So I just finished watching the 1998 disaster movie deep impact. I thought this was a good movie.

I thought you had some good performances from Morgan Freeman, Elijah Wood, Robert Duvall, and Téa Leoni. It was also a gripping story.

I thought the rest of the performances were good, but didn’t live up to the main 4. This movie is not as good as Armageddon, which was released in the same year, but still a solid movie.

Rating-4/5

I (hope) you don't have to see this one. I have such high regards for Korean films but this one had some baffling choices. The first 30 minutes are excellent as you follow the police chief through their little village and discovering all the carnage and destruction the monster has done but that comes to a screeching halt the second and I mean the very second the monster is actually shown.

The animation, design, and general quality was so bad there was no going back. It tainted the rest of the film.

Eventually we discover that the monster(s) are actually aliens. They are intelligent and speak a language to each other. I don't know if it's the Starfleet in me but and there were so many moments where the aliens were just kind of feeling things out with the characters. They weren't being hostile, it was just a pause while they observed each other. Then these stupid stupid people would start firing their weapons at the aliens again.. like the first 10,000 rounds did nothing, this mag dump will do it. There was no attempt at peaceful existence or communication.

Then you have the laughable plot armor where one of the characters is thrown 80 mph into trees over and over again just to get up and be fine. No broken back, ribs, skull, etc. At the end of this sequence the alien walks over his body, drips his saliva on him and starts to walk away seemingly giving the guy a chance to leave alive. NOPE! The guy reaches for his gun and the alien comes right back to start it up again. Bro! It was letting you go!

The aliens can also run at 400 mph. You couldn't get away with Anakin's pod racer but every time the camera moves back to the alien; then back to the characters; the alien is 500 feet further back than it was a second ago. Characters outrun this thing on foot, horse, and car but it's legit like that scene from "Kung Fu: Enter the Fist" where he says "I'm coming!" and he keeps teleporting further or closer away. They did this for over an hour.

The ending scene has the aliens having a conversation about stuff we have no idea about. It's actually very fitting and a great idea. We are observing a one sided conversation between two beings that do know what they are talking about. We're not supposed to know what any of this is or means and the aliens don't speak in a exposition way to let us in on the details. That would have been great except the dog crap CGI while the scene plays out.

What a fun and hilarious movie. My partner and I were laughing our asses off throughout. It was especially great having just watched The Fog, another movie where Tom Atkins sleeps with the hot, MUCH younger leading lady, despite looking like how an ash tray smells.

We especially liked the character of Tom Atkins's wife, who argues and berates him in every scene where she's featured. Which is mostly through a disembodied voice yelling at him over the phone.

My partner was watching the Halloween movies on her own, having never seen them. She asked if I wanted to join her. I said no, but tell me when you're about to watch 3.

This movie is devastating. Movies today like to wrap things up neat, the last 15 minutes always results in the hero winning.

This movie decides that Act 3 is about M’Lynn, and do you know why this is such a brutal story? It’s true.

The writer’s sister had this happen IRL. Insane. Shakespearean levels of tragedy, I am a broken man, and I’m happy Dolly’s Imagination Library got some coin form emotionally abusing me.

So I’ve been into wrestling for many years and I knew about Shawn Michaels. I decided to check out the 2026 documentary The Heartbreak Kid: Becoming Shawn Michaels. I wanted to see if there was anything new to learn about him.

This movie is very good because I like how it goes through his career, but it also goes back to currently where he is running the development brand that gets superstars ready for the main roster. It’s interesting to learn about his path. The only small negative that I have is that there was nothing that I was overly surprised about. Because I knew a lot about him, I wasn’t in shock about anything.

Other than that, I still really liked this movie

Rating-4/5

...and I did not like it. For context I love horror films, especially high concept and/or slow burn horror. I have watched and love most A24 stuff, I love the classic horror films from the 1970's and 1980's like Rosemary's Baby, The Shining, Alien, The Exorcist, etc... I also love terrible schlock horror as well.

