Scream (1996) | This self-aware slasher flick helped rejuvenate and reinvent the slasher genre and still holds up today as must-see horror. #jackmeatsflix

My quick rating - 7.9/10. An impromptu rewatch with Juliet_witch reminded me that somehow, in all my ramblings about horror, I’d never actually reviewed Scream. Pretty wild considering I first caught this one at the drive-in back in ‘96 and walked away absolutely blown away. Revisiting it nearly three decades later only cements how brilliantly Wes Craven pulled off his slasher renaissance.

The plot follows Sidney Prescott (Neve Campbell), still traumatized by the rape and murder of her mother, as a new masked killer starts slicing his way through their sleepy California town. The film opens with an unforgettable gut-punch: the now-iconic scene where Casey Becker (Drew Barrymore) and her boyfriend Steve fall victim to Ghostface, a costumed killer who loves toying with his prey over the phone before gutting them like fish. It’s chilling, playful, and cruelly effective.

Soon enough, Sidney becomes Ghostface’s next target. Her boyfriend Billy Loomis (Skeet Ulrich) becomes the obvious suspect after a suspiciously timed break-in, but a clever alibi quickly complicates things. Sidney finds temporary refuge at the home of her best friend Tatum (Rose McGowan) and Tatum’s goofy brother, Deputy Dewey (David Arquette), but the murders keep closing in. Meanwhile, aggressive tabloid reporter Gale Weathers (Courteney Cox) is determined to make a sensational career out of Sidney’s tragedy. By the time the teens gather for a house party—because what better way to survive a murder spree than getting drunk and watching horror movies—the stage is set for a final act drenched in blood and popcorn-strewn chaos.

What makes Scream so enduring isn’t just its memorable kills or that eerie Ghostface mask (which has basically become Halloween shorthand for “I like horror”). It’s that Craven, alongside screenwriter Kevin Williamson, knew exactly how played out the slasher genre was by the mid-90s. After the glut of Jason knockoffs, Freddy rip-offs, and every conceivable masked psycho stalking coeds through the ‘80s, audiences were burnt out. Scream took those worn-out tropes, turned them inside out, and winked at us the whole time. And did so without mocking the genre it clearly loved.

This movie is proudly self-aware. It literally lays out the “rules” of horror movies while gleefully breaking or subverting them, managing to be both a clever satire and a legitimately nerve-jangling thriller. The gore doesn’t hold back either. From garage doors that do more than just open and close, to bloody chest carvings, Craven made sure Scream didn’t just talk the slasher talk, it walked it, knife in hand.

And let’s not forget the cast. Neve Campbell’s Sidney is the definitive ‘90s final girl—vulnerable but tough, smart without being invincible. Matthew Lillard oozes insane psychopath energy, David Arquette is unforgettable as the kooky lawman, and Courteney Cox’s Gale Weathers is the perfect blend of opportunistic and oddly likable.

Scream (1996)

Watching it again in 2025, I can confidently say Scream still absolutely holds up. If it feels familiar now, it’s only because so many have tried to imitate its meta style since. But back when it dropped, this was a fresh, bloody breath of air that jolted the slasher genre back to life and reminded everyone why horror mattered. Essential viewing—then and now.

Plenty of options for you to stream this one with #Shocktober coming up, including Amazon.

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

Invader (2024) | They were shooting for an uncomfortable, stripped-down psychological horror, but nauseating camera work and hollow characters drag this one down. #jackmeatsflix

My quick rating - 4.1/10. Well, I gave Invader a shot and walked away feeling mostly underwhelmed, though slightly seasick thanks to the cinematography. The camera work here is downright dreadful. It’s like someone handed the DP a phone with a busted stabilizer and told them to “just vibe.” Constant shakiness, sloppy focus, and general disregard for basic framing made me wonder if this was supposed to be a found footage flick. It’s not. So, congratulations, Invader, you found a way to look worse than most student projects without even trying for that style.

