Imaginary (2024) | If you’re brave enough to face predictable scares, flat exposition, and a bear that’s somehow both cute and aggressively underwhelming, hit play #jackmeatsflix

My quick rating - 4.4/10. I probably should have left Imaginary right where it was, languishing on my watchlist, gathering digital dust. Instead, I pressed play, and Chauncey the murderous Build-A-Bear is now seared into my brain for all the wrong reasons.

Let’s start with that promising title: Imaginary. You’d think, “Hey, maybe they’ll get clever with psychological horror, blur the lines of reality, give us something fresh.” Nope. Turns out the only thing imaginary here is the script’s creativity. This is about as generic as your standard off-brand breakfast cereal: we get the haunted house with a conveniently tragic backstory, a kid with complex family baggage, and a stuffed bear that occasionally creaks its neck like it needs a chiropractor.

The plot waddles along slower than Chauncey’s little plush legs. It takes forever to get anywhere even remotely interesting. We spend half the movie watching Jessica (DeWanda Wise) fret over her stepdaughter Alice’s new imaginary BFF, while everyone else stands around delivering painfully explanatory dialogue. You know, in case you’re incapable of piecing together that a demonic teddy might be a bad sign.

When the scares finally arrive, they’re mostly loud noises designed to make you spill your popcorn. True dread? Actual horror? Not so much. The “big” twists broadcast themselves like they’re holding neon signs. If you couldn’t predict where this was headed by minute 25, congrats, you probably are Chauncey.

I’ll give the filmmakers a reluctant gold star for trying something visually fun with the Escher-style nightmare realm. Those impossible staircases and weird geometric corridors were legitimately cool for about 90 seconds. Unfortunately, the film’s tiny effects budget becomes glaringly obvious, like it was all spent on renting a fog machine and buying that one CGI model of twisting hallways off a discount asset site.

By the time the climax limps across the finish line, it’s clear nobody in the editing bay had the energy left to give us a memorable ending. It’s the cinematic equivalent of leaving a “To be continued…” sign on a story you never planned to revisit. The credits roll, and you’re left sitting there thinking, “Wait, that’s it? Chauncey doesn’t even get a final menacing wave goodbye?”

Imaginary (2024)

Look, there are worse ways to waste 100 minutes—like attending a motivational seminar hosted by your weird uncle, but Imaginary is still a soft 4.4/10 from me. If you’re brave enough to face predictable scares, flat exposition, and a bear that’s somehow both cute and aggressively underwhelming, by all means, hit play. Otherwise, let Chauncey hibernate at the bottom of your queue where he belongs.

Amazon is one of many streaming options to choose from if interested in watching.

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

Huesera: The Bone Woman (2023) | My watchlist is littered with foreign flix such as this moody meditation on motherhood and identity, dressed up with occasional skeletal cracking. #jackmeatsflix

My quick rating - 5.2/10. Huesera: The Bone Woman starts with a genuinely intriguing idea: motherhood wrapped in dark folklore, with sinister forces creeping at the edges. Unfortunately, the final product is more about uncomfortable self-discovery than it is about actual horror, leaving me just asking, “Is that it?”

Natalia Solián plays Valeria, a woman who’s either haunted by a supernatural curse or just severely regretting her life choices. Hard to tell, given she wears the same wide-eyed, slightly stunned expression through most of the film, like she’s constantly experiencing the world for the very first time. Still, to her credit, that performance is oddly magnetic and becomes the glue holding this uneven story together.

Director Michelle Garza Cervera (tackling her first full-length feature) gives us a slick-looking film. You can feel personal touches woven into the myth of La Loba—the bone-gathering woman who sings wolves back to life—using it as a metaphor for Valeria figuring out if motherhood is her true path, or if she’s meant to break free and run wild toward her own horizon. It’s an interesting concept. The problem is that the concept never quite solidifies.

Editing is one of the big culprits here. Scenes jump awkwardly—like Valeria nodding off on a couch with her mom, only to suddenly be rocking out at a punk concert, confronting her sometimes-lover Octavia (Mayra Batalla), then bam! straight to giving birth. It plays like a dream sequence you’re waiting to snap out of. Spoiler: it’s not a dream, just an odd editorial choice that leaves you checking if you accidentally sat on your remote and skipped chapters.

Pacing is where Huesera really stumbles. For a movie marketed with creepy contortions and haunting silhouettes, it’s strangely devoid of fear. Moments that should boil over with supernatural terror fizzle into quiet contemplation. The horror elements drop off, replaced by a slow-burning story about accepting who you are—interesting, sure, but a total bait-and-switch if you showed up for the promised curse-driven nightmare.

Add to that a script peppered with narrative gaps, and you’re left scratching your head. Events occur without enough explanation, feeling like scenes were carved out in post-production that might’ve answered key questions. The end result is a story that feels incomplete, leaving the folklore framework underused and the emotional payoff muted.

After watching, I found myself googling the legend behind it—discovering the old Mexican tale of the desert woman who gathers bones and sings them into living wolves, which then transform into free women. That’s undeniably rich territory for a horror-fable hybrid. It’s just too bad the film mostly treads water instead of running wild with its own mythos.

That said, Cervera clearly has an eye for evocative visuals and a personal angle that makes parts of Huesera compelling, even if the whole never quite comes together. I suspect bigger, more polished projects are on her horizon.

Huesera: The Bone Woman (2023)

For now, though? Not a horror film so much as a moody meditation on motherhood and identity, dressed up with occasional skeletal cracking. If you came for the nightmares, don’t be surprised when you find yourself watching more of a soft psychological drama that just happens to have some creepy hands.

You can check this one out on Amazon, Shudder and several other streamers.

https://jackmeat.com/huesera-the-bone-woman-2023/

The Shrouds (2025) | Possibly Cronenberg’s final film is a fittingly morbid yet thoughtful meditation on death, technology, and the strange ways we attempt to keep loss at bay. #jackmeatsflix

My quick rating - 5.9/10. David Cronenberg’s The Shrouds is one of those films where simply knowing who’s behind the camera sets your expectations, and probably filters who should even watch it. If Cronenberg’s brand of clinical body horror, icy emotional undercurrents, and existential musings isn’t your thing, there’s little chance this one will win you over. But if you’re drawn to his work, this is a fascinating, if uneven, late-career piece that seems to wrestle with mortality as much as the director himself does.

