The Astronaut (2025) Review

NASA astronaut Sam Walker, returns to Earth suspecting a sinister extraterrestrial presence has followed her home.

In her feature directorial debut, Jess Varley excels in the first act, achieving more with less. After an off-screen crash, the film opens in a sleek, modern safe house that feels deliberately claustrophobic. This low-budget restraint becomes a strength, building dread through shadows, silence, and suggestion.

Kate Mara anchors the film,emotionally raw, fragile yet quietly fierce, conveying the mystery and creeping paranoia. Laurence Fishburne lends some weight as General William Harris, despite sporadic appearances. Gabriel Luna is almost unrecognisable as Mark.

Jacques Brautbar's subtle score works effectively, while cinematographer David Garbett frames the safe house in stark angular architecture-interiors inky and cold, every corridor foreboding like the woodland nearby.

Tonally, The Astronaut initially echoes The Night House (2020) and feels like a spiritual successor to underrated sci-fi thrillers such as Last Days on Mars or Life, with an intimate rather than cosmic alien threat. Yet the third act unravels into ET meets The X-Files-in a twisty, muddled finale that aims for shock and emotion but falls short. Perhaps check out Sputnik instead.

The Running Man (2025) Review

 

Ben Richards signs up for a brutal televised game show: if he can survive being hunted for 30 days, he can win life-changing money — and potentially save his sick daughter.

Edgar Wright delivers a dark action-thriller set in a dystopian near-future. Based on Stephen King’s 1982 novel, which he wrote under the pseudonym Richard Bachman. Unlike the 1987 Schwarzenegger version, Wright’s adaptation is much more faithful to the book, turning the story into more of a road movie — Richards is constantly moving, hiding, and meeting different people as he tries to survive.

Cinematography from Chung-hoon Chung is notable, along with the editing by Paul Machliss and music by Steven Price.

There are echoes in the concept of other works like the French novel/film Le Prix du Danger (The Prize of Peril), which King clearly seemed to borrow from, where people are hunted for entertainment. Wright’s version stays true to King’s themes of media, desperation, and spectacle.

Glen Powell is impressive as Ben Richards: he’s tough, scared, determined — Powell brings real emotional weight to the role. The supporting cast is excellent; Josh Brolin plays the ruthless producer Dan Killian; Colman Domingo is memorable as the show host Bobby “Bobby T” Thompson; Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, and William H. Macy all contribute strong performances. Katy M. O'Brian is particularly memorable. There’s also a nice nod to Arnold Schwarzenegger (the original’s Ben Richards).

The action and stunts are great — you really feel the danger. Wright’s direction builds a tense but stylish world, the film has real scope, and the chase sequences feel grounded and raw. Despite the violence and serious stakes, there’s also dark humour, and the satire about media and spectacle is sharp.

Fans of the novel will appreciate Wright and Michael Bacall’s tweaks for the most part.

Overall, this is a very good adaptation. It respects King’s original novel, but it’s not just a rehash of the old movie — it stands on its own. If you like dystopian thrillers, action with heart, or just want something a little different, this is well worth watching.

Highly recommended.

Frankenstein (2025) Review

 

Egotistical scientist Victor Frankenstein, whose experiment in creating new life results in dangerous consequences. 

Guillermo del Toro is one of the best contemporary directors... fantastic, in fact, but this just does not reflect it.

It lacks grit, which is surprising for a gothic horror. It's all runtime, which adds very little; the abandoned tower doesn't fit with the rest of the film. It feels cheap in places, and the CGI wolves and rats undersell it. The creature aside, many of costumes while well designed all look BBC drama off the rack new, with no wear or tear.

That said, the ship stuck in ice is a visual treat, and there's some impressive gore, and cadaver effects. Editing by Evan Schiff is first rate, Dan Laustsen's cinematography has it moments here and there, and Alexandre Desplat's score is effective enough.

