REVIEW: “Eenie Meanie” (2025)

August 26, 2025 by Keith Garlington

The immensely talented Samara Weaving plays a highly skilled underworld driver trying to turn her life around in the wildly uneven “Eenie Meanie”, a Hulu exclusive and the first feature from writer-director Shawn Simmons. “Eenie Meanie” aims to be the kind of gritty pulp that Quentin Tarantino fans might happily embrace. Sadly, neither its style or its story comes close to the films or filmmakers that inspired it.

“Eenie Meanie” often feels at war with itself. There are flashes of originality that occasionally make its way to the surface. But even at 94 minutes, the cliché riddled story quickly sputters while the uninteresting (and often annoying) characters give us no one to latch onto. Making things worse, the film’s tonal confusion gets more noticeable the further we go, as the far-fetched silliness attempts to segue into something that could have been emotionally impactful if not for everything that came before it.

**Image Courtesy of 20th Century Studios**

Weaving plays Edie Meaney who was given her titular nickname by a low-level crime boss named Nico (Andy Garcia). We learn Nico shamelessly used Edie on jobs dating back to when she was 15-years-old. He took an almost fatherly liking to her, going as far as doing something unheard of in gangland – giving her a ticket out. As a result, Edie is doing everything she can to go clean including working a legitimate job to help pay her way through college.

But things change in a snap with the introduction of her impulsive and perpetual loser ex-boyfriend John (Karl Glusman). He’s the kind of guy who is always screwing up and needing other people to bail him out. He’s also the type of character who is insufferable to watch on screen. It’s certainly not the fault of Glusman who does exactly what the script asks. But a little of John goes a long way, and unfortunately he’s gets plenty of screen time.

John’s latest debacle comes after he kidnaps a valuable casino card counter named Leo (Randall Park) who is working for Nico. John lures in an unaware Edie to help him get away from Nico’s goons, but when Leo is killed during the escape, Edie finds herself pulled into John’s latest mess. She insists they go to Nico and explain what happened. While her former boss is willing to let her go, the only way he will let John live is if the two of them carry out a heist. $3 million in winnings from a high-end poker tournament to be precise. Of course Edie is guilted into agreeing.

From there the story only gets more predictable. But that’s hardly its biggest problem. The issues mostly come from the scattershot story. The opening 30 minutes are hardest to bear as it mostly consists of obnoxious people screaming profanities at each other. There’s also this strange plot thread where Edie finds out she’s pregnant. It’s a detail which should have carried a lot more weight than it ever does. There’s also a wedged-in backstory meant to earn our sympathy but that is terribly underdeveloped. And through it all, several wasted side characters pop in but have little effect.

Weaving is the film’s big saving grace. While she sometimes seems a bit bored with what she’s given, she does bring some much-needed life, and later on heart, to a movie that has a hard time sustaining either. But its all so messily thrown together and it never coalesces into much of anything. It tries hard in the final act. But the result is an unearned finish that even Weaving can’t make us fully buy into. “Eenie Meanie” is now streaming exclusively on Hulu.

VERDICT – 2 STARS

REVIEW: “Nobody 2” (2025)

August 25, 2025 by Keith Garlington

Bob Odenkirk returns in the unexpected sequel to 2021’s fun but low-key action thriller “Nobody”. The straightforwardly titled “Nobody 2” features the same entertaining mix of bloody beat ‘em up action and dark humor that earned the first film good marks from both fans and critics. It pushes credibility a little further, mostly in the interest of laughs. But not so far as to lose its bone-cracking charm.

This time around Indonesian filmmaker Timo Tjahjanto takes the directing duties in what is his English-language debut. Written for the screen by Derek Kolstad and Aaron Rabin, “Nobody 2” sees former CIA assassin Hutch Mansell (Odenkirk) in a bind after burning up the Russian mafia’s money in the first film. Hutch’s debt to the mob was paid by his former handler, The Barber (Colin Salmon). Now Hutch is forced to pay off his debt to The Barber by carrying out contracts for him.

