Redux Redux (2026) | A low-budget multiverse thriller that jumps straight into chaos, keeps things tight, and makes revenge feel dangerously addictive and fun. #jackmeatsflix

My quick rating - 6.6/10. Some movies ease you in with a slow burn. Others kick down the door, set the couch on fire, and yell, “Figure it out later.” I would have to say Redux Redux proudly chooses option two. We open on a woman standing over someone tied to a chair, engulfed in flames - which is certainly one way to warm up the audience (are you counting the heat puns? I regret nothing). The film then smash-cuts to the same woman being choked out by a guy she promptly escapes and shoots, making it very clear that this is not going to be a quiet, tea-and-biscuits multiverse drama.

The story follows Irene Kelly, played with serious conviction by Michaela McManus, a mother who discovers a way to travel across parallel universes to repeatedly hunt down her daughter’s killer. Not just once. Not just twice. But enough times that revenge starts to look less like justice and more like a hobby she should probably discuss with a therapist. The film wastes absolutely no time getting her into the universe-hopping groove, and her jump chamber has a delightfully retro, garage-built sci-fi look that feels nostalgic without screaming “we blew the entire budget on one glowing prop.” Still not sure how it makes its way into vehicles, but ditch that logic thing.

One of Irene’s jumps leads her to Mia, played by Stella Marcus, a kidnapping victim she manages to save from Neville, portrayed by Jeremy Holm. Neville is intentionally underexplained, more force-of-evil than fully fleshed-out villain, which works thematically, even if I wouldn’t have minded a little more meat on those villain bones. Mia becomes a larger focus for a stretch, and while she’s likable overall, her attitude occasionally cranks past “understandably upset” into “okay, dial it back two notches.” Mileage will vary there.

The action and fight scenes are consistently solid and well-choreographed. Nothing too flashy, but always clear and engaging. When the characters go part-hunting for the machine, they encounter Billie, played by Taylor Misiak, who I instantly recognized from my guilty-pleasure sitcom rotation, Going Dutch. Always fun when two totally different genre worlds collide in your brain for a moment.

Redux Redux is low-budget indie sci-fi in a good way. Concept-first, character-driven, and not drowning in CGI soup. Impressively, it avoids getting tangled in the narrative pretzels that usually strangle time-travel and multiverse plots. It actually plays things surprisingly safe with the alternate worlds - most are only slightly different - and while that feels like a missed opportunity to go truly dark and weird, it also keeps the story clean and focused. Credit to directors Kevin McManus and Matthew McManus for resisting the urge to overcomplicate things just because they can.

The takeaway seems to be - if you find a version of reality that works for you, maybe stop poking the cosmic machinery with a wrench. A pleasant surprise that could’ve been great, but still lands comfortably in the quite good multiverse lane, and without melting your brain in the process. Which, these days, is a win.

Redux Redux (2026)

I'll be back with streaming links when they are available. As of now, it hits theaters on Feb. 20th, 20026.

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

Twisted (2026) | Two scammy apartment flippers meet DIY surgery nightmare. Great cast trapped inside a script that clearly skipped its final inspection. #jackmeatsflix

My quick rating - 4.8/10. There are movies about real estate scams, movies about mad doctors, and movies about terrible people making worse decisions. I watched Twisted, which tries to flip all three at once like a dodgy Brooklyn condo listing with “great bones” and a raccoon in the kitchen.

The setup is stable enough. Two millennials run a slick apartment-flipping con in New York, selling properties they don’t actually own to buyers who don’t realize they’re being scammed. It’s a fun, modern premise that feels like it was ripped straight from a late-night true crime binge and a housing crisis support group. Our con artists are played by Lauren LaVera (Paloma) and Mia Healey (Smith), and let’s just say the casting department did not accidentally pick two extremely photogenic scammers. Subtlety was not invited to this open house.

