Vermines (Infested, 2023; written by Sébastien Vaniček and Florent Bernard; from a story by Sébastien Vaniček; directed by Sébastien Vaniček)

I was pleasantly surprised by Vermines (English title: Infested), a French horror film about a low-income apartment building getting overrun by killer spiders. The logic behind how the arachnids multiply so fast and grow to oh-so-many sizes is beside the point (you’ll have to suspend your disbelief). But co-writer/director Sébastien Vaniček earns plenty points with stylish cinematography, believable performances from his young cast, and a welcome dose of social commentary. Pair this with the similar Attack the Block (2011).

Rating: ***

Obsession (2025; written and directed by Curry Barker)

The idea of a potion or spell that will make the object of your affection fall in love with you is nothing new, but writer/director Curry Barker gives it a modern spin in his horror flick Obsession. Young dude Bear (Michael Johnston) uses a supernatural toy to wish his best friend Nikki (Inde Navarrette) go bonkers for him… and boy, does she ever. But like many films of this type, it’s all concept and no follow-through, as Bear and his friends react in illogical ways, Nikki’s “possession” is never explained, and a promising commentary on control and consent is squandered. I also didn’t care for the smarmy, juvenile irony under the surface. Still, this has tons of fans, so go figure.

Rating: **

Hokum (2026; written and directed by Damian McCarthy)

An alcoholic writer stuck in a haunted hotel while struggling with personal demons? Nope, it’s not The Shining (1980), but rather the third feature from writer/director Damian McCarthy, whose own particular brand of Irish horror previously brought us Caveat (2020) and Oddity (2024). As with those earlier efforts, the result is big on setting and atmosphere, but somewhat lacking in narrative logic. Yet there is still enough haunting imagery here as to make McCarthy an original.

Rating: **½

Juror #2 (2024; written by Jonathan Abrams; directed by Clint Eastwood)

A juror (Nicholas Hoult) in a murder case realizes he may have actually been responsible for the crime in this legal thriller that feels inspired by 12 Angry Men (1957). It’s not terribly original, and director Clint Eastwood doesn’t have the necessary visual skills to make it truly dramatic or pulpy. But it’s somewhat entertaining as a contemporary morality tale, and I liked the final scene in which justice is literally seen knocking at the door.

Rating: **½

Cape Fear (1962; written by James R. Webb; based on the novel The Executioners by John D. MacDonald; directed by J. Lee Thompson)

In Cape Fear, a dangerous psychopath (Robert Mitchum) comes out of prison after eight years with one singular goal: Get revenge on the attorney (Gregory Peck) that ruined his life. What makes it different from your typical pulpy fare is that the criminal has spent his time learning about the law, and knows exactly what to do to turn it against his prey. It all makes for a twisty thriller made all the better by Mitchum’s sleazy, animalistic turn as Cady, and Bernard Herrmann’s unforgettable score.

Rating: ***

Cape Fear (1991; written by Wesley Strick; based on the novel The Executioners by John D. MacDonald; directed by Martin Scorsese)

This second adaptation of the novel The Executioners so heavily relies on split-diopter shots, quick camera movements, and over-the-top scenes that you might think you’re watching a Brian De Palma joint. And truth be told, maybe De Palma would’ve been a better fit, since director Martin Scorsese doesn’t quite achieve the trashy, operatic B-movie feel he’s obviously going for. It’s still a banger, though, and Cape Fear’s silliest moments are offset by the momentum of the filmmaking and Robert De Niro’s unhinged turn as Max Cady, who for better or worse walks away with the film despite occasionally crossing into cartoon territory. Also, whiskey and Pepto-Bismol? Brilliant.

Rating: ***

Judgment Night (1993; written by Lewis Colick; based on a story by Lewis Colick and Jere Cunningham; directed by Stephen Hopkins)

Judgment Night is a surprisingly effective cat-and-mouse thriller about a group of friends who get lost in the inner city and have to run for their lives after witnessing a murder. As an urban nightmare, you’ve probably seen better – Assault on Precinct 13 (1976) comes to mind, which is funny since John Carpenter supposedly wrote an early draft of this. But this scores points with a memorable turn from Denis Leary as a gang leader, and unexpected scenes such as the moment when one of the main characters tries to talk his way out of getting killed (it doesn’t work, but still).

