Sunday, November 30, 2025

Frenzy Moon (2025) | Come for the werewolves, stay for the unintentional laughs. Frenzy Moon is a #turkey best left off your cinematic plate. #jackmeatsflix

My quick rating - 2.4/10. “Be Warned,” the poster proudly proclaims. And for once, I have to say the movie poster tells the absolute truth. Frenzy Moon opens with a fog-covered forest, the kind of spooky establishing shot that might have worked if it didn’t have 10-cent credits super-glued on top, the kind you could whip up in PowerPoint during a lunch break. Two people wander through the trees looking for bear footage, which immediately tells you they don’t value their lives, their free time, or the audience’s. Naturally, within seconds, they find something to chase them, though what that something is remains unclear, thanks to some wildly nonsensical, “please ignore this” shifts between day and night. One shot looks like morning, the next looks like midnight, and then - why not - a werewolf attacks in broad daylight like it’s late for brunch.

And speaking of werewolves… wow. This movie wastes zero time showing off one of the saddest wolf costumes ever captured on camera. Instead of building suspense, they go full reveal early, as if daring us to keep watching. I guess the filmmakers figured, “Let’s get the laughter out of the way now—because we sure didn’t budget for it later.” To their credit, they do get creative with blood and gore, splashing it everywhere like a kid discovering red food coloring for the first time. Too bad every werewolf shot looks like a Halloween store clearance rack came to life.

Enter six college grads heading to a cabin in the woods for a getaway, which goes about as well as you’d expect. Within minutes, you can practically see the hatred simmering behind their forced smiles. The couple arriving late starts bickering before they even step out of the car, then they hit one of the hunters on the road, because why not stack problems early? Soon enough, the group devolves into arguing, crying, sniping, unloading their “true feelings,” and generally proving that the werewolves aren’t the biggest threat. Being stuck with each other is.



We’re then treated to an outhouse attack scene full of dramatic wood-splintering sound effects, except nothing on screen is actually breaking. It’s like a Foley artist was hired to work entirely from imagination. The acting? Dreadful. The dialogue? Truly awful. The attack scenes? Hilariously bad. I can admire the attempt to avoid CGI, but this costume is not the “practical effects win” they think it is. It looks like someone sewed couch cushions together during a blackout.

By the finale, a character is blasting away with a gun that never gets reloaded - not once. Infinite ammo. Maybe it’s a cheat code. Maybe it’s magic. Or maybe no one cared anymore. I know I didn't.

Writer/director Gregory Lamberson clearly has a sense of humor, you’d need one to release something like this. And that “Be Warned” tagline? Consider this review your confirmation. Stay far, far away from Frenzy Moon. This turkey isn’t even the good kind, the leftovers-from-Thanksgiving kind. This is the kind that leaves you wondering why you pressed play in the first place.

Frenzy Moon (2025) #jackmeatsflix
Frenzy Moon (2025)
https://jackmeat.com/frenzy-moon-2025/

Saturday, November 29, 2025

Altered (2025) | There’s a good film buried under the noise somewhere, but it stumbles from scene to scene without ever sprouting. #jackmeatsflix

My quick rating - 4.0/10. Altered drops us into an alternate present where genetically enhanced elites run the show, and regular folks, or anyone not born from a designer gene catalog, are treated like disposable background characters. Right off the bat, we meet Leon (Tom Felton) and Chloe (Elizaveta Bugulova), two outcasts trying to fight back against a system stacked higher than a Marvel movie’s VFX budget. After a quick bit of exposition, we’re shuffled straight into a future-tech heist, which is honestly where the movie is at its strongest… mostly because the pacing doesn’t give you time to question anything yet.

Unfortunately, once you do start questioning things, the cracks show fast. The genetic elitists, supposedly evolved beyond us mere mortals, look less like sophisticated superhumans and more like the rejected creature designs from a Syfy pilot. Their modifications are strange and not in any way intimidating, unless you’re afraid of awkwardly applied prosthetics. Being separated from Chloe for about two minutes sends Leon into a meltdown like he’s been wandering the desert for years. And then there’s Mira (Aggy K. Adams), a famous singer who goes from kidnapped victim to soul-bonded ride-or-die in the span of a single montage. The script bends itself into a pretzel to make these relationships happen, and none of it feels earned. “Script of convenience” is the nicest way I could put it.



Leon’s superhero-ish suit doesn’t help matters. I couldn’t tell if it was supposed to be intimidating or a rejected costume from Kick-Ass. And yes, things do take a hard left turn into sudden romance. The whole movie has this “was this written by AI?” vibe. If not, someone was definitely speed-running the screenplay at 3 a.m. Timo Vuorensola has done much better (I have seen Iron Sky), so the laziness here is disappointing.

Predictability is the real villain. You’ll see every plot point coming long before the characters do. The action scenes? Completely laughable. When the anti-genetics group slaughters an entire restaurant, not a single drop of blood hits the floor. It’s shockingly sterile. Audio editing swings wildly from scene to scene, and there are jarring music-video-style cuts that seem like they’re supposed to convey a vibe, but instead land like unfinished placeholders.

The frustrating part is that the core idea isn’t bad at all. Some environments look solid, and a few effects are serviceable enough to communicate what’s happening, even if “strength” and “random flower energy” are as deep as the power system goes. Bugulova deserved more dialogue because she’s genuinely the best thing on screen. Felton gives what he can, but his character is written to be irritating, so there’s only so much he can do.

Altered (2025)
Altered (2025)

The message is worth hearing; the execution is not. Altered is watchable once, but barely. Not the worst concept - just a painfully weak delivery.

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

Friday, November 28, 2025

Drive-Away Dolls (2024) | A quirky road-trip comedy with great chemistry between Qualley and Viswanathan if you don't mind some clunky themes. #jackmeatsflix

My quick rating - 5.4/10. Drive-Away Dolls is one of those movies that sneaks up on you, not because it’s profound, but because it has that strange, Coen-adjacent charm. The characters are just odd enough, the timing is just off enough, and the plot is just chaotic enough to keep you watching even when the movie keeps tripping over its own shoelaces.

I ended up watching this because Matt Damon mentioned it during his Colbert interview, and honestly, that was enough of a push. The guy could sell me on a documentary about oatmeal if he tried hard enough. The good news? Damon’s cameo here is actually one of the film’s more amusing surprises, and the movie itself has enough personality to justify the detour.

The heart of the film lies with Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan), two women who couldn’t be more different if you cast them from separate cinematic universes. Jamie is a chaotic bisexual hurricane, breezing from breakup to breakdown with “I swear I’m fine” energy. Marian is the kind of soft-spoken, tightly wound introvert who breaks into a mild sweat just watching Jamie exist. Their odd-couple chemistry is legitimately great. Qualley gives Jamie that reckless, flirty spark she does so well, and Viswanathan plays the reluctant partner-in-crime with perfect comedic exasperation.



Whether they're fumbling through roadside disasters, outrunning cartoonishly incompetent crooks, or simply trying to borrow a car without accidentally getting wrapped up in a criminal conspiracy, their dynamic carries most of the humor. The comedic timing between them is sharp, and the movie shines brightest when it's simply letting these two bounce off each other.

