We Bury the Dead (2026) | Not really a horror film, more a quiet zombie-adjacent road trip driven by grief and crunchy jaw noises. #jackmeatsflix

My quick rating - 5.5/10. This one wasn't exactly what I was expecting. We Bury the Dead is a movie that shows up wearing a “zombie horror” name badge, then spends the entire runtime insisting it’s actually here for your feelings. I mean, honestly? That’s mostly fine, just don’t come in expecting wall-to-wall carnage ala 28 Years Later or Romero-style apocalypse chaos, because this is very much a slow, dramatic character piece. It just happens to have the undead lurking around like an emotional support threat.

The opening does a solid job setting the tone, hinting at a world that’s unsettled and strained without going full end-times. The film wisely keeps the disaster contained. This isn’t the fall of humanity, just a very bad, very specific situation. Ava (Daisy Ridley), grieving and lost, enters a quarantine zone to search for her missing husband. The military line is that the dead are “harmless,” which should immediately trigger your internal horror-movie lie detector. Still, the film never lets the zombies be the undead as escalating threats in the way the marketing suggests. That part of the summary flat-out doesn’t happen.

Ava quickly gets paired with Clay (Brenton Thwaites), an Aussie with a relaxed moral code, a stolen motorcycle, and zero hesitation about heading down the coast to help a stranger chase closure. Their dynamic works well, largely because Thwaites brings an easy-going energy that offsets Ava’s quiet grief. The Tasmanian locations are a huge plus, too. The cinematography really lets the landscape breathe, making the isolation feel earned rather than convenient.

This is very much a “what we will do for love” story, and that theme is hammered home hard. Maybe a bit too hard. The flashbacks meant to justify Ava’s dangerous quest don’t exactly scream “risk your life against zombies for this guy,” which makes some of her choices feel more stubborn than romantic. Still, Ridley sells it. She carries the entire movie, evolving from withdrawn and fragile to absolutely feral when pushed far enough. When she starts beating a zombie senseless, I thought she should save some for the husband.

The zombies themselves are more unsettling than frightening. The jaw noises - crunch, crackle, wet icky business - are genuinely nasty and easily the creepiest element. Attacks are rare, which makes you question the film’s own mythology. If the dead rise due to “unfinished business,” does that mean they already failed to kill someone and had to come back for round two? The movie doesn’t care to explain, and neither should you if you want to stay sane.

There’s a mean streak running through the story, and while one major revelation feels predictable, the film seems convinced it’s pulling the rug out from under you. The ending, though, is where it really lost me. That uplifting “humanity survives, hope endures” finale felt unnecessary and toothless after all that bleak introspection. Sometimes it’s okay to end on a bruise.

We Bury the Dead (2026)

Zak Hilditch swings big here, delivering a distinctly Aussie take on the zombie genre that prioritizes mood and grief over gore. It’s well-acted, well-shot, and thoughtfully made. Just mislabeled. This isn’t horror. It’s a zombie drama-thriller that moves slowly, thinks a lot, and occasionally trips.

https://jackmeat.com/we-bury-the-dead-2026/

Train Dreams (2025) | Strong performances and gorgeous scenery carry this one, though the romance felt rushed and just not Best Picture-level impact in the end. #jackmeatsflix

My quick rating - 6.9/10. Another Best Picture nominee strolls into the room wearing suspenders, carrying an axe, and speaking in a hushed, poetic voiceover. And that would be Train Dreams. Directed by Clint Bentley and based on Denis Johnson’s beloved novella, this is the kind of film that doesn’t knock on the door, it gently taps once, then waits while you check the peephole for interest.

The story follows Robert Grainier, a logger and railroad worker living through the early 20th century as America slowly trades trees for smokestacks. It’s a portrait of a simple, decent man trying to build a simple, decent life, which of course means cinema law requires tragedy to drop in unannounced like a piano from a third-floor window. The emotional core is intentionally minimalistic - love, family, loss, memory, and the slow erasure of ways of life that once felt permanent.

