In this episode, I joined Matt Poirier [The DTV Connoisseur] as we look at another Dolph DTV film, SILENT TRIGGER. We start with the first 90 minutes or so looking at the year in movies so far, especially the success of SPIDER-MAN: BRAND NEW DAY, but also THE ODYSSEY, OBSESSION, etc., and why we think so many people are going to the theater again.
Then with SILENT TRIGGER, we talk about how much we enjoyed this film, why it worked so well, and then a little bit on 80s and 90s music videos and the directors who got their starts with them.
A few months back, we took a deep dive into the slashers of 1981, and now we're back to finish the job! If our first installment focused on future classics and franchise cornerstones, this week's episode explores the stranger, sleazier, and more offbeat corners of the slasher boom.
Some films stick close to the formula. FINAL EXAM delivers stripped-down campus suspense, GRADUATION DAY pairs revenge with an unmistakably early-'80s soundtrack, NIGHT SCHOOL mixes police procedural thrills with a memorable killer, and EYES OF A STRANGER blends voyeurism and vigilante justice while featuring an impressive early performance from Jennifer Jason Leigh.
Others push the boundaries. Wes Craven's DEADLY BLESSING fuses religious paranoia and psychological horror, while STRANGE BEHAVIOR combines mad science, teenage romance, and small-town conspiracy into a cult favorite. Then there are the true oddballs: BLOODY BIRTHDAY, BLOODY MOON, DON'T GO IN THE WOODS (ALONE), and the gleefully self-aware STUDENT BODIES, each embracing excess, exploitation, or outright parody in wildly different ways.
Join AC and his blood-loving panel of guests (me included) as we celebrate—and occasionally eviscerate—ten more slices of 1981 horror, spotlighting the overlooked gems, cult favorites, ambitious experiments, and gloriously excessive carnage that made this such a banner year for slasher fans!
For those who only know beloved actor Bill Paxton from his outrageous comic supporting turns or solid leading man roles, watching him bring Brent Hanley’s high concept story to exquisitely shaded light is a bit of a revelation.
A mysterious young man, Fenton Meiks (played by Matthew McConaughey) walks into a Texas FBI building and reveals to Agent Doyle (played by Powers Boothe) that he knows the identity of a local serial killer known as “God’s Hand.” Fenton tells of his father (played by Paxton himself), a loving man of deep faith who awakens his sons one night with the news that he has had a vision: God has called on them to serve as slayers of demons. Of course, upon hearing that these demons are “disguised” as human beings, Fenton understandably begins to question his father’s sanity.
Hanley’s powerful screenplay was inspired by both Catholic school teachings and a love of Stephen King. A modern take on the Old Testament stories of fealty and faith, Paxton and his creative team endow such banal objects as a pair of gloves, a lead pipe, and an axe named “Otis” with mythical status, as well as an abiding uncertainty and mistrust of what we see around us and/or how events are interpreted. Is this a tale of religious enlightenment or mental psychosis? You’ll have to ride along with Fenton and Agent Doyle to find the answers… which only end up leading to more questions.
In the quarter-century since its release, Frailty has lost none of its power, delivering psychological tension and shocks without gratuitous splatter and gore, anchored by incredible performances, Bill Butler’s gorgeous cinematography, and Arnold Glassman’s sharp editing. Paxton’s feature debut is subtle and ambiguous, giving its audience the freedom to arrive at their own terrifying conclusions.
Join AC and his fanatical, er, fantastic panel of guests (Cati Glidewell, Jay Kay, Gert Verbeeck, and yours truly) as we celebrate 25 years of FRAILTY!!
In this episode, I joined Matt Poirier of The DTV Connoisseur as we look at one of Matt's favorite Dolph Lundgren films, THE MINION. Recorded prior to the New York Knicks championship win, we start the first 15 minutes or so talking about the shenanigans that befelled the Knicks during Game 3 of the NBA Finals.
From there, we spend the next 90 minutes or so looking at the year in movies so far, what's done well, what struggled, and what surprised us, and why we think all that happened.
Then with THE MINION, we talk about the time this was made, and how it fit certain themes. We also discuss Dolph, and how excited or not excited he was to make this movie.
After breaking the mysterious “One Wish Willow” to win his crush’s heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.
REVIEW
If you’re a horror movie fan, then you most likely contributed to the success of OBSESSION at the box office this past weekend. But if you haven’t yet, then believe the hype for once - OBSESSION is not only a fantastic horror film, but the best horror film of 2026 so far. One of the best 2026 films of the year actually.
