The Surrender (2025) | Those willing to embrace the slow, grief-laden pace will get a brooding character study with a supernatural edge and a bit of horror. #jackmeatsflix

My quick rating - 5.2/10. Grief and resurrection make for a grim pairing in The Surrender, the first feature-length film from director Julia Max. With a haunting setup and minimalistic staging, this is a slow-burn drama wrapped in the skin of a horror film. It’s a bold, grief-drenched debut that leaves room for both emotional introspection and blood-soaked ritual. I am pleasantly surprised Shudder brought us something this grounded.

The story opens on the death of the family patriarch, and while the film hints early on at the supernatural turn it will eventually take, it’s in no hurry to get there. For nearly an hour, we follow mother Barbara (Kate Burton) and daughter Megan (Colby Minifie) as they spiral through sorrow, guilt, and unresolved trauma. Their relationship, thick with friction and raw emotion, is the film’s core. It's hard not to get worn down by it at times. There's a lot of yelling and bickering, especially from Megan, whose whiny tone starts to grate. Still, despite these irritations, Minifie delivers a compelling performance that oscillates between unhinged desperation and vulnerability.

When the resurrection ritual finally arrives, it doesn't disappoint. The blood seeping into the summoning circle is one of the film’s most visually striking moments. It's a gruesome payoff for the restrained atmosphere that precedes it. But true to form, The Surrender doesn’t let horror overshadow its drama. The ritual is intense, but it’s what it unearths emotionally that carries more weight. Things go sideways in a way that feels more tragic than terrifying, reinforcing the film’s central thesis: grief isn’t something you can reverse.

Most of the film unfolds in a few dark, claustrophobic spaces, with just four characters overall. This includes younger versions of Barbara and Megan, whose flashbacks help fill in some emotional blanks. The limited cast and setting put pressure on the script and performances to deliver, and for the most part, succeed. Burton is reliably excellent, grounding Barbara with a quiet sorrow that plays well against Minifie’s intensity.

Given the film’s personal tone and emotional intimacy, it’s easy to speculate that writer-director Julia Max is working through something of her own here. That added layer makes the story feel more authentic, even if the characters themselves are not always easy to sit with.

While its horror elements are sparse and mostly saved for the climax, The Surrender succeeds as a brooding character study with a supernatural edge. It’s not for everyone, especially viewers hoping for a more traditional horror structure. Those willing to embrace the slow, grief-laden pacing will find a lot to appreciate in this bleak but thoughtful tale of loss and misguided hope.

The Surrender (2025)

This Shudder original can be watched on these streamers, some of which are linked to Amazon.

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

Shiver Me Timbers (2025) | Shiver Me Timbers is a baffling, blood-soaked cash grab stitched together with bad CGI, worse logic, and a total disrespect for continuity. #jackmeatsflix

My quick rating - 3.6/10. So, I finally took the plunge into the 74-minute whirlpool of nonsense that is Shiver Me Timbers, mostly because I saw the runtime and figured, "How bad could it be?" The answer? Pretty bad—but at least it was weird bad, which counts for something, I guess. That is what led me to rate it just behind Popeye the Slayer Man but not quite as bad as Popeye's Revenge.

Right out the gate, we’re hit with a baffling warning about "real murders" and some kind of comet-related cosmic nonsense, trying to root this slice of public domain piracy in real-world terror. Not sure who thought invoking Haley’s Comet would ground this goof-fest in reality, but it does provide the movie’s excuse for its meteor-wrought mayhem. Except… the director seems to think Haley’s Comet is the same thing as the Perseids meteor shower, so science was clearly not invited to the writer’s room.

Now, to the juicy stuff—or rather, the CGI blood that spurts like a broken ketchup packet in a fan. We’re talking decapitated heads that not only talk post-beheading but also apparently defy the laws of physics, landing 20 yards away only to teleport right next to the killer in the next shot like it’s a game of Dead by Daylight. There’s also the magical toxic waste barrels just chilling at a random campsite like it’s a Troma movie set.

And oh boy, the old man who mid-scene turns into a budget Popeye? Absolutely no explanation, silly transformation scene—just straight-up eye squint and mumbling before murder time. That’s the kind of commitment to confusion this movie has. Throw in a completely pointless five-minute dance break (yes, five minutes—we're on a short film budget but had time for this?), and you start to wonder if this was a college film project gone rogue.

As for the kills—sure, we get them. They exist. They’re as arbitrary as the characters’ decisions to split up Scooby-Doo style, with about the same level of strategic planning. But don’t look for logic here. One kill features the world's largest spinning saw blade, because why not? This is a film where logic was kicked off the plank somewhere around minute ten.

The cherry on top? It ends with a painfully forced "Groovy" that tries to pay homage to Evil Dead—and I cannot stress this enough—how dare they. This movie isn’t even in the same GALAXY as Raimi’s classic. It's like finding a moldy sandwich and calling it a tribute to gourmet cuisine.

Shiver Me Timbers (2025)

In the end, Shiver Me Timbers is a baffling, blood-soaked cash grab stitched together with bad CGI, worse logic, and a total disrespect for continuity. It’s dumb. It knows it’s dumb. But hey, it’s 74 minutes—you’ve wasted more time on worse. Maybe, and PLEASE be the last Popeye slasher for a while.

Amazon is one of a few streamers you can view this flick on.

https://jackmeat.com/shiver-me-timbers-2025/

The Iron Claw (2023) | This flick is undoubtedly must-watch that is beautifully acted about the Von Erich family which has long been synonymous with tragedy. #jackmeatsflix

My quick rating - 7.1/10. The Iron Claw is a haunting and emotionally charged look at one of professional wrestling’s most tragic dynasties—the Von Erich family. Director Sean Durkin brings both reverence and rawness to this dramatization of the brothers’ rise in the wrestling world and the heartbreaking losses that followed. For fans like me who lived through their heyday on UHF stations (look it up kiddos) or saw their names in tragic headlines, this film is both a love letter and a gut punch.

At its core, this is the story of four brothers—Kevin, David, Kerry, and Mike—whose lives revolved around the ring, all under the intense pressure and expectations of their domineering father and coach, Fritz Von Erich (Holt McCallany). The performances across the board are exceptional, but it’s Zac Efron who truly stuns as Kevin, the emotional anchor of the film. Efron brings such depth to the role that you feel every hit, physical or emotional, that life throws at him. His portrayal carries an authenticity that surprised me, as I was used to seeing him in lighter fare.