The dialogue doesn’t fare much better. It often feels unfinished, like the cast was working off bullet points instead of an actual script. The first half of the movie is a slog, following Vero Maynez as she tries to make her way to her cousin’s house and then meanders around looking for her. Not exactly pulse-pounding stuff. Vero’s character didn’t help either, as she slips into “spoiled brat who can’t communicate” mode pretty quickly. Honestly, I wasn’t terribly concerned whether she made it out alive. That’s the luxury of fiction: I get to judge characters for being annoying without guilt. Luckily, her buddy Carlo (played by Colin Huerta) is at least somewhat likable.

The second half tries to crank up the fear factor, giving us a home invader who’s more Buffalo Bill than random Joe Swanberg. Apparently it wasn’t enough to have a deranged guy breaking into homes; he also had to dress up and prance around for that extra dash of Silence of the Lambs flavor. Sure, it’s creepy in concept, but it’s also a bit tired.

Speaking of Joe Swanberg, he actually plays the invader here, and credit where it’s due, he’s genuinely unsettling. The film’s minimal approach to explaining his motives (basically, he’s just evil for the sake of it) might have been the most realistic part, since plenty of real-life monsters don’t need elaborate reasons. Still, it felt like the movie leaned hard on that “isn’t it scary how random this is?” angle without building enough substance around it.

Keating does toss in one notably brutal kill, presumably to jolt the audience awake. It’s clearly there for shock value, and... well, it’s not all that shocking. The whole affair runs about 70 minutes, which sounds mercifully short until you realize how little happens, making it feel like a dragged-out PSA on America’s startling home invasion statistics (every 30 seconds, wouldn't it be nice if that weren’t true? (Click HERE).

I can see what writer/director Mickey Keating was going for—an uncomfortable, stripped-down psychological horror. But with hollow characters, anemic plotting, and that nauseating camera work, Invader mostly just left me wanting something sturdier to hold onto, like a steady tripod.

Invader (2024)

Amazon is one of a couple of streamers carrying this flick.

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

The Old Guard 2 (2025) | This sequel manages to feel both rushed and stretched thin, and is watchable on the strength of the action and cast alone. #jackmeatsflix

My quick rating - 5.0/10. Andy (Charlize Theron) and her band of immortal warriors return in The Old Guard 2, determined to protect humanity from yet another looming threat. Sadly, the only real threat here is to your patience.

Let’s start off on the right foot: there are definitely positives. The film opens with a bang, an energetic, adrenaline-soaked sequence that reminds you exactly why the first installment worked. The choreography throughout is actually quite solid, offering up clean, well-staged fight scenes that look slick on screen. The visual style pops too, with enough vibrant colors and dynamic camera work to keep your eyes entertained, if not your brain. And I cannot complain about the cast. Theron still brings that cool, weathered edge to Andy, and it’s a kick seeing Uma Thurman show up as the villainous Discord, especially once swords get drawn.

Unfortunately, that’s pretty much where my list of highlights ends.

After that exciting opener, the movie hits the brakes hard. Outside of a one-on-one street fight—which looked more like a carefully choreographed martial arts demo than an actual desperate battle—the middle section drags painfully. It’s as if the filmmakers forgot immortality doesn’t mean your audience is going to sit around forever waiting for something to happen. Even worse, when the film does try to inject humor, it often comes across unintentionally, laugh-out-loud moments in scenes that clearly were aiming for tense or profound. I honestly can’t believe anyone thought that helicopter sequence was a good idea. It was just plain dumb, no other way to put it.

The plot is where things really fall apart. It’s painfully simplistic, seemingly aimed at a teenage crowd with absolutely no expectation for depth or internal logic. Characters we’re supposed to care about remain shallow, barely sketched out beyond their surface quirks. Even at a relatively lean 107 minutes, there isn’t enough meaningful story here to justify the runtime. Instead, the movie leans heavily on world-building crumbs that feel like setup for yet another sequel. The problem? They didn’t bother to actually wrap this story up. It’s all just left dangling on an open-ended cliffhanger that feels downright insulting given how little they accomplished here.