But where Drive-Away Dolls stumbles is in its handling of sexuality and intimacy. It’s not that the LGBTQ+ elements shouldn’t be there - they absolutely should - it’s that the film tries a little too hard to make sexuality part of the punchline instead of simply part of the characters’ lives. Instead of feeling organic, some of these moments come off like the script clearing its throat and going, “See? We’re being edgy and modern!” when it really didn’t need to. The movie already has personality. It already has charm. Nothing had to dial itself up to get my attention.

Fortunately, the movie doesn’t derail itself entirely. It stays playful and breezy, delivering a series of amusing detours, mistaken identities, and silly criminal mishaps that feel right at home in a dusty road-trip comedy. The villains are entertainingly dumb, the pacing is brisk, and the film hits enough comedic beats to keep you smiling even when it tries too hard to be “something more.”

Drive-Away Dolls (2024) #jackmeatsflix
Drive-Away Dolls (2024)

In the end, it's a light, quirky romp with a talented cast doing fun character work. It may not fully stick the landing, and it definitely fumbles its attempt at thematic depth, but it still manages to be an enjoyable, low-stakes ride. If you’re in the mood for something colorful and a bit off-kilter, with just enough weirdness to give it flavor, Drive-Away Dolls is worth tossing on for the journey alone.

https://jackmeat.com/drive-away-dolls-2024/

Thursday, November 27, 2025

Derelicts (2017) | My #Thankskilling tip: if your family dinner feels unbearable, let Derelicts prove it can always get way, way worse. #jackmeatsflix

My quick rating – 4.5/10. Derelicts takes the classic Thanksgiving-gone-wrong setup and throws it into a blender with grindhouse grime, pitch-black humor, and a family so dysfunctional you start wondering whether the homicidal vagrants invading their home might actually be the more stable option. Brett Glassberg kicks things off with a hilariously crass opener that immediately sets the tone - this is a movie that wants you uncomfortable and amused at the same time, and it succeeds right away. The family’s dynamics are established quickly: everyone hates each other, everyone is miserable, and dinner hasn’t even been served yet. Honestly, the invaders crashing their night might be the first interesting thing to happen to them in years.

The villains themselves are surprisingly effective thanks to a cast that leans hard into the menace. Their introduction, kidnapping party guests, and letting GPS do the rest is exactly the kind of chaotic logic this film thrives on. Once the home invasion begins, Derelicts becomes a brutal, sometimes absurd psychological takedown of its suburban targets. The movie has a 70s grindhouse look and feel, complete with a hilariously fake storm filter that I couldn’t stop laughing at. And yes, this film earns the award for Most Creative Use of a Penis Pump in Horror. Didn’t know that category existed? It does now.

The practical gore is handled cleverly, using angles and cuts to stretch the budget without feeling cheap. Among the pack of maniacs, Bo (Kara Mellyn) easily steals the entire movie. She’s unhinged in a way that feels both theatrical and terrifying, and every scene she’s in gets an immediate energy spike. The plot is more of a loose framework than a fully formed narrative since most of the film is simply watching this miserable family get psychologically dismantled room by room.



A mid-invasion discovery on Gregg’s (David Lee Hess) phone reveals he’s juggling a mistress, so naturally, Morgan (Marcela Pineda) is invited to join the festivities. Because if your Thanksgiving isn’t already a nightmare, why not add adultery to the menu? This all nudges his wife Constance (Kelly Dealyn) right over the edge, and truthfully she was already wobbling there long before anyone broke into the house. The tonal influence of Rob Zombie’s Firefly trilogy is unmistakable; this feels like a dollar-store, DIY cousin of The Devil’s Rejects - but Glassberg clearly understands what makes that brand of chaos fun.

The ending, while serviceable, stumbles into one of horror’s oldest sins: characters achieving the upper hand and then… just standing around. When you’re holding the larger weapons and your enemies are basically two seconds from killing each other, maybe don’t admire the scenery. Still, what’s a horror movie without a few idiot moves and some armchair second-guessing?

Derelicts won’t become your annual Thanksgiving horror tradition, but fans of home-invasion flicks and grindhouse-style nastiness might enjoy giving it a spin at least once.

Derelicts (2017) #jackmeatsflix
Derelicts (2017)
https://jackmeat.com/derelicts-2017/

Wednesday, November 26, 2025

The Drowned (2023) | Decent production values can’t save this plodding siren-myth thriller with more noise blasts than story. #jackmeatsflix

My quick rating – 3.9/10. The Drowned sets up a promising mix of crime thriller and aquatic folklore, but ultimately drifts too long in shallow waters. After pulling off an art heist, three thieves hole up in a remote coastal safe house, only to find their fourth missing. The setup suggests paranoia, mistrust, and maybe even a lurking myth waking beneath the tide. Instead, what we get is 84 minutes of wondering if anything is ever going to actually happen.

Writer/director Samuel Clemens clearly intended to weave in siren mythology, but the execution is… murky. Rather than hypnotic singing, the victims in this film are blasted with overwhelming soundwaves, and so are we. The movie leans heavily on amped-up audio shocks that are supposed to feel unsettling, but mostly just grow tiring and repetitive. It’s a stylistic swing that might’ve worked once or twice, but the constant barrage becomes the film’s biggest distraction.

Most of the runtime focuses on the three thieves trapped with three conveniently stranded women who show up without explanation and are immediately down for sex. Suspicious? Yes. Believable? Not even slightly. But to be fair, the movie has a consistent theme: men are idiots, and no mythological song is needed to make us that way. The film wants this dynamic to create tension, but with so little dialogue and so much staring into the middle distance, the suspense never quite builds into anything satisfying.



The heist itself is explained only through scattered flashbacks, and even once pieced together, it doesn’t amount to much. The eventual “mysterious” ending feels less like a twist and more like, “Well… we’ve reached the 80-minute mark, time to wrap it up.” It’s not so much ambiguous as it is incomplete - a conclusion that seems required simply so the movie can stop.

To its credit, The Drowned isn’t a total wash. For an indie production, the cinematography is surprisingly good, with some moody coastal shots that echo classic horror atmosphere. The isolated setting is perfect for the story’s intentions, even if the story itself doesn’t fully take advantage of it. The cast, all unfamiliar faces to me, all do solid work with what little dialogue they’re given. Sandrine Salyères stands out as Noe, the so-called “princess” of the group, and Michelangelo Fortuzzi’s Paul feels like the only character with an active brain cell among the thieves.

It’s not the worst low-budget thriller out there, and the production values show real potential, but the near-total lack of momentum or payoff is going to sink it for most viewers. With its 2023 stamp and eventual 2025 release, it clearly took a long time to wash ashore on streaming, and for many, that may be the most intriguing mystery it has to offer.