The film does an excellent job of capturing the era. We see the sweat-drenched gymnasiums, the half-full arenas, and the relentless physical and emotional toll of the business. There’s a dedication here to portraying how the brothers lived and breathed wrestling. It's not just their career—it’s their identity. Yet, amid the cheers and championship belts, a suffocating darkness looms. The Von Erich story has long been synonymous with tragedy, and Durkin doesn’t shy away from showing how it stalked this family like a shadow. As a fan growing up, I was constantly wondering when the next Von Erich was going to pass away.

However, for all its strengths, The Iron Claw makes one glaring omission that cannot be ignored. This is the complete erasure of Chris Von Erich. As the youngest brother, Chris idolized his siblings and even stepped into the ring despite significant physical limitations. His struggles and ultimate death were pivotal pieces in the larger family tragedy, especially considering it occurred shortly before Kerry’s demise. The decision to leave him out baffles me, particularly in a story that hinges entirely on the weight of brotherhood and familial grief. It's a disservice to both the audience and the reality of the Von Erichs' story.

The film also only briefly touches on Jack Jr., the first to die in a freak accident as a child. It’s another example of how certain painful truths are skirted in favor of a more streamlined narrative. But what remains is still powerful: a family trying desperately to find peace and pride under a patriarch who believed toughness was the only way to survive.

The Iron Claw is undoubtedly a must-watch, especially for those who followed wrestling in the '80s or have an interest in tragic true stories. It’s a beautifully acted and emotionally draining film, but its refusal to acknowledge the full scope of the family’s suffering leaves a noticeable hole in an otherwise powerful tribute. It’s a great film—just not a complete one.

The Iron Claw (2023)

Plenty of streamers to choose from including Amazon.

https://jackmeat.com/the-iron-claw-2023/

ApoKalypse (2025) | ApoKalypse is just like retail work if your coworkers are stoners, your customers are undead, and your shift ends in a blood-soaked food court. #jackmeatsflix

My quick rating - 5.2/10. If you’ve ever worked retail and thought, “I hope the next global catastrophe starts in this food court,” then ApoKalypse might just hit a little too close to home—assuming you haven’t already been bitten by a rabid zombie Karen screeching for soy-free oat milk.

The film kicks off with a premise so ludicrous it might’ve been born in a conspiracy subreddit. A rat poison called "Ratartarre" is sold as a COVID cure, and naturally, the people dumb enough to consume it (read: entitled mall shoppers) turn into zombie-like creatures with the emotional range of a DMV line and the fashion sense of a suburban wine mom. These “brain-deads,” all sporting various shades of the infamous Karen haircut, don’t just want brains—they want to see your manager NOW.

Apo, played with skateboard-deck-flat energy by Chris Koehne, is a directionless slacker whose dreams of going pro are put on hold when he's forced to fight through a zombie horde armed only with mild sarcasm and a total lack of charisma. Alongside him are Jamal (Ravin Wong), the best friend who deserves better, and Cho (Ao Mikazuri), the Korean chicken slinger/love interest who somehow doesn’t ditch Apo for a less bland option.

The real star, though? The sheer audacity of the humor. You’ve got zombie Karens lassoing people with their umbilical cord-attached zombie babies. A running gag about non-white people being immune. Cringe-racist white ladies who mispronounce "Negros" like it's a banned Harry Potter spell. The satire is so on-the-nose it’s basically punching your nose with a COVID-swab labeled "social commentary."

And who shows up during the credits? Officer Boll, yes, that Uwe Boll, playing an unaffected officer and delivering the line, “Finger lickin' good,” which in a zombie flick, I am sure you know the obvious yet mildly amusing joke they are going for.

Visually, the movie is what happens when Newgrounds meets Adult Swim: crude Flash-style animation for the bulk of its 68 minutes, interrupted by a hilariously jarring switch to expensive 3D for one sequence—complete with a fourth-wall-breaking joke about how much it cost. Honestly, that gag alone earned a full extra point on the scorecard.

The film doesn’t shy away from poking fun at every corner of American society, especially MAGA-land, and while not every joke lands, enough of them stick to make the chaos worthwhile. It often feels more like an irreverent pilot for a cult animated series than a full-fledged movie, but for what it is—an animated, low-budget, balls-out lampooning of modern culture—it mostly works.

All in all, ApoKalypse is messy, offensive, and juvenile. But also, kinda clever. Just like retail work—if your coworkers were stoners, your customers were undead, and your shift ended in a blood-soaked food court. This wouldn't normally be my type of flick, but I do thank Lutz Geiger for not only making this trip to the local Chopping Mall but also sending it over for a watch. I'll be looking forward to what comes next!

ApoKalypse (2025)

Amazon is the only place to stream this indie flick, so show them some love and check it out.

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

Warfare (2025) | Warfare is a gutsy film that opts for discomfort over spectacle and is a reminder that not all war stories need to be blockbusters #jackmeatsflix

My quick rating - 7.1/10. Warfare pulls no punches in delivering a raw and sobering depiction of modern combat. Eschewing the flag-waving bravado and bulletproof heroism that so often define Hollywood’s war epics, directors Alex Garland and Ray Mendoza instead focus on the uncomfortable, often chaotic truths of life on the ground during the Iraq War. Set in Ramadi, the film follows a platoon of Navy SEALs as they undertake a perilous mission — one that’s recounted not with glorified flashbacks but through fragmented, human memories marked by trauma, confusion, and moral ambiguity.

From the start, Warfare makes it clear this won’t be a traditional war movie. There are no grand speeches, no triumphant music, and no romanticizing of violence. Instead, it shows American soldiers occupying homes, pointing guns at terrified civilians, and navigating a hostile city where they are seen as invaders rather than saviors. The film wisely refuses to assign easy labels. Are the locals insurgents or protectors? Are the SEALs heroes or aggressors? The movie doesn't answer that — it simply presents the situation as it was experienced, leaving viewers to confront the unsettling gray areas for themselves.

D'Pharaoh Woon-A-Tai, Joseph Quinn, and Will Poulter all deliver standout performances. Each actor brings vulnerability to their roles, portraying not larger-than-life warriors but young men caught in a nightmare they can’t control. Woon-A-Tai, in particular, offers a quietly devastating turn, his expressive performance showing more through silence than words. It’s through their faces, body language, and breakdowns that the true cost of war is conveyed.

Technically, Warfare is impressive. The sound design and editing are phenomenal — gunfire, drone strikes, even silence are used to visceral effect. If you’re streaming this one, it’s absolutely worth turning up the volume; the audio work adds a layer of immersion that enhances the overall tension. Visually, the cinematography is gritty but deliberate. It doesn’t romanticize the setting or the violence, but instead captures the constant unease that hangs over every moment.