And that’s a real shame. I’ve always loved a good immortality flick—The first Highlander was outstanding, and even the original Old Guard back in 2020 earned a solid 6.7/10 from me. It had fun characters, slick action, and enough heart to make you care. This sequel feels like half a movie. Sure, there’s some intriguing expansion of the lore that could, in theory, pay off down the road. But if it takes another five years to get a follow-up, I and most likely the rest of you will have forgotten the scattered pieces this one awkwardly tried to set in place.

In the end, The Old Guard 2 is still watchable thanks to its strong cast, occasional thrills, and polished look. Just don’t go in expecting the same level of entertainment as the first. It’s a big disappointment by comparison—an empty vessel that somehow manages to feel both rushed and stretched thin. I gave this a middling 5.0, mostly on the strength of the action and cast alone. Let’s just hope they figure out how to deliver a complete story next time—if there ever is one.

The Old Guard 2 (2025)

This one is Netflix only for the time being. JustWatch link for future reference.

https://jackmeat.com/the-old-guard-2-2025/

The Sound (2025) | Even being a big fan of climbing flix, the lack of action and scares ending in a laughable finale makes this a tough sell. #jackmeatsflix

My quick rating - 3.4/10. If you ever wondered what Cliffhanger would look like if it were directed by someone who had just discovered drones, mood lighting, and 1950s special effects, well, The Sound might be your answer. Emphasis on might because even then, it’d be a bit of a stretch.

Let’s start with the good. The cinematography occasionally nails it. Shots of the towering, unforgiving “Wall” actually look stunning, and for a brief moment, you’ll think you’ve tuned into a high-end Nat Geo doc on vertical granite faces. There’s also Jocelyn Hudon (who you might recall from Chicago Fire) as Dana, and the always solid William Fichtner as the grumpy dad who doesn’t want his kid going up the murder-rock. Unfortunately, the filmmakers seem to forget they even exist shortly after rolling the opening credits.

The movie opens by trying to be clever, dropping us into what’s clearly a scene from later in the story. Ooh, intrigue! Shame it only serves as a reminder that we’re going to have to sit through 90 minutes of poorly fleshed-out climbers doing their best “exposition by flashlight” routine before we get back to that moment. There’s no real attempt to give these characters meaningful backstories. Honestly, if their bios were Tinder profiles, they’d all say “just here for a good time,” and you’d swipe left so fast you’d sprain your thumb.

Marc Hills plays Sean, whose entire personality is that his granddad once fell off this very mountain. The local Indian elder ominously blesses their trip in the vaguest way possible, something about spirits and consequences, which is your big clue that we’re heading into supernatural territory. Sort of. Kind of. Maybe. Honestly, it’s like the script couldn’t decide if it was The Descent, The Shining, or a motivational Instagram reel about conquering your fears.

About those effects: imagine the early days of Syfy originals, but with slightly more budget for fake wind. When the climbers finally reach the top and the “big twist” happens, it’s so spectacularly silly you’ll half expect the Scooby-Doo gang to pop out and unmask a disgruntled park ranger. The last 15 minutes spiral into an unintentionally hilarious finale, complete with eyes rolling back and people babbling nonsense. I could practically hear the actors thinking, “Well, the paycheck cleared.”

For fans of climbing, there are cameos by real pros like Alex Honnold, Hazel Findlay, and Brette Harrington, playing themselves. Or at least credited as “self,” which is a weird flex in what’s supposed to be a thriller. If you’re hoping for an adrenaline-fueled mountaineering story, prepare for long stretches of slow rope work and existential whispering instead.

By the time the credits rolled, blasting We Die Young by Alice in Chains (bonus shoutout since I literally mentioned them in a review two days ago. Fate or punishment?), I found myself chuckling more than shivering. And just in case you didn’t suffer enough, the final scene teases a sequel. Because apparently we all need The Sound 2: Even Soundier.

I genuinely wanted to like this. I’m a sucker for anything with ice axes and sheer rock faces (hell, Cliffhanger is a personal classic). But this was all style, no substance, and that style was mostly borrowed. I am probably being generous as it is, so I wouldn't fault you for rating this lower. If you’re in the mood for a mountain movie, it might be best to watch Stallone hang by one hand again instead, at least that had gravity.