Rating: **½

Batman & Robin (1991; written by Akiva Goldsman; based on the comic books by Bob Kane and Bill Finger; directed by Joel Schumacher)

For years I avoided watching this because I had heard all the stories and, frankly, it looked awful. So now that I did, I am happy to report… it’s all true. Batman & Robin abandons the darker style set by 1989’s Batman and 1992’s Batman Returns – and even the brighter, more commercial Batman Forever (1995) – in favor of full-on camp. But director Joel Schumacher completely misses the point that for schlock to work it needs to feel cheap, and this movie’s massive budget and scope is anything but. Both director Joel Schumacher and star George Clooney have apologized for it, so there’s that.

Rating: *½

Isle of Dogs (2018; written and directed by Wes Anderson)

Filmmaker Wes Anderson’s second stop motion feature is not as funny as his first, Fantastic Mr. Fox (2009), but there are plenty of quirky delights to be found in its tale (tail?) of canines banished to an island off the coast of Japan. As usual with Anderson, it’s all deadpan humor and symmetrical framing, and for me at least, it’s a style better suited to his animated efforts than the live action ones. As a young orphan and a pack of dogs go on a quest to find the boy’s long-lost pet, the adventure is balanced with a more political edge that’s both funny and thought-provoking. Wes, give us more.

Rating: ***

The Drama (2026; written and directed by Kristoffer Borgli)

The Drama is an offbeat rom-com about an couple whose relationship is rocked when bride-to-be Emma (Zendaya) reveals a dark secret from her past. The “drama” that ensues is pretty ridiculous, since all the characters that surround Emma, including her insecure boyfriend Charlie (Robert Pattinson), are shallow hypocrites. Which begs the question… why does Emma hang around these people? The Drama‘s satire is intermittently interesting, and Zendaya gives a nice, lived-in performance, but I can’t help but feel it had plenty of opportunities to go deeper (the quasi-happy ending doesn’t work either).

Rating: **½

Valerian and the City of a Thousand Planets (2017; written by Luc Besson; based on the comic book Valérian and Laureline by Pierre Christin and Jean-Claude Mézières; directed by Luc Besson)

Good Lord, what a mess. This space adventure based on the French comic book is noisy, nonsensical, and ugly to look at. Worse, the two main characters, Valerian (Dane DeHaan and Laureline (Cara Delevingne) are two of the most unlikable heroes I’ve ever seen, a couple of operatives with all the energy and curiosity of emo teenagers (let’s not even start on the “acting”). Having said that, I did like the intro set to David Bowie’s Space Oddity. Watch that and then turn it off.

Rating: *½

A House of Dynamite (2025; written by Noah Oppenheim; directed by Kathryn Bigelow)

The United States detects a missile flying over the Pacific. Is it just a test? An accident? A purposeful nuclear attack? Who’s responsible? As it becomes clear that the missile is en route to Chicago, director Kathryn Bigelow uses a vérité approach to capture the panic… and then resets the narrative twice to tell it from a different angle. A House of Dynamite is nerve-wracking, especially in our current world climate. Pair with Fail Safe (1964) for an anxiety-inducing evening.

Rating: ***

The Smashing Machine (2025; written and directed by Benny Safdie)

I wanted to like this movie based on the life of wrestler/MMA fighter Mark Kerr (played by Dwayne Johnson), considering writer/director Benny Safdie’s instinct to go with a more naturalistic style. But damn if it isn’t quite a sluggish endeavor, so desperate to avoid all the trappings of a sports formula flick – choppy narrative, experimental score, mumblecore rhythm – it ends up undermining the drama. I’d much rather watch Rocky (1976) again.

Rating: **

Warfare (2025; written and directed by Ray Mendoza and Alex Garland)

Warfare‘s real-life premise is ruthless: During the Iraq war, a group of Navy SEALs are trapped inside a two-story civilian home as enemy forces slowly close in outside. Co-writer/director Ray Mendoza lived through the ordeal, and he enlists filmmaker Alex Garland to help him dramatize it. The blood, guts, dust, and tears all hit hard, and the sound design is deafening and immersive. But I wish it had more to say, not only about a conflict based on a lie, but also war in general.

Rating: **½

Carlos I. Cuevas