The Drowned (2023) #jackmeatsflix
The Drowned (2023)
https://jackmeat.com/the-drowned-2023/

Tuesday, November 25, 2025

The Man in My Basement (2025) | Stylish but slow mystery where Willem Dafoe shines, while the story drags and the lack of answers makes it frustrating. #jackmeatsflix

My quick rating - 4.8/10. The Man in My Basement starts with a promising hook. A man on the brink of losing everything decides to rent out his basement to an eccentric stranger. Simple setup, juicy potential. And with Corey Hawkins opposite Willem Dafoe, you’d expect the film to mine that tension for all it’s worth. Instead, it plays like a movie with all the right ingredients but no idea what to cook.

Charles Blakey (Hawkins) is down on his luck, but director Nadia Latif makes absolutely sure you don’t develop an ounce of sympathy for him. This man behaves like such an asshole at every turn that you end up watching him the way you watch a slow-moving car crash - morbid curiosity, zero emotional investment. Hawkins commits, no doubt, but the writing gives Charles so few redeeming qualities that it’s hard to care what happens to him, even as things start to get weird.

There are flashes of something deeper. Latif’s use of mirrors creates a handful of genuinely creepy, layered shots that hint at a richer psychological thriller lurking beneath the surface. And early on, the film teases multi-dimensional characters and a plot with enough shadowy corners to get lost in. But that promise evaporates quickly. The story locks into a single plotline and refuses to budge, dragging its feet through scenes that feel repetitive instead of suspenseful. What starts as intriguing soon becomes a test of patience.



As expected, every scene with Dafoe is a highlight. He brings that hypnotic, finely tuned strangeness he’s famous for, and his character—Anniston Bennett—feels like he’s harboring something fascinating just beneath the surface. Unfortunately, the film never lets us see it. One of the most glaring missed opportunities is the decision to hide Bennett’s past rather than explore it. Show us the memories, the people who shaped him, the emotional stakes behind his cryptic behavior, anything that would anchor the guy beyond “enigmatic basement renter with a vibe.” The breadcrumbs are there, Latif just never follows the trail.

And that runtime? At 114 minutes, The Man in My Basement overstays its welcome by at least twenty. Even stretching it to 90 minutes would’ve been ambitious given how thin the story ultimately is. The longer it goes, the more you feel the narrative spinning its wheels, building toward an endgame you assume will reveal something clever or profound. Instead, you get… basically nothing. Latif chooses the “no explanation needed” route, and the result is more frustrating than mysterious.

In the end, strong acting and a handful of stylish moments aren’t enough to save a script that feels lost in its own basement. Without Willem Dafoe, this would’ve been a complete misfire. Latif shows skill behind the camera, but the story needed far sharper direction.

The Man in My Basement (2025) #jackmeatsflix
The Man in My Basement (2025)

https://jackmeat.com/the-man-in-my-basement-2025/

Monday, November 24, 2025

Buried Alive (2025) | Trapped in a bunker with mutants, Officer Briggs faces cheesy effects & frantic action. I can already hear Svengoolie warming up. #jackmeatsflix

My quick rating - 3.6/10. Buried Alive is one of those movies that feels like three completely different films all got lost in the Arizona desert and accidentally converged inside the same abandoned missile facility. And honestly? That’s probably the most interesting thing about it.

We kick things off with a group of rich, loud, terminally annoying young adults, the type I hope won’t survive the opening credits. Then we cut to a crew of “dangerous criminals” who look like they’re auditioning for a Suncoast Video remake of Sicario. Then there’s a third group pulling some sort of Robin Hood-lite burglary, because why not? It’s like the director Robert Conway put character descriptions in a hat and told everyone to pull until they felt ready to shoot.

Meanwhile, Officer Charlotte Briggs (Brittany Mae) is introduced, arresting a guy so oblivious to the world around him that even the mutants later on would’ve said, “Dude, look alive.” Her timing is impeccable, blissfully unaware of the low-budget shootout erupting nearby. And to be fair, I was willing to let that dollar-menu gunfight slide. But when the “explosion” hit? Oh boy. I haven’t seen a blast that unconvincing since my microwave reheated a cold burrito.

Naturally, the chaos funnels everyone - cops, crooks, influencers, and what I’m pretty sure was an understaffed production crew - straight into an abandoned mine. One of the criminals even states the obvious: “I’ve seen movies like this, and they don’t end well.” King of awareness right there.



And then there is this boulder scene. Watching a group of grown men attempt to lift a “massive rock” that wobbles like a spray-painted inflatable pool toy was genuinely one of the funniest moments of the entire movie. I hope they kept the outtakes.

But wait, the mine suddenly morphs into a Cold War military bunker, because geography and architecture are merely suggestions. That’s when the creatures show up. Credit where it’s due - they wisely kept them hidden for a while. Less because of suspense and more because the longer you mask those dollar store werewolf suits, the better. When they finally appear, it's like being attacked by rejected mascots from a minor-league hockey team.

Enter the Overseer, a sinister voice trying its hardest to sound menacing while giving off major “guy running a Halloween maze with a $20 PA system” energy. Officer Briggs becomes our last line of defense in this subterranean circus, fighting mutants, bad guys, worse guys, and a script that definitely needed more attention.

By the time the finale rolled around, I had mentally accepted the movie for what it was: a low-budget creature feature that never quite rises above “solid 4.” But in the last few minutes, it delivers a charmingly goofy nod to the alternate ending of Army of Darkness - a reference that maybe 12 people on earth will catch, and I was one of them. For that, I can’t even be mad.

Buried Alive (2025)
Buried Alive (2025)

Give it a couple of decades, and you’ll probably see this pop up on whatever the 2045 equivalent of Svengoolie is. And honestly? That feels exactly where it belongs.

https://jackmeat.com/buried-alive-2025/

Sunday, November 23, 2025

The Fall Guy (2024) | A fast, entertaining reboot filled with great stunts and humor, offering plenty for action junkies and fans of the classic show. #jackmeatsflix

My quick rating - 7.4/10. The Fall Guy ends up being one of those rare reboots that actually gets it right. It's respectful to the classic TV show while cranking up the energy with massive practical stunts, charismatic performances, and a clear love for old-school stunt work. David Leitch leans into what he knows best, and casting Ryan Gosling as Colt Seavers was absolutely the right move. Gosling plays Colt with the perfect mix of charm and humor, exactly the kind of personality fans of the show, like myself, remember. His stunt sequences look and feel real because, for the most part, they are. The commitment in the film to practical effects pays off with some of the most impressive car rolls and crash work you’ll see in a modern action movie.

The Sydney setting adds a ton of visual personality, whether it’s high-speed chases skimming along the harbor or big stunt setups staged against the city skyline. The location becomes part of the fun. It also helps give the movie its own flavor instead of trying too hard to imitate the original series beat for beat.

I feel that Emily Blunt was a big highlight. She brings sharp comedic timing and plenty of attitude, and her role goes beyond the typical “supporting love interest.” Her character, a director working on a film-within-the-film called Metalstorm, actually ties into the plot in a relevant way, while the chemistry with Gosling works without feeling forced. It’s a dynamic pairing that keeps the story moving and gives the film a little more emotional weight than expected.