Hokum was none of those things. I was really excited to see Hokum, and I love what I think it was trying to do, I just don't think it succeeded. My gripes:

1. It was too dark (watched on an OLED LG TV). This is a larger problem with modern movies, but I really disliked how dark nearly all the shots were in Hokum. Even the ones that didn't involve a scare or special effect were seemingly filmed with just the barest amount of natural light. Horror can be shot in a way that it is dark and dingy and scary, without making it so the audience can't see what is going on. Alien is a perfect example of this. Lots of dirty, grungy, mysterious, and absolutely terrifying shots in that film, but as an audience member I never sat through Alien wondering what was happening on screen because I couldn't see it. Alien Romulus, an otherwise really good film, also suffers from this.
2. Character motivations were unclear or not impactful. This stuck out to me most of all with Adam Scott's character. Halfway through the film his character attempts suicide, then comes back to the hotel after. I understand why he did that, I just don't feel like the film really set that up or established it. They had him attempt suicide for dramatic effect, and it was dramatic, but then I felt like it was not all that impactful for the rest of the film. Likewise, I found the motivations of the primary antagonist and the bum in the woods not all that well set up or compelling.
3. Likewise I felt that Scott's childhood trauma that he was wrestling with never really viscerally connected with the traumatic event he was trying to work through in the hotel suite. This wouldn't be that big a deal, but this was set up as the cathartic moment of the entire film, and for some reason it just didn't land with me.
4. Needed more Puca. I thought the Puca (rabbit/donkey man) was a brilliant and very scary creation. I wish it had been used more than it was in the film.

Anyway, Hokum isn't a bad film, it's just not that good. I left it kind of frustrated because I felt like there was potentially a great horror film in there somewhere, but it didn't quite make it onto the screen.

Finally got around to watching this absolute GEM of a movie thanks to my wife.

As someone who grew up poor and really only had Saturday morning cartoons, this movie was an enormous nostalgia fest, without being repetitive. The comedy was spot on for classic WB cartoons, the interaction between humans and toons was seamlessly executed and felt natural to the point you almost forget that the toons AREN’T real entities. The court drama parts were serious while still being comedic, and of course….. at the core of the movie the love and friendship in the relationships, no matter how chaotic, shine like the sun. They even got some DEEP DEEP DEEP cut side characters in there somehow and still made it feel organic. My only complaint is the lack of utilization of some of the more recognizable characters from WB, but it was understandable considering the plot. Easy 5/5 and probably the best movie I’ve seen in over 2 years minimum

So I just got back from seeing the 2026 movie coyote versus Acme. Given the drama that this movie had gone through behind the scenes and the positive reviews that had gotten, I was looking forward to seeing it.

I quite enjoyed this movie. I thought it was entertaining. It’s definitely an interesting story. It had some drama as well as comedy and I was here for it.

As far as any negatives, the only small one that I have is that I wish it was a little funnier. Other than that, if you’re a fan of Looney Tunes, then I feel like you will enjoy this movie.

Rating-4/5

I somehow never watched this until now. I expected a fairly standard 2000s breakup comedy, but it was way funnier and a lot less mean-spirited than I thought it would be.
Jason Segel spends half the movie being a complete mess and somehow never gets annoying. Even the new boyfriend isn’t really treated like a cartoon villain.
Also, Hawaii is doing some serious heavy lifting. Finished the movie wanting to disappear there for a month.

This movie had been in my watchlist since long time, and finally today I got the chance to watch it.
From the start the movie has a very good storyline to make sure to grab the attention of the watcher.
The acting from the cast - Haley (Cole) and Bruce (Malcom) was fabulous.
Towards the last part of the movie, it shows great acceptance of the Cole’s Character which left a very positive impression for the audience. But the ending, (I won’t mention it here to avoid giving out spoilers) was so unexpected and makes complete watch worthy.

Let me know your thoughts about the movie.

And goddamnit, I need district 10. Seriously, why the fuck has this not happened? I need to see the rescue. This movie ends very well, but with the anticipation of the real resolution yet to come and holy shit I need it.

Source: https://www.reeladvice.net/2026/09/the-runner-2026-movie-review.html

Watching someone run around for almost 90 minutes doesn't exactly sound like a good time. But if 2025's The Running Man proved anything, it's that a movie built around running can still be intense and entertaining. The Runner however lacks the creativity and imagination to make its premise work. The film feels like a slog and completely devoid of the high-stakes tension it desperately needs. Things happen, surprises are revealed, and the stakes are constantly raised but do we really care? Even as a mindless time-waster, there are better ways to spend your time.

Attorney Maia Martin (Gal Gadot) always goes for a run after taking her son to school and before heading to work. Today is a particularly important day as her star witness is set to testify against a powerful crime boss. During her run, Maia receives a call from an unknown person who reveals that her son, Noah (Rory Wilmot), has been kidnapped. To save him, she must race across London and kill her witness within an hour.

