THE BRIDE (2026)

March 4, 2026

Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!

You likely know Maggie Gyllenhaal from her superb acting in such films as SECRETARY (2002), THE DARK KNIGHT ((2008), and CRAZY HEART (2009). You may not know that her feature film directorial debut was the excellent THE LOST DAUGHTER (2021), for which she also adapted the screenplay from the novel. The success of that ‘little’ film gave her the clout to create her dream project: a reimagining of James Whale’s 1935 classic, BRIDE OF FRANKENSTEIN. For this one, Ms. Gyllenhaal directs her own incredibly creative and innovative tale, two adjectives that also describe her stunning and original script.

A big-time project requires a top-notch cast, and the filmmaker secured two of the best working today for her leads: Jessie Buckley and Oscar winner Christian Bale. The supporting cast is also impressive, and includes (5-time Oscar nominee) Annette Bening, Peter Sarsgaard (Maggie’s real-life husband), Oscar winner Penelope Cruz, Jake Gyllenhaal (Maggie’s brother), and John Magaro (SEPTEMBER 5, 2024). The number of crossovers and intersections in the careers of these actors and Maggie are too many to list, but it speaks to the admiration these talented folks share for each other.

Obviously, Ms. Gyllenhaal’s inspiration was borne from James Whale’s two films, BRIDE OF FRANKENSTEIN (1935) and FRANKENSTEIN (1931), as well as the 1818 novel, “Frankenstein; or the Modern Prometheus”, written by Mary Shelley. Certain touches within her new movie pay homage to all three, plus a bonus tip of the top hat to Mel Brooks’  YOUNG FRANKENSTEIN (1974). Ms. Gyllenhaal opens the film in mob-filled 1930’s Chicago with a truly fantastic prologue sequence that introduces us to Ida, the first of three characters played by Ms. Buckley. Her performance in this segment is nothing short of mesmerizing, and it’s capped off by the ingenious inclusion of the deceased Mary Shelley … a type of spin on the iconic opening scene of BRIDE OF FRANKENSTEIN. Soon after, we find ‘Frank’ (Mr. Bale) making his plea to Dr. Euphronius (Ms. Bening) and her intriguing assistant Greta (Jeannie Berlin) to reinvigorate a life partner that can cure his many years of loneliness.

As you would surmise, Dr. Euphronius is successful, and soon Frank and Penny (Ida’s new name) have paired up and carve their way through society – often making headlines ala Bonnie and Clyde. Their road trips create moments of tenderness, longing, sensuality, and violence … yes, plenty of violence. A radical women’s social movement is started as a result of one of Penny’s key feminist moments. Despite a blank memory, Penny understands the power of women. Movie musicals featuring hoofing star Ronnie Reed (Mr. Gylenhaal) play a crucial role in Frank’s life, though it’s not until later in the story that the reason is revealed. All this time, two detectives (Mr. Sarsgaard and Ms. Cruz) are tracking Frank and Penny, and we note the soft spot one of them holds for The Bride.

The film is a majestic triumph for Maggie Gylenhaal as a filmmaker, and surely will open many doors for future projects. Visually, the film is stunning to watch. The Bride and Frank are both magnificent creatures, yet every set and every scene are a feast for the eye and ears (yes, the sound is equally superb). The actors have all delivered their A-game, yet somehow Jessie Buckley continues to stand out (she’s Oscar nominated this year for her memorable performance in HAMNET). It’s not just her shock of white hair or stained face (explained in the film). No, the performance is much deeper and multi-faceted. Without spoiling anything, Ms. Buckley must adjust to the requirements of each scene, as well as the wide realm of emotions her roles demand. For fans, we do get the left-hand twitch, and as for viewing this film only once … “I prefer not to.”

Opens in theaters March 6, 2026 (see it on the big screen!)