That said, the film isn’t without its flaws. While it succeeds in capturing the emotional and sensory experience of war, it leaves viewers in the dark when it comes to the broader context. Little effort was made to explain the mission’s objective, the soldiers' backgrounds, or even the political climate of Ramadi at the time. This intentional vagueness may be a stylistic choice, aiming to reflect the disorientation of the soldiers themselves, but I thought it weakened the narrative and limited my investment.

Additionally, while marketed as a film about Navy SEALs, their portrayal here may raise eyebrows. These are not the highly disciplined, elite operatives we often read about — they’re flawed, scared, and often reactive. As someone without military experience, I can’t speak to the accuracy, but I do wonder whether their depiction leans too far toward raw emotion at the expense of representing the professionalism and training that define such units.

Still, Warfare is a gutsy film that opts for discomfort over spectacle and asks more questions than it answers. It’s not a masterpiece, but it is a powerful reminder that not all war stories need to be crowd-pleasing blockbusters. Sometimes, just telling the truth, or as close as memory allows, is enough.

Warfare (2025)

Amazon, along with these streamers are carrying this one at theater pricing as of 05.24.25

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

Until Dawn (2025) | Brutal, creative, and creepy, Until Dawn reimagines the game with a looping slasher twist and strong performances. #jackmeatsflix

My quick rating - 6.5/10. Until Dawn isn’t a shot-for-shot retelling of the excellent video game (I recently finished the remake), and that’s probably for the best. This new adaptation, directed by David F. Sandberg, takes some liberties with the source material but manages to spin it into something uniquely brutal, atmospheric, and surprisingly thoughtful in its own way. It's far from flawless, but there’s enough here to enjoy, especially for those who appreciate horror with a bloody edge and an experimental twist.

Set one year after the mysterious disappearance of her sister Melanie, Clover (Ella Rubin) and a group of not-so-close "friends" venture into a remote valley seeking answers. Their journey leads them to an abandoned visitor center where things quickly unravel. They're stalked by a masked killer, violently picked off one by one… only to wake up right back at the start of the same evening. Yes, the film dips into Groundhog Day horror territory, but to its credit, it doesn't just replay the same events each time. The variations and the psychological descent the characters experience are what keep it engaging.

Right from the opening moments, it’s clear this group can’t stand each other. That actually works in the movie’s favor—when the deaths start piling up, you’re not heartbroken, but you are entertained. There's a certain twisted glee in watching a dysfunctional group try (and fail) to survive night after night. It’s not about warm friendships but survival instinct and fraying sanity. And that change in dynamic suits the grim tone Until Dawn is going for.

Fans of the original game might be put off by the lack of snowy mountaintops and the absence of key early-game story elements, especially the prank setup involving Josh. That was a memorable, defining twist in the game, and here it’s glossed over with only a subtle nod. But that’s where some understanding is required: the game was a multi-path experience with endless outcomes, while the film is confined to a singular narrative arc. Expecting it to be identical is misguided. It's a different medium, and this story chooses to focus more on fear manipulation and looping trauma.

There are ties to the original, and one in particular at the end could suggest a direction for a sequel. No spoilers, but it’s enough of a breadcrumb to keep fans intrigued. Sandberg smartly builds on the idea of horror as a psychological experiment, twisting the characters through repeating dread and escalating violence.

The kills are vicious, the gore is top-notch, and there's genuine creativity in how each death is executed. It’s not just slasher fodder; there’s some imagination at play. Ella Rubin gives a standout performance as Clover, especially in her more… unhinged moments. Without giving too much away, let’s just say she makes “possessed” work in a way that’s both unsettling and captivating.

All in all, Until Dawn is a solid adaptation—not perfect, but a bold and bloody interpretation that pays homage without being enslaved by the source. Fans willing to accept it on its own terms will find a lot to like. Here's hoping this is just the beginning.

Until Dawn (2025)

This one is priced for theaters on these streamers, including Amazon.

https://jackmeat.com/until-dawn-2025/

Bottoms (2023) | Bottoms is a comedic love letter to high school, if you hated everyone there and decided to relive Fight Club in gym class. #jackmeatsflix

My quick rating - 6.2/10. So, Bottoms has been loitering in my watchlist like an uninvited drama kid at a varsity football party. I finally sat down to see what all the queer chaos was about, and what I witnessed was part Fight Club, part Bring It On, and part "what the hell did I just watch?" It’s not horror (for once), but it might haunt certain high school cliques forever.

The movie stars Rachel Sennott (who also co-wrote it) as PJ, a self-absorbed teen with a mission: seduce a cheerleader. Her partner in crime is Josie (Ayo Edebiri), slightly less unlikable but still onboard with the plan to kickstart a fake feminist self-defense club that somehow spirals into an all-out brawl-palooza of misguided girl power and misplaced hormones. Imagine if two horny outcasts tried to stage a revolution and accidentally got a bunch of teenage girls to start pile-driving each other in gym class. That’s Bottoms, OK, part of it.

Now, here’s where it gets wild (and dumb, but in a lovable way): the football team wears full pads everywhere like they’re allergic to jeans. The cheerleaders? Let’s just say, Sennott didn’t even try to give them a brain cell to share. Their biggest moment is a non-sexy, wet t-shirt-adjacent pep rally scene that’s less "wow" and more "why?"

Somehow, every single character in the movie ends up being more likable than PJ. If that was a creative choice, bravo. If not, someone needs to check on Sennott’s high school yearbook—there’s some serious unresolved angst pouring out of this script. If she had friends, they're all blocking her now.

The comedy does slap, but it slaps like a school bus hitting a clown car. It’s chaotic, sometimes tone-deaf, but when the punches fly (literally), it’s genuinely funny. Marshawn Lynch steals scenes as the only adult in sight—clearly confused, likely high, and definitely the MVP. You’ll ask yourself: Who is running this school? The answer is “nobody,” and that’s the joke.

Oh, and there’s not a cell phone in sight. Either this takes place in some bizarre Gen-Z utopia without TikTok, or they just couldn’t be bothered with continuity. The middle of the film slows when it tries to inject real emotional stakes, but thankfully, it remembers it’s a satire just in time for a gloriously stupid finale involving anarchy, violence, and girl-on-girl redemption.