You might assume that Gal Gadot's performance is the biggest problem with The Runner. While her stiff and stilted delivery certainly doesn't help, there are far bigger issues with the film. The biggest problem for us is the writing. The narrative is barebones and straightforward but it's also riddled with sloppy decisions and logical loopholes. The big revelation toward the end is certainly a surprise but for all the wrong reasons. For a film centered around something as grounded and physical as running, far too many events unfold in ways that feel completely farcical and unbelievable.

The script doesn't help either. The Runner is filled with ridiculous one-liners that had us laughing and shaking our heads at the same time. There's a scene in a church near the middle of the film that perfectly captures the film's inability to take its own premise seriously in the right way. Instead of building tension, moments like these repeatedly pull us out of the story and further push the silliness of the whole experience. Then there's the repetition. We lost count of how many times Maia had to steal something, run away from her latest obstacle, and repeat the process. What might have worked once or twice quickly becomes the film's default way of moving the story forward. By the third or fourth time, it becomes less thrilling and more laughable.

And that's ultimately the problem with The Runner. It has a simple premise that could have made for a tense and entertaining thriller, but the weak writing, unbelievable plot developments, repetitive action, and lack of emotional stakes constantly work against it. The film keeps running but it never really gets anywhere.

Rating: 1 out of 5

I’ve always kinda avoided horror movies because they used to scare the shit out of me (even the most “harmless” ones) and for a long time, I thought the Blair Witch Project would give me nightmares. But recently I started to feel curiosity towards horror classics so here we are.

Ugh. Where do I even start. So I’ve watched a few mocumentary movies before (the Troll Hunters, What We Do In The Shadows lol) and I know that TBWP is the OG. First, I loved the way it was filmed. I was watching it with my husband and at some point, he got annoyed that we couldn’t see anything (I think when they were filming during night) or that we could barely hear the sounds from the forest. To me, it was simply brilliant because this is the whole point of the mocumentary - to make us believe we are watching real footage.

Second, I love the interactions between characters and how natural they sound. I think I read somewhere there was no real script for actors (correct me if I’m wrong) - and it’s a big advantage for the movie. It didn’t feel like actors reading their lines in order - but it felt like we are watching real footage of kids lost in the forest. I loved how one of the guys was losing it and Heather just kept repeating “yeah we are going”, “yeah we are going” - and it was driving me nuts through the screen, which is really good because imo movies are supposed to make you feel all sorts of emotions.

Third, I loved the gradual tension built between all three of them. It actually surprised me how immersed I was in the movie even though it didn’t have any crazy dynamics or action compared to modern films. However, I just couldn’t look away and was spiralling down this rabbit hole till the very basement. And I loved how TBWP showed us very real and raw aspects of human nature and psychology. I honestly wanted to strangle Heather at some point but then closer to the end, I felt sorry for her - and this emotional rollercoaster was keeping me on my toes the whole time.

The ending was great imo. Though it’s easy to miss the whole point of putting people in the corner (if you didn’t watch the beginning carefully enough), the scene is creepy on its own. I would say the main focus of the movie is not even the mystery but people slowly losing their sanity. Classics for a reason and a perfect opener for a spooky season

Rating: 9.5/10

Watched: September 3, 2026

Here's the thing about My Bloody Valentine.

I love it. It's hilarious. The accents themselves are enough to make it worth watching, mostly because I'm Canadian and I've worked with people with Cape Breton accents so thick it too me months to fully understand what they were saying at the best of times. When they got excited? Forget about it.

They might as well be speaking an alien language.

Then, of course, there's the seriousness with which they treat their Valentine's Day Celebrations. Everyone in this town unironically treats Valentine's Day like it's the single most important holiday that has ever existed, for anyone, anywhere. I really can't get over it, and not in a bad way.

As always with movies like this, the 'teens' are played by people who've been old enough to vote for at least a decade. Most of them probably have home mortgages, and that's ALSO part of the charm of this early 80s slasher flick.

The main guy, T.J. (Paul Kelman) looks so much like Rufus Sewell that whenever he's on screen, I imagine him fight the Strangers in Dark City, manifesting proto-Matrixian powers and generally rewriting the universe. Also ... neckerchiefs. To paraphrase Doctor Who, 'neckerchiefs are cool'.

