Sony Pictures Releasing)

By: Jesse Striewski

I pretty much knew going into it what to expect from the new Evil Dead Burn; another run-of-the-mill gorefest that ups the ante each and every chance it gets. Unfortunately, this sixth entry of the long-standing Sam Raimi series does not provide much more justification for its very own existence other than just another excuse to inflict further carnage.

Right off the bat, we’re introduced to some of the most unlikable characters ever committed to screen, none of which I ever found myself sympathizing much with or caring about. Shortly after unknowingly causing an awakening of deadites at his late grandfather’s secluded lakehouse (who of course had been researching them in great detail before his death), Joseph (Hunter Doohan, one of the few recognizable faces here from Netflix’s Wednesday) and his girlfriend Thya (Luciane Buchanan) witness his brother Will (George Pullar) and wife Alice (Souheila Yacoub) bickering at their co-owned club prior to Will driving off in anger and ultimately crashing in a seemingly drunk driving incident, which of course was actually the work of a deadite (apparently Jessica from 2023’s Evil Dead Rise, played by Greta Van Den Brink – something I had to look up to even figure out.)

Fast forward to Will’s funeral, where Alice is the odd one out among her now-former, extremely miserable in-laws. Somehow no one hears as a morgue attendant is killed off and Will’s father Edgar (Erroll Shand) is attacked/infected by a resurrected Will right after the service, and they all retreat back to the lakehouse with Alice in tow as though it’s all suddenly hunky dory now. Of course all hell breaks loose here, and they each die off/become infected in their own gruesome ways. (I’ll just say the scene with the dog was an all new low point of the series in my book too.)

Every bit of cliche and predictability is thrown at the audience from then on out, with a sharp object conveniently always within arms reach to cause more damage. Aside from a jump scare or two, there’s narrowly a moment of true tension or suspense, all leading to an underwhelming climax that leaves one feeling as though they just wasted two hours of their life. (A fairly depressing experience to be honest). Every frame is filled with negativity, and I realize I may be of the minority among those in the theater with me at the time, but what’s become modern horror is not really my idea of a “good time” anymore.

I guess you could say I’ve become more conservative in my later years. But while I can still appreciate the earlier Bruce Campbell-led Evil Dead films for what they were, nowadays I prefer there to be at least some sort of real substance (Raimi’s 2009 effort Drag Me to Hell and last year’s Weapons each come to mind) behind the mayhem, not just brutal chaos for the sake of it. (Which I guess some people do enjoy.) Even the previous Rise entry felt as though it had some semblance of heart to it. (The brief cameo from Alyssa Sutherland as Ellie at the post credits was a bit of a nice touch, albeit a slightly confusing one.) The true problem with films like this though is there’s zero lasting power anymore. It serves its purpose while its here, then will quickly disappear in the void to be forgotten and not remembered for any sort of artistic value whatsoever – I know I certainly won’t feel a need to revisit this one anytime soon.

Rating: 1.5/5 Stars

Film Review: Masters of the Universe (Metro-Goldwyn-Mayer/Mattel Studios/Escape Artists/Amazon MGM Studios/Sony Pictures Releasing International)

By: Jesse Striewski

By all means, I should’ve known better (and perhaps I did but just didn’t want to believe it) to trust that Hollywood wouldn’t take yet another beloved childhood property and make an absolute mess with it. But of course, that’s what they almost always do, so why expect anything less with the new Masters of the Universe? I was really pulling for it too, and wanted to believe it could be done right this time.

It actually starts off promising enough; we’re introduced to the young Prince Adam of Eternos (a.k.a. He-Man, played by Artie Wilkinson-Hunt before Nicholas Galitzine takes over as the young adult version), struggling to earn respect from both his father the King Randor (James Purefoy) and peers while training to be a warrior under the guidance of the king’s general Duncan/Man-At-Arms, played by Idris Elba.

Things quickly go south once the evil Skeltor (Jared Leto) and his army attack and take over the Castle Grayskull, overthrowing the kingdom in the process. But with the help of the Sorceress (Morena Baccarin) Adam is able to escape safely to Earth with the Sword of Power.

And that is where the film lost me. From that point on, it went from what seemed like would be a straight epic action-adventure movie, to a painfully executed slapstick comedy that just tries so hard to throw in another cheap joke each and every chance it gets, effectively reducing its characters to walking one-liners rather than the feared warriors that they should have been portrayed as. (Just look at the embarrassing performance from Alison Brie as Evil-Lyn here.)