One thing that immediately stood out to me was the use of Kiss’ I Was Made for Lovin’ You. The song pops up multiple times and fits the tone perfectly. It gives the movie a playful pulse, and honestly, it’s hard not to smile when the soundtrack kicks in. Being a big Kiss fan, that's a fun touch that adds to the overall vibe, even if you’re not on their mailing list.

Stick around for the mid-credits scene. Without spoiling anything, it offers a satisfying little bonus that is funny and ties up a few loose ends, including an extra glimpse at the chaos behind the making of Metalstorm. It’s a nice nod to the spirit of the original series — lighthearted, a bit cheeky, and full of appreciation for the craft of stunt performers.

In the end, The Fall Guy delivers exactly what it promises with big stunts, great chemistry, and a throwback feel without leaning too heavily on nostalgia. It’s a confident, entertaining reboot-true to the show’s legacy yet standing firmly on its own. Fans of the original will have plenty to enjoy, and newcomers should have no trouble jumping right in. For someone who grew up with the series, I was rather relieved and pretty impressed that they didn't screw this one up.

The Fall Guy (2024) #jackmeatsflix
The Fall Guy (2024)
https://jackmeat.com/the-fall-guy-2024/

Saturday, November 22, 2025

7 Days to Hell (2025) | Hell’s full of beautiful women, but the real horror is JJ’s acting and fashion sense in this B-budget flick. #jackmeatsflix

My quick rating - 3.5/10. If you’ve ever wondered what would happen if a man with the fashion sense of a Vegas street magician made a deal with the literal Devil, 7 Days to Hell finally answers that burning question. Great, now I can shift my mental energy back to more productive things, like dusting my Ethernet cables.

JJ (Shane Woodson) has exactly one week to collect seven souls for Hellena (Andrea Garces Lopez), a surprisingly chill devil who decorates Hell like a gothic Sandals resort staffed entirely by models. Honestly, if the afterlife looked like this, Sunday morning attendance would drop harder than Blockbuster stock.

It’s a low-budget ride and wastes no time proving it. JJ’s second soul-gathering task? Turn $100 into $5,000 without killing anyone. How that relates to collecting souls is never explained, but hey, logic took its own vacation for this shoot. Naturally, he lands in a poker game that plays like a discount Rounders recreation directed entirely from memory after One Bourbon, One Scotch, One Beer.

Lucy (Natasha Stricklin), Hellena’s minion, is the film’s real MVP — part guardian angel, part plot GPS. Without her steering JJ through his week-long disaster, the movie would collapse under the weight of his chain-smoking and his wardrobe choices. I swear, Woodson looks like he lost a bet and had to wear the wardrobe equivalent of a dare.



But then comes the subplot no one asked for: JJ falls instantly in love with a hooker named Charlotte (Denise Milfort), and before you can say “this feels wildly unearned,” they’re getting married in the single dumbest ceremony ever put on film. And because the universe hates us just a little, their vows are sung, yes, karaoke-style, while the movie grinds to a halt. It’s like Woodson decided, “We could show more kills… or we could have Auto-Tune and a love story written on a napkin.” Bold choice. Not a good one, but bold.

Once JJ wins his 5K, he immediately blows it like he’s a lottery winner with 24 hours to live. The club sequence is a highlight, featuring a band that looks like the high-school talent-show losers who were told they could still “chase the dream.” It’s gloriously awkward, and therefore one of the more entertaining moments.

Woodson stars, writes, and directs — proof that sometimes doing all three doesn’t mean doing them well. The writing is serviceable, the directing works within a budget that probably couldn’t cover a Taco Bell run, and the gore actually looks decent. Credit where it’s due: for a movie this cheap, the headshots are surprisingly respectable.

The real problem is JJ himself. Woodson just doesn’t sell the role, and when 7 Days to Hell leans into the “love conquers the devil” angle, it plays like a parody that forgot to tell the audience it’s a parody. Add nonstop smoking, goofy romance, and dialogue that feels intentionally silly but lands accidentally silly, and you get a film that’s definitely more fun to describe than to sit through.

7 Days to Hell (2025)
7 Days to Hell (2025)

Bottom end of a 4 from me — and honestly, that’s me rounding up out of goodwill.

https://jackmeat.com/7-days-to-hell-2025/

Friday, November 21, 2025

Playdate (2025) | A light, goofy PG action flick with Kevin James and Alan Ritchson dodging mercenaries during a “playdate” gone insane. #jackmeatsflix

My quick rating - 5.4/10. Playdate is exactly what I was expecting. A light, PG-rated action comedy built around a ridiculous premise, a likable ensemble, and enough energy to keep things rolling even when the jokes don’t all land. We open with a surprisingly tight little car-chase sequence, nothing groundbreaking, but enough to get your attention, before the familiar “24 hours earlier” interlude swoops in. Thankfully, the movie doesn’t drag its feet. About 25 minutes later, we’re back to the opening chaos, caught up, and finally understanding why these four mismatched souls are barreling through suburbia in a minivan. Why they’re being shot at… well, that takes a little more patience.

The core setup is simple with Brian (Kevin James), an out-of-work accountant who looks like he would struggle to survive a particularly aggressive game of tag, joining stay-at-home dad Jeff (Alan Ritchson) for an innocent playdate between their sons. What follows is a full sprint of mercenaries, mistaken identities, and escalating nonsense. Think Spy Kids meets The Pacifier, but with more dad jokes and fewer explosions.

One thing the movie nails is casting. Sarah Chalke as the mom is a fantastic surprise. I’ll always appreciate a Scrubs alum popping up in anything. Banks Pierce as CJ, the more chaotic of the two sons, brings genuine comedic timing, while Benjamin Pajak’s Lucas pulls off that classic “nerdy kid who levels up under pressure” arc. Ritchson leans into his action-hero comfort zone while still selling the softer dad-vibes, and yes—the gag of his military commander being named Colonel Kurtz (Hiro Kanagawa) is clever, even if half the audience won’t catch the Apocalypse Now nod.



Then there’s Alan Tudyk as Simon Maddux, the eccentric millionaire villain who steals every scene he pops into. His presence immediately reminded me how much I am going to miss Resident Alien. The writers’ take on cloning is… let’s call it “scientifically adventurous,” but at least it leads to some of the film’s sillier highlights, including a dance moment that should not work and somehow does. The interrogation scene with an uncredited Paul Walter Hauser, though, that’s hands-down the funniest sequence in the whole movie.

Not all the action logic makes sense; at one point, they “sneak” into a high-security facility by driving right up to the front gate and parking like they’re running in for a Click & Collect order. Very stealth. But the warehouse fight is fun, the stunt work is clean, and the PG tone keeps everything breezy without neutering the thrills.

Let me be honest for a second. I’ve never been a Kevin James fan. His standup never did it for me, King of Queens only worked because of the supporting cast, and generally, his movies range from “fine” to “available on streaming.” Here, though? He’s… perfectly serviceable. He plays to his strengths, doesn’t overreach, and fits the movie’s goofy energy.