The film follows Karsh (Vincent Cassel), a wealthy businessman, inconsolable after the death of his wife. In his grief, he’s developed a controversial technology that allows the living to watch their deceased loved ones decomposing in their graves, an unsettling concept that Cronenberg treats with a kind of intellectual curiosity more than outright horror. When Karsh’s wife’s grave, along with many others, is desecrated one night, he becomes obsessed with finding out who is behind it.

It’s not hard to see how personal this project is for Cronenberg, who reportedly drew on the loss of his own wife. That somber, introspective energy permeates the film. Unfortunately, so does a bit of clutter. The Shrouds feels loaded with stray thematic threads: critiques of privacy-invading tech, A.I. dependence, capitalism, modern surveillance states, plus jabs at the Chinese, the Russians, and the lifestyles of the rich. There’s a subplot involving Karsh’s personal AI assistant that’s undercooked—just one of several ideas that might’ve been more compelling with deeper exploration.

Still, even with its meandering approach, there’s something engrossing about the movie’s cool, calculated tone. Cronenberg paints a world of self-driving cars and phone screens that feels depressingly plausible, yet almost drained of life. Underneath it all is the point, of course: our technology, our shiny devices, still serve our very human, often shameful desires. Whether that’s to feel close to the dead, to voyeuristically intrude on private spaces, or simply to dull our grief.

The acting keeps this from tipping over into pure tedium. Vincent Cassel gives Karsh a hollow-eyed vulnerability that makes his obsession with his wife’s grave both sad and disturbingly believable. Diane Kruger is equally up to the task. The supporting cast similarly grounds what could’ve become a detached philosophical essay.

This is ultimately one of those movies that might miss as pure entertainment, but a Cronenberg “miss” still lands higher than most directors’ average. The slow burn won’t work for everyone—there were certainly stretches that flirted with boredom—but the emotions at the core are authentic, the sci-fi concepts hauntingly real, and the personal undercurrents hard to shake. If this does turn out to be Cronenberg’s final film, it’s a fittingly morbid yet thoughtful meditation on death, technology, and the strange ways we try (and fail) to keep loss at bay.

The Shrouds (2025)

I am sure JustWatch will have some options soon. Amazon will have this on July 7th, 2025.

https://jackmeat.com/the-shrouds-2025/

Speak No Evil (2022) vs Speak No Evil (2024) | Trying something new since these two are nearly identical in story, with very different finales, so separate reviews would have been redundant. #jackmeatsflix

It’s rare that a remake hews this closely to its source material, but both versions of Speak No Evil follow nearly identical storylines, to the point that the same beats and dialogue often feel lifted directly from one film to the other. The Danish original (2022) and its American remake (2024) are practically twins up until the final stretch, where their paths diverge sharply in tone and impact.

The Danish original, directed by Christian Tafdrup, tells the story of a Danish family who accepts a weekend invitation from a Dutch couple they met on holiday. What begins with smiles and awkward politeness slowly devolves into a psychological nightmare fueled by the Danes’ unwillingness to break social norms. Tafdrup masterfully builds unease throughout—there’s a quiet, crawling tension that wraps around the entire film, a constant sense of “something’s wrong” that never quite reveals itself until it's too late. That slow-burn discomfort works well, especially for viewers attuned to social anxiety or the horror of enforced politeness.

But the visiting family—our supposed protagonists—are written so passively, even foolishly, that their final fate loses some sting. You see every off-ramp they could have taken to escape the unfolding doom, and yet they stay. It’s clear Tafdrup wanted to explore how civility and fear of conflict can be weaponized, but at a certain point, the characters become frustrating rather than sympathetic.

Still, the 2022 film delivers a climax that is darker and far more disturbing than anything Hollywood typically dares. It doesn’t hold your hand or offer catharsis—just a gut punch that lingers. That ending alone elevates the experience, even if the journey to get there occasionally tests your patience.

By contrast, the 2024 remake trades some of that raw thematic edge for stronger performances and a glossier presentation. James McAvoy is a standout as the unnerving Paddy—his charm and menace give the film its pulse. The American family is written with slightly more agency, making their decisions (while still flawed) feel more believable. And the Croatian countryside, doubling as a serene British retreat, gives the whole film an eerie fairytale vibe.

While the remake follows nearly the same trajectory as the original, it leans more into psychological thriller territory rather than outright horror, especially in its ending, which stops short of the brutality of the Danish version. It’s still twisted, just a little more palatable for general audiences.

In the end, these two films almost demand to be viewed as companion pieces. The 2022 Danish version excels in tone and leaves a heavier emotional scar with its bleak climax. The 2024 American remake brings better acting, more immersive location work, and a slightly tighter execution through its pacing and tension-building.

If you could merge the haunting finality of the original with the gripping performances and craft of the remake, you’d have a psychological horror standout worthy of an easy 8/10. As they stand, the Danish Speak No Evil earns a 6.5/10 for its bleak vision and nerve-wracking tension, while the American version edges slightly ahead with a 6.7/10 for its polish and performances. Both are worth watching—just don’t expect to walk away feeling good about humanity.

Speak No Evil (2022)

Speak No Evil (2024)

Speak No Evil (2022) - This one is a Shudder distribution, so Amazon, along with a slew of other streamers, have it.

Speak No Evil (2024) - Amazon, among several other streamers have this one for viewing.

https://jackmeat.com/speak-no-evil-comparison/

Blondes Have More Guns (1996) | Blondes Have More Guns isn’t high art it is a low-budget, high-gag-density spoof with a soft spot for silliness and sex jokes. #jackmeatsflix

My quick rating - 4.6/10. Ever wonder what would happen if Naked Gun and Basic Instinct got drunk, hooked up in a Troma Studios janitor’s closet, and then raised the offspring on late-night cable TV? Well, wonder no more. Blondes Have More Guns is the glorious, goofy result of that hypothetical union—an absurdist cop spoof packed with puns, plot holes, and enough visual gags to induce whiplash. Whether that’s from laughter or disbelief is entirely up to your blood alcohol content.

At the center of this flick is Officer Harry Bates (Michael McGaharn), who is described as the "smartest" man on the force, though frankly, he couldn’t outwit a Roomba with a low battery. Luckily, he’s not alone. He’s got his trusty partner, Dick Smoker (yes, really), and a “dog” who’s very clearly just a grown man in a cheap dog costume. And honestly? That’s not even the weirdest part of the movie.

The mystery? Oh yes, there is one. A trail of corpses (and not all of them are dead!) connected by only a scarf, a chainsaw, and a mysterious blonde. It’s all the evidence Harry needs to dive headfirst into a case he’ll inevitably bungle, especially once he gets entangled with Montana and Dakota, a set of twin half step-sisters (don’t ask). As expected, the moment romance enters, his brain leaves the building faster than a Troma intern who just read the script.

