It seems as if each month brings along new additions to the ever-growing sharksploitation genre. These shark-infested concoctions have come in all shapes and sizes, from moderately budgeted shark thrillers to shamelessly campy B-movie romps. Of course you can always expect some stinkers when you have such a crowded pool. But most understand the kind of straightforward entertainment their audiences want, and they often deliver in ways that keep fans circling back for more.
The latest sharksploitation entry is “The Devil’s Mouth”, a Prime Video Original that sticks pretty close to the established survival thriller formula. You know the one – a group of college cohorts venture out to an exotic location for some frisky fun on the water only to become chum for the movie’s real star, a ferocious man-eating shark. That is this movie in a nutshell, although it does throw in a few ideas of its own that stand out, namely a cool location and some slightly interesting character dynamics.
Kathryn Newton plays Sara, the fifth-wheel from a group of five college “friends” on a summer trip to Thailand. She’s joined by her pampered and overly assertive best friend Max (Lana Condor), Max’s ‘whatever” boyfriend James (Nico Hiraga), their mutual friend Adrienne (Tommi Rose), and Adrienne’s douchy new beau, Greg (Gavin Casalegno). The two couples make sure to involve Sara in all of their frolicking, but she can’t help but feel like the odd person out.
But deep down there are relationship issues that Sara has yet to acknowledge. It’s mostly seen in Max’s controlling nature. Max feels compelled to control everything and she expects everyone to fall in line. It’s especially true of Sara, who Max has no problem guilting into doing whatever she wants. Even James sees it, but he’s too spineless to say anything about it. Layers peel from their complicated friendship once the film’s central conflict comes into play.
The group’s vacation turns to terror after they set out to tour a network of underwater caves. They meet up with their guide, Wat (Tayme Thapthimthong) who takes them by kayak to the entrance of “The Devil’s Mouth”. The six begin their underground adventure, making their way from chamber to chamber. But once deep inside the dark labyrinthine cave system, they discover they are not alone. Among them is an angry and ferociously territorial shark who was swept in by the tide. He’s hungry and our six explorers would make a tasty meal.
Director Jeff Wadlow ratchets down on the familiar survival elements as the characters find themselves in one harrowing situation after another. It’s hard to muster much sympathy for anyone outside of Wat, who had the ultimate misfortune of being stuck with the five obnoxious brats. But in fairness, we do see Sara evolve over time. Not a lot, but enough to say something about her character. Everyone else is stuck in one gear and we never really care if they make it out or not.
The character work may not be great, but Wadlow does make good use of his setting and environments. The sense of being trapped in small, dark, unknown spaces generates some legitimate tension, at least until it begins to feel repetitive. He also concocts some ridiculous but fun shark action. Wadlow comes up with an assortment of attacks from the man-eating menace, some that will make you jump and others that will make you laugh. Admittedly it’s pretty entertaining.
“The Devil’s Mouth” does nothing to redefine the sharksploitation model. Instead it embraces the simplest mechanics of the genre, adding a few strokes of its own along the way. It’s still plagued by annoying characters whose mind-boggling decision-making leads the story down the most predictable route imaginable. But the shark is mean, dangerous, and it eats people. So in that respect, genre fans can expect to get exactly what they’re looking for.
I know there are passionate superfans out there who will disagree with me, but the Marvel Cinematic Universe has been a shell of its former self since the blockbuster event that was 2019’s “Avengers: Endgame”. A total of 14 movies and 20 streaming series have released since “Endgame”. A couple were nice surprises and a few others were serviceable. But some were glaring disappointments. Even more, none have managed to build up anticipation quite like the MCU did in its heyday.
But one bankable exception has been Spider-Man. Collectively, the three standalone Spider-Man movies have made a whopping $3.94 billion at the global box office. Tom Holland has proven himself to be perfect for the role of Peter Parker, and his three solo films have mostly been solid. Yet none of them stand among the best of the MCU offerings. Well not only does the latest entry, “Spider-Man: Brand New Day”, offer a welcomed refresh for the beloved web-slinger, it’s also the very best Spidey movie of the Tom Holland era.