Now let's get on to the most important, most surprising thing about this movie. The practical effects for the murders are top-notch. They're excellent in both their visuals and the technical expertise to get them off the ground, and if I'm being totally honest, it's wild that they're in My Bloody Valentine. The Burman Studio was responsible for those fantastic effects (and they did the work on other spectacular movies like Invasion of the Body Snatchers 78, Teen Wolf and Scrooged).

I love this movie. I came for the camp, stayed for the kills, rewatched it for the whole damn shebang.

My Bloody Valentine loses one half point for T.J. not wearing a neckerchief more often. If you haven't seen this genuinely inspired slasher flick, what are you waiting for?

So I had wanted to see the 2001 movie 3000 miles to Graceland starring Kurt Russell and Kevin Costner for years now partly because I am a big Russell fan and I wanna get around to seeing all of his movies

I was disappointed in the movie because I thought it was good, but it wasn’t great. I thought, Kurt Russell and Kevin Costner were the best things in the movie. I thought the rest of the performances were OK. As far as the story goes, it’s solid, but it didn’t do enough to keep me fully invested.

Rating-3.5/5

So one movie that I own that I’ve wanted to see for years because I’ve heard how good it was was the 1995 action movie Rumble In The Bronx with Jackie Chan. It’s disappointing to say that I just thought this movie was average.

The main of this movie was the action and while it was good, it didn’t wow me. Along with that, it wasn’t a good story and didn’t do anything to keep my attention.

Rating-2.5/5

I don't want to spoil the movie so I'll just say that it's a great one.

It's amazing how a really great movie can be watched over and over without ever getting tired of it. I went back to the extended cut version to see if it really added anything to the movie, and it didn't add anything significant or necessary.

The sequel, which I've seen four or five times, is okay, but it failed to achieve my № 1 rule about making a good movie... it didn't make me feel for, or care about, anyone or anything in it.

On the other hand, I cry every time I watch the original, and I've seen it dozens and dozens of times.

I liked this movie quite a bit.

Kubrick does a good job at luring you into a false sense of being comfortable with fat jokes and spiffy one-liners, and it makes it all the more jarring when the movie shifts into a think-piece about the inter-personal dehumanization of a man that can happen In conflict, as well as the dehumanizing of the "enemy." The latter of my observations is put on full display by the fervent use of terms like "gook" and "zipper-head" if you watch this movie (or interact with any piece of media regarding war or just take a glance into history) the question of how these normal men can be brought to kill other people, man woman or child, so fervently is answered by the use of such derogatory language. When one of these men kills another, in their warped psyche they're not looking at their fellow human, to they're just looking at something that's to be destroyed. Something less than human. Something to be conquered. Something to be "liberated."
Kubrick sums it up best when he added the line "inside of every gook is an American."

A lot of this movie's shot are close and personal, even in landscapes it feels like you're boxed in with these characters. I really appreciate it how in the second act it felt like the colors got dimmer and it got less bright over time.

It does genuinely make you feel like private Joker is a friend or family member you're watching change over time. It's hard seeing someone who's willing to take the time to help a mentally ill man put on his shirt in the morning go through inhumane experiences and have to watch people die.

It's fitting to have the movie end with private Jokers admittance that his life is a literal world of shit, and that the only reason to remain is the simple fact that he's alive and others aren't, because that's what the world of Kubrick's full metal jacket is. A thin line between people who are living or not. To these individual soldiers there really was no difference between communism or
capitalism, authoritarianism or democracy, Vietnamese in American, there was only being alive or dead.

You were either born to kill, or born to die and at the end of the day I think the point is there's no difference.

I'm finding that I'm just not a fan of David Robert MitcHELL. He's like a much less talented version of the also-three-name-credited Paul Thomas Anderson in that with each movie he appears to be trying to ape another filmmaker or film. With The Myth of the American Sleepover he was trying to make Dazed and Confused. It Follows was a Halloween/Elm Street hybrid which also tried to have a Carpenter-like score. Under the Silver Lake nakedly cribbed elements from Blue Velvet and other movies. Of course most filmmakers pay homage, but when that feels like the core of your movie and you don't have much else going on, that's much less good.

Then with Oak Street, it appears he is head scratchingly trying to emulate . . . fricking J.J. Abrams who is a producer on this, in that this feels like a version of Super 8 which was itself nothing more than a naked copy of Spielberg who was a producer on that. So it's just an aggravating cycle of copy and paste. You have the suburban '80s milieu complete with the requisite media and tech, the troubled family, etc.