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Posted by David Ferguson

FRANKENSTEIN (2025)

December 29, 2025

Greetings again from the darkness. As a lifelong lover of cinema, I tend to latch on to the works of those who so obviously feel the same. Among those who have achieved some level of mainstream success are Martin Scorses, Quinton Tarantino, Steven Spielberg, and Christopher Nolan. Another filmmaker who definitely belongs in the group, and it may surprise some, is Guillermo del Toro (an Oscar winner for PINOCCHIO, 2022, and THE SHAPE OF WATER, 2017). Other gems in his oeuvre include CRIMSON PEAK (2015) and PAN’S LABRYNTH (2006).  The esteemed director has long claimed that his “dream project” is a film version of Mary Shelley’s 1818 novel, “Frankenstein: Or, The Modern Prometheus”.

The dream is now a reality, and what a thing of beauty it is. The visuals here eclipse all expectations, and the only caution I would offer is that the tone and themes are a bit of a twist from traditional takes on the story … and we all know there have been many previous takes. All of this confirms what a remarkable source material Mary Shelley’s novel is. That’s not to say del Toro’s version is ‘new’, yet it’s certainly an oddity and an outlier to what we’ve come to expect from Frankenstein movies.

Setting the film in 1857 (nearly 40 years after the novel) affords del Toro some benefits of advancements, as well as audience familiarity to the times. It may seem strange, or even contrary, but to me, this film’s central theme is humanity – how we use it and how we sometimes work against it. An opening in the Arctic where creature (Jacob Elordi) and creator (Oscar Isaac) cross paths yet again – after chases that only become clear later in the film – and it’s horrifying and stunning. Pivotal to the sequence is Captain Anderson’s (Lars Mikkelsen, “House of Cards”, and brother of Mads) ship and crew.

Victor Frankenstein, the human God/creator, is played with enthusiastic ambition that often drifts into mania. He’s a man of science whose vision refuses to be contained. Even in success, his need to control override his accomplishments … meaning the creature is truly born into misery and pain, resulting in confusion and a need to find where and how he belongs. Is it possible for a laboratory experiment to be a tortured soul? Director del Toro clearly believes this … as did James Whale in those early versions. It’s in these moments where Elordi truly shines as the creature – it’s a terrific performance through prosthetics.

Two-time Oscar winner Christoph Waltz and Mia Goth (a dual role) are both terrific in supporting roles, and it’s best if nothing further is disclosed about their characters as each are key to the story. Beyond the fascinating, tragic, and heartbreaking story is a film with such stunning visuals that it stands alone as a work of art. Guillermo del Toro’s talented crew includes cinematographer Dan Laustsen, Production Designer Tamara Deverell, Oscar winning Set Decorator Shane Vieau, and two-time Oscar winning composer Alexandre Desplat, who delivers an incredible score (one certain to be nominated). Of course, as previously stated, this was the “dream project” of Guillermo del Toro, and he has delivered one for the ages … dreams really do come true!

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Posted by David Ferguson

OUR HAPPY PLACE (2025)

December 20, 2025

Greetings again from the darkness. Horror films are a dime a dozen (meaning there is no shortage from the genre), so it’s a revelation when a filmmaker has a legitimate feel for psychological horror – the kind that creeps us out and (likely) causes a nightmare or two. Such is the case for writer-director Paul Bickel. The scariest place on Earth is between our ears, and Bickel attacks the space by keeping us guessing as we attempt to solve the mysterious events occurring on screen.

We open on nearly indistinguishable flashes of memory until we zero in on Raya (the film debut of Raya Miles) waking up in the forest. She’s filthy, has an injured foot, and her clothes are in tatters. She’s a bit disoriented, yet finds her way home thanks to the barbed wire fence and local road. Once home, her hot shower is accompanied by flashbacks unrelated to her mysterious forest awakening. After the shower, she enters a bedroom where her partner, Paul (the film’s director Paul Bickel), is bedridden and non-communicative. She cares for him by spoon-feeding oatmeal, giving his beard a trim, and keeping the oxygen in stock. Mostly, she frets about this new life.