Destin Daniel Cretton takes the directing reins from Jon Watts and you can quickly tell the difference in his approach. “Brand New Day” has much of the same superhero energy and playfulness as its predecessors. But it stands out as the most emotionally grounded of the now four standalone Spidey films. Even more, its story offers a much needed evolution for the Peter Parker character, exploring themes of loneliness and isolation, while portraying the sacrifice that so often defines true heroism.
Image Courtesy of Sony Pictures
For those in need of a quick refresher, in 2021’s “No Way Home” Peter Parker (Holland) makes the choice to have himself erased from everyone’s memory in order to save the multiverse. He makes a pledge to his girlfriend MJ (Zendaya) and best friend Ned (Jacob Batalon) to find them and reintroduce himself when the time is right. And that leads to the events of “Brand New Day”.
As a means of dealing with his loneliness, Peter fully occupies himself with his crime-fighting duties as Spider-Man. About his only means of human connection is with New York City Police Detective Jean DeWolff (Liza Colón-Zayas). Otherwise he has spent what would have been his exciting college years at MIT watching MJ and Ned from afar. Both now live much different lives without any knowledge of Peter. Meanwhile he waits, heartbroken yet determined, for the right time to reveal himself and the truth of their pasts together.
Peter’s personal journey eventually converges with his role of Spider-Man after the appearance of a mysterious antagonist who is able to telepathically hop from person to person, possessing whoever they embody. The telepath targets The Department of Damage Control which prompts its director, Bill Metzger (Tramell Tillman) to reach out the Spider-Man for help. But the telepath isn’t so easily deterred and will stop at nothing to reach the secret which lies inside of the DODC’s vault.
I danced around a lot of information and for good reason. Co-writers Chris McKenna and Erik Sommers pack a ton into their story, much of which is better discovered for yourself. What impresses most is their ability to balance the more intimate personal stakes with the explosive superhero action. While there are plenty of moments for laughs, the film has a more serious tone which allows us to emotionally connect on a surprisingly deeper level, more so than with any of the previous Spidey films. But then there is the action, which features some of the best captured, cut, and choreographed set pieces from the MCU to date.
Image Courtesy of Sony Pictures
Smartly, Cretton ensures the characters remain his focal point. This is Holland’s best Peter Parker performance to date while Zendaya and Batalon offer their best supporting work of the series. Beyond them, we get a wild array of side characters and guest appearances highlighted by Jon Bernthal’s killer return as Frank Castle aka The Punisher. While slightly tamed to fit the film’s PG-13 rating, Bernthal still retains Castle’s fury and grit. Mark Ruffalo also returns as Bruce Banner in a role that doesn’t feel necessary, yet that finally gives us a glimpse at the real Hulk that so many of us have been longing for.
The vast majority of the movie comes together incredibly well but there are a few minor issues. There are a couple of appearances that feel thrown in for reasons beyond this story. There’s a storyline involving Peter’s sudden spider mutations that leads to several good scenes but no real conclusion. And there are several instances of things just not making sense. For example, how do some memories click for one character but not for another? It’s a case of the movie opening doors and not always knowing how to close them.
I went into “Brand New Day” interested in it more than excited for it. Then for the first time in years, I left the theater feeling genuine enthusiasm for an MCU movie. Destin Daniel Cretton has rediscovered what makes these movies click, by shedding most of the multiverse baggage and telling a contained story that nicely balances authentic humanity with pulse-pounding superhero thrills. “Brand New Day” may not be the best ever MCU offering, but it definitely sits in the upper tier. And when you’ve put out 38 movies, that’s a pretty impressive accomplishment.