Playdate (2025)
Playdate (2025)

Stick around through the credits - there’s a charming blooper reel and a predictable little sequel tease. Overall, Playdate is a fun, forgettable popcorn flick that doesn’t pretend to be anything more. Sometimes that’s enough. And if you are a kid or parent, you can bump that rating up since this clearly wasn't aimed at my age group.

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

Thursday, November 20, 2025

Dream Eater (2025) | Some eerie moments and a strong lead, but Dream Eater gets stuck in a cycle of sleepwalk, panic, forget, repeat. #jackmeatsflix

My quick rating - 4.2/10. Nothing says “romantic getaway” quite like a remote cabin, a demon possibly squatting inside your boyfriend’s body, and a doctor who decides to jet off on business but still expects homework. That’s what I got in Dream Eater, a found-footage possession thriller that really leans on its gimmick… and then keeps leaning until it starts to wobble like Alex on one of his midnight wanderings.

Mallory (Mallory Drumm) is instructed by Dr. Snape (Dainty Smith) - playing a physician whose bedside manner is basically, “I’ll be out of town, film your boyfriend’s night terrors, thanks!” - to document Alex’s increasingly violent parasomnia. Naturally, the best place to do this is a remote cabin in the woods. Horror movies have been screaming “don’t go to the woods” for decades, but our heroes treat that rule like a suggestion on a cereal box.

We follow everything through their camera, which means lots of shaky first-person shots and found-footage tricks. You know how much I ADORE that format. If your heart didn’t just fill with sarcasm, mine did enough for both of us. At least the movie lands one thing well. That creepy whistling. That sound cue works. Every time it floated in, I perked up like a cat hearing its treat bag.

Alex (Alex Lee Williams) begins sleepwalking, ranting, lunging, and generally doing the kind of things that should make someone call a priest, a therapist, or at least an Uber. When he wakes, he remembers none of it, which becomes the movie’s main loop: sleepwalk, freak out, blank memory, repeat. It’s like watching a haunted Fitbit log.



The jump scares? Oh, they’re here, and they’re dumb enough to qualify for government assistance. Mallory, understandably fed up, consults a new doctor (David Richard) who casually suggests Alex might be fighting off a demon like this is an everyday Tuesday diagnosis. Once Mallory hears “demon,” the correct play should be simple: get in the car and drive until the cabin is a dot on the GPS. Instead, she runs around the house and yard in a panic, essentially LARPing as “the character who makes terrible decisions.”

To the film’s credit, Williams gives a surprisingly solid performance. He sells the “I didn’t do that, did I?” energy pretty well. And a couple scenes legitimately try to spook you with decent atmosphere. The problem is that the story never really evolves. It’s a possession movie trapped in a sleepwalk-cycle treadmill.

In the end, Dream Eater isn’t awful, it’s just undercooked. Better than most found-footage wannabes out there, though that bar is buried so deep even a demon couldn’t dig it up. Drop this one into 1998, and it probably would’ve been hailed as the next big thing. Even now, it has more going on than The Blair Witch Project did… and yes, I said it.

Dream Eater (2025) #jackmeatsflix
Dream Eater (2025)

A few sparks, a few chills, and a whole lot of what-ifs. I was hoping for more, but hey, Eli Roth’s name got it onto my watchlist.

https://jackmeat.com/dream-eater-2025/

Wednesday, November 19, 2025

The Elixir (2025) | A messy but entertaining Indonesian zombie flick where an anti-aging serum turns deadly, and I enjoyed the solid gore effects. #jackmeatsflix

My quick rating - 5.4/10. The Elixir, originally released as Abadi Nan Jaya, doesn’t waste a second before unleashing its undead mayhem. The movie literally opens with a car plowing into a party, never a great sign for the hors d’oeuvres, only for the shocked crowd to discover that the driver is already dead. Or undead. Or somewhere in between, depending on how you classify “still trying to bite someone while missing half a jaw.”

I watched the dubbed version that recently popped up on Netflix, and for what it’s worth, it’s perfectly serviceable for a zombie flick that’s more interested in momentum than nuance. The premise is surprisingly simple but nicely twisted, where a father invents an elixir that makes you look younger for a couple of hours, then promptly turns you into a bloodthirsty corpse. So basically, the world’s worst anti-aging serum works great until you crave femurs.

The story centers on a fractured family forced to work together as their village falls apart around them. The spread of the infection plays out slowly within their own home, and once the family unit starts cracking, the community follows right behind. One couple’s attempt to escape eventually loops around to the opening party crash, giving the movie a neat little circular structure.



The zombies themselves aren’t quite classic Romero shufflers. They’ve got that “infected” aesthetic—glazed eyes, blistered skin, and an aggressive lack of moisturizer. The makeup team deserves credit because the grim, wet look sells the threat. And director Kimo Stamboel isn’t shy about spraying arterial red all over the set once these things sink their teeth in. A few sequences are impressively staged, especially an overhead shot of survivors stranded on a police station roof as the undead swarm below. Stamboel uses these top-down moments to hammer home just how doomed this village really is.

Worldbuilding gets… creative. This is apparently a reality where no one has ever even heard of zombies, so everyone takes a while to catch on. In other words, expect some really bad decisions. These creatures are drawn to noise but become mesmerized by rain, which makes for at least one unintentionally funny moment of everyone standing around waiting for weather salvation. Also, prepare yourself to hear the word “Sir” more times than in a military boot camp and it gets repetitive fast. And yes, the movie genuinely deploys a couple of hundred dollars’ worth of fireworks as weapons. I guess in Indonesia, you can't buy explosives the way we buy milk.

Despite the bloodshed, there’s an emotional core underneath the carnage, and the film makes room for one of those triumphant, music-swelling moments you know is coming. It’s a solid effort, but Indonesia’s real horror strengths still live in their ghost stories, such as Satan’s Slaves, The Devil’s Lair, and all the nightmare fuel that doesn’t rely on hordes of the undead. The Elixir is far from bad, but it doesn’t quite reach the terror highs its home country is capable of. We'll see how the sequel fares since the lead-in is clear as day.

The Elixir (2025) #jackmeatsflix
The Elixir (2025)
https://jackmeat.com/the-elixir-2025/

Tuesday, November 18, 2025

F1: The Movie (2025) | Not a racing fan? Doesn’t matter. This high-octane Brad Pitt flick delivers the result of Top Gun & Formula 1 mating. #jackmeatsflix

My quick rating - 7.3/10. Formula 1 has never been my sport, but every now and then a racing movie comes along that makes me wonder if I’ve been missing something. F1: The Movie is definitely one of those. It kicks off with an absolute wall of sound, engines roaring, waves crashing, tires biting into asphalt, and the authenticity in the audio hits you immediately. Honestly, hearing this in IMAX might’ve rattled a few internal organs in the best possible way. When you spend $300 million on a racing movie, you expect your ears to get blown back a little.

