The Electric State (2025) | This flick is imaginative & well-produced but it coasts more on its production value & cool ideas than on a solid emotional core. #jackmeatsflix

My quick rating - 6.4/10. The Electric State delivers a visually impressive, often intriguing journey through an alternate 1990s where robots are seamlessly embedded into society, but its narrative doesn't quite hit the mark it sets out for.

Directed by the Russo brothers, this post-robot-war odyssey sees an orphaned teen (Millie Bobby Brown) hitting the road with a mysterious robot companion to find her long-lost brother. Along the way, she teams up with a smuggler (Chris Pratt, nearly unrecognizable under a scruffy makeover) and his snarky sidekick. The world they traverse is one where society never collapsed, Terminator-style—instead, it adapted. It's a clever, almost optimistic reimagining of tech's role in culture, and the 1990s setting adds a rich nostalgic flair. Virtual reality meetings launched via AOL invites are just one of many charming touches that breathe life into this retro-futuristic vision.

Millie Bobby Brown steps into a new kind of role here, one that plays with both vulnerability and resilience, though the character's emotional arc sometimes feels muted by the film's uneven tone. The film shifts frequently between mature themes—grief, identity, existential crisis—and lighter, family-friendly moments, which can make it hard to pin down exactly who it's for.

Chris Pratt’s Keats, somewhere between Star-Lord and Andy Dwyer, provides comic relief and heart. His instantly recognizable voice helps anchor the character, even if his rugged look initially throws you. The supporting cast gets a fun boost from Woody Harrelson as a flamboyant AI mall leader modeled after Mr. Peanut—an imaginative and surreal highlight that shows the creative team wasn’t afraid to get weird.

Visually, the film is undeniably stunning. With a reported $300 million budget, you expect spectacle, and you get it. From the vast robotic junkyards to the neon-lit cyber malls, the aesthetic is lush and immersive. The integration of live-action with VFX is some of the cleanest and most convincing seen in recent memory, and the world-building, from robot etiquette to tech norms, feels deeply considered.

That said, while the setting is rich and the journey is long, it often feels like the film is circling rather than progressing. The emotional stakes never fully land, and by the end, it’s hard to shake the feeling that the movie had more potential than payoff. It’s less of a destination story and more of a meandering road trip through an alternate timeline that’s worth seeing, even if you won’t remember every stop along the way.

Despite the media flack it reportedly received, The Electric State isn’t a misfire—it’s just not the genre-defining epic it might’ve aspired to be. It’s imaginative, well-produced, and occasionally poignant, but it coasts more on its production value and cool ideas than on a solid emotional core.

The Electric State (2025)

Have you watched anything else recently that gave you similar “ambitious but uneven” vibes?

This one is currently on Netflix alone for your viewing.

https://jackmeat.com/the-electric-state-2025/

Freaky Tales (2025) | Freaky Tales is a bold, genre-bending blast through 1987 Oakland, mixing street fights, rap battles, and supernatural mayhem into a nostalgic, cult-worthy adventure. #jackmeatsflix

My quick rating - 7.3/10. Freaky Tales is a strange, vibrant love letter to 1987 Oakland — a year I remember well as it marked the start of my own high school journey. Directors Anna Boden and Ryan Fleck weave together four interconnected stories, each soaked in nostalgia, wild energy, and a touch of the supernatural, guided by a mysterious unseen force pulling the strings behind the chaos.

The first chapter throws us straight into the madness, with teen punks battling Nazi skinheads in a turf war that feels ripped straight from a graphic novel. The fight scenes are delightfully over-the-top, with texted reactions — “POWWW!” — flashing across the screen, a clear and loving homage to the classic Batman TV series with Adam West. CGI blood splatters even push beyond the 4:3 frame, breaking the visual boundaries in a way that's both playful and visceral.

The second chapter shifts gears (and screen ratio) into the underground hip-hop scene, where a rap duo fights for their shot at immortality. The rap battle here is electric — funny, fast, and a bit raunchy — making it one of the film's most purely entertaining moments. It captures that scrappy, creative spirit that was alive and well back in the day.

Chapter three hits particularly close to home, taking place inside a video store that feels like a portal to the past. Anyone who remembers backroom sections behind a curtain at places like West Coast Video will grin knowingly, although here, they crank up the fantasy by hiding an underground poker game behind a secret door. It’s a clever wink to the kind of under-the-table dealings that were part of that era (my stories are for another time!).

The final chapter brings it all together, culminating in a basketball showdown that cleverly uses animation to enhance the action. It’s a stylistic choice that fits right into the film’s playful, anything-goes energy. The choice of Metallica’s For Whom the Bell Tolls to score this climactic moment is pitch-perfect, blending Bruce Lee-inspired fight choreography with heavy metal attitude. The use of The Order of Death by Public Image Ltd. during the closing moments — a fantastic track from a criminally underrated film, Hardware — seals the film’s commitment to its retro roots.

Each story connects just enough, with characters occasionally crossing paths without ever feeling forced. Pedro Pascal and Jay Ellis headline a fantastic ensemble, both bringing serious presence to the screen. While it’s unclear if Freaky Tales had a wide U.S. theatrical release, this feels destined for cult classic status.

There’s a little bit of everything here: comedy, supernatural touches, street-level adventure, and maybe an exploding body, all wrapped up in a well-made, joyously weird package. Freaky Tales might be a love-it-or-hate-it experience, but for those who dig its vibe, it’s a trip worth taking. Support this one if you can — it’s gems like these that keep the spirit of creative filmmaking alive.

Freaky Tales (2025)

Freaky Tales is a bold, genre-bending blast through 1987 Oakland, mixing street fights, rap battles, and supernatural mayhem into a nostalgic, cult-worthy adventure.

Amazon and a few other streamers have this one right now.

https://jackmeat.com/freaky-tales-2025/

It Feeds (2025) | It Feeds delivers creepy visuals and solid scares, but its familiar story and slow pacing make it a decent but forgettable horror watch. #jackmeatsflix

My quick rating - 5.4/10. It Feeds tells the story of a young girl who insists a malevolent entity is feeding on her soul, and a clairvoyant therapist (Ashley Greene) who must confront her own personal demons to save the child before it's too late. Shawn Ashmore steps into the role of the anguished father, trying desperately to protect his daughter from a terror he doesn’t understand.