The slow-burn approach might have completely collapsed under its own artsy seriousness if not for Djimon Hounsou as Dr. Kezian. The one target they absolutely should have skipped. He brings instant gravity and menace to the screen, like he wandered in from a much better, more expensive movie and decided to stay. Once he takes center stage, Twisted at least has a pulse, even if the script’s brain activity is questionable.

If you recognize LaVera, it’s probably from the blood-soaked chaos of the Terrifier films, and fans expecting that deep a stab may feel slighted. The dialogue frequently sounds like it was workshopped by aliens who learned human speech from property scam emails. Conversations don’t flow so much as stumble down the stairs.

There’s a brutal assault-and-fight sequence that’s effective, but it exists mostly to steer the characters into Dr. Kezian’s DIY nightmare clinic, where the movie leans hard into bargain-bin medical horror. The procedures are so wildly implausible that they feel less like science and more like someone angrily assembling IKEA surgery. The central experiment, involving his wife (played by Alicia Witt) and her very unclear brain situation, is murky enough that you stop trying to understand and just nod politely.

A big structural problem. Everyone is awful. The scammers are terrible people. The doctor is a terrible person. The police are…present, technically. Their investigation subplot has all the impact of a muted notification and is basically swept under the rug until the end. No brains, no urgency, no payoff.

Twisted (2026)

Director Darren Lynn Bousman has done sharper work. Horror fans of his entries in the Saw II era will spot a very familiar surgical vibe, and even the messy but interesting Abattoir aimed higher. This one isn’t terrible, but it feels like a rough draft that accidentally got listed as a final pitch. Watchable, flawed, occasionally effective - but definitely not luxury horror. More like “as-is, no inspection.”

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

Night Patrol (2026) | Justin Long chews scenery as a shady cop in a brutal, weird genre mashup that almost sticks the landing. Almost. #jackmeatsflix

My quick rating - 4.9/10. If the Shudder logo pops up before a movie, you can usually expect one of two things. A hidden gem or a cinematic science experiment. Night Patrol kinda slides itself into both categories.

The movie opens with a bleeding teenager in an interrogation room, begging for help while a cop basically says, “Sure, but first, paperwork.” There’s something sticking out of the kid’s side, but bureaucracy is the real final boss. It’s a darkly funny, grim little opener that promises payoff later, and yes, the film does eventually loop back around to it.

We then shift into a routine bust of a make-out session with Officers Marcus (CM Punk) and Hayworth (Justin Long), and things escalate from “routine bust” to “that escalated extremely quickly” when an initiation goes very, very wrong. Long plays the role with a smug, controlled edge that makes you instantly suspicious, like a motivational speaker who owns too many knives. Able to escape the scene is Wazi, played by RJ Cyler, who some folks will recognize from The 'Burbs, and you should recognize from the interrogation room. And that gets us to the opening credits.

Chapter 1 is entitled LAPD, and Hayworth introduces himself to school kids by staging what is essentially a live-action trauma drill. Officer Xavier (Jermaine Fowler) submerges himself entirely too much into the role of the stereotypical gunman. Nothing says “don’t steal” like simulated mortal terror before homeroom.

The structure is split into chapters, which gives the film a graphic-novel rhythm. There’s a conspiracy brewing inside a special police task force, a manufactured gang war setup, and a colonial-court battleground sequence with heavy smoke and heavier firepower that genuinely looks great. When the Night Patrol rolls in through the haze and starts wiping people out, it’s stylish and brutally disturbing.

Dermot Mulroney shows up as Sarge, adding some veteran presence, while director Ryan Prows and company put a new-ish twist on vampire lore. Not a better twist, not a worse twist, just one that made me tilt my head like a confused dog.

There’s some legitimately strong stuff here. The early kills are sudden and nasty, the moral lines are clearly drawn, and the setup is loaded with potential. There’s even a goofy planning scene with a puff-puff-pass strategy session that almost tricks you into thinking the third act will hold together.