Bottom line: Bottoms is like watching a high school play written by someone who watched Mean Girls, GLOW, and The Purge in the same night. It’s not meant to be taken seriously. If you’re in the target audience—teenage, rebellious, and fluent in ironic detachment—you’ll probably adore it. If you’re not, you’ll still have a good time wondering how on Earth this made it to theaters.

And honestly? I’m glad it did, it is just unfortunate it vanished into my blackhole of a watchlist.

Bottoms (2023)

You have quite a few streaming choices, including Amazon for this one.

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

In A Violent Nature (2024) | A breath of fresh air in the slasher genre shifting the focus to the accidentally resurrected killer's POV and the brutal kills he doles out. #jackmeatsflix

My quick rating - 6.3/10. This flick delves into the dark allure of the undead with a fresh perspective, making it a welcome entry for me in the slasher genre. In A Violent Nature revolves around the resurrection of a monstrous entity after a locket is removed from its resting place in a collapsed fire tower. This act unleashes a series of brutal killings in a remote wilderness, setting the stage for an iconic new killer.

I immediately noticed the unique approach to storytelling. Unlike traditional slasher films that focus heavily on the victims and their futile attempts to escape, this flick shifts the narrative to the killer's perspective. This decision keeps the audience's attention firmly on the antagonist, enhancing the sense of dread as we follow his every move. The victims, often engaged in typical slasher film activities, serve more as a backdrop to the killer's relentless pursuit, adding a layer of realism to the unfolding horror.

The cinematography deserves commendation, particularly the forest scenes. The filmmakers use the wilderness setting to their advantage, creating an eerie atmosphere that amplifies the tension. The camera work effectively captures the isolation and unpredictability of the forest, making it an integral part of the narrative. Simple yet effective. Even with all this good, it is not without its flaws. Do I need to bother mentioning acting in this type of movie?

The ending feels somewhat forced, as if the creators weren't entirely sure how to wrap up the story. This leads to an obligatory sequel setup, which might leave some of you feeling unsatisfied. Despite this, the pacing remains consistent throughout, ensuring that the audience stays engaged from start to finish. For slasher movie enthusiasts, In a Violent Nature offers a refreshing take on the genre. Its focus on the killer combined with absolutely brutal kills, makes this one a horror fan treat. While it may not be perfect, it certainly stands out for its distinctive approach and atmospheric tension, so check it out.

For a first full-length flick from writer/director Chris Nash I think we see there are good things to come in the future, and I am looking forward to what is next.

In a Violent Nature (2024)

You can check this one out on Amazon along with these streamers.

https://jackmeat.com/in-a-violent-nature-2024/

Hell of a Summer (2025) | More like "Mildly Inconvenient Evening." This flick is too timid to be scary and too clumsy to be funny. #jackmeatsflix

My quick rating - 5.0/10. If you’ve ever wondered what it would be like if Scream, Wet Hot American Summer, and a PG-13 afterschool special had a lovechild—and then immediately abandoned it in the woods—you’d probably still end up with something slightly more frightening than Hell of a Summer. More fitting words for this are "competent" and "average," which I doubt are anything any aspiring creator is shooting for.

We meet Jason Hochberg (Fred Hechinger), a 24-year-old man-child who returns to Camp Pineway as a counselor, even though he clearly hasn’t matured past camper. Jason’s main struggle is connecting with the teen staff, who all seem like they walked off the set of a bad TikTok series. And if you thought Jason Voorhees was the biggest threat to summer camp, well… buckle up.

Hechinger’s portrayal of Jason is so whiny and awkward that it makes you want to root for the killer just to shut him up. I know I was. And maybe that was the point? If so, bravo, Fred—mission accomplished. If not, well, somebody needs to apologize to the audience.

Directors Billy Bryk and Finn Wolfhard (yes, that Finn—Stranger Things’ resident spooky kid turned indie auteur) attempt a meta-slasher send-up with a retro 80s vibe, but forget one crucial thing: slashing. The kills mostly happen offscreen, probably because the killer was too embarrassed to be seen with this script. And when you do get some action, it’s over quicker than Jason’s ability to hold eye contact.

Instead of gore, scares, or even suspense, the film serves up a buffet of overcooked personalities. Every character is a walking cliché: the jock, the shy girl, the try-hard, and of course, the guy who makes you question why you’re watching this at all. There’s a twist reveal, but it’s delivered with the subtlety of a whisper in a hurricane. Blink and you’ll miss it. Don’t blink? You’ll wish you had.

Wolfhard’s involvement both behind and in front of the camera is the biggest flex here, but even he seems like he’s doing a high school project that accidentally got picked up for distribution. The movie wants to be Scream but lacks the self-awareness, the blood, the boobs, and, frankly, the budget.

There’s a nostalgic slasher flick buried somewhere beneath all the shrieking and pointless dialogue, but it’s been smothered by an unwillingness to commit to the genre. It’s like ordering hot wings and getting a plate of unseasoned tofu sticks. Yes, technically still food, but why?

In the end, Hell of a Summer doesn’t just pull its punches—it never bothers to throw them. It’s too timid to be scary, too clumsy to be funny, and too focused on Jason to be tolerable. The only real horror here is realizing this might be the new generation of slasher films. The filmmakers are 25 & 22, so they do have plenty of room to grow.

Hell of a Summer (2025)

More like "Mildly Inconvenient Evening." This flick is too timid to be scary and too clumsy to be funny.

Amazon, along with several other streamers, carry this flick for you.

https://jackmeat.com/hell-of-a-summer-2025/

Holland (2025) | Holland is a middle-of-the-road mystery that mistakes mild tension for depth and scenic shots for storytelling. #jackmeatsflix

My quick rating - 5.1/10. Holland, Michigan—home of tulips, windmills, suspicious dancing, and apparently, Nicole Kidman’s marital paranoia. Holland brings us Nancy (Kidman), a soft-spoken teacher living what appears to be a picture-perfect life in a town that looks like a Hallmark postcard threw up on itself. But as any good Midwesterner knows, behind every smiling face is a brewing storm, or at least a pretty juicy suspicion.

Nancy begins to suspect her husband Fred (played with subtle menace by Matthew MacFadyen) of cheating. The twist? She's the one actually having the affair. Nothing like an adulterer on a moral mission to spice things up! You haven’t lived until you’ve seen a woman gaslight herself into thinking she’s the victim while sneaking off to... grade papers with her coworker, presumably.

But wait, there's more! Because this wouldn’t be a psychological thriller without a series of bizarre dream sequences. Nancy’s dreams are like if Twin Peaks moved into a Dutch souvenir shop—colorful, unsettling, and filled with people who may or may not be speaking in riddles. You half expect a clog to tap out Morse code.