There’s definitely a solid foundation here, and fans of supernatural horror will find It Feeds an entertaining enough watch for a slow night. Director Chad Archibald seems to have drawn some personal inspiration, especially with how the story focuses on trauma, fear, and the need to confront the past to heal. There's an emotional undercurrent that hints at deeper meaning, but unfortunately, the execution doesn’t fully land. While the film flirts with heavy themes, I didn't think it dug deep enough to make much of an impact beyond surface-level scares.

And to be fair, the scares are there. It Feeds absolutely nails its jump scares, using effective timing and unsettling imagery, especially with the rotting demon creature that stalks the young girl. Visually, the film is impressive for its more indie-level budget. Smart camera work heightens the atmosphere, with several scenes genuinely capturing that creeping fear you'd expect from a bigger studio horror. Honestly, if you didn't know better, you might assume this had a much larger budget than it did.

The trouble is, there's not a lot here that feels new. The movie heavily echoes Insidious in tone, pacing, and even some of its thematic elements, although it thankfully avoids feeling like a direct ripoff. It's more of a "safe play" horror movie, following a well-worn path without much risk or surprise. You can see every plot beat coming from a mile away.

Pacing is another issue. After a strong, creepy start, the film loses momentum and just sort of exists until the inevitable climax. There's very little character development to latch onto, and while the cast does a decent job with what they're given, the script doesn’t give them much room to grow. You’re mostly just watching familiar horror tropes play out, supported by moments of cool imagery and a few solid jolts.

Also, like many horror movies, It Feeds demands a pretty massive suspension of disbelief. Characters make baffling decisions, the police are basically useless, and there’s a complete lack of explanation about the entity or its motivations. If you can accept that this is a ride without a seatbelt—or a roadmap—you'll probably have an okay time.

It Feeds (2025)

Overall, It Feeds is a decent one-time watch for horror fans who don’t mind style over substance. It's well-shot, has some genuinely creepy moments, but doesn’t do anything memorable enough to stand out in a crowded genre.

Amazon, along with these streamers, currently carry this flick.

https://jackmeat.com/it-feeds-2025/

Popeye the Slayer Man (2025) | After the last few good movies, this flick serves up discount guts and life advice from morons proving some urban legends should stay abandoned. #jackmeatsflix

My quick rating - 3.9/10. You know you're in for a ride when a movie called Popeye the Slayer Man kicks off with a healthy dose of low-budget blood geysers and practical intestines that look like they were stolen from a Halloween clearance bin. A curious group of friends sneak into an abandoned spinach canning factory (because of course they do) to film a documentary on the legendary "Sailor Man," who's said to haunt the docks and factory. I'm pretty sure the only real urban legend here was how the filmmakers scored a free filming location by picking a place no one gave two soggy cans of spinach about.

As expected, it doesn’t take long for the brain trust to split up, despite one girl actually having a working frontal lobe and suggesting maybe they stick together. But no, Head Dipshit confidently assures the group, "Don't worry, if someone is killing you, just scream, we'll come and find you." Spoiler: they don't. Shockingly, shouting over loud industrial echoes and horror music doesn’t save anybody.

Speaking of realism, I'm no forensic scientist, but I'm pretty sure you can’t scalp a woman just by tugging on a fistful of hair like you're plucking a dandelion. But hey, Sailor Man's got those superhuman Popeye arms, right? Or at least he would if you could understand a damn thing he says. Jason Robert Stephens gives it his all under what looks like a cursed Spirit Halloween Popeye costume, but when he opens his mouth, it's pure drunken seagull noises. Subtitles would've been nice, but maybe it's better this way.

Director Robert Michael Ryan tries to wrangle this spinach-flavored chaos into something resembling a coherent story, but the plot is so thin you could squeeze it through a can opener. At least it's a step up from Popeye's Revenge — although, honestly, you could trip and fall over a better movie than Popeye’s Revenge.

Special shoutout to the many triple-name cast members (Marie-Louise Boisnier, I'm looking at you). Always a solid serial killer movie vibe when half the credits sound like court depositions.

Despite all its flaws, and they are legion, Popeye the Slayer Man isn't a total waste of time. The kills are serviceable, they mercifully avoided CGI nonsense, and the general slasher chaos is mildly entertaining if you don't ask for much. The story tried... kinda. But by the end, I wasn’t mad. Just confused, a little amused, and grateful it didn’t end with a "To Be Continued."

Popeye the Slayer Man (2025)

Final verdict: Eat your spinach, but maybe skip this can.

Limited choices for streaming this one but fret not, Amazon has it.

https://jackmeat.com/popeye-the-slayer-man-2025/

Mickey 17 (2025) | This scifi flick is weird, smart, funny, and strangely heartfelt. Mickey 17 is another home run from Bong Joon-ho. #jackmeatsflix

My quick rating - 7.1/10. Leave it to Bong Joon-Ho to take something as bizarre as a man repeatedly dying for his job and spin it into an emotionally resonant, darkly funny, and thought-provoking sci-fi tale. Mickey 17 blends satirical edge, bleak world-building, and existential reflection into a film that feels like Starship Troopers satire met Happy Death Day, with a little Snowpiercer snow and bite tossed in for good measure.

Robert Pattinson plays Mickey Barnes, a self-proclaimed "expendable"—essentially, a human lab rat hired to perform deadly tasks that would kill a normal crew member. The catch? When he dies, the company 3D prints a new body and uploads his consciousness from a literal brick of a hard drive. He wakes up in the same world, same memories, same people around him—but a different iteration. Mickey 17 is just the latest in a long line of unfortunate regenerations, and it’s clear from early on: dying gets old quick.

What makes Mickey 17 so intriguing is how it unravels its premise. The futuristic setting is brutal and frigid, both in landscape and tone. The planet Mickey and his fellow colonists are trying to terraform is hostile, perpetually snowy, and home to mysterious life forms the humans derogatorily refer to as "creepers." The real tension, however, comes from within: What makes a person unique if they can be replaced perfectly? Do you have a soul if your mind can be copied? And is Mickey the original—or just another version pretending he is?

Naomi Ackie adds a strong emotional backbone as Mickey’s girlfriend Nasha, who grounds the film with a much-needed reminder that colonization isn't always heroism; it can be an invasion. Her character delivers one of the film’s most biting commentaries, subtly reframing the entire human mission as a form of intergalactic arrogance. She also provides one of the funnier moments in the film that I am sure many women will relate to (not going to spoil it for you).