It's not stylistic like Coppola's Bram Stoker's Dracula (1992), Hammer or Universal's Frankenstein, and in contrast it's not as visceral as Kenneth Branagh's Mary Shelley's Frankenstein (1994), or as grounded as Neil Jordan's Interview with the Vampire (1994). It simply lacks the atmosphere of those and Joe Johnston's The Wolfman (2010) managed to create which is a crying shame. It also reflects how good The Frankenstein Chronicles (2015) are.

It feels like much of Mary Shelley's source material is missing. I'd like to think it's due to Guillermo del Toro having to avoid some sort of rights issues mixed up with other on-screen incarnations.

Mia Goth is on form; Jacob Elordi makes a great creature. Christopher Waltz is notable but lacks screen time, though Oscar Isaac sadly feels off. Lars Mikkelsen as Captain Anderson is memorable; also, blink and you miss Charles Dance, who is sorely underused. Both Felix Kammerer as William Frankenstein, Victor's younger brother, and David Bradley as a Blind Man leave an impression.

Overall, I'd watch all the other aforementioned films and series' again. But this disappointingly doesn't have that pull.

Predator: Badlands (2025) Review

A young, exiled Yautja is thrust into a harsh alien world where he forges an unlikely alliance, including with a damaged synthetic.

Written by Patrick Aison from a story by Dan Trachtenberg and Aison. Sadly, it isn't the stripped-back simplicity of Predator (1987) or Prey (2022); instead, it embraces the franchise's comic-book and other mediums-big ideas, bold visuals, and kinetic action, much like Trachtenberg's Predator: Killer of Killers (2025).

The special effects are first rate, the music from Sara Schachner complement Trachtenberg's slick direction, action setups and emotional beats.

Badlands feels closer to 2004's AVP than the core series. It blends Enemy Mine-style companionship, Aeon Flux-like surreal grass, Conan the Barbarian vibes, and Weyland-Yutani nods, Alien, Aliens, and Alien: Romulus (especially in the third act), there's also wild beasts reminiscent of Predators (2010). Even some callbacks especially the ship to Predator 2 and much more. If you're hoping for a gritty return after Prey? You'll be disappointed. Badlands is mythic, heart-driven sci-fi adventure. The Predator's design and lore work well, while not the same reasoning, it still echoes 2018's genetic explanations for its human mannerisms.

Dimitrius Schuster-Koloamatangi anchors the film as Dek, giving the Predator heart and a strong arc. Elle Fanning shines in dual roles as quirky, unsettling Thia (a severed Weyland-Yutani android) and Tessa. The supporting cast, including Dek's father, brother, and clan leader, add depth.

Was it what I expected? No. Did I enjoy it? Thoroughly. Sequel? Absolutely.

Badlands isn't the primal jungle horror or urban action, I would have liked, but it's a spirited, emotionally rich expansion of the mythos, shaped by comic lore and sci-fi grandeur.

The Fantastic Four: First Steps (2025) Review

 

Marvel’s Fantastic Four: First Steps reintroduces the iconic team as they confront a cosmic anomaly that threatens Earth’s reality itself.

Director Matt Shakman and producer Kevin Feige present a stylish reboot of the Marvel quartet, starring Pedro Pascal as Reed Richards/Mister Fantastic, Vanessa Kirby as Sue Storm/Invisible Woman, Joseph Quinn as Johnny Storm/Human Torch, and Ebon Moss-Bachrach as Ben Grimm/The Thing.

Visually, the film is a treat: the retro-futuristic, 1960s-inspired setting glows and crackles with comic-book energy, and the special effects for cosmic threats and citywide set pieces genuinely impress. The cast are strong — Kirby especially stands out — though as much as I like Pascal, it’s fair to say there are other actors who might have brought a different flavour to Reed. Narrative-wise, it runs a touch overlong (as many Marvel outings do), and the city-destruction sequences, while big, feel ever so slightly tiresome. Do we really need yet another metropolitan apocalypse?

There is intrigue in the mid-credits scene, suggesting real momentum for what’s to come, and the post-credits tease is a nice touch.

Overall, this is one of the better Marvel films in recent memory, thanks to its visuals, setting, and cast chemistry — but the genre still seems stuck in city-destruction mode.