The film opens with the obligatory Troma “boobs-for-boobs’-sake” scene, complete with inexplicable voice dubbing that might be parody… or just the editor giving up. That same dubbing pops up randomly throughout the movie, like a drunk narrator with a remote and no shame. Fortunately (or unfortunately), the pace of gags is relentless. If you blink, you might miss a dumb joke—though odds are, it’ll be repeated with a cymbal crash five seconds later just to make sure it lands.

The humor is shotgun-blasted at your face, and about half the pellets hit. The first 20 minutes of the 89-minute film are surprisingly solid, leaning into zany wordplay, silly set pieces, and rapid-fire dialogue. But by the final act, it feels like the writers either ran out of money, jokes, or the will to live. The chainsaw promised in the synopsis barely revs. And gore? Practically nonexistent. This is a Troma movie without the blood or body parts, like ordering a burger from a steakhouse and getting a tofu sandwich instead.

Still, credit where it’s due: Elizabeth Key as the sultry sisters delivers one of the more competent comedic performances. She’s charming, funny, and—judging by her IMDb—apparently vanished into the void after this. A shame. She was easily the highlight of the film, followed closely by a banana-based restaurant scene that may or may not have caused psychic damage (in a good way).

Blondes Have More Guns (1996)

Bottom line: Blondes Have More Guns isn’t high art, but it’s got enough chuckles, chaos, and cleavage to qualify as a guilty pleasure. Bring a six-pack and some friends with questionable taste, and you might just have a blast. It is a low-budget, high-gag-density spoof with a soft spot for silliness and sex jokes. Definitely not for everyone—but then again, neither is a guy in a dog suit solving crimes. So dumb it’s almost brilliant. Almost.

Check this out on Troma Now, Amazon or one of these other streamers.

https://jackmeat.com/blondes-have-more-guns-1996/

Aftershock (2012) | Eli Roth spends more time in front of the camera in this messy and uneven disaster flick with a mean streak. #jackmeatsflix

My quick rating - 5.1/10. Eli Roth’s Aftershock is one of those odd cinematic curiosities that’s been parked on my rewatch list for a while, mostly because I remembered it as a mixed bag of travelogue beauty, brutal carnage, and shaky-cam disaster chaos. And after finally diving back in, that impression still holds, with a few new takeaways.

The film starts off deceptively light. The first thirty minutes play more like a tourist’s vlog than a horror thriller, with Roth and his companions bar-hopping and sightseeing through the colorful streets and seaside charm of Valparaíso, Chile. It’s here that the film flexes some unexpected strengths: gorgeous location work and a surprisingly mellow vibe that lulls you into a false sense of security. There's even a blink-and-you’ll-miss-it appearance from a young Selena Gomez, playing a snobby VIP girl who brushes off the main crew in a club. It’s a fun little cameo that adds to the “before-the-storm” atmosphere.

Then the earthquake hits—and that’s when Aftershock shifts gears entirely.

The quake itself is chaotic and loud, but not always convincing. A lot of the destruction feels like it was achieved by shaking the camera, throwing dust into the air, and telling the actors to scream louder. Still, the sound design helps carry the weight, especially when the bass kicks in and the walls start to buckle. It’s not quite San Andreas, but given the modest budget, they did a decent job selling the panic and unpredictability of a city suddenly falling apart.

What sets Aftershock apart from other disaster flicks, however, is what comes next. The local prison collapses, unleashing a wave of escaped inmates into the already unstable landscape. This is where things could’ve really taken off. Unfortunately, the film only dips its toe into the potential horror of that premise. The convicts become a violent presence, yes, but not a deeply explored one. There’s little time for psychology or dread—just brutality and bloodshed.

Thankfully, when it comes to the violence, Roth doesn’t hold back. The deaths are harsh, sudden, and creatively cruel, in true Roth fashion. There’s a raw, unpolished energy to the carnage that suits the desperation of the scenario, and it’s clear that Roth and director Nicolás López were pushing their limited resources as far as they could go.

The finale deserves some credit for having teeth. It avoids the neat, safe wrap-up you’d expect from a more mainstream film, and while the ending might leave some viewers cold, I appreciated its willingness to be bleak.

Aftershock (2012)

Aftershock isn’t a great film. It’s messy, uneven, and often feels like two movies stitched together: a travel doc and a disaster-horror hybrid. But it is an interesting one. Roth’s presence in front of and behind the camera gives it just enough edge to keep it from flatlining. With a bigger budget and tighter focus (especially on the prison escape chaos), it could’ve been something special. As it stands, it’s a decent disaster flick with a mean streak, and sometimes, that’s enough.

Amazon and a few other streamers have this one, including Plex for free.

https://jackmeat.com/aftershock-2012/

Final Destination: Bloodlines (2025) | Death’s still got a flair for the dramatic and a bloodlust for architecture. If you are like me, that is a good thing. #jackmeatsflix

My quick rating - 6.5/10. Well, Death is back, and this time, it’s been binge-watching classic 70s disaster films. Final Destination: Bloodlines kicks off the latest resurrection of the long-dormant franchise with a literal landmark-crashing opening that’s part structural engineering failure, part murder ballet. If you thought you were safe in a modern building, think again. Death is now a licensed contractor.

Kaitlyn Santa Juana stars as Stefanie, a college student with recurring nightmares and possibly the world’s worst homecoming. She returns to her roots to break the chain of gory, Rube-Goldberg-style fatalities that seem determined to pick off her family tree like it's overdue for pruning. And while the "plagued by visions" setup might sound familiar, Bloodlines actually shakes things up—just enough to justify its existence, but not so much that the Death fans rise up in protest with blunt household objects.

Let’s be honest: the Final Destination franchise was never about character development or deep themes. It’s about how wildly absurd Death’s kill streak can get before it becomes a parody. And on that note, director Zach Lipovsky absolutely delivers. You want brutal? You got it. You want creative? There’s a death in here that made me whisper, “Oh noooo…” out loud like I’d just watched someone microwave tinfoil. The kills range from clever to “how did OSHA not shut this entire town down?”

After a banger of an opening disaster sequence (seriously, it’s like if The Sims glitched during a hurricane), the film does slow down a bit to let the plot stretch its legs, before losing its damn mind again in the final half. It’s like watching a domino fall that hits a mousetrap that launches a wrench that breaks a pipe that sets off a toaster that… well, you get the idea. It’s formulaic, but in the comfort food kind of way. The suspense is less about IF people will die and more about how hilariously elaborate Death’s mood board was that day.