**Image Courtesy of Universal Pictures**

Back at home, Hutch’s constant absence is taking a toll on his relationships with his wife Becca (Connie Nielsen) and their two kids, the increasingly aggressive Brady (Gage Munroe) and the younger Sammy (Paisley Cadorath). Hoping to mend things with his family, Hutch plans a family getaway to one of his favorite childhood places – a vacation town called Plummerville. With his father David (Christopher Lloyd) in tow, Hutch and his family head off in Griswald-like fashion to “make memories”.

But violence seems to follow Hutch wherever he goes. In the case of Plummerville, it’s ran by a shady businessman named Wyatt Martin (John Ortiz) who is nothing more than a pawn for an area crime syndicate. Its leader, the ruthless and psychotic Lendina (Sharon Stone), uses the town as a hub for her lucrative bootlegging enterprise. But with his arrival, Hutch inadvertently throws a wrench into Lendina’s operation.

It all starts during a run-in with the town’s corrupt and ambitious sheriff, Abel (Colin Hanks). From there, a domino effect of bloody-knuckled violence follows as Hutch beats his way through waves and waves of goons much to the chagrin of Becca who was hoping for some quiet, leisurely family time. The family dynamic adds a fun twist, but the action is the movie’s bread and butter, with much of it infused with a healthy injection of humor.

Odenkirk makes a great transition from the cynical action-thriller vibes of the first film to a more straightforward action-comedy. He once again embodies the everyman vibe that hides Hutch’s true one-man killing machine identity. But he gets to show a much more playful side as well as some real heart. Nielsen has a blast with a considerable bigger role and a better character arc. As for Stone, she’s entertaining in chaotic bursts and over-the-top by design. But perhaps a bit too over-the-top.

“Nobody 2” is a violent movie with a proudly prominent body count. Yet it’s an openly unserious romp that adds lighter layers to everything from its story to its unconventional antihero. We get lots of well-choreographed action and several well-earned laughs. And it’s all seasoned with some great needle drops. Yes, the movie is formulaic to a point, but never to its own detriment. That’s because Tjahjanto stays true to his vision and we’re treated to some solid fun as a result. “Nobody 2” is in theaters now.

VERDICT – 3.5 STARS

REVIEW: “Die’ced: Reloaded” (2025)

August 22, 2025 by Keith Garlington

In 2023, filmmaker Jeremy Rudd directed, wrote, and produced a 50-minute slasher horror short film called “Die’ced”. Almost immediately ideas sprang up for a feature length version. Rudd brought back many of his original cast members and crew, added about 25 minutes to the runtime, and with the help of horror distributor Dread, has made and released what he is calling “Die’ced: Reloaded”.

“Die’ced: Reloaded” shares some obvious similarities with the first Terrifier movie. It was made on a limited budget. Most of that budget went toward the gloriously gory makeup and effects. And for much of the film the story can feel like an afterthought. But for the most part it knows what it wants to be – an exceptionally brutal slasher set in the 1980s and made in a style reminiscent of the 1980s. In that way it succeeds. “Die’ced: Reloaded” would feel right at home on VHS in the horror section of a video rental store.

Rudd kicks things off with a fitting introduction to his big baddie, Benjamin Newman (played by Jason Brooks). When we meet him, Benjamin has spent the last 17 years in an insane asylum after brutally butchering his family. Diagnosed with dissociative identity disorder, Benjamin believes he is a kid and finds childlike joy in killing. And for reasons never explained (but to make him a little creepier), he wears a ghastly mask made out of a paper plate.

A few miles away in a Seattle suburb, a high school teen named Cassandra (Eden Campbell) lives with her brother Tommy (Collin Fischer) and their father (Nigel Vons). The siblings have had a rough go since their mom up and left them. The mystery around their mom’s exit is something the movie could have built up better, and it’s begging to be explored further. As it is, it’s a plot point that doesn’t get much attention until it’s too late.