Summer of Fear (TV Movie 1978) Review

 

A country family of five takes in cousin Julia, whose parents recently perished in a car crash. Julia extends her influence over the family and those around them, fooling all except for Rachel, the teenage girl who knows her cousin is up to no good.

Craven's Summer of Fear (a.k.a. Stranger in Our House) is a sunlit slice of TV horror. It feels like a lesser 1986's Dead of Winter or Vanishing Act only with a supernatural edge. Starring Linda Blair, forever tied to The Exorcist, and excellent Lee Purcell as the sinister cousin Julia, the film trades traditional shadows for bright daylight, giving it the feel of a Columbo episode rather than a straight horror piece.

Blair lends real weight to Rachel's growing paranoia, while Purcell delivers a quiet, escalating menace. Jeff McCracken and a young Fran Drescher and Jeff East round out the cast. The daytime setting adds realism but strips away some of the menace Craven is known for, keeping the tension slow and simmering rather than sharp.

The climax finally embraces its supernatural heart, with Julia's true nature revealed in a tense witchy showdown, including a car chase. Then there's a 'twist' tacked on ending.

While not one of Craven's greats, Summer of Fear is a solid, atmospheric slow burn, buoyed by its cast.

One Dark Night (1982) Review

 

Julie is forced into a sorority initiation in a mausoleum.

Tom McLoughlin's One Dark Night (1983) attempts a supernatural teen horror that tries to be Phantasm in style but lands closer to a TV movie.

Meg Tilly stars, but performances are often hampered by the weak script. Much of the film, however, is bogged down by sluggish pacing and a glut of tedious pranks that sap tension.

Both Melissa Newman and Robin Evans, along with Tilly, try their best with the material. Even Adam West can't lift it.

Where it does shine is in its creepy real locations and the climactic sequences, which feature effective practical make-up effects on reanimated corpses and throwback optical effects that evoke 1980s horror charm. These moments hint at the film it could have been.

The daylight and interior setups, while serviceable, further diminish suspense, leaving the film feeling uneven and modest in ambition.

In the end, One Dark Night is a curious relic of early '80s horror, an attempt at eerie supernatural thrills undermined by pacing and teen hijinks, yet occasionally rewarded with inventive effects that recall the era's charm.

Revenge of the Ninja (1983) Review

 

There's a strong case that Revenge of the Ninja isn't just one of the greatest ninja films ever made-it may well be the greatest. While 1987's Sakura Killers delivers pure pulp excitement and the follow-up Ninja III: The Domination brings supernatural spectacle, Revenge of the Ninja strikes the perfect balance: a relentless, expertly choreographed, and beautifully brutal showcase of ninjutsu on American soil.

Produced by Cannon Films and directed by Sam Firstenberg, the film stars the incomparable Shô Kosugi in one of his most iconic roles as Cho Osaki, a man forced to embrace the ninja way after tragedy strikes his family. What sets it apart is its commitment to authenticity. Filmed mostly on location in Salt Lake City, it leverages real-world settings-urban rooftops, alleyways, galleries, parks, and construction sites-to ground the elaborate combat in tangible, gritty reality, avoiding cheap backlot mimicry and infusing the film with environmental energy.

The action sequences stun with their scale and variety. Kosugi wields an arsenal of traditional and modern ninja weaponry including; Shuriken (throwing stars) glide with razor precision. Nunchaku and tonfa crack skulls in close-quarters combat. Katanas flash in ferocious sword duels. Kunai knives, blow darts, and smoke bombs enable beautifully staged misdirection. The grappling hook serves as a strategic tool for both movement and lethality, never a mere gimmick.

The climactic rooftop showdown is one of the genre's most memorable finales-a choreographed ballet of steel, blood, and shadow. Visually iconic, it has inspired many action films since, even including a cheeky nod to Superman II's "multiple Supermen" trick, kept understated with just a few "fake" ninjas.

Young Kane Kosugi, Shô's real-life son, plays his on-screen son. Arthur Roberts' Braden is memorableX Besides Kosugi, Ashley Ferrare stands out as Cathy, her blonde presence unforgettable.

