In recent years there has been a wave of anti-Christmas Christmas movies. I’m talking about films that have used Christmas in every imaginable way other than in the traditional Christmas movie sense. I don’t mean cases where the story happens to take place on Christmas. These are instances where the Christmas holiday, Christmas characters, or Christmas themes are central to the movie.

I won’t even attempt to name them all, but I’m betting there have been more recent anti-Christmas Christmas movies than you might think. We’ve gotten full-blown Christmas slasher movies (“Terrifier 3”, “Christmas Bloody Christmas”, “Silent Night, Deadly Night”), gritty tongue-in-cheek action movies (“Fatman”, “Violent Night”, “Violent Night 2”), and black comedies (“Bad Santa”, “Dear Santa”, “Silent Night”). And there are even more on the way.

The latest is “Christmas at the Kringles”, a frustrating horror-comedy hybrid from director Kevin Lewis. The movie begins with Mark Severson (Ron Livingston), his wife Julie (Rachel Bilson), and their young son Bobby (Jack Jewkes) arriving at their new home in the suburbs. The fussy Mark is a city boy who isn’t happy with the move. But Julie thinks it’s needed, hoping the fresh start will allow them to work on their relationship.

The Seversons are immediately greeted by their eccentric neighbors that includes a potty-mouthed, hard-drinking mall Santa (Rob Riggle), and Daryl (Donald Faison), a recent divorcé who lives in his mother’s garage and plays video games all day. But those two are nothing compared to the Kringles, an oddball family of five who are year-round Christmas fanatics. Nick (Thomas Lennon) and Carol Kringle (Arden Myrin) waste no time welcoming the new family to the neighborhood by insisting the Seversons join them for Christmas Eve dinner.

The movie begins entertaining enough, with Lewis and screenwriter Zack Imbrogno landing some good laughs among the holiday season absurdity. The very idea of the Kringles is funny – Christmas obsessed suburbanites, dressed to the hilt in holiday regalia, their house covered in colored lights, their yard full of inflatables. But the gags dry up pretty fast once the Seversons are lured into the Kringles’ crazy and often nonsensical world.

It’s bad enough that the laughs evaporate. But things are made worse by the ineffective horror mechanics. They never create an ounce of tension. And no matter how much blood Lewis throws at the screen, it’s not enough to give the movie a much-needed edge. So in the absence of good comedy or carnage, we’re stuck watching supposedly intelligent people making the dumbest decisions because the plot needs them to.

In fairness to the cast, they give it their all, and most are overqualified for the material they’re given. But the movie repeatedly lets them down, specifically when we enter the Kringles’ bonkers domain. Its here that everything from the humor to the horror gets lost in a manic and muddled second half as the filmmakers throw everything at the screen to see what sticks. In their defense, I think there’s probably a fun idea in there somewhere. Sadly, it’s all but lost in the disappointing movie we get.

VERDICT – 2 STARS

Shudder’s “The Cycle” easily falls among the more surprising horror offerings of 2026. Directed, co-written, and edited by Jordan Downey, this dark and atmospheric genre hybrid tells an inspired story while uniquely blending its inspirations in several unexpected ways. And no matter how much we think we know where it’s going, the movie always stays a few steps ahead of us. That alone is refreshing, especially in a genre where that’s often not the case.

It’s not that “The Cycle” is doing something that has never been done. It just does what it does exceptionally well. Downey keeps his cards well hidden, feeding his audience morsels of information while keeping his twisted mystery firmly intact. And when it’s time to pull back the curtain, Downey does so with gusto, unleashing a ferocious and unflinching payoff worthy of the strong and patient buildup.

For most of its runtime, “The Cycle” is simultaneously a gritty crime procedural and a macabre horror mystery. Think along the lines of Fincher’s “Se7en” meets “The X-Files”. A terrific Deborah Ann Woll plays Dr. Meg Garland, a forensic anthropologist who oversees “The Body Farm”. It’s a place where she teaches FBI agents how human decomposition can aid in solving cases. It’s that expertise that draws Meg into a case unlike any other she’s taken on.