In the Australian action thriller “Seven Snipers”, Radha Mitchell plays a retired army medic named Kris Hendricks. At least that’s the story she has sold to everyone, including her angsty 16-year-old daughter Anja (Annabel Wolfe). In reality, Kris was a member of an elite sniper squad who went by the codename Voodoo Child. And rather than working in a field hospital, she was eliminating enemy targets to the tune of 116 verified kills. And as usual in movies like this, that violent past comes back to haunt her.
Directed by Sandra Sciberras, “Seven Snipers” is a no-nonsense feature that wastes no time plunging us into the action. And once it does, Sciberras moves her audience along with a tense and tactical pacing that locks us in for the entirety of the film’s lean and efficient 88-minute run time. It also helps us to overlook the minimal backstory and character development, both of which are alluded to more than fleshed out.
Image Courtesy of Well Go USA
Kris and Anja live in a remote farmhouse set upon the sprawling Queensland countryside. Things haven’t been easy for Kris. In addition to raising Anja on her own, she also struggles with compartmentalizing her combat trauma while shielding her daughter from the truth of her violent past. But her good intentions have frustrated Anja, who spends most of her time skipping school with her boyfriend Michael (Lee Tiger Halley).
Their quiet life is interrupted by a terrifying person from her past – a lethal marksman and former warlord known only as “The Dragon” (Tim Roth). The ruthless Dragon sends an envoy (Ryan Kwantan) who Kris promptly sniffs out and eliminates. But before he dies, he leaves her with an ominous message, “He’s coming. Long live the Dragon.” At first the reasons for the Dragon’s sudden reemergence looks to be old-fashioned revenge. But we later learn of a far more precious purpose which adds some extra layers of tension.
Image Courtesy of Well Go USA
But the movie is called “SEVEN Snipers”. Enter Kris’ old squadmate Malcolm (Damien Ryan) who she calls on for help. He brings along four other snipers including his somewhat green son Junior (Charles Cottier), the cynical Nico (Pacharo Mzembe), the all-business Kaldayev (Bianca Wallace), and the silent and stoic Milk (Ioan Gruffudd). The stealthily sinister Dragon is the last person to the dance. And from the first crack of his rifle, we’re convinced that he is a formidable threat.
While it’s hard to miss the lack of depth and detail in both the characters and the overall conflict, there’s something refreshing about its simplicity and straightforwardness. “Seven Snipers” builds itself upon the slightest of stories. But once characters begin peering through their long-range scopes, the intensity builds and the stakes ratchet up a notch. From there it’s all about keeping us gripped, which the movie does through economical direction and an all-in cast who fully understand their assignments.
There is a genuinely fun concept waiting to be realized somewhere inside of the Canadian supernatural horror thriller “Son of Sara”. It’s a concept that would find the balance between being uncomfortably chilling and darkly funny. But the movie we get never fully settles on what it wants to be. At least not in a way that is coherently conveyed on the screen. It’s a shame because we see a handful of exciting glimpses of what this film could have been.
As a purely independent film, “Son of Sara” is an admirable accomplishment. It’s written, produced, directed, and edited by Houston Bone who does some interesting thing with an obviously modest budget. It’s a competently made feature that especially impresses in the practical effects department. But the movie is let down by the pieced-together story which toys with several familiar ideas without doing anything interesting with them.
Image Courtesy of Saban Films
Chloe Van Landschoot plays Sara, a young woman who is very pregnant – the result of a tryst with the icky Troy (Garrett Hnatiuk), who took off after their fling and hasn’t returned her calls since. Now Sara lives with her doting girlfriend Carol (Tymika Tafari), sharing a surface-level relationship that feels more performative for the camera than authentic to the story. Sara is way past her due date, so getting around has become a chore. But far more concerning is her insatiable appetite for raw ground beef, upchucking long plugs of hair, and terrifying visions that repeatedly haunt her.