Unfortunately, all that dreamy potential is wasted. Despite being 110 minutes long, the story somehow races through every juicy narrative beat like it's trying to catch the last float at Tulip Time. The mystery around Fred? Barely explored. The thrilling turn the movie promises in the trailer? Let’s just say it took a wrong turn at Windmill Lane and never came back.

Visually, the film nails the Holland, MI vibe—quaint, friendly, and unnervingly Stepford-esque. And as someone who’s had real-life encounters with Holland and neighboring Zeeland's surreal charm (and its inexplicably magnetic and quite lovely Tulip Time festival-goers), I can confirm the town really is that weirdly wholesome. Sadly, that authenticity doesn't save the film from its own narrative flatness.

In the end, Holland is a middle-of-the-road mystery that mistakes mild tension for depth and scenic shots for storytelling. If you’ve ever wanted to watch Nicole Kidman bake a pie while existentially unraveling in slow motion, this is your jam. Otherwise, you might be better off visiting the real Holland. At least there, the windmills have more emotional range.

Holland (2025)

This one is exclusive to Amazon Prime so click and sign up if interested.

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

A Hard Place (2025) | This isn’t prestige horror—it’s a late-night creature feature that knows what it is and doubles down on the madness. #jackmeatsflix

My quick rating - 4.9/10. If you’ve ever wondered what would happen if a heist crew accidentally wandered into a turf war between daytime monsters and nocturnal nightmares, A Hard Place has your answer—and it’s soaked in ooze and B-movie bravado.

The film opens with a bang—literally—a zombie attack in a drive-in movie that screams low-budget fun and sets the tone for the campy chaos to come. But wait! That’s not the actual movie... it’s a movie within the movie. A clever trick to introduce us to a couple of characters that have nothing to do with our story, but will return randomly on various screens. Seems that faux movie is popular amongst the country folk.

Soon, we meet our unlucky criminals, fresh off a job and unknowingly strolling into the worst “wrong place, wrong time” situation imaginable. You’ve got tree-human hybrid monsters attacking in twitchy, herky-jerky fashion. They are definitely humans in costumes, but there’s something weirdly entertaining about the synchronized creepiness. Then there’s the rival faction: a bunch of scraggly hillbillies who start out cartoonishly unthreatening but get a full moon makeover into... well, something. Their transformation scene features gloriously goopy practical effects, and while I couldn’t tell you exactly what species they were shooting for, I can confirm it’s wet.

Felissa Rose as Henrietta or Ma chews up every frame she’s in. She’s commanding, wild-eyed, and clearly having a blast, making her the MVP of the cast. And speaking of memorable women, Bai Ling opens the film with some serious butt-kicking energy. She still holds a soft spot in my horror heart after The Crow, and her presence here adds instant flair. Ashley Undercuffler, whom I did remember from Craving, plays it quiet until suddenly she doesn’t—then it’s on.

Felicia and Ashley

Dinner Time

Heist Crew

The crew? Surprisingly chill about being monster bait. They split up like all horror victims do, but at least this time it feels more “blame the chaos” than “blame the brain cells.” It’s not exactly logic-driven, but it fits the film’s gleefully ridiculous rhythm. Did I mention the mysterious briefcase with unknown contents? That is thrown in for good measure to appease the Tarantino fans.

J. Horton packs this flick with ideas. Like his other work, it’s ambitious in concept and crafty in execution. He makes the most of what he’s got, aiming for creativity over polish, and you have to respect that. This isn’t prestige horror—it’s a late-night creature feature that knows what it is and doubles down on the madness.

Throw this one on with some buddies and a cooler of beer. Don’t expect coherence. Don’t expect answers. Just let the monsters, mayhem, and backwoods moon-mutants wash over you. Thanks to Justin Cook for putting this one on my radar—it’s a hard place, but not a bad time.

A Hard Place (2025)

On May 27, 2025, audiences across North America will be able to rent or own A Hard Place on Digital VOD, including Apple TV and Prime Video.

https://jackmeat.com/a-hard-place-2025/

The Bondsman (2025) | This is a perfect quick binge, a good time, and a perfect watch for fans of campy supernatural action. #jackmeatstv

My quick rating - 7.5/10. The Bondsman doesn’t try to reinvent the wheel, but it sure knows how to keep it rolling in style. This backwoods horror-action-comedy hybrid follows the story of Hub Halloran (Kevin Bacon), a rough-edged bounty hunter who returns from the dead with unfinished business, both with his past and with the demons that are now slipping through the cracks of hell. What follows is a high-energy, half-hour-per-episode romp through southern-fried supernatural chaos that leans hard into its inspirations and keeps things fun, fast, and bloody.

Kevin Bacon absolutely owns the lead role, delivering a grizzled, no-nonsense performance that oozes charisma. He's a hard-ass with a shotgun, a guitar, and just enough heart to make the stakes feel real. It’s one of those roles that feels tailor-made for an actor of his caliber. Just as memorable is Beth Grant as his sharp-tongued, God-fearing mother Kitty, who adds a whole other layer of charm and grit to the mix. Their scenes together are some of the season’s best, blending old-school family dynamics with demon-slaying absurdity.

The tone will immediately feel familiar to us fans of Ash vs Evil Dead, with its splashes of over-the-top gore, offbeat humor, and creature-of-the-week format. There's also a strong whiff of Brimstone in there, and likely a few other cult series baked into the DNA. That said, The Bondsman doesn’t hide its influences, it embraces them. This isn’t the most original show on the block, and it’s not trying to be. What it delivers is pure, pulpy entertainment.

The show is built to be easily digestible, with quick 30-minute episodes that rarely drag and always end with just enough intrigue to keep you queuing up the next one. While the demon mythology stays on the surface for now, the show doesn't pretend to be a deep lore-dive, at least not yet. The simple premise and episodic structure work in its favor, allowing the effects team to go wild with a new hellspawn design each week, many of which are surprisingly well-rendered.

The humor lands more often than not, and the cast is solid across the board, each character bringing their own kind of energy to the screen. The special effects, while clearly on a TV budget, are effective and stylized enough to be a highlight. And even when the plot treads familiar ground, the performances and monster-of-the-week format keep it from feeling stale.

In the end, The Bondsman delivers what it sets out to do: it entertains. It’s a quick binge, a good time, and a perfect watch for fans of campy supernatural action. Here's hoping future seasons ramp up the violence, stretch the runtime a bit, and dive deeper into the infernal lore hinted at this season. More demons, more music, more mayhem—bring it on.