It is classic Hollywood underdog fuel with Sonny Hayes (Brad Pitt), a once-legendary driver now retired and jaded in that effortlessly cool Pitt way, getting pulled back into the high-speed chaos to help a struggling Formula 1 team. Of course, he’s also tasked with mentoring the talented young hothead Joshua (Damson Idris), and even if you haven’t seen the trailer, you already know exactly how this dynamic works. If you’ve seen any Tom Cruise vehicle where he pilots something fast—planes, cars, probably a shopping cart at some point—you’ve basically seen the blueprint for the romantic and emotional beats here. But predictable doesn’t mean boring. There’s still plenty of fun in watching the pieces click into place.

What surprised me most is how well the pacing holds together. At 155 minutes, this thing could’ve dragged like a pit stop gone wrong, but it never does. The emotional story and the racing spectacle blend smoothly enough that neither ever hijacks the film. And the “stand up and cheer” moment, because yes, there is one, and you’ll know it when it hits, works even if you see it coming a lap in advance.



Since I was curious how a movie like this performed with the “actual” racing crowd, I checked BoxOfficeMojo mid-celebration. Worldwide? A massive $631,327,111. Domestic? A painful $189,527,111. For a film this expensive, that’s a rough split. Which is a shame, because it’s genuinely a solid piece of entertainment.

Credit where it’s due: Lucasfilm’s Skywalker Sound clearly didn’t half-step here. The audio is crisp, aggressive, and better than what most action movies settle for these days. Even as someone who doesn’t follow the sport, I could appreciate the sensory punch. Now, realism? Yeah, I’m pretty sure Sonny would’ve eaten a black flag or two with some of the stunts he pulls. Racing purists can probably write essays on that. But for viewers like me who aren’t keeping score on authenticity, it’s actually an advantage. I get to enjoy the thrills without dissecting the physics or rules.

F1: The Movie isn’t reinventing the genre, but it delivers polished, high-octane entertainment that goes down easier than expected. If Top Gun traded jets for carbon fiber and pit lanes, this would be it. And honestly? I enjoyed it way more than I thought I would.

F1: The Movie (2025) #jackmeatsflix
F1 The Movie (2025)
https://jackmeat.com/f1-the-movie-2025/

Monday, November 17, 2025

Afflicted (2013) | Smart, intense, and surprisingly polished, Afflicted turns its travel-vlog setup into one of the better modern found-footage horror stories. #jackmeatsflix

My quick rating - 6.7/10. I had to rewatch Afflicted since it is one of those rare found-footage horror flicks that actually nails the formula instead of collapsing under it. A simple but effective setup sees Derek Lee and Clif Prowse, playing fictionalized versions of themselves, as lifelong friends about to embark on a year-long trip around the world. Derek has a serious medical condition hanging over his head, so Clif decides to document every moment, turning the entire journey into a first-person travelogue. That also means we’re locked into the “camera as character” viewpoint for the whole movie, a style I’m very much opposed to unless it’s done right.

After a fun start in Barcelona and a detour to Paris with some musician friends, things take a dark turn. Derek has a one-night encounter with a woman named Audrey (Baya Rehaz), and his friends find him the next morning, bloodied, bitten, and refusing to seek medical help. Once they hit Italy, it’s clear something is seriously wrong. Derek can’t keep food down, sunlight burns him, and his strength skyrockets to superhuman levels. It doesn’t take long for the guys, or anyone paying attention, to figure out that Derek didn’t just get unlucky; he’s turning into a vampire.

What makes Afflicted stand out is how surprisingly believable it all feels. The special effects and stunts are shockingly well executed for a low-budget indie horror movie. The transformation scenes, wall crawling, and violent outbursts have a visceral weight to them that most found-footage films never achieve. Directors Prowse and Lee lean hard into the chaos once the infection starts taking over, delivering chase scenes and confrontations that put most big-budget shaky-cam movies to shame.



The acting is another win. For a genre notorious for stiff or awkward performances, these two come off natural, likable, and genuinely worried about what’s happening. The friendship feels real, and that helps sell the emotional side of Derek losing control. Knowing that Lee and Prowse not only starred in but also wrote and directed the film makes it even more impressive. This is clearly a passion project built to push the limits of what found footage can do.

While it relies on some familiar vampire tropes, the execution elevates it. The movie commits to its concept, keeps the pacing tight, and doesn’t rely on cheap gimmicks. It’s one of the very few found-footage horror flicks I can strongly recommend, sitting comfortably next to Chronicle in terms of ambition and payoff. If you enjoy the genre or just want a genuinely creative spin on a vampire story, Afflicted is absolutely worth your time.

Afflicted (2014) #jackmeatsflix
Afflicted (2014)
https://jackmeat.com/afflicted-2013/

Sunday, November 16, 2025

Fight or Flight (2025) | Josh Hartnett battles assassins at 30,000 feet in this chaotic, over-the-top action flick that knows exactly what it wants to be. #jackmeatsflix

My quick rating – 6.6/10. Fight or Flight is one of those movies where I saw the trailer while tossing it into my weekly “upcoming movies” slider and thought, “Yeah, that looks like it’ll scratch the itch.” And sure enough, it does. The setup is simple with Lucas (Josh Hartnett), a mercenary with the sort of résumé that definitely comes with hazard pay, taking on what should be a straightforward job. Track down a target on a plane. But when said target becomes the center of a murderous free-for-all at 30,000 feet, Lucas suddenly becomes the unwilling guardian of a person everyone else on board is trying to kill. Naturally, chaos follows.

Brooks McLaren and D. J. Cotrona put together an enjoyable storyline—nothing groundbreaking, but solid enough to give the frenzy some shape. The plot twists are predictable, and the themes aren’t exactly deep, but honestly, that’s part of the charm. This isn’t a film pretending to be more than it is. It knows it’s here to deliver punches, quips, and blood spray, and it does so proudly.

Because most of the film’s action stays confined to the plane, the movie leans hard into frantic brawls, hand-to-hand chaos, and “grab whatever’s within arm’s reach and hit someone with it” fight choreography. That approach works far better than it has any right to. The action is consistently energetic, sometimes outright hilarious, and always inventive. And when a few idiots decide it’s smart to pull out guns inside a pressurized metal tube, things escalate in the kind of over-the-top fashion that made the '90s action era so fun. Someone even finds a chainsaw in the cargo hold—because why not? I won’t lie. The second that thing revved up, I knew director James Madigan understood the assignment.



Madigan doesn’t shy away from bloodshed either. The film isn’t a gorefest, but it absolutely doesn’t skimp. Between the messy kills, the frantic melees, and a surprising amount of creativity in how bodies hit walls, seats, and occasionally in the luggage bin, it delivers exactly what a movie like this should. The action set pieces are excellently choreographed, fast but readable, and they keep the momentum high. The pacing is another strong point. No long stretches of dead air, no tedious detours. It moves quickly and confidently from one skirmish to the next.

Josh Hartnett is clearly having a blast, and his chemistry with Charithra Chandran brings some unexpected warmth to the carnage. Their connection gives the film a little emotional glue without slowing things down. When a movie features both chainsaw duels and surprisingly sweet character moments, you know it’s aiming for “fun first, logic second,” and it lands right where it should.

