the story without needing to shout about it.

The performances are strong across the board. Stellan Skarsgård gives Gustav just enough manipulative charm, which made me wonder if he’s a struggling artist or a bit of a conman. Or both. There were actually a few moments where I laughed because you could see him working people like a grifter.

But the standout here is Renate Reinsve. She absolutely carries the emotional weight of the film as Nora. Her performance feels tense and restless, like someone who wants connection but also knows exactly how dangerous it can be when family history gets involved. In most Oscar years, I’d probably be rooting for her to win Best Actress.

The film Gustav is trying to make becomes an emotional fault line, of sorts. It’s a reminder that art can bring personal truths to the surface. But it can also reopen old wounds.

Director Joachim Trier is patient with this movie. Sentimental Value focuses on conversations, awkward pauses...Oh, and those uncomfortable family interactions where people say just enough to hurt each other without actually saying what they mean. It’s definitely a slower-paced movie, so hopefully you weren't in this for CGI action or big dramatic fireworks. Not gonna happen.

Sentimental Value (2025)

But if you’re willing to stick it out, Sentimental Value ends up being a thoughtful and quietly powerful drama. Be ready to pack some emotional baggage. This flick has it while touching on family and memories, the good and the bad.

https://jackmeat.com/sentimental-value-2025/

Horny Teenagers Must Die! (2024) | This movie screams, “We had fun making it!” It would've been nice if those of us who watched it had fun as well. #jackmeatsflix

My quick rating - 2.7/10. Horny Teenagers Must Die! had me asking the obvious question right away. Why did I watch this? The answer is pretty simple - sometimes a title alone is enough to trigger curiosity, especially for anyone who spends a lot of time digging through low-budget horror looking for the occasional hidden gem. But this one is no hidden gem and more like a cautionary lesson in film. Yes, technically, anyone could make a movie about as polished as Don't F**k in the Woods…but that doesn’t mean everyone should try.

Director David Zagorski clearly wanted to capture the spirit of old-school ’80s slashers. The formula is all here. A group of horny teenagers in a secluded cabin in the woods. Check. Lots of booze and questionable decision-making. Check. A mysterious killer ready to turn a party weekend into a body count. CHECK. The film even leans into the “sex equals death” trope with enthusiasm, setting up a debauchery-filled getaway where recent high school graduates head into the woods for what they think will be a weekend of partying. Naturally, it quickly becomes a weekend of getting murdered by someone who apparently grabbed whatever random object was nearby. Farm tools, sex toys, you name it.

Things start off with some very "enthusiastic" teenagers who sound like they’re having a conversation inside a wind tunnel. I’m not even sure what was used to record some of the outdoor scenes, but the audio quality suggests a phone mic made by Crapple that lost the battle with the breeze. Combine that with a lens that might have a greasy thumb print on it for about 10 minutes and you get a visual presentation that feels more like accidental found footage than intentional filmmaking.

Once the group arrives at the cabin, things get even more familiar yet still bizarre. The host conveniently forgets to mention the cabin is about a century old and comes with absolutely no indoor plumbing. That alone should have triggered a unanimous vote to get back in the car.

Then there’s Elliot, played by Chhoyang Cheshatsang. Elliot is invited along for reasons that are never really explained, especially since everyone starts making fun of him immediately. And we’re not talking about light teasing either. This group jumps straight to the kind of bullying that includes putting an apple on his head and firing arrows at it. At that point, the killer in the woods almost feels like the least dangerous thing happening at this party.

Character-wise, this group barely tolerates each other. The whole trip seems like a sham since no one gets along at all. In the real world, half these people would’ve bailed before the first beer was opened. Elliot ends up being the only one worth a crap, mostly because he operates on an entirely different level of awkward that somehow makes him the most interesting presence on screen.

The kills rely on practical effects, but the film rarely shows the actual moment of impact. Instead, you’ll see someone swing a weapon, then the movie cuts to the aftermath, like a severed arm sitting there politely dripping blood. It’s the classic low-budget workaround - suggest the violence without ever really filming it.

Between the clunky editing, scenes that cut off while the audio keeps playing, and a twist that feels completely manufactured just so the movie has one, Horny Teenagers Must Die! ends up feeling like a very rough attempt at a slasher tribute. If a friend showed me this after a drunken weekend and said they shot it for fun, I’d probably nod and say, “Looks like you guys had a good time.”

But releasing it for the world to watch? That might be where someone should have taken a hint.

Horny Teenagers Must Die! (2024)

https://jackmeat.com/horny-teenagers-must-die-2024/

War Machine (2026) | This year's War Machine drops soldiers into a fight with a giant alien machine. No deep thinking, just solid popcorn action. #jackmeatsflix

My quick rating - 6.3/10. I was glad to see War Machine (2026) knows exactly what it is and doesn’t spend any time pretending to be a late Oscar contender. It’s loud and simple. Built almost entirely around the idea of soldiers fighting a giant alien killing machine in the middle of a Ranger training exercise. If that sounds like the kind of dumb fun you’re in the mood for, War Machine mostly delivers.

The film opens with a quick emotional setup for Alan Ritchson’s character, known simply as “81.” Ritchson continues to ride the momentum from his success on Reacher, and he’s proving he deserves these bigger leading roles. We get a short scene between 81 and his brother where they promise to join the Army Rangers together. As you’d expect, the inevitable tragedy follows, setting up the grief motivation that drives 81 through the brutal Ranger training process.

Two years later, we jump into the excruciating qualification process for Ranger candidates. Writer/director Patrick Hughes quickly establishes the classic underdog angle as the remaining trainees head into their final field exercise. What starts as a mock combat mission, however, takes a hard left turn when an actual alien threat crashes into the training zone.

The movie had already been hinting at some mysterious asteroid earlier, so the reveal isn’t exactly shocking. What is a little surprising is how the Ranger candidates react when they first encounter the alien combatant. These are supposed to be elite soldiers, yet their first instinct seems to be standing around staring blankly while teammates get blasted apart. You’d think at least one of them might try ducking.

Once the chaos kicks in, though, War Machine (2026) settles into the type of action we tuned in for. The alien isn’t some stealthy hunter like the Predator. Think a massive mechanical threat, closer to something you’d see stomping around in Pacific Rim. The entire movie felt like a throwback to early 90s action, with soldiers scrambling across rugged terrain while a giant robot hunts them down.

The Australian scenery looks fantastic, giving the action plenty of wide-open space to muck around in. And if you’ve seen some of Hughes’ previous films like The Hitman’s Bodyguard or The Expendables 3, you know the kind of action style he likes to bring. Big explosions, fast pacing, and absolutely zero concern for robot safety.

I'll give the film credit. The action sequences are well constructed, and the CGI never becomes distracting. Even when the logic wobbles a bit, like the final bomb behaving very differently from earlier ones, it’s easy to let it slide. This isn’t exactly the kind of movie where you keep your brain switched fully on anyway.

The ending even feels a bit like a video game final boss battle, which actually works in the film’s favor. It also sends a pretty clear message. If audiences respond well, War Machine is absolutely ready to fire up a sequel.

War Machine (2026)

There isn't much depth here, yet War Machine (2026) still is an entertaining handful of popcorn action. Sometimes that’s all I need a movie to be. And you would think Netflix would be a little smarter with title choices. They just released a movie by the same name in 2017.

https://jackmeat.com/war-machine-2026/