The Bondsman (2025)

This one is exclusive to Amazon Prime for the time being.

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

A Breed Apart (2025) | A Breed Apart is a survival horror where the real challenge is not turning it off. #jackmeatsflix

My quick rating - 2.7/10. You know you’re in for a rough time when the first thought you have upon meeting the cast is: "Perfect dog food, every one of them." That’s not just an insult, it’s the plot. A Breed Apart tries to serve up social media satire with horror thrills but ends up somewhere between Fyre Festival and a middle school AV club’s Jurassic Bark fan film.

We follow Violet (Grace Caroline Currey), the only halfway likable character, who accepts an invitation to a private island for what’s advertised as an influencer paradise but instead ends up on Dog the Bounty Hunter: Rabid Edition. The dogs? Supposedly legendary man-eaters. The influencers? Unemployed narcissists with the combined IQ of a toaster. And the writing? Let's just say a junior high creative writing class would’ve sent this script back with “see me after class” scrawled in red pen.

The film does open with a bite—literally. Some iffy CGI dogs chomp their way through a victim in a sequence that promises excitement. That promise is a lie. Turns out, that was the best the movie had to offer, visually speaking. From that point on, the effects get so bad it’s like the animators fell asleep on the "smudge" tool. The dogs start barking like velociraptors, and flares explode like frag grenades, because physics apparently died before the first draft did.

There’s an early window scene that makes zero sense, even in a movie where Instagram clout equals survival skills. One minute, a character can’t drive a golf cart up a hill. Next minute? That baby’s moonwalking in reverse like it’s powered by Elon Musk’s imagination. Continuity? Logic? Please, those concepts were clearly devoured by the same dogs we constantly see (even though rendering them cost $11 and someone's old laptop).

The island does look nice, though. So, kudos to the location scout. At one point, they find an old chair that says The Breed on it—an unintentional metaphor for how this movie tries (and fails) to ride the coattails of something vastly better. I am sure if they sent Michelle Rodriguez this script, she lit it on fire. IMDb notes that the screenwriters were “inspired” by The Breed (2006). Inspired how, exactly? By watching it blindfolded?

And the ending. Oh boy. During the credits, we catch a glimpse of what might’ve been an explanation for a major plot hole involving a character magically appearing on a boat. But instead of resolving it, the filmmakers must’ve gone, “Eh, let the audience figure it out. Or don’t. Who cares?”

To its credit, this isn’t quite a full #turkey, but it sure has drumstick energy. The cast tries. Grace Caroline Currey deserves better. I laughed a few times at its absurdity. We all do.

A Breed Apart (2025)

Final thought: A Breed Apart is a survival horror where the real challenge is not turning it off.

There are only a few streamers to choose from if interested in watching this.

https://jackmeat.com/a-breed-apart-2025/

Killers (1996) | This deranged home invasion flick is a love-it-or-hate-it kind of movie, and if you’ve read my reviews before, you've probably decided which side you’re on. #jackmeatsflix

My quick rating - 6.1/10. What the hell did I just watch? That was my immediate thought—again—after revisiting Killers, a deranged little home-invasion thriller that veers way off the rails in the best (and sometimes most baffling) ways. Years ago, I caught this indie oddity and forgot to leave a proper review, but it recently surfaced in a piece about the Menendez brothers, and the parallels to that case make it worth a revisit.

Odessa (Dave Larsen) and Kyle (David Gunn) James aren’t your average suburban sons. They go upstairs one night and murder their parents in cold blood, with creepy smiles to match. Unlike Lyle and Erik Menendez, these two escape prison and take their brand of chaos on the road. Eventually, they land in suburbia, kicking off a home invasion on the unsuspecting Ryan family. From there, Killers becomes increasingly unhinged, abandoning convention and narrative rules in favor of bloody, manic energy.

Directed by Mike Mendez (yes, that’s actually his name), the film looks like it was stitched together by a tight-knit crew with more ambition than budget, and it kind of works. You can feel the passion, the rough edges, and the sheer wildness of the ideas that didn’t all fit neatly into 87 minutes. There’s a scrappy charm in how it’s all thrown together, like a student film that grew teeth.

The acting, while hardly Oscar-worthy, is exactly what it needs to be for this kind of story. Everyone involved seems fully committed to the insanity. Blood flows freely, so gorehounds won’t walk away disappointed. There’s even a ridiculous gun battle that’s as far removed from realism as possible, but in an entertaining, “don’t-take-this-seriously” kind of way.

Stylistically, you can tell Mendez was drinking from the Tarantino well—snappy, offbeat dialogue, pop-culture musings, and sudden bursts of violence all echo that mid-‘90s wave of pulp-inspired crime flicks. Sometimes it lands, sometimes it doesn’t, but it adds to the chaotic fun.

Here’s the thing: Killers is far from perfect, but it’s weirdly memorable. It’s one of those under-the-radar ‘90s thrillers that doesn’t get talked about much but leaves a mark once you’ve seen it. Honestly, it’s the kind of film that would benefit from a proper remake—flesh out the story, expand the characters, and let the mayhem breathe a little more. Hollywood loves remaking the wrong stuff (The Crow, Road House, do I need to continue?), but this is a title that could actually use a modern do-over.

Killers (1996)

Killers isn’t for everyone. It’s a love-it-or-hate-it kind of movie, and if you’ve read my reviews before, you probably already know which side of that fence you’re on. If you're in the mood for something offbeat, bloody, and a little bit bonkers, this should scratch that itch. Just don’t expect it to make a whole lot of sense.

Amazon, along with quite a few freebies, has this one to stream.

https://jackmeat.com/killers-1996/

Presence (2025) | Presence is worth watching for the concept alone, especially if you're in the mood for something different and not a scream or gore fest. #jackmeatsflix

My quick rating - 5.9/10. Steven Soderbergh’s Presence is less a traditional haunted house movie and more of an artful experiment in perspective. Marketed—perhaps misleadingly—as a horror film, this 85-minute suburban ghost story leans more into quiet unease and emotional tension than jump scares or gory thrills. The real hook here is the concept: the filmmakers shot the entire movie from the ghost's point of view. And in that regard, Soderbergh delivers something fresh, even if the execution doesn’t always live up to the premise’s potential.

Lucy Liu grabs the human spotlight as she plays the family mother who has just moved into what they soon discover is a not-so-empty house. She’s great here, relatable and emotionally honest in a role that asks her to anchor scenes with little conventional back-and-forth. But ultimately, the ghost is the real star, and Soderbergh’s camera puts us directly behind its silent, spectral eyes.