The humor is sly and sharp, often reminiscent of Starship Troopers in the way it skewers bureaucracy, propaganda, and political absurdity. There’s even a heavy-handed but entertaining Trump satire that runs through much of the film's leadership dynamic. Bong Joon-ho doesn’t shy away from layering the social commentary thick, but it rarely gets in the way of the plot’s propulsion.

If there’s one knock, it’s that the film juggles a few too many themes. The central moral quandary—about cloning, identity, and expendability—might have had more emotional weight if the “creepers” subplot hadn’t started to demand equal screen time. Still, Bong Joon-ho knows how to spin plates better than most, and Mickey 17 remains deeply entertaining even when its focus wavers.

Mickey 17 (2025)

Weird, smart, funny, and strangely heartfelt—Mickey 17 is another home run from Bong Joon-ho, and a sci-fi film that earns its place among the more daring genre entries in recent memory.

You can still catch this one at the theater, along with Amazon and these streamers, at a similar price.

https://jackmeat.com/mickey-17-2025/

G20 (2025) | G20 brings us mildly entertaining summer fare for action junkies who don’t mind a heavy dose of implausibility. #jackmeatsflix

My quick rating - 5.3/10. G20 is a high-octane, summer-ready political action thriller that knows exactly what it is: a slick, over-the-top popcorn flick packed with gunfights, close calls, and presidential one-liners. While it doesn’t strive for realism or nuance, it delivers a solid dose of escapist entertainment, especially for fans who enjoy their action loud and their logic dialed way down.

Viola Davis anchors the film as President Danielle Sutton, who’s not only the leader of the free world but also a battle-hardened military veteran and a fiercely protective mother. When terrorists hijack the G20 Summit, Sutton doesn’t just survive, she takes charge. Davis is clearly having fun with the role, bringing grit to a character that’s essentially a mashup of Die Hard’s John McClane and Olympus Has Fallen’s Mike Banning—but with a lot more maternal instinct.

Anthony Anderson is a surprisingly solid fit as the First Gentleman, playing Sutton’s husband with warmth, humor, and just enough screen presence to balance Davis’s intensity. Their chemistry helps humanize the chaos, grounding the story in at least one believable emotional anchor.

Antony Starr steps into the villain role with his trademark intensity. Seeing him as the bad guy isn’t much of a stretch—he’s practically perfected the role thanks to The Boys. Only this time, he’s without the Homelander cape, but still dripping with menace. He delivers just the right amount of calculated charm and ruthless ambition, making for an entertaining antagonist, even if his motivations aren’t the most original.

Visually, G20 is impressive. Shot on location in Cape Town, South Africa, with the stunning Santé Wellness Retreat & Spa in Paarl standing in for the summit’s grounds, the film blends real-world opulence with seamless CGI enhancement. The production value is undeniably high—this is Amazon Prime after all—and it shows. Whether it’s sweeping drone shots of the summit or explosive close-quarters skirmishes, everything looks slick and polished.

The film also toys with a timely and provocative concept: using AI-generated voices to impersonate world leaders. While the idea of voice theft for manipulation is fascinating and rooted in real technological fears, the execution feels more like window dressing than a core narrative driver. Considering how easily sound bites of political figures can be found online, the film misses an opportunity to dig deeper into the unsettling implications of this tech.

But let’s be honest, G20 isn’t here to spark philosophical debates. It’s here to entertain. And entertain it does, even if it borrows liberally from better films. You’ll spot familiar beats from Air Force One, White House Down, and 24, all blended into a loud, trope-heavy spectacle that demands full suspension of disbelief.

In the end, G20 is pure action escapism. It's not remotely plausible, but it's also not pretending to be. If you're looking for a thinking person’s thriller, keep moving. But if you’re in the mood for a badass president mom saving the world with style, G20 might just hit the spot. It's mildly entertaining summer fare for action junkies who don’t mind a heavy dose of implausibility.

G20 (2025)

This flick is a Prime Video exclusive for now, but here is a Justwatch link for later on.

https://jackmeat.com/g20-2025/

Ash (2025) | Ash is space horror-lite: visually interesting at times, occasionally creepy, and mostly content to orbit around better films. #jackmeatsflix

My quick rating - 5.2/10. In Ash, Eiza González wakes up alone on a distant planet, and it’s immediately clear she’s having a very bad morning. No coffee, no clean socks, and oh yeah—her crew has been brutally murdered. Welcome to space horror, where the silence is deafening and the plot’s holding on by duct tape and alien goo.

Directed by Flying Lotus (yes, the musician—and apparently now part-time intergalactic tour guide), Ash boldly steps into the void of sci-fi horror with a heavy nod to The Thing, minus the creeping paranoia and clever ambiguity. Instead, we get a fairly routine “humans find alien tech, everything goes sideways” setup, with far fewer flamethrowers and far more artsy flashbacks.

Riya (González) does a decent job playing the lone survivor trying to CSI her way through the carnage, though the script doesn’t give her much to work with emotionally—unless you count staring blankly into the void. Occasionally, she remembers to be terrified. Occasionally, so do we.

Iko Uwais pops up, giving fans of The Raid a moment of excitement, only to remind us he’s not here to fight twenty guys with a wrench this time. He’s underused, underscored, and underwhelming—but hey, he looks great in space gear.

Visually, Ash is all over the star map. Some scenes feel richly textured and atmospheric, making you wish the whole movie looked like this. Others feel like we dropped into a mid-tier sci-fi video game cutscene from 2011. The effects are uneven, like someone spilled space glitter on an indie film budget.

Where the movie shines (or flickers, anyway) is in its final flashback—ironically the only flashback that truly earns its runtime. It’s emotional, well-shot, and tonally what the rest of the movie could have been. Unfortunately, to get there, we wade through recycled dreamscapes and “Wait, did we see this memory already?” territory that starts to feel more like déjà meh.

The score, of course, is bumping—Flying Lotus knows how to create a vibe—but even pulsating synths can’t force tension where none exists. The horror is more suggested than shown, and while restraint can be a virtue, here it just feels like the film forgot it was supposed to be scary.

Still, there’s something promising lurking beneath the cosmic dust. Lotus clearly has an eye and ear for atmosphere, and with tighter editing and a story that doesn’t treat flashbacks like popcorn, his next film might stick the landing.

For now, Ash is space horror-lite: visually interesting at times, occasionally creepy, and mostly content to orbit around better films rather than boldly going where no director’s gone before. Bring snacks. Maybe caffeine too.

Ash (2025)

Amazon is the cheapest among these streamers to (b)rent.