Unfortunately, once the story hits its mystical-power phase - complete with an energy effect that looks suspiciously like it borrowed a prop from Green Lantern - the movie drives straight off the beaten track. What starts tense and entertaining turns chaotic and quite stupid.

Night Patrol (2026)

It’s frustrating, because most of Night Patrol works…right up until it really, really doesn’t. Still worth a watch for the concept, the gore, and Long having a blast, but this patrol needed one more rewrite before clocking in. And don't expect another Sinners.

https://jackmeat.com/night-patrol-2026/

OBEX (2026) | A glitchy, retro-style side-quest reminding you that too much screen time might cost real life, told by one determined dog owner. #jackmeatsflix

My quick rating - 5.4/10. Some flicks feel like they were made in a studio. Others feel like they were made in a garage with a haunted typewriter and a stack of obsolete computer manuals. OBEX proudly belongs to the second category, and I mean that as a compliment.

This is the kind of movie I lined up specifically because it looks weird, and thankfully, it does not betray that promise. The story follows Conor Marsh, played by Albert Birney, a reclusive, agoraphobic VHS-hoarding introvert whose home décor style can best be described as “Blockbuster exploded.” His main real-world interaction is with grocery delivery driver Mary (Callie Hernandez), his dog Sandy, and approximately seventeen thousand hours of analog media. When he starts playing a mysterious new computer game, and Sandy goes missing, he dives into the game world to get her back. In movies, that’s always step one and never a terrible idea.

Shot in black and white and set in 1987, the film leans hard into a retro computing atmosphere. You get dot matrix printer music, old-school UI charm, chunky hardware, and enough ambient tech noise to trigger flashbacks in anyone who’s ever heard a modem scream. I loved the old-school video game sounds during the credits. That alone nearly earned a nostalgia bonus point. There’s also a glorious stack of televisions and enough VHS tapes to survive several media apocalypses. I refuse to judge Conor for this because I do not live in a glass house. Mine has been made of all sorts, from VHS through Bluray.

The vibe is lo-fi analog nightmare with a surrealist streak. The game world characters are creative, awkward, and delightfully strange. There’s a moment with a guy who has a giant monitor for a head (Frank Mosley) getting into a car, and the camera very conveniently cuts away because there is absolutely no universe where that man folded into a sedan like origami. Respect to the edit.

That said, the nostalgia sometimes feels more “researched aesthetic” than lived-in memory. It has a bit of that YouTube-retro-essay energy rather than firsthand tech-era trauma. Also, while I appreciate that they found an old Mac for authenticity, it was very clearly just there for emotional support.

The themes land better than the suspense. The movie explores digital escapism and how screen obsession can quietly replace real connection, especially the simple, important kind (like, say, noticing your dog exists). The emotional core works. The game-world action is fun but very limited and never especially intense. Budget is clearly the final boss here.

I’d love to say the ending surprised me, but my brain called it early and made popcorn. Still, points for commitment. OBEX is intentionally small-scale, creative, and amusingly surreal. Not thrilling, but unique and memorable. Like finding a cursed floppy disk and still putting it in your computer anyway. You know you would.

OBEX (2026)

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

Grizzly Night (2026) | Not a crazy killer-bear splatterfest, more a realistic survival drama where the wilderness wins and common sense shows up late. #jackmeatsflix

My quick rating - 4.7/10. Grizzly Night is the rare “based on a true story” survival thriller that doesn’t try to turn nature into a CGI supervillain, and for that alone, it earns a respectful nod from me. Preferably from a safe distance, inside a locked vehicle, with the windows up. Directed by Burke Doeren, the film recounts the real events of August 12, 1967, when two fatal grizzly bear attacks occurred nine miles apart in Montana’s Glacier National Park. Same night, same park, very bad luck, zero common sense.

Right from the opening scene, the movie signals what kind of ride you’re in for. Realistic, tense, and not interested in turning the bears into horror movie slashers with fur. This isn’t Cocaine Bear or Grizzly Rage 9: Campground Carnage. It plays more like a dramatic procedural survival thriller, focused on human decisions, and the horrifying realization that nature does not care about your camping itinerary.

