July 4, 2026 “Southern Scares” (* out of four) was a Southern-fried mess set in the 1990’s in which a video-store worker (Sydney Gowan) discovers a lost documentary left from her sister (Emma Gaines) with clues in all different directions and may point back to the family matriarch (Dee Wallace). Slapdash in the extreme and not the least bit scary (or even entertaining); even at only an hour-and-13 minutes, you can feel the padding. Wallace looks great at her age but it might be time for her to call it a day. Continue reading →
July 3, 2026 “Amityville: Backrooms” (0 stars out of four) was an embarrassingly awful and unwatchable psychodrama about a smooth-taking wannabe entrepreneur (Chris Lohman) who visits the title home and finds himself instantly transported to another psychoactive dimension from which he cannot physically or psychologically escape (i.e. which means he is one room and more-or-less talks to himself the entire film). Believe me- it’s FAR much easier to escape the movie instead. Film is the latest in an endless of assembly-line to include the “Amityville” brand name but may be the worst ever and is a claustrophobic bore. For die-hard “Amityville” completists ONLY. Continue reading →
July 3, 2026 “Jackass: Best And Last” (*1/2 out of four) was a tiresome onslaught of death-defying gags from the classic crew (Johnny Knoxville, Steve-O, Chir Pontius, and others) who go through their usual motions with sadistic and sardonic glee while indulging the audience in in-your-face unpleasantness and har-har stunts. Fifth (and hopefully last) in this inexplicably popular series is more-of-the-same but this is a sore case of where less would have definitely been more. Some potentially funny gags are muffed time-and-time again and other are (in true series’ fasion) over-the-top and disgusting. Continue reading →
July 3, 2026 “Supergirl” (*1/2 out of four) was a super bland adaptation of the DC comic superhero series about the title character (Milly Alcock) who is recruited by a young girl (Eve Ridley) to avenge the death of her parents and save the world from the destructive forces of a space pirate and human trafficker (Matthias Schoenarts). Almost completely lacking in any sense of wonder, joy, or thrilling captivity and not even the special effects/action sequences are all that spectacular. About on par with last year’s dismal “Superman” adaptation; enduring both is enough to make any comic fan want to reach for some strong kryptonite. Continue reading →
July 3, 2026 “Spaghetti” (*1/2 out of four) was a stale platter of moldy urban-melodrama cliches about a hard-working nurse (Brittany Lucio) who thinks she has met the perfect man (Newton Mayenge); once she finds out he is cheating on her, she poisons his spaghetti which unfurls a whole series of dark and demented consequences. Misplaced attempts at dark irony combined with clumsy filmmaking and dramatics turn this into an unappetizing clunker. Mayenge’s strong performance is one of film’s few virtues. Continue reading →
July 3, 2026 “Midas” (** out of four) was a one-note comedy melodrama about a dropout (Laquan Copeland) who lies his way into a multimillion dollar insurance/investment corporation but soon uncovers a dark conspiracy that tests his limits of ambition, skill, and criminal thinking. Best thing about the movie is Copeland who is smooth and charismatic in the lead but cannot ultimately overcome film’s shortcomings in skimpy script and story. Watchable, if there’s absolutely nothing else on. Continue reading →
July 3, 2026 “The Paper Trap” (*1/2 out of four) was a paper-thin melodrama about an ex-con (Dakarai Akil) with PTSD who is faced with overwhelming struggles trying to start his life over and dealing with a corrupt probation officer (Shelton Jolivette) and an exploitative psychiatrist (Dee Hill who is a dead ringer for Ciara) he is required to meet with. Misfired attempt to incorporate real-life struggles with criminal thinking and mental health into the framework of an urban melodrama. Film’s climax is especially silly and weak. Continue reading →
July 3, 2026 “I Am Your Biggest Fan” (** out of four) was a contrived suspense melodrama about a popular television actress (Meghan Carrasquillo) who becomes overwhelmed and burned out by fame and seeks a fresh start and is given solace by a young fan (Lauren Cole) who naturally turns out to be a serious sicko who virtually imprisons her in her home. Not bad by the standards of these things with some decent acting and dialogue….but others may find it a bit overly reminiscent of “Misery” and there’s no Kathy Bates and obviously no James Caan here. Another watchable effort from director Hilary Duff but unlikely to find many “fans” of its own. Continue reading →
July 3, 2026 “Kyra’s Code” (** out of four) was an ambitious but uneven melodrama about a successful software-designer (Callmechoko Bruce Selaya) who buys Kyra (Sade Nakahara) an A.I. replicant. Initially, he finds she is a wonderful addition to his life but he soon finds that she is becoming domineering, disturbing, and dangerous. Director Johnnard Harper tackles intriguing and interesting themes of artificial intelligence, loneliness, and the pros-and-cons of both but is limited by mediocre screenplay. Better than most of its kind but lacking the spellbinding grandeur a story like this needs. Continue reading →
June 26, 2026 “Night Shift” (** out of four) was a predictable, prefabricated suspense melodrama about a museum security guard (Apryl Jones) whose night shift turns deadly when a group of high-tech criminals (led by Chris Moss) force her to assist in a robbery or her husband (Stephen Barrington) at home will be executed and killed. Slickly made and directed but overly pat and protracted and never catches fire. Jones is solid in the lead. Incidentally, this is not a remake of the 1982 zany Michael Keaton/Henry Winkler classic of the same name. Continue reading →
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