A take on "The Monkey’s Paw" story, OBSESSION tackles the so-called “male loneliness” issue that many young men are apparently dealing with, especially since the pandemic. The main character, Bear, is so focused on his selfish need to be with a girl who has obviously friend zoned him, that he ignores all the signs around him and makes a terrible wish to get the love and attention that he wants from this girl. It doesn’t matter that he’s forcing Nikki to be with him against her will, which brings about topics of sexual harassment, sexual assault, and other icky topics involving gender dynamics and misogyny. It doesn’t matter that his best male friend, who he doesn’t seem to have the greatest bond with to begin with, is warning him to move on from Nikki. It doesn’t matter that his co-worker, Sarah, is into him and is just as lonely as he is when it comes to love. Bear makes a selfish wish about what he needs, not realizing he’s taken away all agency from Nikki without considering what she would want as part of this wish [which would most likely have nothing to do with being with Bear anyway]. Nikki’s a puppet in Bear’s fantasy, making Bear one of the more disgusting villains in horror movies this century.
I think that’s what elevates OBSESSION for me. Yes, it follows the familiar tropes of “The Monkey’s Paw” narrative and provides that well-known commentary that you should be careful what you wish for if you don’t really consider the pros and cons of that very wish. But the story gives those tropes some dimension, as it brings a lot of issues involving men and women within friendships and relationships to the forefront. The movie could have been marketed as a simple “the woman is bad because she isn’t providing what the man had hoped for” sort of deal. Hell, that probably could have been the case prior to social media. But throughout the film, you’re never given the implication that Nikki is the bad person here. Yes, she does awful things but they’re all under duress, under a spell that she’s a puppet of against her will. Other characters in the film gaslight her because Bear is the “nice, quiet guy who couldn’t harm a fly”. But as the film runs along, Bear’s uneasiness with the situation becomes easier for him despite the chaos he’s created.
Bear making a selfish wish doesn’t automatically make him a terrible person. He probably didn’t believe the wish would come true and felt lucky when it did. But he perpetuates the situation, especially when he learns that something that Nikki told him wasn’t actually true and he lets it slide because he finally has what he wants, despite the fact that the lie is a pretty awful one. Then he has sex with her, knowing she’s not in her right mind and has no ability to consent. That’s when he becomes the true villain of OBSESSION, revealing how ugly and self-absorbed he is despite others around him thinking otherwise. His role as villain is cemented with the moment where the real Nikki cries for help during a moment where the wish version of Nikki is asleep. Instead of doing what she asks, Bear just asks her “What’s so wrong about being with me?” There’s no redemption arc here and we know the story has to go a certain way to be completely satisfying for the audience. The marketing makes Nikki seem like the crazy one here, but it’s really Bear who is the puppeteer and refuses to see the error of his ways until he realizes the wish is more than he can handle. Again, he only makes moves when the situation affects him negatively, not when it’s affecting the woman he supposedly loves. It’s effective in turning a silly situation into something that’s both awkward and, eventually, frustrating to watch for a girl who didn’t deserve the situation she was put in.
Curry Barker, alongside Mark "Markiplier" Fischbach, have proven that YouTube filmmakers are now the new “It” boys in an industry that probably despises them for not being true auteurs. But Barker has made a statement piece with OBSESSION, as he definitely has a great eye in directing horror [despite coming from a comedy background]. Lights and shadows are used brilliantly. The pacing and editing is almost pitch perfect. Lingering shots create dread and tension without the need for a jump scare to unnerve audiences. Everything on screen feels earned. I actually felt uncomfortable watching certain moments of OBSESSION, especially during the film’s second half, where all the true visual horror begins. Also the writer of the film, Barker has proven that he has a bright future in the genre by creating a project that affected a lot of people, possibly triggering something in many in terms of their own dating lives or something within themselves that connects to one of the main characters. OBSESSION cost less than a million dollars and looks better than most films made for 20x that much. I look forward to his TEXAS CHAINSAW MASSACRE movie, hoping he works the same kind of magic on that as he does with OBSESSION.
The film also wouldn’t work without the two leads. Despite watching trailers for OBSESSION, I didn’t realize Bear was portrayed by Michael Johnston, who I knew from later seasons of MTV’s Teen Wolf and from his video game voice work. He’s super good as Bear, creating a human being that becomes more unlikeable as the film runs. His good looks and quiet personality adds to the menace that Johnston provides, never coming across as sympathetic when the shit hits the fan.