Well, ‘mostly’ is not the right word since the awakenings in the forest and staggering march home have become regular occurrences for Maya … and she’s still not understanding why or how. She Facetimes with her friend Amy (Tracie Thoms, GRINDHOUSE: DEATH PROOF, 2007) who expresses concern at the situation, but Maya tells her not need to visit. This is all filmed at Grout Creek in Big Bear, so the scenery is gorgeous (if you aren’t the one waking each morning oblivious to how you ended up in the forest), and the snow fall and Maya’s exhaustion are bonus elements to the overall atmosphere created by a nightmare situation she must interpret in order to bring about an end.

Maya’s daily existence manages to get worse as the nightmares become more intense (she wakes up in ever-deepening graves) and real – thanks to her own detective work and some truly frightening and unexpected developments. Missing women, pieces of gifted jewelry, and a recurring axe are crucial elements to the story. And even though we are forced to guess our way through most of the film, the ending is excellent … even the closing credits have flair. Much of this was filmed during the COVID pandemic as Bickel and Miles were secluded in the cabin. Other scenes were filmed once the world re-opened, and I believe most everyone will appreciate the camera work and individual shots throughout. Here’s hoping Raya Miles continues acting and Paul Bickel continues making movies for us.

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Posted by David Ferguson

DUST BUNNY (2025)

December 10, 2025

Greetings again from the darkness. Raise your hand if you were once a kid. Well then, you likely had some experience with a monster under the bed or in the closet. You may have even had an imaginary friend. It no longer matters how your parents handled scary bedtime for you during childhood, but writer-director Bryan Fuller offers a fantastical tale on what could happen if you don’t believe your kids! Mr. Fuller is best known as the creator of the terrific (and dark) TV series “Hannibal”, and he once again collaborates with Mads Mikkelsen, the titular star of that show.

A tense and dialogue-free opening is so cinematically perfect that I immediately wondered if the rest of the film was going to be a letdown. This plays out like a ‘scary’ children’s story twisted through the mind of a grown-up intent on sending this message to parents: bedtime can be scary time for kids. Sophie Sloan plays Aurora, a ten-year-old girl living with foster parents who lack the understanding and comforting skills that Aurora believes they should possess. The dust bunny from the opening scene is the reason Aurora often warns folks to stay off the floor … advice she heeds herself.

A traumatic event occurs when the foster parents ignore her warning, and soon Aurora is negotiating with a mysterious neighbor on the same floor of her building. She believes he can kill the monster, and she’s not above helping herself to the offering plate of the local church to convince him to help. The neighbor is played by Mikkelsen with his customary style – only the first time we see him he’s wielding nunchucks while wearing a 1970’s style track suit. Since he’s a real-life hitman, he’s convinced there are bad guys after him, and they’ve mistaken Aurora’s apartment for his.

Since I mentioned that filmmaker Fuller was likely inspired by childhood stories, I should also make clear that this movie is R-rated and most definitely NOT for kids. Even though the monster appears to be directly from the mind of Jim Henson’s demented uncle, the film spins off into a wild ride of CGI, action sequences, and violence … all done with tongue planted firmly in cheek. There is some wry humor mixed in, but this is a bizarre fantasy on steroids.

Special mention goes to the set directors and costume designers, as this is one of the funkiest and most elaborate apartment buildings we’ve seen on screen, and even Aurora’s bedroom with zany stuffies looks like something out of a dream. Supporting work is provided by Sigourney Weaver as Mikkelsen’s handler, and one not overly sympathetic to Aurora’s situation – although her specialized high heels add to the ambiance; David Dastmalchian as a confused participant; and Sheila Atim as an FBI agent stunned by developments. If your youngster knows the word “procure” or provides details about the monster under their bed, it’s best to believe them.

