Movies

Upon first hearing about Barbarian, directed by Zach Cregger and featuring a cast of rising talent including Georgina Campbell, Bill Skarsgård, and the ever-charismatic Justin Long, my expectations were tinged with both skepticism and curiosity. Advertised as a horror thriller that cleverly plays with audience perceptions, I delved into it with the hope that it would be a fresh take on a genre I hold dear. As its premise unfolds—the story of a woman whose Airbnb is double-booked by a stranger—I wondered how deep its themes would cut and whether it could provide more than just frights in narrow corridors.

Founders Day, a slasher film directed by Erik Bloomquist, attempts to redefine the holiday-themed horror genre with a concept rooted in a nebulous celebration that varies across diverse locales. Positioning itself as a dark, festive parody within the slasher subgenre, the film centers around a masked assailant targeting participants of a town’s anniversary political campaign. Despite its intriguing premise—combining elements of political intrigue, holiday revelry, and horror—Founders Day ultimately presents as a mediocre effort that falters amid predictable storytelling and inconsistent production quality.

Companion (2025), directed by Drew Hancock, emerges as a compelling addition to the science fiction thriller genre with notable elements of horror comedy woven into its narrative fabric. The film explores provocative themes such as artificial intelligence, autonomy, and human morality within a tense, isolated setting that amplifies its psychological intensity. Its premise—centering on a weekend getaway catalyzing chaos after revelations about a companion robot—promises a blend of suspense, dark humor, and moral dilemma, positioning it as an intriguing, if imperfect, cinematic experience. The film's tone oscillates between visceral horror and satirical commentary, inviting viewers into a domain where technology's encroachment intersects with human fragility.

Lifeline emerges as a powerful exploration of trauma and the human condition, deftly tackled through the lens of a tense psychological drama. Released amidst prevailing societal concerns regarding mental health, this film dares to confront the morose realities of suicide, regret, and the murky waters of memory with an unflinching gaze. Directed by Feras Alfuqaha, it takes its audience on a surreal journey that not only tests the limits of its protagonist but also invites viewers to reflect on their own life experiences, choices, and the delicate connections we forge across time.

Deep Cover, a 1992 film directed by Bill Duke, strikes a slick and stylish note in the crime thriller genre, beautifully encapsulating the atmosphere of the early '90s. This neo-noir piece features Laurence Fishburne in a commanding role as Russell Stevens Jr., an undercover cop trying to navigate the seedy world of Los Angeles' drug trade. The film delves into themes of morality, corruption, and the complex dynamics of the War on Drugs, yet it doesn't quite escape its own superficial tendencies, ultimately leading to an experience that's compelling but not without its flaws.

In the chilling realm of espionage and deception, Red Sparrow emerges as a film that seeks to plunge deeply into the dark underbelly of its characters and the brutal world they inhabit. Directed by Francis Lawrence, the film unfolds on a layered tapestry of betrayal and manipulation, pulling viewers into the life of Dominika Egorova, portrayed with unwavering intensity by Jennifer Lawrence. Set against a backdrop of modern-day Russia, the film navigates themes of exploitation, identity, and survival, yet struggles to maintain its grip amidst a convoluted narrative that often leaves audiences grappling for coherence.

September 5 bursts forth as a poignant historical drama that delves into the tragic events of the Munich massacre during the 1972 Summer Olympics. Directed by Tim Fehlbaum, this gripping film chronicles the chaotic coverage by the ABC Sports crew as they navigate the grim realities of a terrorist attack. With solid performances from a strong cast, this film invites viewers into a thrilling reenactment wrapped in ethical conundrums and moral exploration while compellingly examining the intersection of media, politics, and human tragedy.

Well, folks, grab your popcorn — or maybe just a gigantic bottle of aspirin — because we’re diving headfirst into the cinematic disaster known as WarGames: The Dead Code. Directed by Stuart Gillard, this 2008 sequel to the beloved 1983 classic attempts to rekindle the magic of hacking and Cold War paranoia with a plot so convoluted it could make a pretzel jealous. If you thought the original had some stretches of plausibility, then buckle up for this joyride — or should I say, slog — through the convoluted world of government surveillance, high school shenanigans, and “advanced” artificial intelligence. Spoiler alert: the only thing advanced here is my dislike for this film.

Tyler Perry's latest offering, Duplicity, recently arrived on Amazon Prime Video, and I must admit, while it attempts to explore critical themes of justice and police violence, I found the film to be a disappointing exercise rather than a compelling mystery thriller. With a runtime pushing almost two hours, it seems to weave a complex narrative but ultimately reveals a collection of tired tropes. The setup presents an intriguing premise, but what unfolded felt tedious and far from engaging.

WarGames, released in 1983 and directed by John Badham, stands as a cornerstone of the techno-thriller genre. This film juxtaposes the anxiety surrounding the nuclear arms race of the early '80s with the burgeoning fascination of the home-computer revolution. Following an unwitting teenage hacker who accidentally stumbles upon a U.S. military supercomputer, WarGames deftly navigates themes of technology's duality, innocence, and the grave implications of war. With a mix of tension, nostalgia, and humor, it engages a broad audience, inviting viewers to reflect on the precarious balance between humanity's advancements and its capacity for destruction.