Fight or Flight is silly, stylish, packed with energy, and built for audiences who just want a good time. It’s absolutely set up for a sequel, and I’m sure it’s coming. For an over-the-top airborne assassination extravaganza, this one delivers.

Fight or Flight (2025)
Fight or Flight (2025)
https://jackmeat.com/fight-or-flight-2025/

Saturday, November 15, 2025

Queens of the Dead (2025) | Tina Romero’s queer-centered zombie film is playful and chaotic, appealing to campy film lovers but not to hardcore zombie enthusiasts.#jackmeatsflix

My quick rating - 5.1/10.  Queens of the Dead is exactly what you'd expect from a zombie movie directed by Tina Romero. Yes, that Romero except don’t go in expecting anything close to her father’s brand of razor-sharp social commentary or bleak, creeping dread. Instead, this one plays out like a high-energy warehouse party that accidentally stumbles into a zombie apocalypse and just decides to roll with it. The film follows an eclectic mix of drag queens, club kids, lovers, enemies, and everything in between as they try to survive one wild night in Brooklyn. And yes, Tom Savini shows up as the mayor to remind everyone, “This is NOT a George Romero movie,” just in case the vibe wasn’t clear. Tina has some jokes in her.

The setup is fun, even if the movie occasionally trips over its own platform heels. At the center of the chaos is Dre, played by Katy O’Brian, who naturally falls into the role of group leader—strong, capable, and the only one who seems remotely prepared for the “scrolling undead.” Riki Lindhome plays Lizzy, the nurse and Dre’s partner, trying her best to keep things grounded between bursts of drama. The standout duo, though, is Pops (Margaret Cho), a total badass who storms the warehouse like an extra from John Wick to rescue her girlfriend Kelsey (Jack Haven). Their dynamic adds the closest thing this movie has to a couple I wanted to see survive.

But I'll be honest: the plot feels less like a survival story and more like several threads of relationship drama that just so happen to be interrupted by zombies every now and then. At times it feels forced, like the film really wants to be about love and community but keeps remembering it’s supposed to have undead carnage too. The zombies take a back seat so frequently that you start to wonder if they even realize they’re in the movie. Case in point: the five-minute dance break. Yes, really. It’s fun in a midnight-movie way, but it absolutely derails whatever tension was trying to build.



That said, the production value is solid. The warehouse setting looks great, the makeup is decent, and the music fits the party-apocalypse tone perfectly. The comedy, however, is hit or miss. Some jokes land, others feel like they were written at 3 a.m. after a long night out. Gorehounds will be disappointed by the relatively light splatter, though Romero does use a musical performance as an excuse to stage some zombie kills—points for creativity.

Ultimately, Queens of the Dead is a fun, queer-powered zombie comedy that has its heart in the right place, even if it doesn’t commit hard enough to either the comedy or the horror. It honors George Romero’s legacy mostly through vibes and family lineage rather than thematic depth, and while it’s enjoyable, it’s nothing special. If you’re looking for a serious zombie flick, keep walking. If you want camp, color, and chaos? Step right in.

Queens of the Dead (2025)
Queens of the Dead (2025)
https://jackmeat.com/queens-of-the-dead-2025/

Friday, November 14, 2025

Monkey Man (2024) | Dev Patel swings hard with Monkey Man, a brutal, blood-pumping revenge ride that hits hard emotionally and physically. #jackmeatsflix

My quick rating - 7.0/10. That was one wild, blood-pumping ride of a movie, and that isn't my sarcasm saying so. Monkey Man, produced by Jordan Peele and directed by Dev Patel, who also takes the lead as the mysterious fighter known simply as Kid, delivers a raw, emotional, and occasionally bone-crunching experience. Set in the shadowy corners of an unnamed Indian city, the film drops us into Kid’s underground world, where he makes ends meet by letting people beat the living hell out of him in illegal fight clubs while wearing a gorilla mask. Because, you know, dignity is optional when rent’s due.

Underneath the sweat and blood is a deeper story of trauma and revenge. Patel weaves a layered story of a man who has been stepped upon one too many times, until finally, it's payback season. When Kid finds a way into the inner circle of the city’s corrupt elite, all that pent-up fury explodes, and his scarred hands turn into the kind of problem money can’t bribe away.

What really makes Monkey Man stand out, though, is the action. The fight choreography is absolutely top-notch, with every punch, kick, and improvised weapon feeling genuine. There’s an intensity that reminds me of The Raid 2, especially during a spectacular kitchen fight that practically begs for a replay. I was glad the camera work never loses focus, letting the choreography speak for itself instead of hiding it behind shaky cuts. The chase scenes hit just as hard, throwing in bursts of chaos that kept me glued to the screen.



The revenge story, while nothing particularly new, is well-told with emotional weight thanks to flashbacks that give Kid some real character depth. You actually feel why he’s doing what he’s doing, which is more than can be said for half the action heroes out there. Yeah, I thought a few moments were predictable and the film does dip into familiar territory now and then, but honestly, when the storytelling and the direction are this tight, who’s complaining?

And the soundtrack isn't bad either. Each track strikes the right emotional cue, never too little, never too much. Patel is magnetic on-screen, balancing quiet vulnerability and explosive rage in a way that's riveting from start to finish. The supporting characters add some colorful flavor along the way, and the urban backdrops feel lived-in rather than dressed-up.

I’ll admit, I was skeptical going in. Dev Patel directing an action revenge film sounded like one of those “this could either be genius or chaos” situations. Thankfully, it’s much closer to the first. Monkey Man is a smart, stylish, and brutally satisfying action flick that proves Patel’s got serious chops behind and in front of the camera. For action junkies, this one’s worth your time, and maybe a second viewing just to appreciate how clean those punches land.

Monkey Man (2024)
Monkey Man (2024)
https://jackmeat.com/monkey-man-2024/

Thursday, November 13, 2025

Guess Who (2024) | I had a harder time guessing what the makers of this flick were trying to accomplish as opposed to who the killer was. #jackmeatsflix

My quick rating - 4.0/10. I’m fairly certain the filmmakers weren’t quite sure what direction they wanted to go with Guess Who, so they just kept switching gears mid-filming to see what stuck. The result is this movie that starts with an interesting concept. We get a family visit gone wrong when a psychotic killer shows up under the guise of an unusual tradition, but quickly loses control of its own story.

The premise hints at something that could’ve been a tight, unsettling thriller with a psychological edge. Instead, it teeters awkwardly between suspense, horror, and dark drama, never committing to one long enough to build any real tension. Each scene seems to belong to a different movie entirely, leaving me wondering if the editor had to piece together three drafts of a script written by different people.

Keeya King does what she can with the material, and to her credit, there are flashes where the performances briefly elevate things above mediocrity. But those moments are fleeting. Any emotional pull or sense of dread is constantly undermined by the erratic storytelling. Just when a scene starts to build atmosphere, it’s either undercut by a tonal shift or dragged down by clunky dialogue that makes you question what kind of movie this was ever supposed to be.