That’s not to say there are not a few bright spots; Camila Mendes of TV’s Riverdale is always fun to watch whenever on screen. And a cameo from Dolph Lundgren – He-Man from the original 1987 film (which admittedly had its own flaws but still works far better as an actual adventure film than this mess here) is of course warranted. But as much as I kept wanting the film to get back on track (there are moments of hope for it to do so), it just continues to go further off the rails each and every chance it gets, each bad joke and clunky over-the-top fight scene seemingly getting worse than the last.

I was reminded of the cringy feeling I got while watching the Teenage Mutant Ninja Turtles film from Michael Bay in 2014. It doesn’t care about or respect its audience in the slightest, but rather expects you to put up with any unnecessary nonsense it throws at you, all for the sake of those who are either completely new to the material, or have too short of attention spans to watch anything with actual substance. (I would’ve much rather seen something more akin to the recent animated Netflix series Revelation, which was much more faithful to the source material.) This is the perfect example of Hollywood getting it wrong again; judging by its box office intake so far, maybe they’ll actually listen to its core audience for once.

Rating: 2/5 Stars

Film Review: Backrooms (A24/North Roads Films/21 Laps Entertainment/Atomic Monster/Phobos/Oddfellow Entertainment)

By: Jesse Striewski

Those already familiar with filmmaker Kane Parsons’s previous creepypasta webseries such as Backrooms and The Oldest View may already have a good idea what to expect with his major directorial debut here. But now with the backing of a major studio such as A24, his vision seems much more limitless than ever before.

Set in 1990, the film follows divorced/alcoholic furniture store owner Clark (Chiwetel Ejiofor) who, after being forced to take shelter within his own store, discovers a treasure trove of underground liminal spaces while living there. He eventually enlists his young assistant manager and her stoner boyfriend (played by Lukita Maxwell and Finn Bennett, respectively) to further explore these strange findings; even his skeptical therapist Dr. Mary Kline (Renate Reinsve) finds herself sucked into this maze of horror.

While not entirely unpredictable or flawless, the film plays off as one of those haunted house features you don’t want to take your eyes off of, no matter what the circumstance may be – think a cross between The Shining and The Blair Witch Project, and you’ve got a fairly decent comparison.

At just twenty years old (almost twenty-one now), Parsons is already the youngest director to reach number one at the American box office, and no doubt destined to do more amazing things in the future, providing he can keep from replicating the same formula too much of course.

Rating: 4/5 Stars

Film Review: Star Wars: The Mandalorian and Grogu (Lucasfilm LTD/Fairview Entertainment/Walt Disney Studios Motion Pictures)

By: Jesse Striewski

After years of mounting fatigue for the now overly-saturated Star Wars franchise (thanks in large part to Disney), I was less than enthused for the latest installment within this once-epic universe, The Mandalorian and Grogu, to say the least. And judging by both the lower-end intake the film had at the box office this past opening weekend, and the very noticeable half-empty theater at the showing the family and I made it to, I’m not entirely alone when it comes to this sentiment.

That being said, the semi-recent Disney+ series The Mandalorian was a likeable enough addition within the world of Star Wars (despite a very un-likeable lead in the form of the pretentious Pedro Pascal in the title role) that wasn’t entirely forgettable as so many of the other recent spin-offs in the franchise has been.

Indeed, The Mandalorian and Grogu has its merits, following “Mando” (Pascal) and his non-speaking little sidekick as they track down and try to bring former Imperial leaders to justice (in a very post war kind of way) on behalf of the New Republic. Things go astray when they attempt to rescue Rotta The Hutt (son of Jabba and voiced by Jeremy Allen White) from captivity and an entirely new world of problems (and an unlikely alliance) quickly ensues for the duo.

Amidst the often over-the-top action and/or hokey characters, there’s nostalgic throwbacks to special effects and earlier films like The Empire Strikes Back and Return of the Jedi, and a retro fitting music score. There’s even an appearance from filmmaker Martin Scorsese (in a voice role), and Sigourney Weaver in one of her most cardboard (and laughable) roles to date.

As absurd as it all might be, once it does finally get going, its easy to get lost within its world; you’ve just got to have the patience/endurance long enough to let it get you there.

Rating: 3/5 Stars

Film Review: Mortal Kombat II (Warner Bros. Pictures/New Line Cinema/Atomic Monster/Broken Road Productions/Fireside Films)

By: Shawn McKee

It’s been almost 35 years since Mortal Kombat debuted in arcades, bowling alleys, and gas stations everywhere. Yes, arcade machines were once common in gas stations, where a Slurpee and a handful of quarters were all you needed.