Joel Edgerton delivers a terrific performance as Robert Grainier, restrained and quietly powerful. He does more with silence and posture than some actors manage with three monologues and a courtroom breakdown. I’m honestly surprised he didn’t land a nomination here. He also recently popped up in The Plague with another strong showing, though with less screen dominance than he commands here. Felicity Jones plays Gladys, the love of his life, bringing warmth and softness to a role that, unfortunately, feels a bit underdeveloped.

And that’s where the film stumbled for me. The central love story, the emotional engine that’s supposed to power the grief, feels too abbreviated. We’re told it’s profound rather than truly showing it becomes profound. When the tragedy hits, it lands more as an idea than a gut punch. It’s the difference between reading a love letter and seeing the relationship unfold. One stings more.

There’s also one moment that genuinely made me tilt my head like a confused dog. When men are dragging away Robert’s Asian co-worker, our concerned hero grabs the guy’s legs in a way that looks less like intervention and more like he’s helping move a couch being thrown off the bridge. It didn't look like confronting the men for assaulting the coworker - it looked like assisting them in the assault. Maybe I misread the staging, but it stuck out enough to make my notes.

Visually, though, the film is a beauty. The forest landscapes are rich and immersive, the period detail is excellent, and the wildfire sequences are shot with suffocating dread. Bentley directs with a delicate hand. This movie is a whisper while most theaters are busy screaming explosions at you. It’s meditative, patient, and atmospheric, sometimes a bit too much. The pacing is undeniably slow, and while that will absolutely work for some of you, the story never quite builds enough tension or momentum to leave a lasting impression with me.

Train Dreams (2025)

Still, it’s thoughtful and well-crafted, just a bit too emotionally distant to hit masterpiece status. A good film, a respectable nominee, but not my Best Picture of the year.

https://jackmeat.com/train-dreams-2025/

The Rip (2026) | The Rip is a gritty Miami cop thriller carried by Damon and Affleck, with solid twists for your Netflix and chill night. #jackmeatsflix

My quick rating - 6.5/10. Netflix brings us The Rip, one of those big-budget ($100 million) cop thrillers that feels comfortably familiar but still manages to keep you guessing. Set in Miami, the story kicks off in the shadow of an unresolved crime. The murder of a captain that’s been sitting cold for six weeks, delayed by the typical bureaucratic red tape. The officers of the Tactical Narcotics Team are understandably angry and itching for something resembling justice. Or at least momentum. When a tip about a cartel stash surfaces, it feels less like a mission and more like a pressure valve finally being released.

What follows initially plays like a fairly standard heist setup. A crew, a target, and the promise of a big score. But once inside a derelict stash house, the team uncovers far more than expected. Millions in cash, and with it, the slow erosion of trust among officers who should have each other’s backs. As word of the massive seizure spreads, outside forces start circling. Suddenly, loyalties, motives, and long-standing relationships are all up for re-evaluation. Being based on a true story only adds more unease to the proceedings.

The true key to the success of The Rip is the chemistry between Matt Damon and Ben Affleck. Their performances are what keep the film moving, even when it threatens to go down a familiar genre path. It is obvious that writer/director Joe Carnahan recognizes this and allows it to happen, populating the film with a supporting cast that has just enough screen time to introduce themselves before being used later on down the line. It’s good storytelling, and for the most part, it worked for me.

Pacing is one of the film’s stronger elements. While it starts off like many other crime thrillers, Carnahan peppers in enough twists and double crosses to keep things moving. The first hour is particularly strong, tense, and confident. The action, however, is a mixed bag. The initial shootout leans heavily on shaky cam, which feels unnecessary and distracting, while the later action scenes are staged far more cleanly and effectively. There’s also at least one moment where Affleck unloads an impressive amount of ammunition into a moving bulletproof vehicle, which is, um, a choice. LOL.