In the small coastal town of Lester Bay, the remains of a mother and her six-year-old daughter are found in their home. Their bodies had been savagely torn apart in a killing that resembles an animal attack. An even bigger mystery surrounds a third body found along some nearby railroad tracks. It’s a naked, emaciated, yet partially preserved corpse of a male who has been dead much longer than the mother and daughter. Even stranger, DNA reveals the body belongs to Meg’s estranged father.

Lester Bay’s police chief Ian (Will Hochman) informs Meg about their findings and invites her to help with their investigation. She initially declines, wanting nothing to do with the man who abandoned his family some 36 years earlier. But she eventually joins Ian and his father, Lt. Marks (Jeffrey Donovan) on a case full of dark revelations and grim discoveries that defies forensics and pathology.

I’m hesitant to say much more because a big part of enjoying “The Cycle” is discovering how things unfold. This truly is a case of “the less you know, the better your experience will be“, and Downey has a lot of fun slow-feeding us the mystery. He once again teams with Kevin Stewart who serves as the film’s co-writer and cinematographer. In 2018 the pair collaborated on the dark fantasy horror indie “The Head Hunter” (do see it if you haven’t). While it’s a much different movie than “The Cycle”, both see Downey and Stewart taking familiar ideas in some unfamiliar directions.

Once we reach the third act, the story’s slow simmer turns to a violent boil as Downey finally shows all his cards. The mystery unfolds with an audacious twist that will fully satisfy those able to steer clear of spoilers. It also comes with a healthy diet of blood and gore that’s realized through the kind of old-school practical effects that would make the great Tom Savini proud. It’s a fitting finish to a movie that features an engaging mystery with a surprising emotional core and a go-for-the-jugular payoff that delivers in spades for horror fans. And all from a filmmaker with a genre-bending vision and the cinematic knowhow to pull it off.

VERDICT – 4 STARS

For many of us, James Gunn’s cinematic spin on the DC Universe hasn’t gotten off to the most encouraging start. It kicked off with “Superman”, a frustrating and often baffling treatment of the brand’s iconic superhero. Next came the even worse “Supergirl”, which amplified the “Superman” movie’s worst tendencies while adding a few of its own. In fairness, I haven’t watched the DCU’s more recent project “Lanterns” which certainly has its fans. I’m just not interested in a potty-mouthed Green Lantern streaming series that rewrites so much of the characters’ history.

That brings us to “Clayface”, the third feature film in the wobbly GunnVerse, and to my surprise it’s easily the best DCU offering yet. Not bad for a second-tier villain in Batman’s rogues’ gallery. Directed by James Watkins, “Clayface” is a standalone origin story that includes no superhero appearances and has no end credits scene pointing to what’s next. It’s a refreshing reprieve from the normal franchise formula.

Clayface has had several different origins throughout the character’s 86-year existence. The original Clayface had no superpowers at all. Later he injected himself with a genetic compound. An even later version stumbled into a pool of radioactive protoplasm. For the movie, writers Mike Flanagan and Hossein Amini pull bits from those past origins while adding their own modern spin. But their biggest twist is in making this a body horror thriller that fully earns its R rating.

Tom Rhys Harries plays Matt Hagen, a rising Hollywood actor who gets the exciting news that he’s been nominated for an Academy Award. Matt and his childhood friend Corey (Joshua James) head to a Gotham nightclub to celebrate. After several drinks, he meets the sultry Mia (Joana Ribeiro) on the dance floor and the two hit it off. Little does Matt know, Mia is the girlfriend of crime boss Markos Szabo (David Dencik). But he learns quick after the two end up spending the night together.

The next morning they are awakened by a jealous Szabo who takes a knife and brutally carves up Matt’s million-dollar face. His career comes to a screeching halt after numerous surgeries leave him horribly disfigured. Meanwhile Szabo uses his connections to start a smear campaign against Matt. Soon he’s dropped by his agent (Nancy Carroll), loses all his money to his corrupt business manager (Eddie Marsan), and is forced to move to the Gotham City slums.