In theaters on December 12, 2025

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Posted by David Ferguson

SINNERS (2025)

December 8, 2025

Greetings again from the darkness. My apologies for this review posting months after it should have. The tardiness of the post has nothing to do with the quality of the movie, which I found quite entertaining and creative. It might be best described as an innovate storytelling approach to an age-old tale … with some very cool twists and turns. Ryan Coogler previously directed BLACK PANTHER: WAKANDA FOREVER (2022), BLACK PANTHER (2018), CREED (2015), and FRUITVALE STATION (2013); however, this is his first fully original film as writer-director, and it certainly doesn’t lack ambition.

You likely know that Michael B Jordan starred in all of Coogler’s films mentioned above, and he’s back here as both “Smoke” (Elijah) and his twin brother “Stack” (Elias). The boys are fresh from Capone’s gang in Chicago, and intent on setting up a juke joint in their old Mississippi hometown stomping grounds. An abandoned sawmill that has seen its share of slaughters will do just fine (and no, you definitely shouldn’t read any foreshadowing or irony into the setting. Wink. Wink.). Since I mentioned the twins, you should know that the technical aspects are astounding (in addition to Jordan’s terrific performances). An early scene where the brothers share a cigarette amazed me in its execution and detail. This was the first of many.

Young, bloody Sammie (the film debut of Miles Caton) staggers to his preacher father’s alter carrying the neck of a shattered Charley Patton guitar. And this may be the closest Coogler’s film gets to a serene scene. What follows is a unique blend of too many bits to list, but definitely includes horror, monsters, blues music, biblical references, southern racism, historical events (Robert Johnson’s crossroads), mythology, mobsters, Mississippi Delta black culture, and enough violence for a few films. You may think you’ve seen all there is to see about vampire mythology, but Coogler doesn’t shy away from new blood (so to speak). Now, is all that just too much for one movie to tackle? Many will likely think so, however, those that go with it will likely find it as entertaining as I did.

The supporting cast is massive and filled with familiar faces and talented actors – too many to list here, but know that each contribution adds to the overall dynamic. I will mention Hailee Steinfeld, who plays Mary, a “dangerous” multi-racial woman who is the bridge between black and white (and perhaps good and evil). There are at least eleven other actors who excel in their role and have a memorable, and often surprising or shocking impact, but the only other one I’ll call by name is the legendary Buddy Guy who appears in the 1992 Epilogue. From a technical standpoint, acknowledging those who created the Southern Gothic horror atmosphere are Cinematographer Autumn Durald Arkapaw, Editor Michael P Shawver, and Composer Ludwig Goransson (a two-time Oscar winner). Filmmaker Ryan Coogler has established himself as one who combines a strong technical team, a stellar cast, and a sharp script to create films that have broader appeal than one might expect (superheroes, vampires, and culture clashes). His films are now must-see cinema.

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

HIM (2025)

September 18, 2025

Greetings again from the darkness. Here is my PSA (Public Service Announcement): This is not a “Football” movie. If you are expecting FRIDAY NIGHT LIGHTS or ANY GIVEN SUNDAY, you will be disappointed. This is a Psychological Horror film (think BLACK SWAN) featuring a couple of football players, and it’s produced by Jordan Peele, he of NOPE and GET OUT fame. Writer-director Justin Tipping (KICKS, 2016) and co-writers (co-creators of “Limetown”) Zack Aker and Skip Bronkie serve up few X’s and O’s, and plenty of commentary on fame and the quest for greatness.

Marlon Wayans is best known for his comedy work, and here he delivers his best dramatic performance since REQUIEM FOR A DREAM (2000). He plays Isaiah White, the ultra-successful quarterback of the fictional San Antonio Saviors. Many consider White the G.O.A.T. (Greatest of All-Time). His issue is that he’s aging and is likely at the end of his career. On the other end of the spectrum, we have rising star Cameron Cade (Tyriq Withers, I KNOW WHAT YOU DID LAST SUMMER), the young hotshot who many predict will replace White as the GOAT. Cameron’s problem is that a surprise causes possible brain damage, knocking him out of the combine and leaving him undrafted.