Now, not everything lands. The characters range from bland to “I hope they die next” levels of personality. There’s always that one guy in every Final Destination movie you wish Death would just skip the theatrics and push down an escalator. But hey, if you came here for likable people making smart decisions, you took a wrong turn somewhere near the finale of Sweet Tooth.

One surprising highlight was the farewell to Tony Todd’s character. Without spoiling it, let’s just say it was handled with care, class, and the kind of eerie elegance only his voice can pull off. It gave the film a touch of sincerity before getting back to what it does best: finding new ways to kill people with everyday objects.

Is Final Destination: Bloodlines the best in the franchise? Maybe. It’s certainly the most confident, albeit blood-soaked, over-the-top, and unapologetically ridiculous. And after 14 years, it had to be. If future installments can keep this same “deathtrap theme park” energy going, I say bring it on. Just maybe… avoid open spaces, power tools, and definitely don’t sit near any glass.

Final Destination: Bloodlines (2025)

Final thought: Not realistic. Not profound. But who needs that when Death’s latest Pinterest board is called “Creative Ways to Eliminate Teenagers”?

Amazon, along with a few other streamers have this for theater pricing at home.

https://jackmeat.com/final-destination-bloodlines-2025/

Diablo (2025) | This popcorn flick doesn’t rewrite the script but it features tight choreography, intense one-on-one fights, and the chops of two action veterans. #jackmeatsflix

My quick rating - 5.9/10. Diablo is a gutsy, low-budget action flick that knows exactly who its audience is and wastes no time catering to them. If you're here for intricate plots or emotional complexity, you're in the wrong aisle. But if you're showing up for Scott Adkins kicking teeth in, brutal one-on-one brawls, and a lean, mean "what would a father do" story, Diablo mostly delivers.

Adkins plays Kris Chaney, an ex-con with a code, who abducts the daughter of a Colombian gangster to keep a promise to her dying mother. That noble deed quickly turns bloody as said gangster, played with sleazy menace by Lucho Velasco, sends the entire criminal underworld (plus one absolute psycho) after Chaney to get the girl back. What follows is a cross-country chase full of shootouts, knife fights, and good old-fashioned martial arts carnage.

Adkins has always been a reliable action star, and here he gets another chance to show off the kind of fluid, punishing choreography that made fans take notice back in Undisputed 3 and Ninja. I’ve been following him since Black Mask 2, and I still remember turning to my buddy mid-scene and saying, “this dude has some skills.” Nothing’s changed.

One of the real highlights of Diablo is the reunion between Adkins and Marko Zaror, who plays the film’s psychotic killer antagonist. Anyone who remembers their iconic throwdown in Undisputed 3 will find plenty to love here. Their rematch is creative and well-staged, reminding us why these two are top-tier in the modern action game. Whether this was a wink to their John Wick: Chapter 4 team-up or an intentional callback to their earlier glory, it works.

Alanna De La Rossa plays Elisa, the kidnapped daughter, and brings a scrappy energy to the role. Her constant bickering with Adkins adds a few much-needed laughs and gives the film a little heart, even if her dramatic moments come off a bit flat. That said, there’s a cleverly executed final act twist that places her in a “Saw-style” predicament, cranking the tension just in time for the final showdown.

Zaror is clearly having fun chewing scenery, and though Velasco plays the more traditional “boss-level” villain, it’s Zaror’s unhinged presence that steals scenes. In a film where nearly everyone is morally compromised, he stands out as the one truly menacing force of nature. His scenes are the ones you remember.

The plot is threadbare, and a little more investment in Chaney’s backstory would've gone a long way. The movie hints at past trauma and redemptive motives, but it never slows down enough to explore any of that in detail. That’s not a dealbreaker, though—it just means this remains firmly in “popcorn flick” territory.

Diablo doesn’t rewrite the script, but it plays to its strengths: tight choreography, intense one-on-one fights, and the chops of two action veterans who know exactly how to entertain a crowd. For fans of Adkins and Zaror, that’s more than enough.

Diablo (2025)

Amazon and a few other streamers currently have this one..

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

Cuckoo (2024) | Cuckoo is an odd, artistic trip that is more about the atmosphere and the creepy sense that something is very wrong in this isolated place. #jackmeatsflix

My quick rating - 6.0/10. Tilman Singer’s Cuckoo is a moody, surreal psychological thriller that dips its toes into horror but never quite submerges. It’s an atmospheric slow-burn with stylish flair, oddball characters, and a strong lead performance from Hunter Schafer, though it stumbles a bit in deciding exactly what kind of movie it wants to be.

The story follows Gretchen (Schafer), who moves reluctantly to a remote resort in the German Alps with her father and his new family. Almost immediately, things feel off. She starts experiencing eerie noises, strange visions, and the unnerving presence of a mysterious woman who appears to be stalking her. The town feels like it’s hiding something sinister—and, of course, it is.

Buried on my watchlist for a while, I’m glad I finally got around to this one. It’s a film full of quirks—unusual supporting characters, jarring tonal shifts, and an experimental approach to structure and cinematography. Some of the camerawork is quite creative, lending the whole piece a dreamlike (or nightmarish) quality that works in its favor. It’s the kind of film that leans heavily into its visuals to build tension more than plot progression.

Dan Stevens delivers yet another solid performance as the villain, playing a role that gradually escalates from charmingly off-putting to downright sinister. Without diving into spoiler territory, let’s just say he’s toying with some seriously disturbing god complex territory. The core of the mystery hinges on what he’s doing at the resort, and while the film never fully unpacks the mechanics of it, the disturbing implications are clear enough to land. There's a biological horror angle lurking beneath the surface that gives the whole thing an extra layer of discomfort.

Schafer does the heavy lifting here, carrying the film with a raw, occasionally vulnerable performance. Gretchen is no helpless victim, but she’s also not always making the smartest decisions, which, of course, is practically a horror tradition. Still, Schafer sells both the defiance and the fear, anchoring the film even when its tone wavers.

And that’s the biggest issue with Cuckoo—it doesn’t always know what it wants to be. At times, it flirts with Lynchian dread, other moments feel like Get Out-lite social horror, and there’s even some sci-fi horror flavor mixed in. It’s admirably ambitious and always visually engaging, but the genre-jumping leaves the film feeling somewhat scattered. There’s an “identity crisis” at play here that keeps it from excelling in any one area, though it succeeded at keeping me intrigued.