Matt hears about Dr. Caitlyn Corr (Naomi Ackie), a nanotechnology pioneer on the verge of having her research shutdown after losing funding. Caitlyn has developed a groundbreaking treatment that uses nanites to heal damaged tissue. Matt pleads for her help, even volunteering to be her first human trial. She reluctantly agrees. After several carefully administered treatments, Matt fully recovers and quickly returns to the limelight. But when his face grotesquely droops during a red carpet event, he defies Caitlyn and injects himself with more nanites which grant him powers he can’t control.

By being unshackled to franchise rules, Watkins is given the rare freedom to take an established comic book property and create something uniquely its own. He doesn’t follow any specific blueprint and he’s not worried about meeting expectations. As a result, “Clayface” has the feel of something fairly original. That originality can be seen in the cool goopy effects and splashes of imaginative gore that aren’t for the squeamish. Even the predictable revenge angle has a freshness about it.

Harries delivers what’s needed from a tormented soul. The reliable Ackie brings credibility and a grounded presence. And Max Minghella fits nicely as Caitlyn’s fiancée / Gotham homicide detective who’s following a trail of murders that may or may not be tied to our puttied protagonist. Watkins ably handles the rest. There are moments where I wish he pushed things a little further. Still, there is no shortage of grisly shocks and psychological bite that gives this wickedly fun and surprising oddity its pulse. I wasn’t expecting to say this, but “Clayface” is the jolt the DCU needed.

VERDICT – 3.5 STARS

For those who don’t know, the true story behind getting “Coyote vs Acme” released is movie material in itself. The film was fully completed in early November, 2023. But then news dropped that Warner Bros. Entertainment had canceled its release in order to claim a $30 million tax write-off. The move sparked intense backlash from an angry public and from within the industry. There was enough heat to make the studio reverse course and allow the filmmakers to shop the film to other buyers. Ketchup Entertainment saved the movie, buying it for $50 million.

It was a truly bizarre course of events considering how well the movie test screened and the enthusiasm that was building around it. Thankfully the story has a happy ending, and not only because “Coyote vs Acme” is finally getting its well-deserved release. But because this live-action/animation hybrid is a blast. It’s funny, family-friendly, and fiercely faithful to the spirit of these classic Looney Tunes characters who so many of us spent our childhood with.

The story of “Coyote vs. Acme” is based on Ian Frazier’s 1990 article of the same name that was published in The New Yorker. It’s adapted for the screen by Samy Burch who tells this fittingly looney tale in a way that is both a nostalgic blast and a genuinely funny comedy. Director David Green does the rest, surprisingly grounding the story yet with no shortage of Looney Tunes hijinks. Fans will love the signature zaniness and they’ll smile with every classic character who pops in to make an appearance.

After years of using faulty Acme products in his futile attempts at catching the speedy Road Runner, the hapless Wile E. Coyote travels to Albuquerque, New Mexico and hires an equally hapless billboard attorney named Kevin (Will Forte). Coyote’s idea is to sue the Acme Corporation for decades of defective mail-order products they’ve sent him. But Kevin isn’t a ruthless, go-for-the-jugular lawyer. He specializes in quickly settling small, easy cases.

After the crafty Coyote dupes him into filing a lawsuit against Acme, Kevin scrambles to find a way out of the mess. “Our job is not to win this case”, he declares to his staff. “Our job is to still be in business when it’s over.” But that won’t be easy. Especially when Kevin learns he’ll be going head-to-head against Buddy Crane (John Cena), Acme’s merciless chief legal counsel who has all the company’s corporate connections at his disposal.

Green really leans into the goofiness of the film’s premise, and I say that as an enormous compliment. He maintains just the right comic tone throughout the brisk 100 minutes, and everyone on-screen is in lockstep. Forte nails the down on his luck Kevin, who has settled for a go-nowhere job and is content to live in a motel for another five years. Cena feels a bit out of place at first, but the over-the-top energy he brings ends up fitting right in. Meanwhile Lana Condor gets a nice supporting role as Paige, Kevin’s niece and spirited new intern.

