02 Mar 2026

Slit, Slash, It Ain't No Kind of Bash: “Scream VII,” “Pillion,” and “EPIC: Elvis Presley in Concert”

By Mike Schulz

As a slasher flick with comedic leanings, director/co-writer Kevin Williamson's Scream 7 is pretty weak. As a half-dozenth sequel so steeped in callbacks and meta-commentary that nostalgia is practically its plot, it's exhausting. And as a statement on big-studio moviegoing practices and habits with a quarter of the 21st century behind us, it's depressing as hell.

23 Feb 2026

Seven-Course Melee: “How to Make a Killing” and “I Can Only Imagine 2”

By Mike Schulz

In this dark comedy thriller, and in a change of pace for the performer, Margaret Qualley turns out not to be an on-screen firecracker. She's more like a countdown clock, the type that requires action heroes to cut either the blue or red wire before everything gets blown to bits

15 Feb 2026

Moors and More: “'Wuthering Heights,'” “Good Luck, Have Fun, Don't Die,” “Crime 101,” “Cold Storage,” “The Moment,” and “GOAT”

By Mike Schulz

Because the experience felt so unusual, I actually checked my archives to make sure, and it was true: This past Thursday-through-Saturday marked the first time since pre-COVID that I viewed six new big-screen releases over the course of three days.

09 Feb 2026

Vun! Two! Tree! Tree Cheers! Ah Ah Ah Ah Ah!: “Dracula,” “The Strangers: Chapter 3,” “The Alabama Solution,” and “The Wrecking Crew”

By Mike Schulz

I had so much fun at Luc Besson's garish vampire yarn that I can easily imagine watching it again, this time with more than the one friend who joined me, and with all of us preferably looped out of our minds. That way, we'd at least come close to approximating Besson's vibe.

02 Feb 2026

She Is the Captain Now: “Send Help,” “Iron Lung,” and “Arco”

By Mike Schulz

Sam Raimi's latest is the ultimate “revenge on a horrible boss” comedy, one far nastier than Horrible Bosses itself, and like 9 to 5's empowered kidnappers, Rachel McAdams' marginalized, fed-up office drone is eminently worth cheering. Ma-a-aybe not when holding a knife dangerously close to her paralyzed employer's privates, but … . Oh, who am I kidding? Especially then.

26 Jan 2026

Witness for the Persecution: “Mercy,” “The Lost Bus,” “Come See Me in the Good Light,” and “The Ugly Stepsister”

By Mike Schulz

The mildly futuristic, vaguely sci-fi thriller Mercy is a rather confused movie, which, of course, isn't the same thing as a confusing one.

19 Jan 2026

Iron Maiden Voyage: “28 Years Later: The Bone Temple,” “No Other Choice,” and “The Rip”

By Mike Schulz

I couldn't wait for last year's 28 Years Later to end. I was disappointed when this one did, as another half-hour or so would've been totally fine by me.

12 Jan 2026

Rabid, Run: “Primate,” “Is This Thing On?”, and “Father Mother Sister Brother”

By Mike Schulz

One can only hope that director/co-writer Johannes Roberts' Primate remains the worst 2026 horror flick to feature a previous Oscar winner. It should be said, however, that Troy Kotsur, who earned a deserved Best Supporting Actor trophy for 2021's CODA, is the finest thing that could've happened to a dopey, rather repugnant shocker about a chimp gone ape.

05 Jan 2026

Robbed Zombies: “We Bury the Dead” and “The Secret Agent”

By Mike Schulz

As has become a common ritual, the first weekend of the new year brought with it a low-budget horror movie. Unlike releases of the M3GAN/Night Swim variety, however, this most recent release doesn't appear all that interested in being a horror movie – which is largely to its credit.

28 Dec 2025

Up a Creek with a Paddle: “Marty Supreme,” “Song Sung Blue,” and “Anaconda”

By Mike Schulz

I found this latest showcase for “hilarious” abhorrent behavior grossly self-satisfied and almost unfailingly obnoxious. The opening credits, though, are a hoot.

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