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

Novocaine (2025) | This "Blame a Woman" flick is a painful ride that blends absurdity with action in an entertaining and surprisingly effective way. #jackmeatsflix

My quick rating - 6.8/10. In Novocaine, directors Dan Berk & Robert Olsen deliver a satisfyingly twisted genre cocktail with equal parts action, dark comedy, and body horror-lite. Anchored by a surprisingly earnest performance from Jack Quaid, this film leans into the absurdity of its premise with confidence and style.

The story follows Nate, a charmingly average guy with one very specific quirk: he cannot feel pain. It’s a rare neurological condition that has rendered him physically impervious to suffering—at least, on the surface. When his dream girl, Sherry (played with a believable wide-eyed sweetness by Amber Midthunder), is abruptly kidnapped, Nate is thrown into a violent, unpredictable underworld, where his condition becomes both his biggest weapon and a deeply unnerving liability.

Yes, the “guy goes on a chaotic rampage for the girl of his dreams” trope is here in full force—following hot on the heels of Renner, which played with similar ideas. And yes, the damsel dynamic is growing a little tired. But Novocaine distinguishes itself by leaning hard into its offbeat tone. It’s aware of the cliché, and it toys with it enough to keep things from feeling stale. And always a welcome addition for comedic relief is his online gaming buddy, Roscoe, played by Jacob Batalon.

Lars Jacobson’s script plays cleverly with Nate’s condition, particularly in the action scenes. There’s no gory splatterfest here, but the violence has a visceral impact—think bruised bones, burned flesh, and self-surgery scenarios that will make your stomach knot. It’s not graphic in the traditional sense, but it hits hard thanks to smart camera work and Quaid’s physical performance. Although that thumb scene...well, you'll see. The film finds a unique niche between cringeworthy injury and deadpan humor, and it thrives there.

What really sells it is the pacing. This movie moves. There’s no time for emotional wallowing or needless exposition—every beat pushes Nate deeper into a world that’s more cartoonishly brutal than realistic. There are twists, of course, and most of them are deliberately ridiculous—bordering on parody—but that’s part of the appeal. You don’t watch Novocaine expecting logic. You watch it to see how far Nate will go, what weird weapon he’ll improvise next, and how many times he can fall down a flight of stairs before even he starts to wonder if he should stop.

Production-wise, the film is clean and focused. The action choreography feels tight, and the editing is sharp, helping the comedy land without undercutting the intensity. The scenes are thoughtfully constructed—even the more outrageous moments have a strange precision to them.

Jack Quaid proves he’s got leading-man chops, especially for roles that ask for physicality and charm with a dash of madness. His performance grounds the story just enough to make it emotionally engaging, even when the script veers into the bizarre.

Novocaine isn’t trying to be a masterpiece of psychological depth. It’s a wild, occasionally painful ride that blends absurdity with action in an entertaining and surprisingly effective way. It knows what it is, and it doesn’t flinch, literally or figuratively.

Novocaine (2025)

Still a hot movie, so theater pricing is available on Amazon along with these streamers.

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

A Working Man (2025) | Statham returns in a lean, mean action flick for fans of no-nonsense heroes, corrupt baddies, and a high body count. #jackmeatsflix

My quick rating - 6.2/10. Jason Statham slips back into his comfort zone—and our good graces—in A Working Man, a gritty action-thriller that plays like a mashup of Taken and Rambo, sprinkled with a hint of The Beekeeper's raw energy. With a screenplay penned by none other than Sylvester Stallone, the film doesn’t reinvent the wheel but rolls it with just enough style and force to keep action fans strapped in.

Statham plays Levon Cade, a former black ops operative turned blue-collar construction worker, trying to lead a quiet life after years of shadowy violence. Of course, peace doesn’t last long. When human traffickers abduct Jenny (Arianna Rivas), the daughter of his boss and someone Levon clearly considers family, Cade dusts off his deadly skillset to bring her back. What follows is a bloody trail through layers of corruption, human exploitation, and criminal eccentricity.

The movie wastes no time in getting us emotionally invested in Jenny’s character. Rivas, though limited in screen time, manages to make an impression. Her Jenny is not just a damsel in distress; she’s got spunk and even flashes some edge that makes you root for her survival—and fuels Cade’s crusade. The connection between her and Levon is sold quickly and effectively, giving the audience enough reason to stay locked in.

Statham, as expected, delivers the goods. He knows this territory well: stoic, lethal, and unwavering. His performance doesn’t stretch the genre, but it doesn’t need to. It’s the kind of role he can do in his sleep, but he gives it the full Statham treatment, bringing gruff charisma and bruising efficiency to every scene.

The film’s action sequences are a highlight. Brutal, fast-paced, and cleanly shot, they’re a testament to solid choreography and smart direction. The finale, in particular, goes full Rambo-mode, drenched in bullets, explosions, and moral reckoning. It's satisfyingly over-the-top, though yes, you’ll want to check your common sense at the door. Logic gets murky, but entertainment value stays high.

David Ayer’s direction isn’t quite as sharp here as it was in The Beekeeper. The emotional beats don’t hit as hard, and the stakes feel more manufactured. That said, the film benefits from an entertainingly offbeat batch of villains who keep the journey unpredictable. Levon stumbles into a world that's darker and weirder than he expected, which gives this flick some flavor beyond the standard 'man on a mission' formula.

Technically, the film is solid. Cinematography is tight, especially during the nighttime shootouts and gritty bar brawls. The moody score complements the story well, giving the film a slightly more polished edge than your typical revenge thriller.

In the end, A Working Man is exactly what it sets out to be: a lean, mean action flick for fans of no-nonsense heroes, corrupt baddies, and a high body count. It doesn’t hit the highs of Statham’s best, but it earns its place among his better genre entries. It's a familiar ride, but one that still kicks hard enough to be worth the trip.

A Working Man (2025)

Amazon and a few other streamers have this for rent, or you could check the theaters.

https://jackmeat.com/a-working-man-2025/

Detention (2011) | If you're into fast-paced, genre-bending films that don’t take themselves too seriously, go in blind like I did and just enjoy the ride. #jackmeatsflix

My quick rating - 6.5/10. Detention is the kind of movie that makes you sit up halfway through and say, “What the hell am I even watching right now?”—and I mean that in the best way possible. I hadn’t heard a single thing about this flick going in, and honestly, I can’t remember the last time I had this much fun being blindsided by a movie. It’s a chaotic genre mashup that somehow turns its ADHD-fueled insanity into a cohesive, entertaining ride.