But the real star is actress Inde Navarrette as Nikki, who provides one of the best performances in any horror film I’ve seen. I like the fact that we never have a chance to see Navarrette as normal Nikki much, as the lack of knowing gives her more layers and beats to play with to manipulate the audience’s feelings about her. She’s sweet. She’s out of her mind. She’s scary. She’s vulnerable. She even portrays all these beats within the same scene like they’re mood swings, jarring you and making you worried what this wish has done to Nikki and what it will make her do [usually nothing good]. Despite admitting she’s not a horror fan, it’s obvious Navarrette watched certain films to gain some inspiration for her performance. Like Mia Goth in PEARL. Or Naomi Scott in SMILE 2. Or more likely, the amazing Isabelle Adjani in 1981’s POSSESSION and her extremely memorable manic performance. Whatever the case, OBSESSION has turned Navarrette into a major star, with some wanting some sort of Academy Award nomination for her performance. Both Johnston and Navarrette will get a ton of work after OBSESSION and look forward to what each does next in their careers.
THE FINAL HOWL
Believe the hype. Not only is OBSESSION the best horror film released in 2026 as of this writing, but it’s one of 2026 best films, period. Despite the use of a tired “Monkey’s Paw” narrative trope, director-writer Curry Barker adds dimension by adding social commentary on sexual assault, consent, misogyny and the effects of the so-called “Male Loneliness” issue that seems to be an alleged thing amongst some younger men since the pandemic. It also provides that cliche that one should always be careful what they wish for, putting all the fault on the wish maker instead of the person under the spell of that wish, despite her manic actions and how negatively the other characters react considering they don’t know the situation.
The film, with its $750,000 budget, looks fantastic with great lighting, editing, framing, and confident pacing. Hell, it looks better than horror films with much bigger budgets. Michael Johnston is great as the self-absorbed and unlikable Bear. But it’s Inde Navarrette who steals the film as Nikki, who plays the menace of Bear’s wish perfectly, going from nice and sweet to downright scary and obsessively violent and needy. You’re unnerved by Nikki, but you also feel really bad for her since none of this is her fault. Navarrette has a star making turn here and I could see her doing great things in her acting career. I was hoping OBSESSION would be good judging by the trailers and good word of mouth, but I never expected it to be this good. The highest of recommendations.
The early 1980s were a golden age for horror, and by 1981, the slasher subgenre had already exploded into a full-blown phenomenon, with producers and filmmakers eager to capitalize on the success of HALLOWEEN and FRIDAY THE 13TH.
While horror sequels weren’t a new concept, FRIDAY THE 13TH PART 2 introduced Jason Voorhees as a full-fledged killer, creating a genre icon before our eyes, and HALLOWEEN II picked up immediately where the 1978 original left off, both pushing their respective series toward more explicit violence and expanding their internal mythologies, with impressive box office results.
But there were also plenty of one-offs, from out in the wilderness (THE BURNING, JUST BEFORE DAWN) to civilization (NIGHTMARE, THE PROWLER), from exotic settings (THE FUNHOUSE, HELL NIGHT) including the Great White North (HAPPY BIRTHDAY TO ME, MY BLOODY VALENTINE).
Join this incredible panel of gorehound guests as we head back 45 years to a time of body counts, masked killers, outrageous offings, eerie atmosphere, endlessly quotable dialogue, and filmmakers throwing it all at the screen to see what would stick. THE SLASHERS OF 1981!!
The host of a popular paranormal podcast becomes haunted by terrifying recordings mysteriously sent her way.
REVIEW
UNDERTONE? More like UNDERWHELMED.
UNDERTONE was one of my most anticipated horror films for 2026 due to a lot of positive buzz after it played in Canada last year and an interesting trailer that promised me some creepiness in podcast form. But I should have known by now that any film that’s marketed as the “scariest horror film in years” will end up disappointing me.
That’s not to say that this film is terrible. In fact, it’s far from it. The sound design for UNDERTONE, considering the horror is coming through a podcast, is absolutely incredible and some of the best I’ve heard in a horror film in a very long time. The sounds and noises that come across from the audio files, especially towards the end, are pretty unnerving as you’re trying to make out what the sounds are. It’s like some evil ASMR. If you do plan on watching this, definitely see it in Dolby or with noiseless headphones when it hits streaming at home. For a film about audio horror, UNDERTONE definitely succeeds in that aspect.