Riding the massive success of Capcom’s Street Fighter II in the early ‘90s, Midway’s Mortal Kombat quickly stood out as a serious contender to be reckoned with. Its combined digitized graphics, distinctive martial arts influences, and a dark, mystical aesthetic with unprecedented levels of violence, launched a global phenomenon that continues to resonate today.

As fighting games, Street Fighter II and Mortal Kombat had their unique differences that set them apart. In Street Fighter II, the defeated opponent was taunted by the victor in a cut screen before the next fight. No such fighters were spared in Mortal Kombat, where matches often ended in bloody “Fatalities” (for those skilled or lucky enough to pull them off).

Mortal Kombat featured decapitations, heart-ripping, and other gruesome deaths that may seem primitive by today’s standards, but nothing compared to the initial shock of witnessing Sub-Zero rip off an opponent’s head with the spinal cord still dangling. Of course, such bold and graphic gameplay was not without controversy, ultimately contributing to the creation of the Entertainment Software Rating Board (ESRB) rating system that remains in use today.

Midway Games quickly capitalized on the success of Mortal Kombat with the release of Mortal Kombat II in 1993. Not only did the sequel improve upon its predecessor, but it is widely regarded as one of the best entries in the franchise and one of the greatest fighting games ever made. The series continues to this day across nearly every major home console, producing more entries than one could count.

The franchise’s popularity led to the early PG-13 film adaptations Mortal Kombat (1995) and Mortal Kombat: Annihilation (1997). In 2021, both longtime fans and newcomers were introduced to a more faithful—and far bloodier—reboot with Mortal Kombat. The recent release of Mortal Kombat II further continues the legacy of one of video game history’s most iconic and brutal franchises.

Much like the game that inspired it, Mortal Kombat II improves upon its predecessor with expertly choreographed fight scenes, sharp humor, and satisfyingly over-the-top violence. The film succeeds as both thrilling escapist entertainment and a worthy continuation of the franchise.

The story begins in the Outworld and introduces Princess Kitana (one the two mysterious masked female fighters from the original game, played here by Adeline Rudolph) as a young girl. Her father’s kingdom is conquered by the nefarious Emperor Shao Kahn (Martyn Ford), who ushers in an era of darkness. Several years later, a tenth tournament takes place to decide the fate of Outworld.

The thunder god Raiden (Tadanobu Asano) assembles a roster of familiar Earthrealm fighters that include Sonya Blade (Jessica McNamee), Jax (Mechcad Brooks), Liu Kang (Ludi Lin), and washed-up martial arts movie star Johnny Cage Karl Urban). Shao Kahn’s roster includes Shang Tsung (Chin Han), Sub-Zero/Noob Saibot (Joe Taslim), Kitana, Kung Lao (Max Huang), Kano (Josh Lawson), Queen Sindel (Ana Thu Nguyen), and others. Loyalties, however, aren’t what they seem, with sides being played throughout. Baraka (CJ Bloomfield) even makes an appearance as a neutral party of sorts enlisted to aid the Earhrealm fighters.

Arguably the film’s standout fight scene is the clash between Liu Kang and Kung Lao, who fights under Shao Kahn’s control. The emotional weight and visceral intensity of two former allies forced into combat make the sequence worth the price of admission alone. In a subtle but effective nod to the games, the film frequently opens its fights with a wide shot that mirrors the iconic “Fight” stance, with opponents positioned on opposite sides of the screen.

The two unlikely protagonists, Kitana and Johnny Cage, portrayed by Adeline Rudolph and the always reliable Karl Urban, are perfectly cast in their respective roles. Urban shines in the role and perfectly encapsulates an actor past his prime who reluctantly joins the tournament against his better judgment.

I’m pleased to say that just about everything in the film works. The action moves along at a brisk pace with versatile backdrops and eye-popping visuals throughout. The reliance on CGI is evident and often necessary, but it never becomes so excessive that it feels cheap or inauthentic.

For a live-action video game adaptation, the film succeeds in honoring its source material while bringing an unexpected sense of realism to the experience. Most importantly, viewers don’t need to be longtime fans of the games to enjoy the movie, depending on their tolerance for unapologetically over-the-top violence.

The film’s success can be credited to director Simon McQuoid and his talented cast and crew, who deliver an effective tribute to one of the most recognizable and innovative fighting game franchises alongside Street Fighter.