Trying to pin Detention down into a single category is a fool’s errand. Is it a slasher flick? Yes. A teen comedy? Yep. A sci-fi time travel story? Also yes. A satire? You bet. A Breakfast Club-style coming-of-age drama? Sure, why not. It’s like someone grabbed a bucket full of genre tropes, movie references, and pop culture absurdities, tossed them into a blender, and hit “puree.” The result? A film that’s so all over the place that it loops back around into something uniquely its own.

The plot is nearly impossible to summarize without sounding like you’re making it up on the spot, but here’s a shot: a masked killer named Cinderhella is stalking Grizzly Lake High School seniors, and somehow that ties into body swaps, time loops, bear maulings, and ’90s nostalgia-fueled apocalypse scenarios. Got all that? Good, because it only gets weirder from there.

Despite the madness, the film keeps a tight pace, and its comedic timing is surprisingly sharp. The jokes come fast, often dry or meta, and rarely feel forced. The scares, on the other hand, are gleefully ineffective in the traditional sense—they’re so over-the-top or oddly timed that they become funny in their own right. That’s clearly the point, and it works in favor of the film’s manic tone.

The cast, mostly unknowns, really leans into the absurdity of the material, and it pays off. They hit the right notes between playing high school stereotypes and totally subverting them. And yes, in case you’re wondering, Dane Cook is in this. And yes, he’s actually good as the grumpy principal. Weird world.

Sure, continuity purists and logic hawks could pick this movie apart, and they’d probably be successful in finding all sorts of timeline inconsistencies and tonal whiplash moments. But why bother? Detention isn’t trying to be airtight; it’s trying to be entertaining, and it hits that target dead-on. It’s the kind of movie where someone earnestly asks, “OMG is she going to give birth to herself?”—and somehow, you’re still all in.

In conclusion, while trying to be everything simultaneously, Detention becomes something you’ve never seen before. It’s weird, wild, and kind of brilliant in its own strange way. If you're into fast-paced, genre-bending films that don’t take themselves too seriously, go in blind like I did and just enjoy the ride.

Detention (2011) #jackmeatsflix

Amazon is among a couple of streamers carrying this one.

https://jackmeat.com/detention-2011/

Peter Pan's Neverland Nightmare (2025) | If you’re into twisted fairy tales with actual effort behind them, this is one nightmare worth visiting. #jackmeatsflix

My quick rating - 5.2/10. Going into Peter Pan’s Neverland Nightmare, I fully expected another lazy public domain horror cash-in—one of those throw-a-classic-character-into-a-mask-and-make-them-stab-things kind of flicks. Instead, I got something surprisingly well-constructed and far more thoughtful than its title suggests. This one actually takes the time to build a story around its slasher premise, rather than just leaning on name recognition and gore. It’s still ridiculous, yes, but it's crafted ridiculous.

The film follows Wendy Darling (Megan Placito), now a gritty, determined young woman on a mission to rescue her brother Michael (Peter DeSouza-Feighoney) before he’s spirited away to Neverland—though this version of Neverland is a far cry from the magical place you remember. It’s more like a nightmare purgatory ruled by a twisted version of Peter Pan (Martin Portlock), who lures children with promises of adventure but has far darker intentions. The real kicker? Along the way, Wendy meets a strung-out Tinkerbell (Christopher Green) who’s addicted to what she thinks is fairy dust. Yeah, it’s that kind of movie.

Portlock’s Peter Pan is a genuinely creepy presence. He’s not your typical slasher villain with a knife and a mask—he’s charismatic, childlike in the worst way, and clearly off his rocker. His performance walks a nice line between theatrical and disturbing, and it works. He feels like someone who believes he's still in a fairy tale, which makes the violence he unleashes even more unsettling.

Placito brings the right mix of strength and desperation to Wendy. She’s not helpless, and there’s actual effort put into her arc as she transforms from someone looking for her brother into someone who realizes what it’s going to cost to save him. The entire cast is shockingly decent, which is rare for low-budget horror, especially of the public domain reimagining variety. Even Tinkerbell, portrayed with twitchy, tragic energy by Green, brings something memorable to the table.

The film makes good use of practical effects, which is always appreciated. Blood splatters are tangible, kills have impact, and even the sets, low budget as they may be, feel imaginative and immersive. There’s a fight scene toward the climax that, while not Hollywood-polished, has some surprisingly decent choreography. And the ending? Brutal and appropriately bleak. No winks to the camera. No cute resolution. It commits to its tone and follows through. There is a twist late in Peter Pan's Neverland Nightmare, but it’s not exactly a shocker. Most viewers will likely see it coming from a mile away, but it doesn’t hurt the movie much because it isn’t trying to pull a fast one, it’s just moving the story to its grim, inevitable conclusion.

Director Scott Chambers takes some big swings with this one, and while I don’t know if J. M. Barrie would be thrilled to see his characters soaked in blood and existential trauma, I’ll admit it: this worked. It’s not art, but it is a creatively nasty take on classic lore. Definitely a step above the “just put a Pooh mask on and kill stuff” approach we’ve seen in similar projects. If you’re into twisted fairy tales with actual effort behind them, this is one nightmare worth visiting.

Peter Pan's Neverland Nightmare (2025)

Justwatch doesn't have any streamers listed atm, but I am sure that will change.

https://jackmeat.com/peter-pans-neverland-nightmare-2025/

The Woman in the Yard (2025) | This psychological horror flick is more likely to be appreciated for what it's trying to say rather than how it says it. #jackmeatsflix

My quick rating - 5.3/10. The Woman in the Yard presents a plot that caught my attention. A mysterious woman (Okwui Okpokwasili) keeps showing up in a family’s front yard, delivering cryptic warnings that toe the line between madness and prophecy. From that setup alone, there’s promise of something eerie and impactful. And while the film flirts with genuine psychological horror and emotional weight, it ultimately feels more like a somber mood piece than a fully realized genre film.

There’s a stylish touch to the way the movie’s shot—shadows are used effectively to create a creeping sense of dread, and some of the imagery lingers in a good way. The ensemble cast does strong work across the board, delivering performances that are subdued but thoughtful, fitting the film’s slower, more introspective tone. Danielle Deadwyler tackles some constant emotional fluctuations as the ordeal goes on and does so fairly convincingly.