Cameron’s off-kilter agent (Tim Heidecker) arranges for him to train with White for a week. Having worshipped Isaiah White for most of his life, Cameron jumps at the chance. Upon arriving at White’s isolated desert compound, he quickly discovers dreams don’t always match reality. White greets him warmly, but we all notice (well, Cameron’s a bit slow) that things are a bit off. From a sadist trainer (MMA fighter Maurice Greene) to a sardonic doctor (a funny Jim Jeffries), to a creatively made-up and creepy Mrs. White (Julia Fox), the setting for a horrific week is in place.

White pushes Cameron past the point of decency in training, and the doctor delivers some curious blood transfusions. White preaches to Cameron that this unorthodox approach is what’s required for peak performance and greatness. The commitment must be to excellence, not some mushy family-first mentality. Some of the drills are violent, while others turn a bit nuts. This is psychological warfare mixed with physical extremes.

There are some cool x-ray effects, and the music from Bobby Krlic (The Haxan Cloak) adds a nice touch; however, this is about envy and power. The first two acts have some eye-opening moments, but things really fly off the rails in the finale. Brutal violence seems too mild as a description, and the commentary on team ownership expectations seems a bit heavy-handed. We all know billionaires are accustomed to getting what they want. This one is worth seeing for Marlon Wayans’ performance, but we find ourselves thinking “what if” through much of the film.

Opens in theaters on September 19, 2025

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Posted by David Ferguson

WENT UP THE HILL (2025)

August 15, 2025

Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that’s not nearly as cutesy, yet does involve some emotional tumbling … and one creepy spirit.

Horror film aficionados are accustomed to possession-themed stories, where someone from beyond takes over the body of one still living. The twist here … and it’s a good one … is that the spirit of Elizabeth actually (and regularly) switches between not one, but two characters who are both important to her. Elizabeth was a renowned artist who opted for a way out, leaving behind her two great loves – her wife Jill (Vicky Krieps, PHANTOM THREAD, 2017) and their stunning mountain lake home (the Southern Alps of New Zealand).

On the day of the funeral, Jack (Dacre Montgomery, very good in the upcoming WHAT WE HIDE, 2025) shows up, claiming Jill invited him by phone. It’s clear Jill has no idea who he is, or that Jack is Elizabeth’s only child – one given up many years ago for reasons that aren’t clear until much later. Elizabeth’s sister, Helen (a terrific Sarah Peirse) has kept the family secret all this time.  Jill invites Jack to stay at the house, despite Helen making it obvious his presence is not appreciated.

Speaking of presence … we never see Elizabeth, but we know she’s there (and there). Jill sleeps next to the coffin, and every time she and Jack fall asleep, Elizabeth’s spirit does her thing. Mood and atmosphere are key here, and everyone (including Jack, Jill, and us viewers) is confused as to what the spirit of Elizabeth is trying to accomplish. Does the spirit want Jack and Jill to have the relationship that mom and son never did? Or is the spirit focused on having her beloved wife, and possibly the long lost son as well, join her in her new locale? The goal isn’t always clear, but it is always a bit creepy … which is good for the movie.

Cinematographer Tyson Perkins likely had a blast working with the combination of skilled actors, a stunning modern house, and the geographic terrain which could be both beautiful and treacherous – although the number of ‘eyeball shots’ were a bit eerie. A not so minor complaint is in regard to the low-level dialogue, which was exceptionally difficult to hear at times. Still, the acting here is superb, as is the piano-based score from composer Hanan Townshend (TO THE WONDER, 2012), and kudos to a horror movie that’s neither slasher, sequel, nor re-tread.

Opening in theaters on August 15, 2025

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Posted by David Ferguson

HELLCAT (2025)

July 26, 2025

Greetings again from the darkness. Make sure you have your popcorn ready because there’s no warmup for this one. It starts quickly. Lena awakens in the back of a trailer that’s speeding down the road. She’s battered and disoriented. I’ll admit to not being familiar with writer-director Brock Bodell or lead actor Dakota Gorman prior to watching this, yet both left excellent impressions.