The Sound (2025)

Amazon, along with these other streamers have this one for viewing.

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

Ballerina (2025) | I don't think Ballerina is trying to reinvent the franchise’s wheel. It’s just spinning it faster, with more flames. #jackmeatsflix

My quick rating - 7.3/10. Ballerina spins right into the blood-soaked chaos of the John Wick universe, landing somewhere between ballet recital and bullet-riddled slaughterhouse. And that’s meant as a compliment. Set between the events of John Wick: Chapter 3 – Parabellum and John Wick 4: Chapter 4, the film follows Eve Macarro (Ana de Armas), a young woman beginning her brutal education in the assassin arts of the Ruska Roma. Think less Swan Lake, more headshots at dawn.

First off, this movie absolutely nails the action choreography. It’s exactly what you want from a Wick spin-off: gorgeously staged gun-fu, vicious close-quarters scraps, and an unwavering commitment to creative carnage. Forget about bringing a gun to a knife fight — Eve shows up with a belt full of grenades. The gunplay is smooth, the camera glides right alongside the chaos, and heads keep popping like watermelons at a Gallagher show.

One standout sequence has to be the flamethrower shootout. If you ever wondered what it would look like to torch a crowd of heavily armed mercenaries while pirouetting through molten chaos, this film’s got you covered. You can practically feel the stunt team sweating through their flame-retardant gear. That entire scene burned itself (literally) into my memory as one of the more unique moments I’ve seen in modern action cinema. Here is a quick video of their reactions to that crazy sequence.

Ana de Armas handles the lead with style. Sure, you have to suspend disbelief watching her 120-pound frame get slammed into walls by guys twice her size, only to pop back up like a kid’s inflatable punching clown. But if you’re a Wick fan, you’ve already trained yourself to accept this brand of physics-defying punishment. Besides, the movie smartly mixes up its violence — throwing in knives, grenades, improvised kills, and that glorious flamethrower — so it never settles into stale shootouts.

Story-wise? Let’s be real: there’s not much to chew on. Ballerina is all about long, stylishly orchestrated battles with the thinnest thread of revenge and self-discovery tying it together. Dialogue and depth take a back seat to carnage, but in the Wickiverse, that’s practically tradition.

It’s also a treat seeing the old gang again. Keanu Reeves drops in for a few brooding, bullet-filled cameos. Ian McShane’s Winston brings his sly style, and the Continental’s shadow looms large. And the inclusion of Norman Reedus as Daniel Pine was a brutal treat. It all ties back to that delightfully hyper-violent universe we’ve come to love.

I don't think Ballerina is trying to reinvent the franchise’s wheel. It’s just spinning it faster, with more flames. If you’ve learned to leave your brain at the theater door and embrace the beautifully choreographed insanity, this is a solid two-hour popcorn feast that’ll keep your adrenaline pumping and your eyes glued to the carnage. And really, isn’t that why we keep coming back?

Ballerina (2025)

You can watch this at home for theater prices on these streamers, including Amazon.

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

Never Blink (2025) | Never Blink is a slick-looking, completely illogical flick with a cool concept that is paced slow, needs editing, and a new cast. #jackmeatsflix

My quick rating - 3.5/10. Never Blink kicks off with a dream sequence that might, maybe, sorta mean something later, if you can piece it together from the last-call logic this film serves up. The premise? Five medical students (who apparently got their MDs in improv comedy) discover how to capture what happens when you blink. Turns out, it’s a whole dimension called “the in between,” where the laws of reality are as stable as the script’s internal consistency.

Inside this blink-verse is a monster that honestly doesn’t look half bad, until it keeps popping up like an overexcited party guest who doesn’t know when to leave. By the sixth time it lumbers out of the shadows, you’re wishing it’d just eat these kids so we could all go home.

Speaking of the kids: our brave future doctors have about as much bedside manner as cardboard cutouts. Sure, they seem like a fun crowd for beer pong, but trust them with a scalpel? Hard pass. You could fill a whole ICU with the believability this cast lacks.