Unlike many American martial arts films of the era, Revenge of the Ninja avoids drawn-out exposition or unnecessary subplots. It's lean, ferocious, and masterfully staged, with tight choreography, electric pacing, and Kosugi's unmatched physicality.

As the crown jewel of Cannon's ninja cycle-superior to Enter the Ninja-few films capture the myth, mystique, and lethality of the ninja like this one. If there's one ninja film to rule them all, this is it.

Overall, a high-kicking, unforgettable classic that slices its way into action cinema history.

Wheels of Fire (1985) Review

 

In a post-apocalyptic future, a ruthless vehicular gang called the Highway Warriors is conquering the wasteland through murder and plunder. After an unfair fight, a road warrior named Trace and company brings hell down upon them when they kidnap his sister.

Directed by Cirio H. Santiago, the film delivers cars, bikes, flamethrowers, guns, metal bar combat, swords, nudity, and stunts. The score by Chris Young is excellent, unexpectedly lifting many scenes and giving the wasteland a pulse.

Wheels of Fire leans welcomingly hard into its Mad Max DNA-but with all the rough-around-the-edges, cheap thrills and stunt-scrap fun of those Italian Max-copies. There's a few odd gangs, nomads and underground dwellers thrown in for good measure. Gary Watkins leads as Trace, the wandering hero he's a textbook rugged protagonist, isn't much of a thinker but he makes the punches and car chases count. The late Lynda Wiesmeier (a former Playmate) Arlie involves a lot of nudity, she gives the energy the plot needs and one of the more memorable beats. Laura Banks' killer for hire Stinger (who also has to get topless) is notable, and adds some grit, and Linda Grovenor's psychic Spike adds a little spark.

It's not high cinema-it's raw, sometimes absurd and explosive. But for fans of '80s post-apocalyptic trash with ambition and flair, Wheels of Fire is solid. It's dusty, it's loud, it knows what it is-and the lead actors bring enough presence to make the ride worthwhile.

Mutant (1984) Review

 

Not to be confused with Forbidden World (1982) also know as Mutant in some countries. Mutant also known as Night Showdow (which probably reflects the film better) isn't always a smooth ride-it's uneven in pacing, logic, and performances-but for fans of low-budget '80s horror, it delivers enough chilling moments, weirdness, and mutations to earn a midnight-movie watch. Sadly the original poster artwork with fangs, or the one with alternate wisps of obscurity didn’t really help market the film either, going for Alien vibe when it possibly should have leaned more to a Dead and Buried or Dawn of the Dead appeal. It boasts '80s B-movie charm-reckless abandon, schlock, and earnest effort-set in a small Southern town with a chemical plant, panicked locals, and confusion that sometimes works, other times feels like stretched cheap thrills.

Directed by John "Bud" Cardos and Mark Rosman, the film builds tension slowly, creating a creeping dread. The mutant/zombie effects hit harder thanks to the buildup, with makeup and transformations offering unpleasant, visceral qualities-especially the afflicted victims turning grey-skinned and black-eyed. These stand out more than the rest.

Wings Hauser anchors the film as the everyman in chaos, Bo Hopkins brings rugged gravitas as the sheriff, and Jody Medford's Holly provides a sympathetic figure. These performances help keep frustration at bay. Incidentally Both Hauser and Hopkins would also star in Nightmare at Noon (1988), which as a similar has plot.

Amongst the stunts, including flipping cars, there's a memorable but brief setup where a woman and child are attacked by hordes of the infected in a restroom, using the stalls for safety. The film works best especially in the last act when borrowing from the likes of Night of the Living Dead and Messiah of Evil,

Richard Band's music adds atmosphere, though it lacks a memorable hook like his other works.

Mutant isn't high art-it's flawed, messy, and exasperating at times. But for horror buffs who dig '80s creature or zombie-style flicks without needing airtight logic, it offers disturbing imagery, creeping transformations, and some solid set pieces. It shines in flesh, fear, and decay, but falters when aiming higher.