The third act, however, sees a bit of a slowdown. The ending feels rushed compared to the good foundation that was laid. I was also a bit tired of the whole accusing each other thing. Yeah, yeah, I know, it’s a necessary evil if we are going to get this story. I just didn’t really know where it was going, and when that twist is finally revealed, it wraps up quite nicely.

The Rip doesn’t rewrite the genre, but it doesn’t need to. It’s a dark and gritty crime flick with a touch of mystery. If you are in the mood for a Netflix-and-chill evening that is morally messy with a bit of cynicism sprinkled in, the red N has something for you.

The Rip (2026)

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

M3GAN 2.0 (2025) | A step down from the first, but M3GAN 2.0 remains a fun, ridiculous warning about AI we’re probably already too late to stop. #jackmeatsflix

My quick rating - 6.1/10. Finally getting around to this one after it sat stalled on my watchlist for way too long, M3GAN 2.0 turns out to be pretty much as I expected. A louder, slicker, slightly dumber sequel that knows it needs to evolve if the franchise is going to survive. And yeah, “villain turned hero” is very much the name of the game here. Sound familiar? It should. This has Terminator 2: Judgment Day written all over it, and I seriously doubt writer/director Gerard Johnstone would call that a coincidence.

The film kicks off with a brisk action scene showcasing a new military-grade AI android named Amelia (Ivanna Sakhno) during what’s meant to be a rescue mission. Spoiler: it doesn’t go great. When Amelia decides shooting the target is more efficient than saving him, you immediately know we’re not dealing with just one rogue doll this time around. Meanwhile, young Cady (Violet McGraw) is explaining to a therapist how Gemma (Allison Williams) has dedicated herself to making AI “safer” so the events of the first movie never happen again. Naturally, this noble idea lasts about five minutes before being tossed straight out the window.

For anyone worried M3GAN (Amie Donald) herself might be sidelined, don’t. She’s still very much alive as floating data, patiently waiting for her chance to get dropped back into a body, all while framing herself as humanity’s only hope to stop Amelia. Apparently, she’s also been busy doing other things, like secretly building an entire bunker inside Gemma’s house without anyone noticing. If you thought M3GAN was creepy before, seeing her in a half-built, DIY form cranks that unease up a notch. And honestly, while watching all this, it’s hard not to think, “Yeah… we’re absolutely going to see something like this in our lifetime.” Probably less Terminator and more WarGames, but still. Quote me on that.

Before anyone jumps all over this sequel for leaning away from horror, it’s clearly embracing action and comedy instead. That shift might rub some fans the wrong way, but plenty of successful horror franchises - Evil Dead and Alien included - have walked that same path. I’m not comparing M3GAN 2.0 to those heavyweights, but the logic is sound. Franchises that don’t change tend to die. The action scenes here are genuinely solid, including a creatively staged hand-to-hand fight that stood out for me.

That said, the movie’s ultimate goal is…pretty silly. A motherboard from the 1980s that’s somehow been powered and learning for decades? Sure. Whatever you need us to believe. The message isn’t subtle, but it works. AI desperately needs better regulation, though the film also quietly admits it’s probably already too late. No, this wouldn’t crack my 2025 Top Ten, and it’s a small step down from the original, but it’s still an entertaining ride. And honestly? I can see myself having fun with wherever this franchise decides to go next.

M3GAN 2.0 (2025)

https://jackmeat.com/m3gan-2-0-2025/

Anaconda (2025) | It’s a silly, self-aware Anaconda reboot that isn’t as funny as it should be, but the cast makes it an enjoyable watch. #jackmeatsflix

My quick rating - 5.9/10. Revisiting Anaconda nearly three decades later is either a terrible idea or a stroke of inspired madness, and this 2025 reboot/sequel/very self-aware remix hits comfortably somewhere in between. It centers around a group of middle-aged friends facing various midlife issues. This flick leans hard into the nostalgia and meta humor, sometimes to its benefit and other times not so much.