Cuckoo (2024)

Ultimately, Cuckoo is an odd, artistic trip that doesn’t explain itself fully, and maybe doesn’t need to. It’s more about the atmosphere, the unease, and the creepy sense that something is very wrong in this isolated place. If you’re okay with a bit of ambiguity and enjoy stylized horror-tinged thrillers, this one’s worth a watch. Just don’t expect all the answers to be handed to you.

There are a few streamers to choose from including Amazon.

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

The Amateur (2025) | The Amateur isn’t a game-changer, but it’s a well-made, no-frills spy flick that respects its audience. #jackmeatsflix

My quick rating - 6.8/10. The Amateur doesn't set out to redefine the spy thriller genre, and that's part of its quiet appeal. This is a throwback to the early 2000s era of espionage cinema—nerdier and refreshingly free of the hyper-stylized excess that often dominates modern action flix. It’s a story rooted in grief, personal resolve, and the emotional dissonance that comes when an ordinary man is thrust into the world of covert operations.

Rami Malek stars as Charles Heller, a brilliant but socially withdrawn CIA codebreaker whose life shatters when his wife is killed in a terrorist bombing in London. When his pleas for justice are met with bureaucratic indifference, Heller decides to take matters into his own hands. But rather than transforming into an action hero overnight, the film takes a more realistic route, exploring the psychological weight that comes with the decision to kill. Heller may want revenge, but that doesn’t make him capable or prepared to carry it out.

This internal struggle gives the film its strongest moments. There’s no glorified transformation montage. Instead, Malek brings a restrained determination to the role, portraying a man who’s deeply intelligent but emotionally out of his depth. It’s a subtle performance that helps anchor the film’s more action-heavy stretches. Laurence Fishburne is excellent as Henderson, the seasoned operative brought in to train Heller. His presence adds dignity without overshadowing the film, and the chemistry between the two actors creates a dynamic that’s more mentor-pupil than buddy-cop.

Jon Bernthal shows up as "The Bear," a quiet, menacing force on the periphery of the plot. It’s a more muted performance compared to his recent outing in The Accountant², but it works. Rather than chewing scenery, Bernthal plays it controlled and intelligent, adding an air of unpredictability to the third act.

The plot itself is simple and efficient: find the people responsible and make them pay. There’s some globe-trotting along the way—London, Berlin, Prague—offering a nice visual variety without overindulging in postcard moments. The action is gritty and unpolished, in line with the film’s theme that ordinary people don’t become operatives just by picking up a gun.

While the story doesn’t throw in many twists or deep layers, the pacing is solid. It neither rushes nor drags, and the finale sticks the landing with a conclusion that feels emotionally earned. There’s a quiet satisfaction in how things resolve. Not dramatic, not bombastic, just... right.

The Amateur isn’t a game-changer, but it’s a well-made, no-frills spy flick that respects its audience. It understands its own limitations and turns them into strengths. It may not linger in the memory for long, but for fans of grounded thrillers, it's a pleasant and worthwhile surprise.

The Amateur (2025)

Amazon, along with a few other streamers have this one to check out (theater pricing).

https://jackmeat.com/the-amateur-2025/

Marshmallow (2025) | Smarter than it looks and more ambitious than you’d expect. Don’t go in expecting pure slasher carnage. Let it surprise you. #jackmeatsflix

My quick rating - 6.9/10. Marshmallow kicks off with a bone-chilling dream sequence: a child is tossing and turning while his bed is slowly being engulfed in water, only to see that water is spewing from an open wound in his chest. It's the kind of opening that grabs your throat and whispers, “This isn’t just a campfire story.” And it's not. What starts as a standard camp-set horror film slowly transforms into something much more unexpected.

Twelve-year-old Morgan (Kue Lawrence), shy, socially awkward, and clearly out of place among the louder, rougher kids, is our guide through this waking nightmare. He’s the target of relentless bullying, and the film doesn’t sugarcoat the meanness of children—or people in general. While I don't recall summer camp being quite this cruel when I was nine or ten, I wouldn't be shocked to hear some kids got their asses kicked behind the mess hall. Marshmallow taps into that uncomfortable truth about childhood: kids can be vicious, and isolation at that age feels like the end of the world.

The film builds its early tension on these dynamics—loneliness, fear, and the sinister air around a local legend passed down through generations of counselors. When the mysterious figure of that fable finally appears, it triggers a frantic unraveling of what we thought we were watching. But this isn't a slasher. Not really. I wish I could say more, but Marshmallow hinges on a genre shift that’s better left unspoiled.

That twist, and the journey to get there, is part of what makes this film stand out. Morgan’s recurring nightmares become more meaningful as the true nature of the threat is revealed. By the final act, pieces you thought were throwaway details suddenly click into place. Is it a little improbable? Sure. But it’s also clever, and if you don’t overthink it, it’s a surprisingly engaging ride.

The young cast does a commendable job carrying the story. Each camper feels distinct, and their performances feel natural rather than forced. Dirk/Doink (Max Malas) is an unlikely hero to root for and Pilar (Kai Cech) is so adorably sarcastic, you cannot help but root for the whole gang. Daniel DelPurgatorio directs with a steady hand, letting the horror breathe instead of rushing the scares. There's restraint here, which makes the eventual shift in tone all the more effective. And yes, Paul Soter, best known for his comedic work with Broken Lizard, pops up in an unexpected and serious role. It’s odd at first, but somehow it works.

The explanation for what’s really going on could have used a little tightening. A few lines of dialogue or a more focused reveal would have helped sell the twist more clearly. Still, the groundwork is solid, and the film ends on a note that all but screams for a sequel. If they follow through and stick with the same tone and creativity, that sequel could be something really special. Especially if they follow the level of violence presented right before the credits.

Marshmallow (2025)

In the end, Marshmallow isn’t perfect, but it’s smarter than it looks and more ambitious than you’d expect. Don’t go in expecting pure slasher carnage. Let it surprise you. Just… maybe don’t fall asleep near the fire.

There are a few streamers to rent this one from, including Plex.

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

Predator: Killer of Killers (2025) | Hulu has delivered a visceral, action-packed Predator experience across various periods of human history in a stylish, animated format. #jackmeatsflix

My quick rating - 7.2/10. Predator: Killer of Killers delivers exactly what I was hoping the title promised: brutal, high-octane confrontations between humanity's fiercest warriors and cinema’s most lethal alien hunter. Presented in a stylized animated format, this anthology film leans into its genre roots with confidence, even if it doesn’t do much to surprise viewers beyond its bold visual choices.