I also thought the cinematography was quite good as well. While there were some edit and pacing issues at times, it didn’t deter how nice the film looked. I enjoy looking at all angles of a single shot during a horror film, wondering if there’s anything dangerous lurking in the shadows. UNDERTONE makes you do that quite a lot once the audio files begin getting more demonic and strange.
I also felt lead actress Nina Kiri was very good in her role of Evy. She plays all emotional beats believably as she goes from supernatural skeptic to quick believer during the film’s final act. Kiri’s character can be a bit abrasive and unlikable at times, but you’re still willing to know more about her and her family situation. Dealing with a dying mother is traumatic, especially if you’re the single caretaker. Believe me, I know from personal experience with my own mom who sadly passed away over a decade ago. So I understood the mood changes and the defense mechanism of being a non-believer. Kiri handled all that really nicely, especially when she’s mainly the only actor that appears on screen from beginning to end.
I did have issues with Adam DiMarco’s portrayal of Justin, Evy’s podcast co-host. I liked him quite fine on his season of The White Lotus, but something about his voice in UNDERTONE kept rubbing me the wrong way. Maybe it was the audio mixing? Maybe it was the way he recited lines and reacted to things that were happening? It also helps that we barely know who he is, so it was really tough to care about what was going on with him over Evy.
In fact, the character development in UNDERTONE is seriously lacking. Despite spending 90 minutes with Evy, I still barely scratched the surface on who she was. Her mother is dying. She has her own medical situation that occurs in the film. She seems to have a boyfriend but he refuses to help her take care of her mom. Justin seems to care a lot about Evy but she pushes him away. How did they meet anyway? Why did Evy lose her closeness to her mom? Why did she shun religion as a teenager? These things are never really explored and it hurts the film because we’re supposed to care about a main character [really our only character onscreen] that we have very little info about. I wish the horror aspect would have created an opportunity to explore her life but the film never goes there really.
And I’m gonna be honest - I was drifting in and out of sleep watching this, despite a crowded theater and loud audio. Something about horror films like this one don’t do a whole lot for me unless the characters or the situation are super interesting and have a commentary that fleshes out the main narrative. This is just found footage ASMR - a film that wants to unnerve you for most of the film without showing you much, until the last 10 minutes where the shit hits the fan and the film finally becomes visually interesting. It’s the only time UNDERTONE felt alive for me because things were actually happening. Too much build up isn’t always a good thing, especially when all the real fun stuff is at the end.
And is UNDERTONE an anti-abortion film? Is it a film about religious guilt and how not believing will result in terrible things? Look ladies - your body, your choice. I don’t care how a demon feels about that. You do you, ladies.
THE FINAL HOWL
I really wanted to like this film more than I did, but UNDERTONE is a pretty disappointing flick after all the buzz and hype for it. The sound design is fantastic and makes the film worth watching for that alone. And I liked the cinematography and the use of spacing within shots to make you peek to see if anything strange was hiding in the shadows or in corners of the room. And basically a one-woman show, Nina Kiri did quite well with what she was given as main character Evy.
But the script didn’t do a whole lot for me, as there’s a lack of development and unanswered questions about all the characters involved. The audio can be unnerving, but it gets kind of old by the end. And it takes a long time to get to the good stuff [the last 10 minutes or so] before it suddenly ends. When you make me quote “Miss You Much”-era Janet Jackson and ask “Is that the end?”, there’s something not quite right. I’m not a fan of films that have a promising build up that leads to a lacking payoff. But hey - I respect the filmmakers for making a solid profit out of a $500,000 budget.
If you loved UNDERTONE, then I love that for you. But for me, it’s just another overhyped horror film that didn’t reach the heights I was expecting it to. By the way, adding demonic entities to podcasts wasn’t necessary. Editing, scheduling and making sure episodes are recorded is hard enough for us already.
A lonely Frankenstein travels to 1930s Chicago to ask groundbreaking scientist Dr. Euphronious to create a companion for him. The two revive a murdered young woman and The Bride is born. But what ensues is beyond what either of them imagined.