The structure is effective. A little preview to get us started up front, and we come back around about half an hour later with the context, the dread, and the growing realization that a few of these individuals here shouldn't be permitted anywhere near the wildlife without a release form and a chaperone. The way it handles the unpreparedness of the park for dealing with the multiple animal assaults is quite good.

Visually, this is where the film really shines. The cinematography by Brian Mitchell and Ian Start captures Glacier National Park as both breathtaking and deeply intimidating. The wide framing constantly reminds you how small and snack-sized humans are out there. The scale works in the movie’s favor. Every tree line feels like a possible jump-scare waiting room. The mix of practical effects and what appears to be real bear footage adds a gritty authenticity. The post-attack effects are especially well done. Brutal without feeling cartoonish. I’ll admit I wanted a bit more on-screen attack action, but what we do get is convincing and handled with restraint.

Lauren Call (Joan) - thrust into reluctant-hero territory - delivers a strong performance, selling the fear and responsibility arc nicely. And yes, it was fun seeing Brec Bassinger (Stargirl) show up as Julie, one of the campers whose decision-making skills strongly suggest she would also try to pet a chainsaw. She does well, though. Believable, earnest, and exactly the kind of character who makes you yell at the screen.

The darkest, most fascinating part is the historical mindset. Many people at the time genuinely underestimated grizzly danger. Modern viewers will spend half the movie thinking, “Congratulations, you have invented the Bad Idea Olympics.” But Grizzly Night backs this up with contextual detail, so the questionable choices feel historically accurate rather than lazily written.

Grizzly Night (2026)

No over-the-top monster mayhem here. Just a sober, well-shot reminder that apex predators don’t need a musical score to be terrifying. Recommended for fans of killer animal flicks, survival dramas, or movies that will make you think twice about having a picnic, ever again. Definitely a 0/10 for vacation inspiration.

https://jackmeat.com/grizzly-night-2026/

The Morrigan (2026) | Great Irish folklore setup and mood, then the effects team released a PS2-era snake and lazy logic took over. #jackmeatsflix

My quick rating - 4.3/10. I'll admit, the trailer for The Morrigan did get my attention. It takes a stab at mythological horror with a strong concept and some genuinely creepy atmosphere, then unfortunately trips over its own cursed artifacts and faceplants into the CGI bargain bin.

We open in “Pagan Ireland, 1500 years ago,” which is cinematic shorthand for - bad things are about to happen to people with poor armor and worse luck. Cue crusading soldiers, throat-slashing, and enough grim mood to let you know nobody here is getting a happy ending or dental coverage. It’s a promising start that suggests folklore-heavy dread is on the menu.

Fast-forward to modern day, where archaeologist Fiona (Saffron Burrows, who brings instant credibility just by showing up) is explaining the legend of The Morrigan, a vengeful war goddess with a serious grudge and apparently no hobbies outside of possession and murder. She heads to Ireland with her teenage daughter, Lily (Emily Flain), who is fresh off an expulsion and fully committed to the Teen Horror Movie Daughter Starter Pack. Sulking, eye-rolling "whatever" responses, and wandering off at the worst possible times.

The Irish scenery does some heavy lifting here with misty hills and ancient sites scoring points, though the script occasionally forgets basic geography. There’s a snake incident that raises a big question. Did The Morrigan also banish St. Patrick and sneak the snakes back in? Because Ireland is famously snake-free. Even Google would’ve caught that one.

https://www.youtube.com/watch?v=WZ9g3GP24BM

Joining the expedition is Jonathon Horner (Jonathan Forbes), a character so aggressively handsy and glory-hungry that you can practically see the red “DO NOT TRUST” label hovering over his head. Sure enough, someone finds a mysterious burial casket, and the one person least qualified to open it decides to open it anyway. Archaeologists everywhere screamed into the void at that scene.