On October 31st (because what better time to have a killing spree), Benjamin gruesomely slaughters his doctor and nurses before venturing off to the above mentioned Seattle suburb. Once there he breaks into a house, murders its owner, and then steals their scarecrow costume. Not far away, Cassandra heads out for a Halloween party where she and her disposable best friend character drink some beer and chat meaninglessly about boys. But the high school tedium is short-lived and the inevitable slaying quickly begins.

While there’s barely enough story to fill its lean 75 minutes, it ends with a wild spray of information that could have added more meat to the rest of the movie. Instead it feels tacked on and underdeveloped. As for the 1980s setting, there’s so much more they could have done with that wildly distinct decade. But there’s not much that stands out, aside from the cool synth-pop score by composer Night Wolf.

But those things aside, “Die’ced: Reloaded” maintains a certain B-movie charm that’s hard to deny. And despite its obvious budget constraints, Rudd, along with his special effects coordinators Jason Brooks and Joe Castro, know what slasher fans want. They make sure there is enough fun to be had and more than enough gore splattered around to make overlooking the film’s other issues a little bit easier. “Die’ced: Reloaded” a available now on VOD.

VERDICT – 2.5 STARS

First Glance: “Anemone”

August 21, 2025 by Keith Garlington

For fans like me, it doesn’t get much more exciting than this. Daniel Day-Lewis returns to acting following his surprise retirement eight years ago. Rightfully heralded by many (myself included) as our greatest living actor, the 68-year-old Day-Lewis has delivered countless superb performances. He’s won three Oscars, four BAFTAs, and two Golden Globe awards. And now he’s back, starring in his first film since 2017’s “Phantom Thread”.

And if his return wasn’t enough, he’s appearing in a film directed by his son, Ronan Day-Lewis. The two co-wrote the script which has mostly been kept under wraps. What we do know is that it has been called an absorbing family drama that explores the complex and profound ties that exist between brothers, fathers, and sons. Joining Day-Lewis on screen is the underrated Sean Bean, Samantha Morton, Samuel Bottomley, and Safia Oakley-Green. I can’t wait.

“Anemone” is set to be released in theaters on October 3rd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

New on Home Video: “The Conjuring” on 4K Ultra HD + Digital Copy

August 21, 2025 by Keith Garlington

Warner Bros. Discovery Home Entertainment is releasing James Wan’s “The Conjuring” on 4K Ultra HD Blu-ray for the first time. This supernatural horror new classic released in 2013 and kicked off a franchise that has earned over $2.2 billion at the global box office. The film’s chilling story was plucked from the case files of renowned demonologists Ed and Lorraine Warren and told of a young girl’s possession in Harrisville, Rhode Island. Starring Vera Farmiga and Patrick Wilson, both brilliant as the two leads. Read my full review of the film [HERE].

This 4K Ultra HD Blu-ray edition of “The Conjuring” comes with a digital copy and will be available to purchase on August 26th. See below for a full synopsis of the film as well as release information and a list of special features.

About the Film:

Year: 2012

Runtime: 112 Minutes

Director: James Wan

Screenwriter: Chad Hayes, Carey W. Hayes

Cast: Vera Farmiga, Patrick Wilson, Lili Taylor, Ron Livingston, Shanley Caswell, Hayley McFarland, Joey King, Mackenzie Foy, Kyla Deaver, Shannon Kook, John Brotherton, Sterling Jerins, Amy Tipton

Rating: R for sequences of disturbing violence and terror

Before there was Amityville, there was Harrisville. Based on the true-life story, The Conjuring tells the tale of how world-renowned paranormal investigators Ed and Lorraine Warren were called upon to help a family terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most horrifying case of their lives.

From New Line Cinema comes a feature film drawn from the case files of married demonologists Ed and Lorraine Warren. “The Conjuring” stars Academy Award nominee Vera Farmiga (“Up in the Air”) and Patrick Wilson (“Insidious”) as the Warrens, and Ron Livingston and Lili Taylor as Roger and Carolyn Perron, residents of the house.