It’s a neat trick. The filmmakers use a floating, voyeuristic perspective to make you feel like you're eavesdropping on lives never meant to be watched. It’s immersive in a way most ghost stories only aspire to be. But where it falters is in the story itself. There’s just not enough meat on the bones to justify a full feature. Once the novelty of the gimmick wears off—and it does wear off—you’re left hoping for deeper character arcs, tighter tension, or at least a few shocking revelations.

And while there are thematic undercurrents at play here, ones that do eventually bubble to the surface, they arrive too softly to hit with any real impact. The film has something to say, sure, but if you pick up on it in the first act, the rest of the journey starts to feel like slow-motion confirmation rather than discovery.

Then there are moments of head-scratching logic that yank you right out of the atmosphere. One particularly dumbfounding choice comes when the parents, after witnessing a full-on supernatural meltdown in a bedroom, decide to leave the kids home alone. Come again? Not only have they verified that the house is haunted—no ambiguity, no "maybe it was the wind" excuses—they still treat it like a mild inconvenience. No panic. No immediate exit. Just a baffling lack of urgency that undercuts the credibility of the entire family dynamic.

That said, this isn’t a bad movie. Far from it. It’s stylish, well-acted, and genuinely interesting to look at. The filmmakers created what feels like a really impressive short film and then padded it out into a feature without adding enough substance to fill the frame.. It’s not scary, not shocking, and not particularly twisty, but it is a unique take on a genre that’s too often stuck in repetition.

Presence (2025)

Bottom line: Presence is worth watching for the concept alone, especially if you're in the mood for something different. Just temper your expectations. This is a quiet experiment, not a scream-fest—and if you go in looking for blood-curdling horror, you're going to come out haunted by missed potential instead.

Amazon along with several other streamers are carrying this one.

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

Joker: Folie À Deux (2024) | Phoenix and Gaga are perfectly cast but don’t expect Joker 2. This is Joker: The Musical, and that is about all you need to know. #jackmeatsflix

My quick rating - 4.7/10. After dancing around the idea of diving into this unlikely sequel, I finally sat down to watch Joker: Folie À Deux, bracing myself for the cinematic equivalent of stepping on a rake. After all, Joker (2019) was a near-flawless film—moody, haunting, and unrelentingly raw. It was lightning in a bottle. Could Todd Phillips really do that again? And if so… as a musical? Apparently, he thought he could—honestly, I can't tell if that's bold or just absolutely bonkers. Either way, here it is.

The film picks up more or less in the chaotic wake of Arthur Fleck’s televised execution of Murray Franklin. Now incarcerated in Arkham and awaiting trial, Arthur’s fractured mind finds a new outlet: music. Cue the hallucinations, the surreal dance numbers, and the duets with his new partner-in-crime—and love—Lee Quinzel, played by Lady Gaga. And let me say, Gaga absolutely kills it. She leans hard into the mania, yet manages to give Harley Quinn something vulnerable, strange, and captivating. Joaquin Phoenix matches her note for note, both in madness and melody.

That said, Folie À Deux feels less like a sequel and more like an experimental dream spliced from cut scenes of the original. It’s as if this were the back half of a four-hour epic that someone sliced into its own movie and thought, “Let’s throw in show tunes and call it art.” And weirdly… sometimes it works. The performances are magnetic. The visual tone is stunning. The musical numbers, while divisive, feel purposefully unhinged, which suits the characters, even if it doesn't always suit the plot.

But that's the thing: there isn't really a plot. We’re dragged through Arthur’s trial, his descent (or rise?) into infamy, and his romantic obsession with Quinzel, but it all feels like a series of set pieces with no clear destination. He murdered someone on live TV and admitted it. The trial lacks tension. We know how it ends before it begins. And yet, the film asks us to feel something about it all, even as it refuses to justify why we should.

Then there's the unfortunate inclusion of Harvey Dent, portrayed by Harry Lawtey. This version of Dent is hollow, forgettable, and clearly only here because the lore demands it. It’s a disservice to the character and, frankly, the actor. Dent deserves better than this awkward script-dump of lines.

Still, what saves Joker: Folie À Deux from complete collapse are the lead performances. Phoenix and Gaga are perfectly cast, and their chemistry, while deranged, is absolutely electric. Without them, this would be a disastrous vanity project. With them, it becomes a fascinating misfire that you can’t quite look away from.

Joker: Folie à Deux (2024)

So is it good? I’m not sure it cares. Is it worth watching? If you're curious—absolutely. Just don’t expect Joker 2. This is Joker: The Musical, and that is about all you need to know.

This one is available on most streamers including Amazon.

https://jackmeat.com/joker-folie-a-deux-2024/

Prey for the Bride (2024) | This flick tries to blend bachelorette party drama with slasher thrills, but delivers a bland, bloodless experience that forgets what makes the genre tick. #jackmeatsflix

My quick rating - 4.3/10. Tubi has been pumping out a lot of original content lately, and when Prey for the Bride showed up in their latest promo email, I figured why not give it a shot. The setup is familiar: a group of women head out for a bachelorette getaway, only to find themselves hunted by a masked figure with a score to settle—and secrets to expose. Sounds like solid slasher territory, right? Unfortunately, this one barely grazes the genre’s potential.

Let’s start with the good—or at least the promising. The film kicks off with a quick stabbing, which gave me some hope that it might go full throttle early on. But that initial flash of blood ends up being one of the few sharp moments in an otherwise blunt experience. From there, it devolves into painfully stilted one-on-one dialogue. Seriously, it feels like the actors are reading their lines off cue cards held just out of frame. Whether it’s wooden delivery, awkward pauses, or forced emotional beats, the script constantly drags things down.

As a slasher, Prey for the Bride commits the worst genre sin: it’s tame. The kills are uninspired and bloodless, the mystery is surface-level, and there’s a notable absence of the usual campy charm or shock factor. No gratuitous sex scenes, no inventive gore—just safe, sanitized death scenes that would feel more at home in a mid-tier crime procedural than a horror flick. In fact, this feels like what would happen if Lifetime tried to make a slasher movie, minus the dramatic monologues and courtroom scenes.

The cast, to their credit, isn’t terrible. Nobody stands out, but nobody really tanks it either. They get the job done in the most average way possible. The pacing is surprisingly on point; the film never really drags, and it keeps moving briskly toward its third-act twist. That said, the finale is a mess—ambitious, sure, but utterly implausible. Without spoiling anything, let’s just say the laws of physics (and common sense) were completely ignored. Forensics would tear this scenario apart in seconds.