The film is split into three segments, each centered around a warrior from a distinct historical period: a Viking raider on a revenge mission with her son, a ninja caught in a bloody feud with his samurai brother, and a WWII pilot confronting an aerial extraterrestrial threat. These three vignettes not only showcase man-versus-Predator action but also underline a strong theme of personal conflict—honor, vengeance, loyalty—woven into each era's setting.

The animation style immediately caught my eye. It’s slick, hyper-stylized, and highly kinetic, bringing out the intensity of the violence without losing clarity in the choreography. The action sequences are gloriously brutal and impressively choreographed, with each segment carrying its own visual flair and tone. My particular favorite is the second installment, set in feudal Japan. The setting, combined with the emotional weight of a sibling rivalry and an unforgettable fight sequence, makes it the strongest of the three.

The different Predator designs are also a welcome touch. Each one feels tailored to its time period and opponent, helping to keep things visually fresh and thematically in sync. However, one design choice is a bit of a head-scratcher—the Predators are absolutely jacked, built more like the Incredible Hulk than their usual lean, tactical selves. It’s not a dealbreaker, but the exaggerated bulkiness does undercut the stealthy hunter image a bit in favor of pure brute force.

Narratively, the film is fairly predictable. It follows a classic "kill or be killed" structure with a feel-good arc in each story. The ending ties the segments together decently and teases future stories in a way that feels natural without overreaching. As with all anthologies, some parts are stronger than others, but none of them feel weak or like filler.

Overall, Predator: Killer of Killers succeeds in what it sets out to do: deliver a visceral, action-heavy Predator experience across different periods of human history. While it doesn't reinvent the wheel and plays it relatively safe story-wise, the visual execution and concept are strong enough to warrant another round. If a sequel is coming, I’ll be there.

Predator: Killer of Killers (2025)

This Hulu original can be found on their various available bundles.

https://jackmeat.com/predator-killer-of-killers-2025/

Uncontained (2025) | This has the bones of a decent low-budget survival tale, but it doesn’t deliver the urgency or thematic depth needed to elevate it beyond that. #jackmeatsflix

My quick rating - 4.1/10. Set in the frostbitten wilderness of North America, Uncontained opens with a bleak, quietly eerie tone and carries the Bloody Disgusting logo like a badge of genre pride. The story centers on a mysterious loner known only as The Man (Morley Nelson), who finds himself the unlikely guardian of two abandoned children, a boy and his younger sister, while navigating a world plagued by a strange infection that turns people into feral husks of their former selves.

At first glance, I felt like the groundwork for something strong had been laid. A contained, character-driven apocalypse drama with snowy backdrops, a small cast, and the kind of grim solitude fans of The Road or It Comes at Night might appreciate. And in fairness, the early world-building works well enough. The infection and the way it has reshaped society—pushing people into isolated forest shelters and off-grid survival—feels believable, if a little undercooked. Unfortunately, that sense of promise fizzles as the film trudges forward with a pace more glacier than thriller.

Despite the infected being a central element of the premise, they’re largely relegated to background noise. Encounters with them are sparse and often brief, and while they’re handled decently when they do appear, they’re not the real threat here. That distinction goes to the other humans—another post-apocalyptic tale reminding us that the monsters were inside us all along. Unfortunately, Uncontained doesn’t do much with this idea that we haven't already seen done better elsewhere.

The film leans heavily into its family-drama elements, which isn’t necessarily a bad thing, and to its credit, the child actors do solid work. Their performances carry much of the emotional weight, and the dynamic between the kids and The Man feels genuine and occasionally touching. But when you set up a world of lurking infection, desperate survival, and forest-bound ferals, viewers will understandably expect a bit more movement. The film’s biggest flaw is its sluggishness—spending so much time on day-to-day survival beats that it forgets to inject momentum. By the time conflict with a rival human group emerges, it feels too little, too late.

There’s also an unintentionally comical choice during an action montage that uses “The Star-Spangled Banner” for background music. It’s public domain, sure, but the tonal mismatch is jarring and doesn’t do the scene any favors. Enough so I had to point it out. Just weird.

Ultimately, Uncontained has the bones of a decent low-budget survival tale, but it doesn’t deliver the urgency, suspense, or thematic depth needed to elevate it beyond that. It’s a slow burn that forgets to light the match. Maybe the sequel it teases will build on the groundwork laid here, but as it stands, this one left me a little cold. I really do miss snow.

Uncontained (2025)

Amazon and a few other streamers are carrying this flick.

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

Clown Motel 2 (2022) | Bring popcorn, lower your expectations, and remember - in the Clown Realm, no one can hear you honk. #jackmeatsflix

My quick rating - 3.5/10. When you check into Clown Motel 2, make sure your expectations are packed light—and maybe also bring a pizza, a prayer, and a backup plan. Picking up six months after Clown Motel: Spirits Arise left off (because apparently someone demanded continuity), this nightmare of face paint, funhouse physics, and budget military cosplay marches onward with big shoes to fill, literally.

The plot? Oh yes, it technically has one. Brooke (Kelly Lynn Reiter) is still missing in the honk-honk heart of clown hell, and her determined fiancé, who may or may not have watched too many action movies on TNT, leads a ragtag team of camo-wearing misfits straight into the grease-painted abyss. Think Rescue Dawn, but with more rainbow wigs and less logic.

The clowns remain terrifying in that “dollar store Pennywise meets desert sunstroke” kind of way. And just to spice things up, they’re now joined by what looks like the off-brand remnants of Escape from New York.

Mindy Robinson shows up, perhaps after wandering off from another indie set, and horror royalty Ari Lehman (the first Jason Voorhees) and Tony Moran (OG unmasked Michael Myers) drop by to remind you that, yes, horror conventions are real, and yes, actors do need gas money. Ari plays a mysterious figure named Psycan, which sounds like a discontinued energy drink, and somehow makes just as much sense.

The production values fluctuate like a haunted stock market: some creative camera angles and clever reflections show surprising flair, while the CGI kill at the beginning might’ve been rendered on a microwave. But props where props are due—the practical effects, especially a delightfully gory throat slash, give it that retro charm. Also, someone on set clearly discovered the "reflections and smoke" filter and went ham with it.

Dialogue delivers some unexpected zingers, like the clowns were trained at the Catskills before turning to murder. And in a film this chaotic, any line that sticks is basically Shakespeare.

The final battle, set in what still very much looks like Nevada (shoutout to the budget-conscious location scouting), attempts to ramp up stakes but mostly sets the stage for the inevitable sequel: Clown Motel 3: 3 Ways to Hell—a title that sounds like a clown-themed choose-your-own-adventure nightmare.