The film’s practical effects are decent, the camerawork and lighting surprisingly slick for a low-budget affair, and I’ll admit: 5Revolt’s Alice in Chains-flavored soundtrack slams even though music is interjected at random times. Honestly, I’d rather just download the playlist and save myself the 113-minute slog. Because for a movie that long, the pacing is flatter than the EKG after the script’s pulse gave out.

Somewhere buried in this mess is a cool concept that could’ve been unnerving. Imagine truly never wanting to blink again! Unfortunately, by the time they finish rewriting their own pseudo-science rules for the tenth time, the only thing you’ll fear is that it’s not almost over.

In the end, “Never Blink” might make you keep your eyes wide open but only to check the time, praying the credits start rolling before your patience flatlines (or: “Blink and you’ll miss… absolutely nothing important.”) Oh, I almost forgot, great poster!

Never Blink (2025)

Justwatch doesn't have any streamers for this one yet.

https://jackmeat.com/never-blink-2025/

Jurassic World Rebirth (2025) | Fun dino action with stunning visuals, but the magic’s long extinct. JW Rebirth delivers expected thrills without recapturing that original awe. #jackmeatsflix

My quick rating - 6.1/10. Five years after the somewhat lackluster finale of Jurassic World Dominion, Universal decided the dinos weren’t quite extinct at the box office. So here comes Jurassic World Rebirth, dusting off those prehistoric giants for another run, this time led by covert ops expert Zora Bennett (Scarlett Johansson), who’s been hired to secure genetic material from the three biggest dinosaurs on Earth. Naturally, she brings along a team that feels like it was pulled straight out of the Action Movie Team Starter Pack, including Mahershala Ali as the smooth, capable Duncan Kincaid.

When their mission collides with an unfortunate civilian family whose vacation boat trip gets wrecked (because, of course, it does), everyone winds up stranded on a remote island teeming with dinosaurs. The classic John Williams themes still manage to give you goosebumps, echoing back to that first majestic Brachiosaurus reveal. What follows is your standard-issue survival adventure, sprinkled with a conspiracy twist involving a decades-old secret that’s predictably more sinister than anyone bargained for.

On the bright side, the cinematography by John Mathieson is fantastic. Whenever the action ramps up, dinosaurs sprinting, clawing, or soaring across the screen. It’s genuinely thrilling to look at. Director Gareth Edwards pulls it all together nicely. The creatures themselves are beautifully rendered; the visual effects team made sure the dinosaurs still pack a punch, even if they no longer deliver that jaw-dropping-in-the-theater awe we all felt back in 1993. Similar to that first theater viewing of Avatar, or what I had recently, with a feeling like I was in the room during my VR watch of The Faceless Lady.

But that’s also part of the problem. The sense of wonder feels automated now. The technology has reached a point where seeing a dinosaur on screen is almost mundane, expected, rather than exhilarating. It’s like going to a fireworks show you’ve seen a dozen times: still pretty, but it doesn’t get my heart racing. The mutant hybrid dinosaurs — now culminating in the so-called D-Rex, which looks suspiciously like a T-Rex bred with Jabba’s pet Rancor — didn’t exactly help. Honestly, dinosaurs were plenty fascinating all on their own. Turning them into monster-movie bosses just cheapens it.

The family subplot mostly felt shoehorned in, a group of hapless civilians there to boost the available targets and give Zora’s team something else to fret over. A baby dinosaur pops up to score “aww” points, but its presence is about as essential as an inflatable pool float in a hurricane.

In the end, I walked out of the theater feeling satisfied but not exactly stunned. Jurassic World Rebirth gave me what I expected: solid dino thrills, a few well-shot chase sequences, and enough nostalgia hits to keep me entertained. But that spark of cinematic magic, the kind that made you believe you were seeing real dinosaurs for the first time, is long gone. Maybe some fossils really are best left buried.

Jurassic World Rebirth (2025)

Aside from the theaters, Fandango at Home is the only streamer carrying this right now. Amazon already has it set for January 2026.

https://jackmeat.com/jurassic-world-rebirth-2025/