But the movie takes a goofy turn when Sara unexpectedly bumps into Troy who is surprised to learn she is pregnant. She invites the jerk to her apartment while Carol is away and the two somewhat reconcile in record time. Even wackier, Troy invites Sara to his family’s farmhouse “just outside of the city” to have dinner with his mother Agnes (Jane Moffat). Of course it’s clearly a terrible idea. But in one of several mind-boggling choices, she accepts his offer.
So not only does Sara immediately let this glaringly obvious slug back into her life, but she waltzes off with him to the middle of nowhere. And as I’m sure you also expect, things go terribly wrong for her. To the tune of occult rituals, a demonic entity, and a shocking claim about her baby that shakes her to her core. The lone question – is her baby a demon child from Hell or are Troy and Agnes cult crazies who will do anything to please their malevolent master?
Image Courtesy of Saban Films
Sadly that question never carries much weight. That’s because it’s hard to invest in things when the entire premise is undermined by such a head-scratching setup. So much is left untold, especially regarding Troy and Agnes. Instead time is wasted on baffling inclusions, such as a random second-half sequence of meaningless nudity that distracts more than informs. Even the story’s potential thematic treatment is ultimately stripped of its voice.
Not all is bad in “Son of Sara”. There are a few slashes of black comedy that made me laugh out loud. And the film features some startling body horror that is brought to life through impressively creative practical effects work. But these things aren’t nearly enough to keep us onboard. And that’s sad to say considering the movie leaves the impression that Bone wants to continue Sara’s story in another film. I wish there was enough here to bring me back for more.
Warner Bros. Discovery Home Entertainment is bringing “Mortal Kombat II” to home video. This action, fantasy, martial arts mashup is based on the popular, long-running video game series that was created by Ed Boon and John Tobias. It’s a sequel to 2021’s “Mortal Kombat” which served as a fresh reboot with ambitions to take the movie universe even further. “MKII” saw Simon McQuoid return to direct and Karl Urban join the franchise as the fan-favorite character Johnny Cage. And now franchise fans can bring the sequel home.
“Mortal Kombat II” will be available to own July 28th on 4K Ultra HD + Digital Copy . See below for a full synopsis of the film as well as release information including a list of special features.
About the Film:
Year: 2026
Runtime: 116 Minutes
Director: Simon McQuoid
Screenwriter: Jeremy Slater
Cast: Karl Urban, Adeline Rudolph, Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks, Tati Gabrielle, Lewis Tan, Damon Herriman, Chin Han, Tadanobu Asano, Joe Taslim, Hiroyuki Sanada
Rated R for strong bloody violence and gore, and language
This time, the fan favorite champions—now joined by Johnny Cage himself—are pitted against one another in the ultimate, no-holds barred, gory battle to defeat the dark rule of Shao Kahn that threatens the very existence of the Earthrealm and its defenders.
Special Features:
Mortal Kombat II 4K UHD contain the following special features:
Mortal Kombat II: Evolving the Saga (Featurette)
Returning characters, new alliances and even bigger fatalities! Go behind the scenes to learn all that went into creating the latest chapter in the Mortal Kombat film saga and how the sequel expands the universe to bolder, bloodier heights.
Building the Realms of Mortal Kombat (Featurette)
From the decaying streets of Edenia to the terrifying Pit featured in the iconic video game series, discover how the Mortal Kombat II design teams blended practical sets with groundbreaking VFX to create the legendary realms in the film.
Mortal Kombat II: Choose Your Fighter (Featurette)
Awaken your Arcana as you meet the cast and explore the brutal weapons, epic costumes and fierce training that went into bringing their characters to life.
Klose Quarters Kombat (Featurette)
Cast members and key creatives share insights into how the stunt preparation, intense fight scenes and weapons training shaped both classic moves and new, merciless combat styles.
A “Boon” to Gamers Everywhere (Featurette)
Sit down with chief Mortal Kombat mythmaker and creator Ed Boon for a deep dive into the franchise’s storied history and ongoing evolution that spans three decades of near-infinite games, films and comics, culminating with the live-action sequel.