Still, there’s a niche audience for this kind of low-budget horror. If you’re a slasher completionist or someone who browses Tubi looking for new horror to throw on in the background, this might satisfy a late-night craving. But for those hoping for a rewatchable cult gem or even a guilty pleasure, you’ll be disappointed. It’s just not sharp enough.

Prey for the Bride tries to blend bachelorette party drama with slasher thrills, but ends up delivering a bland, bloodless experience that forgets what makes the genre tick. Skip it unless you’re scraping the bottom of the Tubi barrel—or curious how a Lifetime horror might look.

Prey for the Bride (2024)

I am guessing Tubi is the only place to see this but JustWatch doesn't even show that.

https://jackmeat.com/prey-for-the-bride-2024/

The Gorge (2025) | The Gorge is a compact, genre-defying film with a limited yet effective cast that pulls off more than it has any right to. #jackmeatsflix

My quick rating - 7.3/10. Scott Derrickson’s The Gorge is one of those rare films that dares to blend radically different genres, action, horror, sci-fi, and romance. Somehow, it still comes out the other end with its identity intact. At its core, it’s a two-hander set against a remote and mysterious ravine, anchored by strong performances from Miles Teller and Anya Taylor-Joy as Levi and Drasa, two elite operatives stationed on opposing sides of a forbidding gorge for reasons that were never quite clear.

From the moment Levi and Drasa are drugged and helicoptered in, there's an ominous energy to their assignment. That’s the first clue something is way off, and things only escalate from there. The initial firefight ratchets up the tension, but the true horror arrives when the film takes us into the gorge. What emerges from below is not just a threat, but a mind-bending, nightmarish force. It’s best to go in knowing as little as possible. This is one of those stories where discovering the nature of the threat on your own adds a whole layer of dread and wonder.

Shot in some visually striking locations across Norway and the UK, the film uses its landscape to full effect. The fog-laden cliffside sequences are both beautiful and unnerving, and once we descend into the titular gorge, the atmosphere shifts dramatically. Derrickson’s talent for horror imagery is on full display, making the subterranean scenes oppressive and surreal, a stark contrast to the lush, open-air visuals above. Given the challenging terrain, action sequences are tight, well-paced, and creatively staged.

The script by Zach Dean is impressively balanced. It does the work of slowly developing a connection between two isolated characters communicating across a chasm, forming a natural bond. That emotional groundwork pays off once they finally come together and face what’s beneath. It’s a testament to the writing that the romance feels earned even as the narrative dives deep into Lovecraftian terror and adrenaline-pumping combat.

Miles Teller plays Levi with a mix of weariness and buried idealism, while Anya Taylor-Joy’s Drasa is guarded, gradually revealing depth and mystery. Their chemistry plays out not in the usual meet-cute way, but through terse handwritten conversations, mutual trust, and shared trauma. The romantic element could’ve felt forced, but it’s surprisingly affecting, fitting for a film that dropped on Valentine’s Day.

Sigourney Weaver appears in a brief but potent role, commanding every second of her screen time. The limited cast overall works to the film’s benefit, keeping the focus tight and the stakes personal. The music, courtesy of Trent Reznor, elevates the atmosphere with his signature industrial melancholy. There's a subtle power to the score, guiding us emotionally without ever overwhelming the moment.

In the end, The Gorge is a compact, genre-defying film that pulls off more than it has any right to. Had it focused solely on its horror or its romance, it might’ve felt uneven. Since it commits to both, it finds its own strange rhythm. It’s gripping, heartfelt, and at times haunting—a genuinely pleasant surprise.

The Gorge (2025)

As you can see, it is Apple TV+ right now for this one. There may be other streamers later on.

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

Heart Eyes (2025) | Watch it for the kills. Tolerate the rest. And maybe hold off on announcing your relationship status in public, HEK is watching. #jackmeatsflix

My quick rating - 5.7/10. Heart Eyes is one of those movies that you forget about on your watchlist until the algorithm politely (and aggressively) reminds you, “Hey, remember this one with the guy stabbing lovers in the face?” And so, out of curiosity and mild guilt, you hit play.

To its credit, this slasher doesn’t waste time—no slow-burn nonsense here. Within the first five minutes, somebody’s already dying, and not in a metaphorical, “they didn’t text back” kind of way. No, this is classic stabby-stabby Valentine’s Day horror, and briefly, it feels like we’re about to get a bloody gem.

And then the movie decides to take a detour. A long one. For about thirty minutes, Heart Eyes becomes something like Clueless crash-landing into Anyone But You, if those movies had been hijacked by someone who watched exactly half of Scream and thought, “I could do that, but what if it was also kind of a Hallmark movie?” Our two leads, who are not a couple, and remind us of that more often than the killer needs, are mistaken as romantic partners by the so-called “Heart Eyes Killer,” who has a flair for symbolism and stabbing anyone who celebrates love in public.

After another attack jolts the movie awake, we enter a long and overly dramatic interlude about how maybe—just maybe—the cops arrested the wrong guy. Whoopsie-daisy. The tension dips, the momentum stumbles, and you might find yourself scrolling your phone until the blood starts flowing again.

Fortunately, once the HEK starts slashing his way through a drive-in like it’s his personal buffet of basic couples, Heart Eyes remembers what kind of movie it should’ve been all along. There’s some genuinely fun, gory chaos here, and a few moments of dark comedy that actually land. But by that point, we’ve also seen so many bafflingly stupid character decisions—guns dropped, doors left open, hiding literally anywhere else but under the table—that it's hard not to root for the killer out of sheer frustration.

Seattle itself is oddly magical in this film: bustling and crowded one second, then completely empty the next, like the city flips between realities every time the camera cuts. Spooky? Sure. Convenient for chase scenes? Absolutely.

Josh Ruben, who previously gave us the underappreciated Werewolves Within, wrangles this messy mix into something watchable, but just barely. The kills are creatively brutal, and the final act offers enough blood-splattered Valentine carnage to partially redeem the wishy-washy tone. Still, it’s hard to shake the feeling that Heart Eyes could’ve been so much more if it had picked a lane and stayed in it.

Watch it for the kills. Tolerate the rest. And maybe hold off on announcing your relationship status in public—just in case HEK is still out there.

Heart Eyes (2025)

Love means never having to say you’re sorry... for dropping the gun again.

There are a few streaming options for this one, including Amazon.

https://jackmeat.com/heart-eyes-2025/