As a viewer, I found myself not only guessing the identity of the killer — which, fine, that’s the point — but also trying to guess what the filmmakers were going for in the first place. The film’s pacing lurches from slow-burn family tension to rushed slasher chaos, never finding the balance that could’ve tied it all together.

That said, I’ve seen far worse attempts at this kind of genre blend. There’s a kernel of a good idea buried under the confusion, and a few sequences show glimpses of what could’ve been an effective, unsettling thriller if Amelia Moses' vision had been clearer. Unfortunately, Guess Who ends up being more of a cinematic shrug, a missed opportunity that left me with more questions than answers.

Forgettable? Absolutely. But at least it’s not the worst way to kill an evening. Have you read about some of the trash I have watched?

Guess Who (2024) #jackmeatsflix
Guess Who (2024)
https://jackmeat.com/guess-who-2024/

Wednesday, November 12, 2025

Frankenstein (2025) | A darkly beautiful, emotionally devastating take on a timeless monster brought to life by the visionary Guillermo del Toro. #jackmeatsflix

My quick rating - 8.2/10. When I first heard that Guillermo del Toro was finally making his version of Frankenstein, I was already in line, no further information needed. The master of the macabre brings Mary Shelley’s timeless tragedy to life with both ferocity and heart, creating something which feels equal parts Gothic horror and soulful meditation on creation, loss, and obsession.

The film opens with a hauntingly beautiful scene aboard a frozen ship where Dr. Victor Frankenstein (Oscar Isaac) recounts his story to Captain Walton (Lars Mikkelsen). From there, del Toro splits his film into two distinct yet complementary parts: Victor’s Tale and The Creature’s Tale. It’s an ambitious narrative structure that pays off wonderfully, giving equal weight to both the creator and his tormented creation.

In Victor’s Tale, we see a young Victor (Christian Convery) raised amidst death, ambition, and an unrelenting thirst for knowledge. His broken family life fuels his desire to transcend mortality itself—a hunger nurtured further when he meets the cunning benefactor Harlander (Christoph Waltz), who gives him the lab (and unchecked freedom) to play God. The period setting—mid-1800s Europe—is gorgeously realized. Every candlelit corridor, every misty graveyard breathes del Toro’s signature gothic romanticism. It's rich visually, potent emotionally, and immersive in that way only he knows how to make happen.

Then comes The Creature’s Tale, and the shift is magnificent. Following the catastrophic lab explosion, Jacob Elordi steps into the spotlight as the Creature, and what a performance it is. His portrayal oscillates between rage, heartbreak, and fleeting humanity with startling precision. The prosthetics and makeup work deserve their own ovation—equal parts horrifying and mesmerizing. Elordi embodies the anguish of a being born from genius yet abandoned by it, and del Toro captures every ounce of that torment through meticulous framing and poetic pacing.



Mia Goth, as Elizabeth, once again proves why I believe she’s one of the most compelling actors working today. She exudes both warmth and tragedy, grounding the film’s emotional undercurrent. Christoph Waltz brings a deliciously sinister spin to the supporting cast, while Felix Kammerer shines in his underappreciated role as Victor's brother William. Still, this is very much the Isaac-and-Elordi show. Oscar Isaac’s performance is another jewel in his ever-growing crown of morally complex roles. His Victor is brilliant, arrogant, and ultimately broken, the perfect match for del Toro’s dark romantic vision.

The sound design is chillingly effective, the score a thunderous hymn to the grotesque beauty of del Toro’s imagination. I love his attention to atmosphere. It is unmatched. Even the lab feels alive, pulsating with the hum of creation and damnation. The film’s violence is striking and, at times, shocking—del Toro doesn’t flinch from showing the raw brutality of man and monster alike.

Though faithful to Mary Shelley’s text, del Toro injects enough in the way of emotion and visual depth to make this the definitive cinematic version for a new generation. It’s both grand and intimate, philosophical and visceral. The pacing dips here and there, but even when scenes slow down, the emotion never does.

Frankenstein is a near masterpiece. An operatic fusion of art, horror, and heartache proving once again why del Toro stands among cinema’s great visionaries. Oscar Isaac commands, Jacob Elordi astonishes, and Guillermo del Toro delivers a resurrection worthy of legend. The Oscar committee better be watching.

Frankenstein (2025)
Frankenstein (2025)
https://jackmeat.com/frankenstein-2025/

Tuesday, November 11, 2025

The Boxer's Omen (1983) | Kickboxing meets voodoo in this cinematic buffet of black magic that defies logic, reason, and all health codes. #jackmeatsflix

My quick rating - 6.8/10. Every now and then, a movie comes along that feels less like a film and more like a panic dream induced by expired shrimp. The Boxer’s Omen is one of those cinematic hallucinations. A genre-defying mix of kung fu, black magic, glowing intestines, and Buddhist enlightenment, all wrapped up in a technicolor Saran Wrap nightmare courtesy of the Shaw Brothers.

It starts off deceptively normal: a gritty revenge setup involving a Hong Kong boxer named Chan Hung (Phillip Ko) seeking payback after his brother gets crippled in a match against a cheating Thai fighter, Bolo Yeung. Mr. Hong Kong flexes his way through the opening fight like it’s another Tuesday. But then, somewhere between the revenge plot and the next roundhouse kick, the movie opens a portal straight into the ninth circle of bonkers.

Chan Hung’s journey to avenge his brother turns into a psychedelic pilgrimage through Buddhist mysticism, black magic, and the world’s most questionable practical effects. We’re talking spiders that look like they escaped from a Temu Halloween sale, flying puppet bats on visible strings, and crocodile skulls that “attack” with all the menace of a malfunctioning wind-up toy. And yet, there’s an undeniable charm in how earnestly it all plays out.

The camera work is surprisingly creative, using tight angles, swirling motion, and neon lighting that would make Dario Argento proud. The soundtrack? Pure 80s synth glory. It punctuates every ritual, vomit session, and monk battle like the composer was having the time of his life with a Casio keyboard and no supervision.



Speaking of the rituals, I’ve seen some wild ones in horror, but this film takes the incense-scented cake. We’re treated to a rebirth sequence involving a corpse stuffed inside a gutted crocodile, some very slimy black magic duels, and enough maggots to make David Cronenberg blush. It’s equal parts mesmerizing and revolting, and impossible to look away from.

Despite its insanity (or maybe because of it), The Boxer’s Omen has a kind of hypnotic beauty. The Shaw Brothers’ production gives it slick locations across Bangkok, Kathmandu, and Hong Kong, and there’s a genuine sense of ambition buried beneath the goo, claymation, and vomit.

You don’t watch The Boxer’s Omen for logic. I watched it because my brain occasionally craves chaos, and this movie delivers it in glorious, Saran-Wrapped fashion. It’s gross, it’s goofy, and it’s absolutely unforgettable.

If you think you’ve seen it all in cult cinema, think again. This one doesn’t just think outside the box — it eats the box, regurgitates it, and uses the remains in a black magic ritual. Not for everyone but after reading this, you know if it is for you.

The Boxer's Omen (1983)
The Boxer's Omen (1983)
https://jackmeat.com/the-boxers-omen-1983/