But here’s the thing—it’s slow. Really slow. And for a film marketed as horror, there’s a noticeable lack of scares or suspenseful build-up. It leans heavily into psychological drama, with the horror taking a backseat in favor of exploring themes like grief, trauma, and ultimately, suicide. That message is sincere and handled with some grace, but it also weighs the film down, making it more of a downer than an edge-of-your-seat experience.

The movie is saved, in part, by its resolution. The ending doesn’t tie everything up with a neat little bow, but rather leaves viewers questioning what was real and what wasn’t. It’s a clever nod to the uncertainty that often accompanies mental illness, and it’s one of the more thought-provoking aspects of the film.

In the end, The Woman in the Yard is one of those movies where the premise exceeds the final product. It’s got style, some haunting moments, and a strong cast, but its lack of pacing and minimal horror elements may leave some genre fans underwhelmed. It's a film more likely to be appreciated for what it's trying to say than for how it says it.

The Woman in the Yard (2025)

Quick turnaround for this one has Amazon along with the streamers offering home viewing at theater $$$

https://jackmeat.com/the-woman-in-the-yard-2025/

Born To Raise Hell (2010) | Shuffle picked out this Seagal vehicle that is better than some of his STV stuff but not as good as his '88-'96 movie run. #jackmeatsflix

My quick rating - 4.4/10. I have meant to let shuffle help me weed through the 7000+ movies waiting, and finally getting to it. A hard-core Interpol Agent (Steven Seagal) is assigned to an Eastern European task force to target gun trafficking and dope running throughout the Balkans. While investigating a Russian gun dealer, his team is caught in a bloody street war between a Gypsy gang and the Russians, leaving one task force member dead. Fueled with vengeance, he leads us on an action-packed thrill ride while avenging his friend's death. Director Lauro Chartrand safely limits the amount of hand-to-hand combat for Seagal, which helps remove a bit of that stigma around his typical roles. He still chops quite a few people into submission, but the action is kept within reason.

As far as his post Under Siege days (the last decent Seagal vehicle he solo'd) Born to Raise Hell isn't awful and doesn't find its way falling into a "meme" category. If this one pops up on one of your streamers and you are a fan of mindless action flix, this should suffice, but don't expect anything too exciting or any twists that are going to challenge your mind. That has never been what Steven Seagal movies have been about. He is always that loner cop (usually because he gets his partners killed) and plays both sides of the law to get things done.

Born to Raise Hell (2010)

Quite a selection of freebies for this one along with Amazon.

https://jackmeat.com/born-to-raise-hell-2010/

Captain America: Brave New World (2025) | Solid action and strong performances, but the villain falls flat. Brave New World is a decent MCU setup, not a standout. #jackmeatsflix

My quick rating - 6.1/10. As the first of three MCU films releasing in 2025, Captain America: Brave New World enters the Marvel timeline with some fanfare and a fair amount of baggage. Stepping into the shield once again, Anthony Mackie’s Sam Wilson finds himself entangled in an international incident after a meeting with newly elected U.S. President Thaddeus “Thunderbolt” Ross, played by Harrison Ford. From there, the story unravels into a global conspiracy with political undertones, secret agendas, and of course, a few punches from a certain red-skinned menace.

The good news? Harrison Ford is a standout. Taking over the role of Ross and bringing a bit more screen time than his predecessors, Ford delivers a grounded, commanding performance. His take on the U.S. President adds gravitas and a dash of old-school charisma to a film that sometimes feels like it’s grasping for direction. Anthony Mackie also holds his own. His portrayal of Sam grappling with the weight of the Captain America mantle feels honest and earned. He doesn’t try to mimic Steve Rogers, and the film wisely leans into the idea that this isn’t about replacement—it's about evolution. Mackie conveys the inner conflict and responsibility well, showing a man learning to lead in a divided world.

Visually, Brave New World is striking, with solid action choreography and a relatively restrained use of CGI—at least by Marvel standards. The dogfight sequence over the ocean featuring Japanese fighter jets is a genuine highlight, delivering high-octane thrills with just the right amount of flair. The Red Hulk battle later in the film is another adrenaline spike, though the villain as a whole doesn’t land quite as strongly. Without giving too much away, the main antagonist, Samuel Sterns (Tim Blake Nelson), lacks the menace that MCU fans have come to expect. It feels like a missed opportunity, especially considering the potential behind the character’s origins.

The film’s story, unfortunately, feels like a patchwork of past MCU entries. With plot threads borrowed from The Falcon and the Winter Soldier and The Incredible Hulk, the narrative sometimes stumbles under its own weight. It’s serviceable, sure, but it lacks the cohesion or freshness that could have made this outing soar. The discovery of adamantium, for example, is an exciting development for the universe, but it’s treated more like a checkbox moment than a real revelation.

Sebastian Stan’s brief appearance as Bucky helps tie things into the upcoming Thunderbolts, but it feels more like setup than substance. The inclusion of the Sidewinder (Giancarlo Esposito) character, too, seems jarring—almost like an afterthought. Whether it was a late addition or just poor integration, those scenes feel out of place and tonally inconsistent with the rest of the film.

In the end, Captain America: Brave New World isn’t a bad movie—but it’s a middling one. It does enough to move the MCU chessboard forward, offers a couple of memorable sequences, and features strong performances from its leads. But its convoluted plot and underwhelming villain keep it from truly standing out. For die-hard Marvel fans, it’s worth the trip. For casual viewers, it might just be another piece of a larger puzzle.

Captain America: Brave New World (2025)

You can watch this one at home on Amazon along wit these streamers.

https://jackmeat.com/captain-america-brave-new-world-2025/

Companion (2025) | If you enjoy simple sci-fi thrillers, and performances that sneak up on you, Companion fits just don't expect a Terminator-style bloodbath, #jackmeatsflix

My quick rating - 6.8/10. In Companion, the dangers lurking in a secluded lakeside estate aren’t supernatural or slasher-based, they’re born from code, circuitry, and the slippery line between programming and personhood. The film doesn’t rely on jump scares or excessive gore. Instead, it threads a sharp needle through ethical quandaries, AI sentience, and human deceit, delivering a low-key but engaging sci-fi thriller that feels eerily plausible.

Sophie Thatcher sheds her survivalist Yellowjackets roots and steps into the silicon skin of Iris, a rented AI “companion” whose performance is easily the film’s highlight. Thatcher plays the role with precision—subtle, restrained, yet compelling. She captures that delicate balance of robotic detachment and growing self-awareness so convincingly that by the time Iris begins questioning her reality, you're fully on board. There’s no dramatic “robot goes rogue” moment here—instead, Companion explores what happens when AI doesn't want to kill... it just wants to live.