There are a few moments where the tension actually works. The possession arc with Lily builds some decent unease, and her glowing-eyed Morrigan look is legitimately creepy. Unfortunately, the film keeps undercutting itself with rough effects and logic-defying escape scenes, including a “throw lighter - random explosion - freedom” sequence that feels like the writer yelling, “We’ll fix it in post!”

The CGI animals, especially the snake and dog attacks, are distractingly bad. Not charmingly bad. Not “so bad it’s good.” Just “1999 cable TV original at 2 a.m.” bad. Every time the atmosphere starts to thicken, a rubbery digital creature shows up and kicks the tension down the stairs.

Character depth is pretty thin across the board, and the script never digs as deep as its own tomb. Still, Burrows and Flain do what they can with the material, and the mythological angle remains engaging enough to keep things watchable.

It almost wraps up in a respectable way - and then, like a horror villain with franchise ambitions, it pops back up for a sequel tease nobody asked for. The Morrigan may be eternal, but this script needed another rewrite ritual. It's a decent legend trapped in less-than-legendary execution.

The Morrigan (2026)

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

The Vindicator (2025) | A serial killer hosts the world’s worst livestream, forcing podcasters into cringe confessions with logic gaps big enough to escape through. #jackmeatsflix

My quick rating - 3.2/10. The Vindicator opens the way many slashers do. A woman running for her life, chased by someone we’re clearly supposed to fear. Don’t worry, we’ll definitely come back to that. Or at least, the movie thinks we will. From there, we’re introduced to a group of true-crime podcasters who could generously be described as “annoying” and less generously as “a few dipshits with microphones.” Naturally, they’re given the opportunity of a lifetime, getting exclusive access to the last known location of the infamous serial killer known as The Vindicator. What could possibly go wrong?

Instead of journalism, they’re treated to a bargain-bin Saw setup crossed with a live-streaming podcast gimmick. The hosts are locked into a gameshow-style nightmare where The Vindicator himself forces them to play a twisted version of truth or dare. They’re fitted with shock bracelets that supposedly keep them trapped. Bracelets they put on themselves and could absolutely remove just as easily. But hey, the movie needs to happen, so let’s all agree not to think about that too hard.

The “tasks” are where the film really shows its hand. If you’re expecting elaborate death traps or creative brutality, think again. This isn’t Saw. It’s more like Oversharing: The Movie. The killer’s grand plan mostly involves forcing people to answer embarrassing or morally compromising questions on camera. It’s less horrifying punishment and more awkward group therapy session run by a murderer. Riveting stuff.

The acting is, unfortunately, terrible across the board. And while bad acting can sometimes be fun, here it just compounds the real problem - the writing. The dialogue feels like it was drafted during a lunch break in elementary school, revised once, and immediately sent to set. I’m confident I wrote better material in high school without even trying. I bet you did, too. The plot twists, or lack thereof, are especially painful. You will guess the killer almost immediately, not because you’re clever, but because the film gives you no other viable options. It’s like a whodunit where only one person bothered to show up.

And the motivation? I won’t spoil it outright, but let’s just say it relies on the killer playing an absurdly long game with absolutely no guarantee it would ever pay off. If you watch this nonsense, you’ll know exactly what I mean. Add to that moments where victims fail to notice the killer standing practically beside them, and you’ve got a film that regularly insults basic human perception.

To its credit, The Vindicator doesn’t look cheap. The production value is surprisingly decent, and it at least resembles a real movie rather than someone’s home project uploaded with confidence. I should also clarify that despite sharing a title with an ’80s film involving robots (yes, that was a thing), this has absolutely nothing to do with that movie. Too bad, since killer robots might have been an improvement.

The Vindicator (2025)

Ultimately, The Vindicator hopes to be edgy and witty, trying desperately to be relevant in modern social circles. But what it really manages is to be frustrating, and even comically so. Watch this for an evening only if you enjoy yelling at screens and wondering just how something with this premise managed to go so wrong.

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