REVIEW
A modern interpretation of one of the greatest Universal Monster features of all time, Maggie Gyllenhaal’s version of THE BRIDE! is inspired by 1935’s BRIDE OF FRANKENSTEIN, 1967’s BONNIE AND CLYDE, a few Golden Age of Hollywood gangster movies, as well as a JOKER: FOLIE A DEUX vibe that can’t be ignored. Actress Gyllenhaal really swings for the fences as a director for her first big-budgeted feature, going all out and throwing so many ideas at the wall while working with what sticks. Unfortunately, this becomes troublesome for THE BRIDE! as its narrative feels all over the place throughout its runtime. Is it a monster horror film? Is it a gangster film? Is it a romantic drama? Is it a musical? Is it too message heavy on feminism and misogyny? I think if THE BRIDE! had more of a focus with its screenplay [also written by Gyllenhaal], this film would have been better received by a mainstream audience who aren’t ready or willing to accept anything this experimental. It’s tonally all over the place, which might make it tough for many to connect with.
That being said, the cast is pretty great in THE BRIDE!. Future Oscar Winner Jessie Buckley is phenomenal as the title character, playing a dual role as both the victim “Ida” and author Mary Shelley, who possesses Ida’s body to experience what it would feel like to be the Bride of Frankenstein. Buckley plays both roles quite differently, sometimes at the same time, changing accents and dialects that’s both jarring and awe-inspiring all at once. She’s all in on these characters and you can tell she’s having a lot of fun playing both ladies. No matter what one might think of this film, we can all agree that Buckley is fantastic here.
Same goes to Christian Bale as Frank, who plays the famous monster in a quiet manner until he’s provoked, almost childlike compared to the more adult and confident Bride. Bale gets to sing, dance, have action moments and share romantic chemistry with Buckley. It’s one of his many quirky roles that works well in his favor, as he’s fun to watch.
The rest of the supporting cast is good as well. Maggie Gyllenhaal brings in her husband, Peter Sarsgaard as a detective who may be connected with Ida. She also brings in her brother Jake in a smaller role as an actor Frank is infatuated with. Penelope Cruz holds her own as Sarsgaard’s investigative assistant who seems more capable for the job than he is. And Annette Benning is wonderful as Dr. Cornelia Euphronious, a new mad scientist who brings The Bride to life.
Despite the messy screenplay, Gyllenhaal does visualize a beautiful looking film that feels both retro and modern at the same time. Colors pop, the special effects and make-up are on point, and the action-oriented sequences have energy and tension. I’m not sure if any studio will give her another $90 million to play with as a filmmaker after the commercial disappointment of THE BRIDE!, but Gyllenhaal definitely has a unique voice and a clear vision of the type of movies she probably wants to continue making. So I’m very interested in what she does next.
THE FINAL HOWL
THE BRIDE! isn’t for everyone and I understand why a majority of people seem to dislike it. But this is everything that JOKER: FOLIE A DEUX should have been as Gyllenhaal has the balls to make something outside the mainstream, even if it doesn’t completely work in the end. I would rather see filmmakers think outside the box and make their personal art than directors who want to play it safe for the quick cash. THE BRIDE! is the type of movie that cinema needs more of, even if audiences won’t embrace it right away. But I definitely see this becoming a cult favorite in the future.
When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.
REVIEW
I originally wasn’t going to review SCREAM 7. I was on such a high with 2023's SCREAM VI [my second favorite of the franchise], but then it got soured by all the behind-the-scenes drama that led into the production of this seventh installment in the most successful slasher franchise of all time. The firing of Melissa Barrera over her political views [which led to Jenna Ortega leaving with her], to Spyglass’ and Paramount’s association with the current administration in the United States, to both Radio Silence and Christopher Landon leaving directorial duties due to the drama [bringing in Kevin Williamson to direct a SCREAM film for the first time since being part of the franchise as a writer since the beginning], to finally bringing back Neve Campbell and other previous cast members [alive and dead] as some sort of desperate attempt to please the fanbase - it was very distracting and left me less excited for this sequel. The use of A.I. to market this movie? Yuck. Even the trailers looked same old, same old. But I was curious in the direction of bringing back Sidney Prescott-Evans to the franchise, so here we are.
The good? The cast is solid here. Neve Campbell being back does make SCREAM 7 feel like a worthy sequel as she returns as a mother whose past is now haunting her and her oldest daughter, Tatum. Campbell can play Sidney in her sleep at this point and she’s still the same badass that many of us fell in love with back in 1996. I also appreciated that the character had stakes again, really bringing out the Final Girl protector role out of Campbell. I also liked Isabel May as Sidney’s daughter Tatum. I wasn’t sure at first, since the trailers didn’t make the character appealing to me at all. But May holds her own here, playing the total opposite of Sidney as a more naive and somewhat helpless character due to Sidney’s overprotectiveness and hiding of her past from her daughter. It’s obvious May will be the lead character in the next installment, which I’m fine with as long as the character evolves into a more self-efficient Final Girl.