At 93 minutes (give or take, depending on your screener or what universe you're in), it overstays its welcome like a drunk uncle at a kids' birthday party. Some scenes meander, others feel like the actors forgot the camera was still rolling, and there's a particularly baffling bit with a “new queen” that plays like a clown-themed Renaissance Faire hallucination.

Still, and I can't stress this enough, I had more fun than I probably should have. Like its predecessor, Clown Motel 2 knows it’s not winning awards. But it leans into the madness with an endearing, face-painted grin. It’s a low-budget mess, but it’s their low-budget mess. Thanks to Joseph Kelly, not only for creating this indie goofiness but also for sending over a screener to check out.

Clown Motel 2 (2022)

Prime Video seems to be the only place to check this one out.

https://jackmeat.com/clown-motel-2-2022/

Money Plane (2020) | Not the worst way to waste an hour and change if you're in the mood for brainless action and B-movie antics. #jackmeatsflix

My quick rating - 3.7/10. Money Plane is the kind of movie where you know exactly what you’re getting within the first five minutes: a low-budget, logic-light action flick anchored by a wildly implausible premise and some surprisingly familiar faces. The concept is absurd enough to spark curiosity—a futuristic airborne casino for the world's most dangerous criminals, which is then targeted by a desperate thief trying to protect his family. Unfortunately, Money Plane never really takes off.

Adam Copeland, better known to WWE fans as Edge, leads the charge as the reluctant thief Jack, and while he gives the role his all, there’s only so much he can do with the material. His performance is earnest, and along with his pint-sized, scene-stealing partner Isabella (Katrina Norman), they bring a bit of charm to an otherwise forgettable affair. Without them, there’d be very little to latch onto.

Kelsey Grammer shows up as the villain, but his presence feels oddly out of place. His character, Darius Grouch III, yes, The Rumble, is intended to be menacing and over-the-top, but instead comes across more like Frasier Crane trying to play a Bond villain. It just doesn’t land.

The majority of the action takes place inside the titular “money plane,” which seems to defy spatial limitations. Despite being a standard jetliner, characters move freely through oddly spacious hallways and compartments, often disappearing and reappearing at will, like they’re in a first-person shooter with noclip enabled. The idea that anyone could successfully pull off a covert heist in such a tight, surveillance-heavy environment is laughable, and the film never even tries to make it believable.

There are a few attempts at levity, notably with Trey (Patrick Lamont Jr.) repeatedly winning increasingly deranged bets, which start out amusing but quickly become a one-note gag dragged on for too long. Much like the film itself, the joke doesn’t know when to quit.

The climax is uninspired and entirely predictable, wrapping up with a limp sense of finality that never delivers the stakes it promises. For a movie that’s about high-risk gambling, betrayal, and death at 30,000 feet, it somehow manages to feel surprisingly low-energy.

At just 82 minutes, Money Plane is at least mercifully short. It’s not the worst way to waste an hour and change if you're in the mood for brainless action and B-movie antics, but don’t expect much in the way of thrills, logic, or memorable storytelling. It's a missed opportunity for Copeland, and likely a film I'll remember only as a curiosity in the ever-growing catalog of absurd action premises.

Money Plane (2020)

Good news for those interested is that there are plenty of freebies along with Amazon Prime to choose from.

https://jackmeat.com/money-plane-2020/

Legend of the Forest (2025) | Basically, it's a tragedy that really has nothing to do with Bigfoot and is a step above watching paint dry. #jackmeatsflix

I'm obsessed with Bigfoot so I'm always game for a new movie about this elusive creature. My question is, why are there so many bad Bigfoot movies? Don't get me wrong. There are maybe a handful of good ones out there. But recently I've noticed the movies are either documentary-style snooze fests, the creature(s) in the movie is so fake it looks like a Muppet, or you hear the creature and get some shadowy glimpses, but never a full reveal. This movie is that latter instance. The intent of the characters is to go camping and search for Bigfoot. The problem is nothing really happens in regards to the creature. He is heard a few times, and like I said, shadowy glimpses, but no reveal or even insight into the creature's motivations. Basically, it's a tragedy that really has nothing to do with Bigfoot. I'm just saying, if your movie description says Bigfoot, then I think he should have a larger presence. I kept watching because I thought there would be a big creature-filled climax. What I got instead was a movie that was a step above watching paint dry.

Blessed Be,
Michelle Stockard Miller
🔮♎

Legend of the Forest (2025)

https://jackmeat.com/legend-of-the-forest/

Clown in a Cornfield (2025) | This flick won't redefine the slasher genre but it is a fun trip with Friendo in style and blood-soaked charm. #jackmeatsflix

My quick rating - 6.0/10. In Clown in a Cornfield, director Eli Craig (Tucker and Dale vs. Evil) returns to the horror-comedy space with a slasher that’s blood-soaked, self-aware, and subtly skewering generational divides. Based on Adam Cesare’s YA horror novel, this adaptation follows Quinn (Katie Douglas) and her father (Aaron Abrams) as they relocate to the small town of Kettle Springs, a community as outdated and bitter as the rotary phones still nailed to their walls.

The film opens with a clever prologue set in 1991, at a rural barn party that sets the tone for what's to come. For anyone who graduated that year, it’s a nostalgic nod; for Gen Z, it’s a cultural archaeology dig. That flashback segues into the present day, or at least Kettle Springs' version of it. The town hasn’t moved on from its glory days, and neither have its residents. With the Baypen Corn Syrup Factory burned to the ground and tensions boiling between old-school adults and rebellious teens, the scene is set for chaos.

Enter Friendo, a deranged clown mascot once used to peddle corn syrup and now reimagined as the town’s harbinger of death. When bodies start piling up, the initial shock gives way to something more sinister. By the time a second clown shows up, the mystery isn't so much who is killing as why, and the film leans into its predictability with a wink.

Katie Douglas brings a likable presence to Quinn, anchoring the chaos with just enough emotional weight. Will Sasso pops in for a few moments of comic relief, though even he can’t breathe much life into a thinly written cast of side characters. The townsfolk, particularly the “hick” caricatures, are painted in broad strokes, likely on purpose, as Craig seems to be poking fun at the very tropes he’s using.

And that’s where Clown in a Cornfield finds its real strength: it knows exactly what it is. The kills are creative but not excessive, the pacing is tight, and the tone strikes a nice balance between camp and carnage. There's a deeper message here—something about generational resentment, cultural stagnation, and who really needs "cleansing"—but it's buried just deep enough that you can enjoy the film without digging too hard.