Gorman plays Lena, a character who experiences a wild emotional and physical ride – most of it in the back end of that trailer. Any real spoilers for this one would be inexcusable, so I’ll tread lightly. A jolted Lena regains her bearings and ends up communicating with the driver through a device hidden in a mounted wolf’s head. The driver, Clive (Todd Terry) tells her (more than once), “I’m a good man. An honest man. A hunter.” It’s like his mantra, and we later learn the origin.

Clive informs Lena that she’s been “infected”, and he’s her only hope of getting to the hospital in time for treatment. She experiences periodic flashes of memory, but can’t quite place where she was or what she was doing prior to waking up in the trailer. She just knows she’s pregnant and being held captive in a claustrophobic moving vehicle by an unseen driver.

The twists that occur expose Clive’s beliefs and the reason their destination is ‘Golly World’ (definitely different from Wally World of FAMILY VACATION fame). It does take most of the runtime for us to comprehend the reasons for his actions, as well as the identity of the other girl Lena discovers hidden away in the trailer. An encounter with a local law enforcement officer (Jordan Mullins) does little to improve Lena’s situation, but does act as a reminder that extremists are everywhere these days.

The radio talk show host (with listeners of a particular ilk) has the film’s best line … “This ain’t exactly NPR” … a statement all too relevant given the recent de-funding by the government. The evening’s full moon plays a role as Clive, the would-be hunter, pulls off one true shot. Dakota Gorman delivers an impressive physical and emotional performance, while filmmaker Brock Bodell shows a knack for twists and tension.

World Premiere at Fantasia International Film Festival on July 25th

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Posted by David Ferguson

DANGEROUS ANIMALS (2025)

June 6, 2025

Greetings again from the darkness. I’ll admit to being braced for a low-budget horror movie that would have more in common with SHARKNADO than JAWS. This genre film from director Sean Byrne and screenwriter Nick Lepard is neither of those films, but certainly holds its own as terror on the open sea.

The extended pre-credit opening sequence tells us all we need to know about Bruce Tucker (Jai Courtney, A GOOD DAY TO DIE HARD, 2013). He’s a survivor of a childhood shark attack and his scars led to his obsession with the creatures – running a tour boat for those who want to get up close and personal with sharks (while in a cage, of course). Athletic and adventurous Greg (Liam Greinke) coaxes his meek and timid girlfriend Heather (Ella Newton, “Harrow”) onto the boat and into the cage. It turns out her hesitancy would have been better served as Tucker’s rugged charm quickly turns quite sinister.

Independent surfer, Zephyr (Dallas’ own Hassie Harrison, “Yellowstone”) crosses paths with Real Estate dude Moses (Josh Heuston, “Heartbreak High”) and the two exchange banter that certainly qualifies as high-level flirtation … leading to the back of Zephyr’s van, and her eventual unannounced departure. It doesn’t take long before her evening of bliss turns into her being next in Tucker’s long line. It’s a line so long, he has a VHS tape library of all his conquests/victims. See, Tucker does more than just sing the “Baby Shark” song. He feeds his sadistic nature in a manner that I won’t detail here.

IFC and Shudder films have teamed up to deliver a surprisingly taut thriller from an absurd premise thanks to Jai Courtney not overplaying a villainous role that could easily be over-the-top, and Hassie Harrison playing a believably tough woman fighting for survival. When Tucker first says, “No one even knows you’re here”, we recognize that we are in for a ride. This is director Sean Byrne’s first movie in ten years (THE DEVIL’S CANDY, 2015), and the first to include two versions of the “Ooby Dooby” song by Teen Jesus and CCR. For lovers of this genre, just know that the money shot is worth the wait.

Opening in theaters on June 6, 2025

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Posted by David Ferguson

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