Courteney Cox has one of the best intro moments in the franchise as the returning Gale Weathers. She feels more like the Gale of old rather than the Gale of recent sequels, which I actually liked. Joel McHale surprised me as Sidney’s husband Mark, as he does well in the role and has some good moments against Ghostface. He fit in better than I thought he would have. McKenna Grace, Celeste O’Connor and Asa Germann don’t get a ton to do as Tatum’s friends, but do well with what they’re given. And it’s good to see Matthew Lillard back as Stu Macher, who is clearing having a blast and gets to recite some of the best dialogue in the film. He hasn’t missed a bit as the Stu character.
I thought some of the kills were also pretty inventive. The one inside the school was pretty brutal and the major one inside a bar restaurant that involved a drink dispenser made my jaw drop in how well done it was. Both felt like they were leftovers from a TERRIFIER script, which isn’t a bad thing. This film needed more memorable moments like this.
I also didn’t mind the opening act. Unfortunately most of it was ruined by the trailers, but I liked the tension and suspense infused throughout the first 15 minutes of the film with two characters that unfortunately didn’t mean anything at all for the rest of the film. I know some had issues that the opening didn’t involve a popular actor, but I liked that it felt ordinary and not at all distracting and predictable.
It’s a shame the rest of the film is super shallow and feels like fan fiction that ChatGPT wrote. Character development is pretty much non-existent. I honestly had no idea what the names were for Tatum’s friends until I looked them up. That’s how fleshed out and memorable they were. Even Tatum’s boyfriend was as bland as a rice cake. James Vanderbilt and Guy Busick have worked on decent scripts before, which surprises me that they didn’t do more drafts to, at least, flesh some of these characters out for us to care about when Ghostface took them out. They weren’t even archetypes or caricatures. Lazy writing.
Speaking of lazy writing, what was up with that awful reveal? Hell, that entire third act was just terrible from beginning to end. From the A.I. usage, to the actual Ghostface reveals, and to the motives of the reveals were just so bad, I couldn’t believe anyone in the production thought this was a good idea. I’ve been okay with the Ghostface identities until now, as it made no sense and involved characters that were barely on the canvas to really surprise the audience in a good way. What a mess.
And how many men has Sidney dated with the name “Mark”? It’s confusing when Patrick Dempsey could have made an interesting pairing with Campbell. But I guess he wasn’t available? And why bring back the Meeks-Martin twins to have them do nothing special? Yes, you want to keep SCREAM (2022) and SCREAM VI canon, but having these two here felt like they were in the original Melissa Barrera script and the writers had no idea what to do with them once she was fired. I mean, it was nice to see them but they were just the comic relief and they weren’t really all that funny honestly.
Also, you’re telling me that Tatum has NO IDEA who her mom was? All those STAB films? The books? No one in her town, who knew who Sidney was, gave Tatum a clue as to what she went through? Google is right there, Tatum!
I also don’t need the script telling me twenty times that Sidney wasn’t in SCREAM VI and acting like it didn’t count because she wasn’t in it. It’s insulting to fans of that film, like yours truly. It was cute the first time and got grating with repeated mentions.
THE FINAL HOWL
After reading what the original SCREAM 7 could have been, it makes this version of SCREAM 7 more disappointing. There was a dark cloud over this film from the start and it lingered until the end credits concluded. Glad Neve Campbell got her bag and it was fun seeing her and some of the returning characters back again. But the script was not good and the Ghostface reveals were atrocious. It didn’t help that the killers were really obvious to begin with. Just a lazy sequel that unfortunately did so well, we’re getting another one. Hopefully they try harder with SCREAM 8 because SCREAM 7 did not make me excited for another one. Personally, I think Ghostface needs to rest for a while. But I’m not greedy Hollywood, so what does my opinion matter?
In this episode, I joined Matt Poirier [The DTV Connoisseur] as he introduces me to the world of Billy Blanks action movies with TC 2000. We start in the first 90 minutes or so looking at the upcoming year in movies, what ones we think will do well, what ones may struggle, and why.
Then with TC 2000, we talk about Billy Blanks as an action lead, and how he does both from an acting perspective and an action perspective. We also get stuck in on the film and discuss the fun time we had watching it.