Whether Gen Z will catch the joke or not is part of the fun. Eli Craig seems to flip the mirror back on the viewer, inviting us to laugh with the film, not just at its over-the-top premise. And while it doesn’t redefine the slasher genre, it contributes to its welcome resurgence with style and blood-soaked charm.

Clown in a Cornfield (2025)

With its open-ended finale and a trilogy of books behind it, a sequel seems more than possible. And if the fan support is there, this might just be the beginning of Friendo’s twisted legacy.

Currently streaming for theater at home pricing on various services, including Amazon.

https://jackmeat.com/clown-in-a-cornfield-2025/

The Parenting (2025) | Don't let that title fool you, this is 94 breezy minutes of paranormal mishaps, overbearing parents, and ridiculous horror rituals. #jackmeatsflix

My quick rating - 5.8/10. The Parenting is a lighthearted, spooky romp that nails the awkward “meet the parents” dynamic and layers on a delightfully absurd twist: a 400-year-old poltergeist lurking in the vacation rental. The setup feels like a familiar rom-com scenario. Boyfriends Josh and Rohan plan a weekend getaway so their parents can finally meet, but the film veers quickly (and hilariously) into supernatural territory.

From the jump, the film makes it clear it’s here to have fun, and that was director Craig Johnson's sole intention. It doesn’t take itself too seriously, leaning into its horror-comedy label with a stronger emphasis on laughs than scares. While the premise hints at a haunted house horror flick, the execution is far more interested in family dynamics, awkward dinners, and the ridiculousness of demonic possession. The horror elements do eventually come into play, and the resolution is surprisingly creative, if more comical than chilling. For those hoping for genuine frights, this might feel a bit light—but that's clearly by design, not by accident.

The ensemble cast is one of the movie’s biggest strengths. Lisa Kudrow shines with some of the film’s funniest lines, delivering her signature brand of dry, offbeat humor. Parker Posey, always a standout, is a joy to watch. And Brian Cox plays against type as Frank, one of the dads, bringing a different energy than we usually see from him. It's a role that lets him flex comedic timing rather than seriousness, and he fits surprisingly well into the mix. That trifecta elevates each scene and bumps this up a notch from standard fare.

The chemistry among the full cast is solid, with everyone bouncing off each other in that chaotic, dinner-table-with-too-many-opinions kind of way. While the story may nominally focus on Josh and Rohan, the filmmakers crafted a true ensemble piece where they don't sideline anyone. Even the demon itself ends up feeling like part of the dysfunctional family gathering.

A welcome surprise is the heavy use of practical effects. In a genre often overwhelmed by CGI, it’s refreshing to see more grounded, tangible effects that add charm to the poltergeist’s antics without distracting from the comedy.

Ultimately, The Parenting is a film best enjoyed with your brain turned off and your popcorn bucket full. It’s 94 breezy minutes of paranormal mishaps, overbearing parents, and ridiculous rituals. Yeah, sure, I wanted a heavier lean into horror to appeal more to genre fans, but what we get is a consistently funny, well-cast movie that delivers exactly what it promises: goofy, supernatural family fun.

The Parenting (2025)

This one is a Max original, which is affiliated with Amazon and these other streamers as well.

https://jackmeat.com/the-parenting-2025/

The Accountant² (2025) | This stylized action flick has some strong performances and enjoyable scenes but is a bit messier than the first. #jackmeatsflix

My quick rating - 6.9/10. Nearly a decade after the original, The Accountant² picks up with Christian Wolff (Ben Affleck) drawn out of his quiet, calculated life when a former associate turns up dead. In true sequel fashion, the stakes escalate quickly, and so does the body count. With the mystery deepening and bullets flying, Wolff enlists his estranged and ferociously efficient brother, Brax (Jon Bernthal), to help navigate a conspiracy that reaches into the darkest corners of human trafficking and institutional corruption.

One of the first things returning fans will notice is the shift in tone. While the first Accountant was notable for how it wove Wolff’s autism into the fabric of his character and the film's narrative, this sequel puts less emphasis on that defining aspect. It instead pivots toward the brothers’ fractured relationship and shared violent expertise. The result? A more conventional but still compelling buddy-action flick where blood ties are just as important as bloodshed.

Bernthal, fresh off his intense role in Daredevil: Born Again, is easily the standout this time. Brax, with his brutal efficiency and chaotic energy, provides a perfect foil to Wolff’s meticulous and quiet demeanor. The two together offer some great chemistry, at times funny, at others poignant, and often brutally effective. Their dynamic is the emotional core of the movie, grounding even the more outlandish shootouts.

And yes, there are some wild shootouts. While visually gripping and slickly choreographed, they do sometimes stretch credibility, particularly when the brothers manage to stroll through a hail of bullets without a scratch. It's one of those cinematic liberties that you'll either roll with or roll your eyes at, depending on your tolerance for "star armor."

Cynthia Addai-Robinson returns as Treasury Agent Marybeth Medina, partnering with the Wolff brothers as they try to unravel a conspiracy that connects a corporate shell game with missing children and international crime syndicates. Daniella Pineda is introduced as Anaïs, a morally gray wildcard who becomes a key piece in the story. Her brutal and emotionally charged fight with Medina is a surprising high point layered with dramatic tension, especially once the twist involving her true identity lands.

Unfortunately, while the heroes get plenty of time to shine and develop, the villains are sorely undercooked. Their motivations remain vague, and their personalities are nearly nonexistent. They’re little more than obstacles to be eliminated, which I saw as a missed opportunity in a film that otherwise tries to deepen its character work.

I thought the plot was perhaps the film’s biggest stumbling block. It tries to weave together too many threads—corporate fraud, child trafficking, family trauma, government secrets—and ends up leaving quite a few of them dangling by the time the credits roll. It doesn’t derail the film, but it does leave a lingering feeling that The Accountant² could have used a tighter focus or even a longer runtime to do justice to all its ideas.

Still, for fans of the first film or those who enjoy stylized action with a bit more heart, The Accountant² delivers. It doesn’t quite recapture the unique spark of its predecessor, but with strong performances (especially Bernthal and Pineda), solid action, and a few standout sequences, it earns its place as a worthy follow-up, albeit a bit messier. Here’s hoping the third time’s the charm for tightening the story while keeping that brutal brotherly bond front and center.

The Accountant² (2025)

This one is an Amazon exclusive, or you can wait for other streamers to pick it up.

https://jackmeat.com/the-accountant%c2%b2-2025/