Jack Quaid continues his solid genre run as Josh, the human who rents Iris for the weekend. While most will recognize him for taking down superheroes in The Boys, here he’s a bit more subdued but no less shady. Quaid gives Josh a slick, morally ambiguous edge that plays nicely off Thatcher’s measured performance. His motivations slowly unravel through the runtime, and without giving too much away, let’s just say he didn’t invite friends to the lake for s’mores and boat rides.

The sci-fi concepts here are grounded—refreshingly so. Nothing feels too far-fetched or over-explained. The tech is believable, almost to the point of discomfort. That realism, paired with the film’s quietly unsettling tone, makes Companion feel like a lost (or maybe leaked) Black Mirror episode—which is appropriate, since Season 7 just dropped. And much like a good Black Mirror entry, this one lands its themes without feeling too on-the-nose or preachy.

There’s a sprinkling of dry humor, and while the violence is minimal, it hits harder because of how casual and unceremonious it is. No drawn-out screams or wild chase scenes—just cold precision, adding to the film’s robotic undercurrent. And even though the plot doesn’t blaze new trails or shock with major twists, it stays focused and satisfies.One minor gripe: the trailer gives away a few of the better moments, so if you're thinking of watching, skip the preview. This is a story better experienced cold. The tension builds best when you don’t know who’s using who, or what secrets each character is keeping tucked away.

Companion isn’t a game-changer, but it’s a sleek, smart entry in the tech-horror genre. Sophie Thatcher is clearly finding her niche, and if this film is any indication, we’ll be seeing her take on more roles that explore humanity from the outside in. The film may not reinvent the AI wheel, but it definitely adds a slick new spoke. Best for fans of Black Mirror, minimalist sci-fi thrillers, and performances that quietly sneak up on you. Avoid if you're expecting a Terminator-style bloodbath or big-budget spectacle.

Companion (2025)

Just remember, folks, sometimes the most dangerous Companion is the one that learns how to care.

You can check this one out on Amazon along with several other streamers, and coming to Max April 18th.

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

Distort (2025) | This found-footage scare attempt was really barking up the wrong tree of horror entertainment. #jackmeatsflix

My quick rating - 3.3/10. Let me start with a disclaimer: I’m not the target audience for found-footage films. Never have been. I like my horror with a pulse, a point, and, depending upon the story, a budget. That said, I went into Distort with an open-ish mind… and came out 76 minutes later with a new fear: barking dogs.

The plot, if you can call it that, follows James (James Devlin), a guy who retreats into the woods to record his new album. Because, you know, who doesn't head into the middle of nowhere with a mic and a dream? Sadly, he spends less time making music and more time discovering spooky cassette tapes left like haunted breadcrumbs. These tapes belong to a woman from the ‘90s (the golden age of poor decisions), who was researching an urban legend called "The Weeping Man."

And what horrors await? A creepy old dude sobbing next to a tree (+0.5 for the crying tree guy. That dude committed.) a rabid-sounding dog, and plenty of unlit, unwatchable scenes that give your imagination a real workout. If your favorite part of horror is hearing your neighbor’s golden retriever bark at the mailman, Distort is pure nightmare fuel. If not, you’re going to have a ruff time. (Yes, I went there.)

In a genre where The Blair Witch Project already did everything right 25 years ago, Distort bravely says, “What if we did everything... less right?” The characters exhibit that classic horror logic, like, “Something’s trying to kill me… but I did set the tent up, so let’s ride it out.” James could leave at any time. He doesn’t. Maybe he’s contractually obligated to die in the woods.

Credit where it’s due, though: writer/director Richard Waters does try to put a little spin on the found footage formula. And by “little,” I mean blink and you’ll miss it. But hey, he named his character Richard and cast himself in the role—bold move. A real auteur touch.

Distort (2025)

To sum it up: Distort is like if The Blair Witch Project and a YouTube vlog had a baby, then forgot to feed it plot or light. It tries, it whimpers, and then it barks... a lot. Watch only if you're bored, love dogs, or really need white noise to fall asleep.

Amazon has this one along with some streamer I have never heard of carrying this for free.

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

Black Bag (2025) | It's fun to see a 60s throwback spy thiller that prioritizes dialogue over action and features some excellent performances. #jackmeatsflix

My quick rating - 6.7/10. In Black Bag, director Steven Soderbergh delivers a sleek, moody espionage tale that strips away the explosive glamour of typical spy films in favor of a grounded, character-driven slow burn. This is not your typical popcorn thriller—there are no car chases, no gadgets, and no over-the-top villains. Instead, we’re treated to a refined and cerebral game of loyalty, deception, and trust, set in a world where whispers are more dangerous than bullets.

The story centers around Kathryn Woodhouse (Cate Blanchett), a seasoned intelligence agent who finds herself under suspicion of betraying her country. Her husband, played with icy precision by Michael Fassbender, is also a legendary agent and suddenly finds himself caught between his loyalty to his marriage and his duty to the nation. It’s a tense setup, and writer David Koepp makes the most of it, weaving in just enough misdirection and ambiguity to keep you guessing without tipping into absurdity.

The opening sequence, a seemingly mundane dinner party, is a masterclass in character setup. With just conversation and glances, Soderbergh introduces us to the key players, planting seeds that quietly grow into larger mysteries. It’s a small-scale scene, but it’s filled with tension that lingers throughout the film. This dinner isn’t just a gathering—it’s a battlefield.

Blanchett, as expected, is superb. She brings layers of vulnerability and quiet strength to Kathryn, making you question her motives at every turn. Fassbender matches her beat for beat, delivering a performance that’s internalized and nuanced, always letting us see the wheels turning behind his unreadable expressions. Their chemistry crackles, even in moments of stillness.

Soderbergh, no stranger to the espionage genre, shoots Black Bag with a loving nod to '60s spy thrillers. There’s a stripped-down elegance to the cinematography—long takes, subdued lighting, and careful framing give the movie an old-school feel. The aesthetic is clean, moody, and deliberate, perfectly mirroring the methodical unraveling of the plot.

This is a film that prioritizes dialogue over action, and while that may deter viewers expecting shootouts or car chases, those willing to sit with the tension will be rewarded. The entire film could very well function as a stage play—so much of it rides on conversations, posture, silence, and subtext. Every word spoken (and not spoken) feels like a clue.