The combination of 3D animation and live-action is incredibly well done. Reminiscent of “Who Framed Roger Rabbit”, it allows the cartoons to feel perfectly at home in the real-world setting. And it fuels some of the best humor which is often aimed at long-time Looney Tunes fans who will love the many callbacks. But “Coyote vs. Acme” is a hysterical romp with a big heart which leads to some surprisingly moving moments. And for this charming, funny, and root-worthy underdog story, that is the proverbial icing on the cake.

VERDICT – 4 STARS

“Chum” may be the most hilariously obvious title for a movie you’ll see all year, especially when you consider it’s a sharksploitation movie. Mixing bloody horror with thriller elements, sharksploitation has quickly developed into a genre all its own. Unfortunately the quality of the films being churned out as of late makes you wonder how long this genre will stay afloat. That is especially true for the astonishingly bad “Chum”.

Director and co-writer Jonathan Zuck takes a handful of well-worn ideas and a noticeably small budget to create “Chum”. Making a movie independently with very few resources is always impressive and admirable. Unfortunately “Chum” is a mess of a movie that struggles to function in its filmmaking and storytelling. And no matter how hard it tries (and to its credit, it really does try), the film delivers nothing in the way of legitimate thrills.

We meet Tina (Alice Eve) and Tom (Eric Michael Cole) at their lavish wedding reception in Malta. The two may have just exchanged their vows, but there is clearly a tension between them. We later find out why. Tina has been offered partner at her law firm. And she’ll be fast-tracked if she secures drilling leases in Alaska for a major oil company. Tom is an investment banker turned environmental crusader who is vehemently against her working on behalf of her client.

But for some reason they get married anyway, despite both being miserable. Even more, they reluctantly go out on a three-hour catamaran excursion planned and paid for by Tom’s best man, Rick (Johnny Gaffney). Joining the unhappy couple and Rick are their friends, Rachinda (Sarah Siadat) and Brittany (Lisa Yard), along with Tina’s moody and unsupportive younger sister, Sadie (Elle Haymond). Aside from their marriage woes, Tina is hesitant to go due to reports of an increase in shark attacks. But the Captain reassures her with a kiss of death – “There’s never been a shark attack in these waters.”

Sure enough, a ferocious man-eating shark attacks leading to a hilarious string of mishaps that leaves the Captain seriously injured and the boat on the verge of sinking. Thankfully they’re spotted by a fisherman named Roy (Jim Klock) who gets them to his boat as the digitalized shark circles them all in search of his next computer-generated meal. But as it turns out, Roy has a painful history with this particular shark. And the frightened friends quickly learn that Roy will do anything to get revenge for what the shark took from him.

Zuck and his co-writer Joe Leone throw us a twist that might be more effective if we hadn’t seen a variation of it in another shark movie just last year. But that aside, the film’s other problems mount fast. The performances are unconvincing at best as the cast tries to make something out of the clunky material. Their characters often sound like they’re reading off a page and their actions can be utterly baffling. And it doesn’t help that it all has the emotional impact of a cinder block. Nothing feels authentic or investment worthy.

Technically, it’s not much better. The ‘action’ scenes are littered with jarring cuts and odd uses of slow-motion. And the digital shark never looks real enough to be menacing. To cap it all off, the film ends with some awkwardly on-the-nose messaging that sinks any part of the movie that was left afloat. It’s a shame because a lot of effort went into getting the film made in spite of an obviously small amount of resources. But sadly nothing really works in this baffling misfire, which makes a lot of bad shark movies suddenly look better.