With the release of his brilliantly made and enormously successful new film “The Odyssey”, Christopher Nolan has once again proven himself to be the most bankable filmmaker working today. After just eleven days the three-hour, R-rated epic has made a staggering $639 million at the global box office. And it’s showing no signs of slowing down. Many projections now have the film easily clearing the $1 billion mark by the end of its theater run.
This is no fluke. Nolan’s extraordinary gift for cinematic storytelling has been evident since his debut feature in 1998. And he has only gotten better over time. His movies have become major events that draw huge audiences. And it doesn’t matter if he’s adapting a massively popular superhero or making a biographical drama of a theoretical physicist. People come for the compelling stories and stunning craftsmanship that have become synonymous with a Christopher Nolan movie.
With “The Odyssey” still dominating theaters, what better time to do an updated ranking of Christopher Nolan’s now thirteen feature films. Impressively, Nolan has yet to make a bad movie so there are no bad movies on this list. But over the years several of his works have stood out over the rest (at least for me). So here is my personal ranking of Christopher Nolan’s oeuvre. Be sure to share your personal favorites in the comments section below.
“Following” easily stands as Christopher Nolan’s smallest, shortest, and least expensive film. Yet even within this underrated debut feature, we get glimpses of the groundbreaking filmmaker he would quickly become. Shot in 16mm black-and-white for roughly $6,000, this neo-noir thriller tells the story of a struggling writer who gets drawn into the criminal underworld after following strangers around the streets of London looking for inspiration for his novel. While the budget limitations do come into play, it remains a compelling watch and an exciting precursor to what was to come.
The psychological thriller “Insomnia” remains the only film in Christopher Nolan’s filmography that he directed yet didn’t write. “Insomnia” is a remake of a Norwegian film of the same name, yet a young Nolan brought his own creative vision to the riveting story about a murder in Nightmute, Alaska. It was a movie of many firsts for Nolan. It was his first studio film and it was his first chance to work with true A-list actors (Al Pacino and Robin Williams). It’s a strong film yet not many people talk about “Insomnia”. Perhaps that’s why Nolan considers it his most underrated movie.
Of all the great films in Christopher Nolan’s catalog, it’s amazing how many hold “The Prestige” in such high regard. And rightly so. It’s truly unlike anything else he has made. The very idea of a period thriller set in the world of illusion featuring Hugh Jackman and Christian Bale as rival magicians sells the movie itself. But what makes it great is Nolan’s impeccable narrative control that keeps us immersed and wondering every step of the way. Stunning visual detail and period-rich atmosphere work hand-in-hand with Nolan’s wily script to make this one of the his more unique films.
The audacious “Memento” could easily be considered the movie that put Christopher Nolan on the map. And it was only his second feature film! The movie sees Nolan teaming with actor Guy Pearce (a duo who I’d love to see collaborate again) to tell a story that took the filmmaker’s love for non-linear narratives to crazy heights. Pearce plays a man with anterograde amnesia who works to piece together clues in hopes of uncovering who murdered his wife. It’s an intensely challenging yet thoroughly rewarding movie that still resonates with its many passionate fans.
With “Batman Begins” Christopher Nolan kicked off his brilliant Dark Knight trilogy with a bang. While the movie is often overshadowed by its universally acclaimed big brother “The Dark Knight”, Nolan’s first foray into the superhero genre immediately turned heads. It gave us a fascinating introduction to the popular DC character that was darkly psychological yet brimming with the kind of superhero action that fans hoped for. But ultimately it was Nolan’s unique vision that gave the classic character and his compelling world an entirely new spin.
Perhaps the most debated Christopher Nolan film is his audacious science-fiction action thriller “Tenet”. It’s definitely Nolan’s most challenging movie, requiring audiences to remain laser-focused if they are to unlock the story’s time-bending puzzle. Some found it too cerebral for its own good. I found it to be an exhilarating experience that paid huge dividends for those who put in the work. It’s also a jaw-dropping visual feast, with action set pieces unlike anything we’ve seen before. I understand the pushback it sometimes gets. But “Tenet” still stands as Nolan’s boldest and most original movie to date.