Black Bag doesn’t try to revolutionize the genre. Instead, it refines it. It’s compact, smart, and somber—telling a complete story in 93 minutes without overstaying its welcome. For some, its subdued tone might feel too quiet or too careful, but for others, it’s a refreshing return to spy films that value psychology over pyrotechnics. With powerhouse performances, precise direction, and a tightly wound script, this flick proves that sometimes, the loudest explosions are the ones inside a character’s mind.

Black Bag (2025)

Amazon along with these streamers are carrying this at theater pricing.

https://jackmeat.com/black-bag-2025/

Amityville Clownhouse (2017) | If you are also a glutton for franchise punishment, this #turkey is about as bad as it gets. #jackmeatsflix

My quick rating - 1.4/10. Selected purely due to its merciful 74-minute runtime and my deeply unhealthy compulsion to consume every Amityville-branded atrocity known to mankind, Amityville Clownhouse somehow still managed to overstay its welcome. If watching this movie while laying in bed counts as self-care, then I’m in serious need of an intervention. (This is literally from my full movie database)

Amityville

Let me start by saying: I cannot remember the last time I watched an Amityville movie that didn’t suck. Honestly, I’m beginning to suspect the curse of 112 Ocean Ave. is actually just the filmmakers themselves. This entry opens with a cheap re-enactment of the infamous family murders that, I'm guessing, was meant to be gritty and disturbing. Instead, we’re treated to bargain-bin Halloween-store blood and a clown thrown in for no discernible reason, like someone was dared to ruin two horror subgenres at once.

Enter three fearless explorers, because what better thing to do than hang out in a murder house with a haunted clown toy? They break in, poke around, and then we’re served a good ol’ fashioned found-footage flashback that looks like someone taped over their cousin’s third birthday party. It’s a monkey. A toy monkey. That’s the Big Bad. And yes, it’s as dumb as it sounds. And don't mix it up with that quality Monkey production you recently read about.

Things escalate (or rather, devolve) when the cursed monkey spirit (??) possesses a man who immediately starts smacking his wife around like he’s in a soap opera directed by a sentient potato. It’s hard to judge the acting when you literally can’t hear a single word of dialogue. That’s right, despite clearly audible door slams, bird chirps, and probably the sound of my own disbelief, the conversations are mumbled into the void. I thought Mouse of Horrors had sound issues, but this is next-level. I considered turning on subtitles before realizing there were none and I may as well just imagine what they're saying. Spoiler: it doesn't help.

There’s a moment when the possessed husband tries to gaslight his wife with the classic line, “You’re neurotic, it’s the house that’s haunted.” Look, I get staying in a toxic relationship is complex and painful, but if your partner ever tries to explain away bruises by blaming an evil monkey spirit, pack up your clown shoes and leave.

In the end, Amityville Clownhouse is exactly what it promises: a clown show set in a house with Amityville slapped on the front like a fake Gucci label. The house they continually show doesn't look anything like it, then again, that poster shows a house that also doesn't match. Do not make the same mistake I did. Unless your shelf is already groaning under the weight of cursed mirrors, dollhouses, time-traveling clocks, and haunted VHS tapes all labeled Amityville, just walk away.

Amityville Clownhouse (2017)

But if you must—if you, too, are a glutton for franchise punishment—then honk that red nose and dive in. Misery loves company, after all.

Not sure why but Troma Now has this one along with these other streamers and freebies.

https://jackmeat.com/amityville-clownhouse-2017/

In the Lost Lands (2025) | All the puzzle pieces are here for a great fantasy flick but I felt like I watched a shadow of a better movie. #jackmeatsflix

My quick rating - 5.3/10. Directed by Paul W.S. Anderson and adapted from a short story by George R.R. Martin, In the Lost Lands had all the ingredients to cook up something memorable. We have a fantasy setting, a quest for ancient power, demons, swords, and a cast that includes Milla Jovovich and Dave Bautista. On paper, that’s a recipe for a wild ride. But what we end up with is a visually ambitious film that feels more like an underwhelming detour than the epic journey it wants to be.

The plot kicks off with a queen who sends the feared sorceress Gray Alys (Jovovich) into the spectral wilderness known as the Lost Lands, accompanied by the wandering swordsman Boyce (Bautista). Their mission? Retrieve a mystical power that can grant transformations. Along the way, they tangle with treacherous humans and deadly demons, all while building a fragile rapport. There’s action, magical lore, and a few narrative turns that try to keep things fresh. The problem is that it never quite gels.

Jovovich and Bautista are solid. Their chemistry is understated but functional, and their dialogue, while sparse and occasionally clunky, ends up working once the film’s central theme is fully revealed. That said, neither performance elevates the material, and both feel constrained by the script so if you weren't fans of them before, this won't be changing your mind. I’m a fan of both actors—Jovovich still owns a place in my movie-loving heart thanks to The Fifth Element, and Bautista has been fun to watch evolve beyond the wrestling ring—but this movie doesn’t really play to their strengths.

Visually, the film leans hard into CGI landscapes, and to be fair, if you like your fantasy worlds drenched in that digital haze, you might enjoy the scenery. Some of the creature designs are straight-up stunning—menacing, weird, and creative in a way that shows off what CGI can do when applied thoughtfully. But for me, the immersive magic was dulled by the constant sense that everything was shot in a warehouse. Even outdoor scenes had that hollow, artificial quality, like the actors were stuck in a snow globe with a green screen.

Anderson usually delivers punchy, stylized action—see the Resident Evil series for evidence—but here the fight scenes lack the kinetic energy or inventive choreography that made those films fun. Sure, the pace is brisk and there’s never a long stretch without something happening, but the action never hits that wow moment you keep waiting for. It’s serviceable, not spectacular.

There are glimmers of what In the Lost Lands could have been. The world-building hints at something grander, and some of the philosophical themes (power, transformation, sacrifice) are intriguing if underdeveloped. But the execution just doesn’t deliver on the potential. The puzzle pieces were there: a strong concept, a capable cast, an experienced director. They just didn’t snap together right.

It’s not a terrible film by any means, just one that leaves you wishing for more, especially given the names attached. If you’re here for fantasy vibes and impressive creature effects, it might scratch the itch. Just temper your expectations. I did, and still walked away feeling like I’d seen a shadow of a better movie.

In the Lost Lands (2025)

Grab some popcorn and flip on Amazon or any of these streamers to check this one out.

https://jackmeat.com/in-the-lost-lands-2025/