Jack Black, Paul Rudd, Steve Zahn, and Thandiwe Newton play friends who decide to remake their favorite movie from their youth. Yes, Anaconda (1997), after unearthed footage of their homemade horror VHS called "The Quatch" reappears, which they shot as kids. That opening sequence is genuinely charming and instantly sets the tone, and it also triggered a bit of personal rage on my end, reminding me that I never managed to track down our own homemade high school monstrosity. But back to the movie and not my unresolved trauma.

The group somehow secures funding, slaps together a script, and heads into the Brazilian rainforest (actually Australia, and yes, I clocked that immediately). Anyone who’s read my Jungle review knows where this kind of decision-making usually leads. Unsurprisingly, their plan involves wandering into the jungle to “find” a giant snake for authenticity, after their trained one gets mutilated. Hollywood logic reigns supreme here, and given the sheer number of dumbass decisions on display, it’s honestly a miracle the body count isn’t higher.

The comedy is hit-and-miss. There are genuinely funny moments, but the film often leans too hard on repeating the same joke until it starts wheezing. The extended “pee on Jack Black’s leg to counteract spider venom” gag is a prime example. Amusing concept, dragged out far too long, but at least it gives you something to laugh at. A standout bit involves the group encountering another boat on the river that’s literally shooting a Sony-backed Anaconda remake, which got one of the biggest laughs out of me.

The snake itself looks fantastic. The CGI sells the scale and menace without going full cartoon, and visually the film is stronger than it has any right to be. Nigel Bluck’s cinematography adds a few stylish flourishes, and yes, Jack Black clearly had a blast making this. You’ll know exactly why when you see it.

Performance-wise, this movie lives or dies on its cast, and thankfully, it mostly lives. Rudd and Black click instantly, Zahn’s comic timing is razor sharp as ever, and Selton Mello is terrific as snake-handler Santiago. Newton is solid but underused, which feels like a missed opportunity. The Ice Cube inclusion is a clever touch, and the Jennifer Lopez cameo is a genuinely fun nod to the original.

Anaconda (2025)

Ultimately, Anaconda is best described as fun. Not sharp, not particularly brave, but fun. It recognizes the clichés of reboots and remakes without fully committing to satirizing them, so this flick winks at the Hollywood machine but never quite bites. Leave logic at the door, enjoy the charm, and let the snake do the rest. I'll have to go dig up the original one now.

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

The Wrecking Crew (2026) | I didn’t need to think at all, and between the violent action and the humor, I had a really good time. #jackmeatsflix

My quick rating - 6.7/10. The Wrecking Crew wastes absolutely no time telling you what kind of movie it’s going to be, opening with a sweeping city shot serenaded by what I will forever maintain is the most overrated band of all time. As the camera spins and the credits roll, we zero in on an older man being followed before he’s abruptly run down in the street by a van blaring Guns N’ Roses. Subtlety is not invited to this party, and honestly, that’s fine. This brutal little opener sets the tone nicely and brings us straight to James (Dave Bautista) and Johnny (Jason Momoa), estranged half-brothers reunited by their father’s mysterious death.

Our real introduction to Johnny comes via a slick, violent, and well-choreographed fight scene with members of the Yakuza, immediately letting us know that this murder was no random hit-and-run. The action is also refreshingly free of "shaky cam" or seizure-inducing editing. Finally, when Johnny and James are brought together, the comedic core of the movie snaps firmly into place. These two characters genuinely dislike each other, and every time they are together, it is full of insults, sarcastic comments, and backhanded digs. Luckily, their chemistry works so well that the humor doesn’t feel exhausting.

Jacob Batalon pops up as Pika, a former associate of their father, Walter, and he provides his usual dose of humor without tipping into full comic relief overload. The performances across the board are solid and committed, which keeps this from drifting into lazy action-movie autopilot. Bautista brings his usual ominous presence, Momoa leans into his oddball charisma, and together they keep things surprisingly lively.