Mortal Kombat II delivers plenty of spectacle, though some of the larger set pieces, particularly the multiple climactic battles near the end, border on excess. Baraka is a welcome addition but suffers from an unintentionally goofy character design (obvious in early promotional stills). Kano also returns with constant wisecracks that wear thin over time.

Despite its flaws, the film never pretends to be anything more than an action-packed visual thrill ride. It succeeds based on its genuine investment in its characters and clear respect for the franchise on which it is based. After seeing it, I commented to my wife that it felt good to see an old-fashioned R-rated movie again.

It had no agenda, it wasn’t watered down, and it only sought to entertain. Test your might and check it out. It’s a nearly flawless victory.

Rating: 4/5 Stars

Film Review: Michael (Lionsgate Films/Universal)

By: Jesse Striewski

I can remember a time when Thriller was still the “new” Michael Jackson album (and to the best of my memory, the first LP I ever owned), and families would stop what they were doing to watch his groundbreaking music videos whenever they appeared on TV. Hell, somewhere there’s even a photo of yours truly in a red leather jacket about to head out to my first day of grade school in true Jackson fashion. (I also blame “Beat It” for my initial love for Van Halen, and still hold it as one of the greatest songs ever written and recorded.) These examples barely even scratch the surface of the kind of impact the late Jackson had on the world at that moment in time.

If you share memories similar to this from back then, then you likely also recall when ABC released the two-part miniseries The Jacksons: An American Dream in late 1992. Featuring Angela Bassett and Lawrence Hilton Jacobs (of Welcome Back, Kotter fame), the film chronicled the abusive upbringing of the Jackson children, and eventual rise to superstardom via both The Jackson 5, as well as the early days of Michael’s solo career. Viewers more or less get the same treatment here with Michael, only this time it’s told through a more modern lens, and a bigger budget.

Jaafar Jackson, the actual son of Jermaine and nephew of Michael, convincingly portrays Michael, while Colman Domingo and Nia Long play Joseph and Katherine Jackson this time around, respectively. And just like that original miniseries (without giving too much away), this one also leaves you wanting SO MUCH more. Another disappointing factor with Michael is the unfortunate use of special effects, namely the CGI used to create crowd scenes and even the animals in the film; I understand these methods no doubt reduce costs and liabilities, but it’s sad to see what we’ve lost in the world of cinema in terms of realism.

But sadder still is what we’ve since lost in the bigger picture; I found myself getting choked up numerous times throughout, thinking about the massive talent, and even the sense of shared togetherness we’ve lost since the days Michael Jackson dominated the pop world. There’s truly never been anyone else like him in any of our lifetimes, and I certainly can’t think of a single current “star” even remotely comparable to him. For that alone, the film is indeed worth a view, especially on the big screen.

Rating: 4/5 Stars

Film Review: Scream 7 (Spyglass Media Group/Project X Entertainment/Paramount Pictures)

By: Jesse Striewski

I’ve been a fairly loyal fan of the Scream films over the years, having gone to see each and every one of them on the big screen since the release of the original way back in 1996. But if you recall my scathing review of the last (and arguably worst) entry, Scream VI a few years back in 2023, I was convinced that the series had run its course indeed.

But there’s always a chance for redemption, and for the most part, Scream 7 hits the mark that’s been largely missed with the majority of the sequels that have come since. Writer/Director Kevin Williamson, whose imprint on the series has been there going all the way back since the original (this marks his first time directing, and first time returning as a screenwriter to the series since Scream 4 in 2011), invokes the same sort of atmosphere and “whodunit” type quality that Wes Craven gave us way back when that’s been largely missing since 1997’s Scream 2.

It’s no secret that this time around Neve Campbell returns as Sidney Prescott (now Prescott-Evans) after missing in action for that last horrid entry. This time around, she’s in the role of wife and mother as her husband Mark (Joel McHale) and teenaged daughter Tatum (Isabel May) are terrorized by another Ghostface killer (or killers). And for the first time in far too long, we’re actually given some characters whose well-being the audience truly cares about again, too.

There’s plenty of nods to the earlier films, with Courtney Cox once again returning as Gale Weathers, and – without giving away too much here – other franchise alumni, including Matthew Lillard, David Arquette Laurie Metcalf, Scott Foley, and of course the all-too familiar voice of Ghostface himself, Roger L. Jackson, each show up one way or another, yet it never comes off as too overly nostalgic. Even Mason Gooding and Jasmin Savoy Brown as twin brother and sister Chad and Mindy from the past two films return for the proceedings here as well.