Special Features:

“The Conjuring“ Digital release and Ultra HD Blu-ray disc contains the following new and previously released special features:

Scariest of Them All (NEW) – The cast and creators of The Conjuring take a look back at some of the greatest scares of the series, uncovering what made these films so iconic.
Reflections on the Conjuring (NEW) – More than a decade after the release of the original film, the cast and crew of The Conjuring reflect on their experiences creating one of the most legendary horror series in history.
The Conjuring: Face-to-Face with Terror – Relive the real-life horror as the Perron family comes together to reflect back on the farmhouse they shared with diabolical spirits for nearly a decade.
A Life in Demonology – The real demonologist and paranormal experts from The Conjuring take you inside their life’s work and into their personal occult cellar, where they keep haunted and unholy relics from their many cases.
Scaring the “@$*%” Out of You – Director James Wan (Saw, Insidious) welcomes you into his world and gives an inside look at the at the scenes that scare the “@$*%” out of moviegoers time and time again.

REVIEW: “Relay” (2025)

August 20, 2025 by Keith Garlington

In “Relay” a terrific Riz Ahmed plays John, or is it James, or is it Ash? Either way, he is an off-the-radar New York City fixer with a very specific clientele. He specializes in helping whistleblowers who are being threatened, and in some cases terrorized, by big corporations. Ash brokers deals between his clients who desperately want to be left alone and the companies who desperately want his clients silenced.

In exchange for any damning evidence, the companies agree to leave Ash’s clients alone. If they don’t, he will send the media a copy of the evidence that he alone keeps for leverage, ultimately exposing their corruption. More interesting, Ash communicates exclusively through a dedicated telecommunications relay service. Originally designed for the hearing impaired, the service lets Ash type his words to an operator through an analogue keyboard. The operator then verbally relays them to the client or the company on the other line. It allows Ash to operate undetected while hiding in plain sight.

The premise is a good one and director David Mackenzie (“Hell or High Water”) makes the most of it. He and screenwriter Justin Piasecki tell a story that calls back to the paranoid thrillers of the 1970s and early 1980s. From its earliest scenes we see flashes of De Palma’s “Blow Out” and Coppola’s “The Conversation”. But in just as many ways, “Relay” is also distinctly modern. Its story has an undeniable relevance and the characters feel stitched in from our current timeline.

Lily James plays Sarah Grant, a research scientist for a bio-tech company who was let go for sharing alarming concerns about the corporation’s new project. It turns out the food-based venture could have deadly side-effects. But the company is intent on keeping it silent, as the scandal could threaten their pending $3.2 billion merger. Armed with documents implicating her former employer, Sarah was initially prepared to go public. But the company’s intensifying intimidation and harassment has left her scared and wanting her old life back.

With no help from the cops and no law firm willing to take her case, Sarah tries more unofficial channels and reaches out to Ash. After a thorough investigation, he agrees to help (for a hefty $50,000 deposit). Ash immediately lays out the rules – they are never to meet in person, they will only communicate through the relay service, and she is to follow his instructions to the letter, no matter how strange they may seem. Failure to follow the rules could result in Ash walking away, leaving Sarah on her own.

Complicating matters is the company’s bulldog, Steve Dawson (Sam Worthington). He and his crew have Sarah in their sights and don’t appreciate Ash getting in the way. It sets up a whip-smart game of cat-and-mouse as Ash attempts to stay one step ahead of his crooked counterpart while keeping Sarah safe in the process. The simmering tension turns to a boil as Mackenzie works towards a whopper of a twist that we never see coming.

At the same time, the movie’s big twist makes us question several things that came before it. It’s an ambitious turn no doubt and one that yanks the story in an entirely different direction. And it’s admittedly fun. But fully making sense of it is a challenge, especially when it comes at the expense of the characters. Thankfully it doesn’t undermine everything Mackenzie and Piasecki had developed to that point.

The film’s world of corporate secrets, clandestine operatives, and hidden identities is visualized through the compelling lensing of DP Giles Nuttgens. His images, especially those shot at locations in and around a pulsing New York City, add richness and vibrancy to the events. But at its core, “Relay” is about more. Beyond its thriller dressing is an insightful character study about social isolation and the need for communication. And it registers through Ahmed’s finely calibrated lead performance.