Visually, the film looks great. The first major action sequence sets the pace beautifully, using creative camera movement and clear staging that lets you actually appreciate what’s happening. The action continues to deliver throughout, occasionally veering into the wildly unrealistic, but when it looks this good, who really cares? The minivan sequence in particular is a standout, and the CGI work is seamless enough to sell some truly absurd moments without breaking immersion.

Things get even more entertaining once Johnny’s girlfriend, Valentina (Morena Baccarin), enters the mix, giving us a bit more humor and a little intrigue. Of course, there’s a sprawling conspiracy at the heart of it all, complete with the classic villain move of kidnapping loved ones in exchange for a thumb drive that could apparently trigger World War III on a Hawaiian island. It’s ridiculous, but the movie knows it.

Between the gorgeous scenery in Hawaii and Auckland, New Zealand, and a soundtrack that eventually redeems itself with Phil Collins, The Wrecking Crew succeeds because it understands exactly what it is. Amazon delivers a very solid January popcorn movie here, and honestly, I was perfectly happy leaving my brain at the door for the night.

The Wrecking Crew (2026)

https://jackmeat.com/the-wrecking-crew-2026/

Hands (2026) | Say no to drugs, say yes to slo-mo punches. Feels like an ’80s fight flick that forgot the talent. #jackmeatsflix

My quick rating - 4.2/10. A movie like Hands is one of those that lets you know exactly what it is within the first five minutes, and then spends the rest of its runtime repeatedly reminding you, just in case you somehow forgot. Underground fighting? Check. Clear hero and villain lines? Double check. A noble fighter turning down drugs mid-fight so you know he’s the good guy? Oh yeah, we’re doing that too.

That hero would be Carter (James M. Black), who radiates earnest determination and clean-living vibes, while his equally virtuous partner Naomi (Ashley A. Williams) mirrors the same “say no to drugs, say yes to fists” philosophy. The film isn’t subtle about any of this, but subtlety clearly wasn’t invited to the tournament. One of these two is absolutely getting the slow-motion, Eye of the Tiger–coded finale, and the movie practically winks at you while setting it up.

I’ll be honest. I hit play mainly to see what Quinton “Rampage” Jackson has been up to. By the second fight, about 20 minutes in, we’re already deep into the “all the work you’ve put in” motivational speech. Which is interesting, because we haven’t really seen that work. What we have seen is the movie’s fondness for time jumps. “Two years later” pops up so often it starts feeling like the official sponsor of the tournament circuit. Apparently, these underground death matches operate on an Olympic schedule, with long gaps in between for plot convenience.

Director Justin Kuhn leans hard into an ’80s–’90s martial arts action vibe, which is charming in theory but less so in execution. This is basically Enter the Dragon, only modernized, stripped of its mystique, and missing roughly 99% of the talent. Important character motivations and world-building details are skipped entirely - things that could’ve been fixed with a quick scene or two, but instead are left dangling like a missed kick.

Credit where it’s due. The focus on women’s fighting is appreciated, even if the choreography itself is only adequate. It works, it lands, but it rarely impresses. Donald Gibbs popping up is a fun surprise, especially since he’s not hunting down Nerds this time, and Billy Blanks showing up at all is… reassuring? He still has whatever that thing is. You know the thing.

The tournament-ending fight is one of the most anticlimactic I’ve seen in a while. But don’t worry, that’s not actually the end of the movie. Of course, Naomi still has to throw down with drug-peddling villainess Mindy (Tanjareen Thomas). Forget car chases, we’re going full foot chase, because why not?

Hands (2026)

Hands basically lands in that awkward space where it’s watchable enough to finish, but nothing you'll ever remember. It swings, it misses, and occasionally lands a glancing blow. But once the credits were rolling, I knew I wouldn't think about it again. And honestly? There are far better ones out there.

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