Sure there’s some cliche or predictable elements that still work their way in, and the big reveal ending is definitely one of the weaker points (though still nowhere near as as bad as that over-the-top car crash of an ending we got in part six). But I heard someone else describe Scream 7 as a “reset” for the series, and after the direction it was heading with the “whiny sisters” (whose sudden absence is honestly not felt one bit here) plotline the past two films were following it is indeed a welcomed return to form. Far from perfect, but a much-needed step above its predecessor.

Rating: 3.5/5 Stars

Film Review: Silent Night, Deadly Night (Wonderwheel Entertainment/New Dimension/Rebel 6 Films/White Bear Films/StudioCanal)

By: Jesse Striewski

I was really hoping for yet another diamond in the rough horror film in the same vain of this year’s Black Phone 2. Unfortunately with this latest update to 1984’s Silent Night, Deadly Night, there’s more “rough” than anything else here.

First the pros; the visuals and atmosphere are fairly spot on, and even some of the eerie music from the original film (see, “Santa’s Watching”) is used, which brings a nice touch to the proceedings. And Rohan Campbell is actually pretty convincing as the disturbed drifter Billy, as is Ruby Modine as his love interest, Pam (for the most part, anyway).

Now the cons; it’s an-over-the top gorefest where any chance at actual art is pushed aside to make way for another stab at shock value. We’re expected to accept an unrealistic and exaggerated reality where anyone religious/bearing a cross is seemingly inherently evil in a fairly insulting manner. Even the gimmick of Billy hearing and responding to an inner voice named Charlie (voiced by Mark Acheson) quickly becomes fairly tiresome here.

Sure, the original film was far from perfect (I won’t even get into the various levels of its sequels right now, either) and you won’t ever hear me claim otherwise. But where part of Billy’s traumas were the result from the abuse he encountered from the head nun at the orphanage he was raised in, there was also the contrast from the younger, decent nun who wanted to actually help Billy and see him thrive in life. Here there’s nothing like that, just another dumbed-down excuse for excess violence.

What starts with a decent concept, quickly gets muddled by excess violence and a predictable ending. The potential was there, but the execution is simply not as clever as the filmmakers had hoped it would be here.

Rating: 2/5 Stars

Film Review: A Merry Little Ex-Mas (Heartbreak Films/Netflix)

By: Jesse Striewski

I had initially planned on watching a very different kind of Christmas movie (the new Silent Night Deadly Night remake, to be specific) before I settled on watching a newer Netflix romantic family comedy (of course with my own family) the other night titled A Merry Little Ex-Mas, starring Alicia Silverstone and Oliver Hudson.

The plot is nothing all that original; recently divorced (or “uncoupled” as they prefer to call it) husband and wife Everett and Kate (Hudson and Silverstone) conflict as they try to co-parent their two adult children (and one child’s quirky Harry Potter-obsessed boyfriend, played by Timothy Innes) at Christmas with their own new significant others (played by Jameela Jamil and Pierson Fode).

Melissa Joan Hart of Sabrina the Teenage Witch fame and Geoffrey Owens from The Cosby Show also add to the ordeal, and for the most part things stay pretty harmless (albeit predictable) and the proceedings never get too over the top like other similar affairs have in the past (Lindsay Lohan’s Falling For Christmas in 2022 comes to mind). Far from perfect, but worth at least one watch this Christmas season.

Rating: 3/5 Stars

Film Review: Five Nights at Freddy’s 2 (Blumhouse Productions/Universal Pictures)

By: Jesse Striewski

It should come as no surprise to those who saw the first film that Five Night’s at Freddy’s 2 is not a straight forward horror/slasher movie, but there’s just something about creepy old arcades that keeps us coming back to them time and time again.

This time around, we get a little more backstory, and a new villain in the form of The Marionette, another feature of the fallen pizzeria possessed by a young girl named Charlotte (Audrey Lynn Maire) in the early ’80s, coincidentally once a friend of Vanessa’s (Elizabeth Lail) from the first film.

Aside from Lail, Josh Hutcherson, Piper Rubio, and Matthew Lillard all return from the original, with Skeet Ulrich and Wayne Knight adding some intrigue and/or fun to the proceedings. It’s much more fast-paced and straight-to-the-point, and much like the recent Black Phone 2, a step above its predecessor.

Look, I didn’t go into Street Fighter, the PG-13 video-game based film aimed at preteens back in the day, expecting to see Bloodsport, and no one should go into FNAF2 expecting the equivalent of a gore fest, either. It’s just scary enough for the smaller kids, while also keeping it safe enough for the whole family to enjoy, and aside from its abrupt ending, is an overall solid film.

Rating: 3/5