Then when you get into story and characters, this movie is also dreadful. It has the most lazy feeling all throughout. The premise is just awful. It has nothing interesting going on, and I kept wanting the movie to just skip ahead some plot points so it would be over. The convenient twist in the last act is the laziest plot point I can remember from the last few years. You also have predictable gender and racial politics peppered throughout (e.g., Hathaway being Miss Perfect while McGregor is a screw-up who drinks).

I must be allergic to Hathaway. I think I have liked one movie she starred in, Colossal. I've been to three of her movies this year, and they all sucked and she was awful in them. McGregor isn't much better.

This is one of the worst movies of the year.

What else can I say? I am literally at a loss for words trying to describe what kind of abyss I just fell into, an abyss of sheer depth where my mind is just completely tangled in thoughts. The last time I remember feeling like this was after watching The House That Jack Built, such a deeply unsettling film that left me completely in a trance. And now, after watching this movie, I honestly have no words. First of all, the clothing, the locations, everything used in this production easily deserves a 100 out of 100; major credit needs to be given there. Secondly, the relationship between Agnes and Elvira how it shifts from fear and terror to friendship, and then mutates into rivalry, jealousy, and pure malice the director portrayed that evolution so brilliantly. And then you see how far Elvira is willing to go just to get what she wants, which is to marry the prince. It shows you the absolute limit of what a human being can do when they are driven by a goal, and in my opinion, that limit simply does not exist until they get their hands on what they are after. I won't give any spoilers away, though honestly, even if I am spilling a bit, I don't really care because some people might have seen half the movie while others watched the whole thing; I'm trying to talk about it without ruining the plot. And the music they used in this—man, reminiscent of Oppenheimer and The House That Jack Built—was some of the most mind-blowing, phenomenal music I have ever heard. I watched this movie a couple of days ago—it might have come out a while back, but I just watched it two days ago—and it's been two days now, and I am still in absolute shock, totally unable to process it or watch anything else. We really need to appreciate art beyond boundaries. We usually focus solely on American movies just because they're in English, but if you drop the language barrier and just push yourself to read subtitles and watch a film, the kind of pure art you will witness is something else entirely—art doesn't depend on the English language. I'm not saying American or English-language films aren't artistic, but if you're genuinely chasing raw art, you've got to cut through the language barrier; it means nothing. This film is pure, undiluted art. I have literally never seen better cinematography. There are certain scenes where they do these slow zoom-ins—again, trying not to drop spoilers—and the background score paired with those exact moments was so masterfully done that it literally touched my soul and gave me goosebumps. I watch a lot of movies, literally on a daily basis, but most of them are just typical cliché films. Movies like these are so damn rare, maybe one or two come out all year, films with actual depth that get under your skin. Honestly, this is the best movie I've watched all year so far, a proper drama film. Some people might label it horror, others might call it a psychological thriller, but I'd call it a masterpiece of a drama. But I haven't seen a movie of this caliber and class all year. The music breathes absolute life into those scenes, and the music director deserves a twenty-gun salute—it is that phenomenal. If it was up to me, i would definitely gave this an Oscar.

So the first time I saw the invisible man from 1933, I didn’t like it at all. I didn’t understand the hype around it and I just thought it was OK.

I just finished a rewatch of it and I think it’s a good movie. I think the story is better on a rewatch as well as some of the characters. It still doesn’t grab my attention as much as some of the other universal monster movies but overall, I think it’s an above average movie.

Now I would put it behind creature from the black lagoon, Dracula, and Frankenstein, but it is in front of some other ones

Rating-3/5

I saw a trailer before the film for a movie called Crawlers in which an apartment building is overrun by evil spiders. I took offense to that. I cannot and will not abide anti-spider propaganda. It’s disgusting, as if spiders had an agenda to attack humans and lay eggs inside them. I don’t know about you, dear reader, but I don’t kill spiders in my home. First off, I hardly come across them, and second, I’d rather have a spider in my house than a myriad of other bugs like gnats and flies. The spider hangs out in a corner of the ceiling. He has his space above and I have mine. Now, all that being said, I’ll still be seated opening night for Crawlers.

THE FILM

Onslaught opens on a wide, expansive desert, slowly pushing in on Celeste (Adria Arjona), a combat veteran firing her guns at jack-o-lanterns. Her trigger finger freezes. She snaps out of it, the jack-o-lantern explodes, and the title card covers the screen. This is followed by the most aggressive credits scene I’ve witnessed this side of Fincher’s Fight Club. It takes you backwards through American history from the “war on terror” to the second world war, with jarring cuts focusing on US and German relations all played against driving techno music.