Christopher Nolan wrapped up his Batman trilogy with a final film that went bigger than either of its two predecessors. And while it may not have reached the immeasurable heights of the second installment, “The Dark Knight Rises” put a satisfying exclamation point on Nolan’s Batman run. It features great character moments, some stunning set pieces, and the same gritty and grounded realism that makes these films still stand out today. “Rises” has a lot of moving parts and they take a while to fall into place. But once they do, we can’t help but be blown away by this sensational finish to a sensational trilogy.
Who on earth would have guessed that a talky three-hour biopic of a theoretical physicist would nearly hit $1 billion at the box office? Yet Christopher Nolan’s absorbing treatment on the life of J. Robert Oppenheimer did just that. With a cast that is top-to-bottom superb, a propulsive script, and some stunning craftsmanship, “Oppenheimer” not only wow’d moviegoers but awards voters too. The film would go on to win seven Academy Awards including Best Picture and Nolan’s long overdue first Oscar for directing. Without question, it stands as one of the greatest biopics ever made.
It can best be described as a dystopian science-fiction epic. But in truth, there is a lot more going on at the heart of “Interstellar” than those few words can convey. “Interstellar” is every bit the breathtaking cinematic spectacle you expect from a Christopher Nolan film. But it’s also (arguably) his most heartfelt film. It’s a daring project both visually and conceptually. But it’s the humanity you find at its core that makes it such a compelling entry into the Nolan oeuvre. Now if only we can get a second collaboration between Nolan and his “Interstellar” star Matthew McConaughey.
Some may be tempted scream recency bias. But after three viewings of Christopher Nolan’s latest creation, I can confidently say that “The Odyssey” deserves a place among the filmmaker’s very best work. Tackling Homer’s seminal epic was no easy undertaking. But Nolan transports us to the ancient world, honoring the spirit of Homer’s classic while reinvigorating the tale with his own compelling spin. It’s a colossal movie, fueled by the artistic ambition and technical know-how of a filmmaker at the top of his game. Nolan’s “The Odyssey” is epic in every sense of the word.
I still remember the sheer elation that rushed over me after hearing that Christopher Nolan was directing a World War II film. And boy did he deliver in spades. “Dunkirk” was an astonishing experience that had me completely engrossed in every thrilling second of its runtime. From the mind-blowing spectacle to the heart-wrenching human cost, Nolan brings his audience into the combat with such staggering proficiency, once again playing with time while offering three unique perspectives on the same harrowing event. I’m still in awe of what he pulls off. It’s no wonder Quentin Tarantino calls “Dunkirk” a masterpiece. I agree.
While “Batman Begins” delighted fans by introducing Christopher Nolan’s take on the classic DC character, its sequel, “The Dark Knight” was Nolan’s masterclass on what the superhero genre could be. In my opinion, “The Dark Knight” remains the greatest superhero movie of all time in large part because it transcends the genre. Yet it’s also proudly a Batman movie, with Christian Bale establishing himself as the quintessential Dark Knight and the late Heath Ledger giving us one of the screen’s greatest villain performances as the Joker. Everything in the movie clicks which is big reason why so many rightly consider “The Dark Knight” to be one of Nolan’s very best films.
Christopher Nolan has made a habit of blowing me away with his movies. But none blew my mind quite like “Inception”. And while nearly all of his films have stuck with me to varying degrees, none have left a long-lasting mark like his 2010 mind-bending masterpiece. “Inception” melds together both science-fiction and action, but it’s ultimately a heist movie with a Nolan twist – the heists take place within dreams. The concept is bonkers yet brilliantly realized. And the cast is perfectly in-tune with Nolan’s fearless vision. “Inception” is a film unlike any other, and an accomplishment that could only come from one visionary filmmaker.
Keith & the Movies 