VERDICT – 1 STAR

On the front-end of Arnold Schwarzenegger’s near fifty-year acting career, after he had established himself in two Conan movies and took the world by storm in “The Terminator”, he released “Commando”. It was his first starring role (minus the docudrama “Pumping Iron”) that wasn’t science fiction or sword-and-sorcery. But that doesn’t mean there wasn’t an element of modern day fantasy to it. It was pure over-the-top 1980s popcorn action that audiences flocked to and that I still adore today.

“Commando” would be the biggest hit for director Mark L. Lester. It was one of several for screenwriter Steven Edward de Souza whose high-profile action resume also includes the first two Die Hard films, “The Running Man”, and “48 Hrs.” (yes, there’s also “Hudson Hawk”, but we’ll save that for a later Retro Review). Together they took a story idea conceived by Jeph Loeb for Kiss bassist Gene Simmons (!!) and retailored it for Schwarzenegger’s obvious strengths.

In 1985, Schwarzenegger was at his physical peak, and Lester utilized it to a near comical effect. From the early shots of Arnie quite literally carrying a tree, to him running onto the beach in a tiny Speedo, Schwarzenegger was a formidable specimen. Yet what really drew him to the role was the opportunity to play a father. Sure, he’s also a one-man killing machine who can fling an occupied phone booth and roll over sports cars with his bare hands. But the role allowed him to show a human side which he appreciated.

Schwarzenegger plays John Matrix (the perfect 80s action movie name), a retired Army colonel who has left his life in the Special Forces to raise his young daughter Jenny (Alyssa Milano). Together they live a quiet and happy life in their remote rustic home in the mountains of upstate California. But their idyllic and slightly cheesy existence is interrupted when Matrix is visited by his former commander, General Franklin Kirby (James Olson), who warns him that members of his former unit have been systematically murdered.

With Kirby barely out of sight, Matrix’s home is attacked by mercenaries who kidnap him and his daughter. The man behind it all is General Arius (Dan Hedaya), a former South American despot who wants Matrix to kill his small country’s president so he can retake power. With the help of Matrix’s maniacal former squad-mate Bennett (Vernon Wells), Arius transports Jenny to his fortified island compound, using her as leverage to keep Matrix in line.

Accompanied by one of Arius’ henchmen, Matrix is put on a commercial plane bound for South America and his presidential target. But he gives the goon the slip (via a cracked neck) and hops off the plane just as it’s taking off. That leaves him with eleven hours until the plane lands and Arius is alerted that he isn’t onboard. And he will need every minute of those eleven hours to locate Arius’ compound and to make his way there to save his daughter.

After its fast and violent setup, “Commando” settles into an interesting rhythm as Matrix begins piecing together a trail of clues that he hopes will lead him to Jenny. It’s here that the supporting cast gets even better. Matrix finds an ally in a reluctant flight attendant named Cindy (Rae Dawn Chong) who adds some levity while still getting in way over her head. We also get a couple of terrific heavies including the delightfully slimy Sully (David Patrick Kelly) and the intense and menacing Cooke (the great Bill Duke).

“Commando” is an action movie through and through. But Lester and de Souza leave plenty of room for laughs. Admittedly some are unintentional and have even grown endearing over the years. But others can be organically funny – none better than the many one-liners. “He’s dead tired.”, “I lied.”, “I let him go.” – just some of the deliberately goofy bits that remain memorable after all these years.

But it all does come back to the action which we get in spades during the film’s final twenty minutes. That’s when Matrix and his arsenal of machine guns, rocket launchers, grenades, shotguns, sawblades, pitchforks, and claymores tears through Arius’ army of fodder to the audience’s delight. It’s non-stop carnage with a body count topping one hundred, yet its a wonderfully fitting finish for a movie that does a good job building up to its inevitable end.

“Commando” is a certainly a movie of its time. But is says something that it’s still revered by so many today. As I said, it’s pure popcorn entertainment that fans love for its artery-clogging cheese just as much as its wild over-the-top action. And it was the perfect vehicle for the fairly fresh Arnold Schwarzenegger who would immediately follow the film with hits like “Predator”, “The Running Man”, “Total Recall” and so many more.

VERDICT – 4 STARS