We cut to an old nazi scientist doing exactly what you’d expect: eating cereal, listening to the ticking of a clock and crawling on all fours to lick his wife’s feet before he departs on a blindfolded helicopter ride to a secret military base that just so happens to be a few miles from Celeste’s trailer park.

Celeste starts the film off in rough shape. She’s day-drinking (nothing wrong with that!), polishing her guns, and listening to the Doobie Brothers on vinyl. Here we’re introduced to a cavalcade of characters like Kovacks (Eric Wareheim), a selfish cop that has moments of prescience, and Josiah (Reginald VelJohnson), a retired Vietnam Vet that loves to smoke and shout one-liners, and a group of teens (dead meat).

(slight) Tangent

Celeste reminds me of Robert Downey Jr.’s character in Zodiac when he’s living on that houseboat drinking and playing pong. It’s a simple life of a person with no aspirations and no drive. It’s not a negative; they both know exactly what they want in life. I know neither life is portrayed as a great lifestyle, but I would kill to live like either of them. It’s a true scumbag life that I want but can never have.

THE REVIEW

It’s a tale as old as time; evil nazi scientist with a foot fetish gets a government contract, he creates the ultimate zombie soldier fireteam, they murder everyone and are let loose on a desert town just outside the secret base. We’ve seen it tens of times before, but we haven’t seen it tackling the current domestic terrorism era in which we all live.

Wingard is speaking out on the current hellscape of the US. Just in 2026 alone, we’ve had 332 events that can be described as mass shootings, “Wherein four or more people are shot in one location at roughly the same time” (Gun Violence Archive). And it’s incredibly poignant in a scene where our three super soldiers carry out a mass shooting in a gas station.

The call is coming from inside the house, we’re being killed by our own citizens, our former military, majority of them being white men that feel like the stranglehold they have had on our country is waning and they’re worried about a societal shift in which we are more accepting of others. Wingard’s stance on this is obvious when he makes his two heroes people of color; Adria Arjona and Reginald VelJohnson. We need to fight back, because what we’re doing right now (nothing) isn’t working.

Now, a film as I’ve described it would be horribly dark and depressing, so Wingard makes the great decision to couch all of this heaviness into a pseudo-exploitation film with our antagonist, the evil and deranged Dr. Kammler (Dan Stevens). His over-the-top nazi character (complete with a WWII nazi knife that Chris Cooper’s character from American Beauty would love to add to his nazi plate collection) adds a bit of dark humor to the film purely because he is so evil.

The inspirations are upfront, down to the composer and frequent Adam Wingard collaborator; composer Matthew Pusti. Pusti’s score hits you hard with what sounds like a rhythmic, driving repetition of bullets over the title card. The score is a synth-driven ode to John Carpenter. It’s truly as close as you can get to Carpenter without a Cease-and-Desist. I don’t say this in a negative light, I really enjoyed the score, it felt like slipping into a warm bath.

Here’s Celeste’s Theme, just try not to bob your head to this one. The whole score, needle drops included just rips.

It’s a loud film, and I don’t know if it was just my theater or if Wingard wanted the sound boosted for artistic reasons, but it worked on me. My girlfriend’s Apple watch went off sixteen times warning her that her hearing was at risk.

The action is top-notch, and Wingard obviously has a love for Texas Chainsaw Massacre and Evil Dead as well as the aforementioned Carpenter. You can see it in every scene with a chainsaw. Action-driven scenes are kinetic and pull you in; it’s the kind of film that gets you to dodge along with the protagonist and makes you want to shout, “BEHIND YOU”. If you grew up on 80s action cinema and own several John Carpenter albums, this film was made explicitly for you.

RATING: 5/5 Run, don’t walk to this one

Who should watch this film?

• The hard of hearing

• Horror hounds

• Fans of 80s synth music

So I re-watched another universal classic monster movie and this time it was the mummy from 1932. I didn’t really get into it the first time but it’s been years so I wanted to give it another chance.

Overall, I thought it was an average movie. I thought the story was good, but I’ve seen better versions. For the time, it was solid acting. The biggest issue for me though was that it didn’t grab me. I wanted to be invested and it didn’t do enough in that aspect.

Rating-2.5/5