The Net Is Vast and Infinite: Ghost in the Shell (1995) Review

Director: Mamoru Oshii

Notable Cast: Atsuko Tanaka, Akio Otsuka, Iemasa Kayumi, Koichi Yamadera, Yutaka Nakano, Tamio Ohki, Tessyo Genda, Masakazu Namaki

 

There are films and stories that are meant to be franchised and serialized, and as the film industry grows and intellectual property expands, it’s always looking to mine material for the next big ‘thing.’ Perhaps one of the most fascinating franchises, though, is Ghost in the Shell. 

 

On paper, it makes sense. Cyberpunk aesthetics, a strong, layered lead character, the possibility of ensemble storytelling, and a world that demands exploration for its themes of cybercops, hackers, and political corruption. Yet, in revisiting Mamoru Oshii’s iconic 1995 anime, the film seems uninterested in using its story and characters to craft ‘episodes’ that adhere to a more mainstream narrative. Instead, he uses the manga launch point to craft a truly existential experience, philosophically analyzing the relationship between organic and inorganic, the soul and programming, and whether humanity has a future in its own destiny. 

 

Gorgeously animated, impressively written, and anxiously crafted to compel its audience to ask questions, Ghost in the Shell is the kind of film that would push its audience intellectually rather than guide them to entertainment. It’s the kind of artistic merit that makes it a science fiction icon, rising above its genre trappings and elevating it to something far more universal. It’s truly next-level filmmaking. 

 

Evil Dead Wrapped: Lee Cronin's The Mummy (2026) Review

Director: Lee Cronin

Notable Cast: Jack Reynor, Laia Costa, May Calamawy, Natalie Grace, Shylo Molina, Billie Roy, Veronica Falcon, Hayat Kamille, May Elghety

 

When it was initially announced that Lee Cronin’s follow-up to Evil Dead Rise would be a new version of The Mummy, I was kind of stoked. His first film, Hole in the Ground, was a fantastic, character-driven, atmospheric horror film about loss, so combining his talents for scares and atmosphere could prove valuable for an update of The Mummy. Of course, if he were the one to be part of Universal’s updates on the classic monster series, then the film would have to be from, you know, Universal, and Lee Cronin's The Mummy was slated by New Line Cinema. 

 

Huh. This would not be an update of that series, I guess.

 

Nonetheless, he’s a talented director; the film still managed to find backing from Jason Blum and James Wan as producers (like Universal’s other reboots of The Invisible Man and Wolf Man), and for that alone, it was worth taking a gander. I’m a sucker for seeing a new adaptation of classic stories and genres. 

 

However, Lee Cronin's The Mummy is not the film one might expect, particularly with its marketing. Instead of going for the traditional Mummy movie narrative where someone fucks with a sarcophagus or tomb and a mummy, in some form, pops up to get revenge for their arrogance - and if we’re lucky there might be a sweet love story somewhere in there inspired by Universal’s 1932 The Mummy plot, this one is definitely going for pure monster mayhem with gore, gross-out-gags, and lots of supernatural lunacy. You know, less of a Mummy movie and definitely more of an Evil Dead knock-off. 

 

A Bridge Too Far: Captain America: Brave New World (2025) Review

Director: Julius Onah

Notable Cast: Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Tim Blake Nelson, Carl Lumbly, Giancarlo Esposito, Liv Tyler, Xosha Roquemore, Johannes Haukur Johannesson

 

Although many fans seem to have been burned by the entire Marvel Cinematic Universe (MCU) at this point, the series' transition in the wake of waning audience interest and a relatively public meltdown over its future makes the current slate perhaps more fascinating than the last half-decade. Attempting to soft reboot the MCU with a new Captain America film certainly seems like gold on paper, but the fourth film in this series within the grander franchise is far more fascinating in the larger context than “good” as a film.

 

Captain America: Brave New World is heavily focused on bridging the past and the future. Even the title, although perhaps hard to swallow when compared to the iconic book that shares it, seems to indicate a strange relationship between what has happened before and where it wants to be.  That’s not to say that every MCU film hasn’t been aggressively obsessed with callbacks and flashforwards, but the relationship here in Brave New World is one of the most unusual.

 

In the wake of Avengers: Endgame, the world changed. That applies to both the film itself and the fictionalized reality its characters inhabit. There was no more Captain America. Or Chris Evans. No more Iron Man. Or Robert Downey Jr. (…at the time of its release). Disney was struggling to find their voice and plot with new heroes, despite some genuine successes in films like Shang-Chi or misfires like The Eternals. The meteoric descent of Jonathon Majors left the new era without its Kang the Conqueror and a gap for a new major villain. And while the series was retooled, pulling away from a variety of increasingly ignored Disney+ shows, they needed a breather.

 

That’s where Captain America: Brave New World falls into place.

 

The Liminal Space of Sound: undertone (2026) Review

Director: Ian Tuason

Notable Cast: Nina Kiri, Adam DiMarco, Keana Bastidas, Jeff Yung, Michele Duquet

 

As the genre of ‘liminal space horror’ starts to take the world by storm, not just as an independent horror movement artistically, but also powered most recently by the box office juggernaut of Backrooms, it's necessary to remember that the concept is not new to the horror genre overall. Empty spaces, lost items, and the hanging existential dread of the terrors to come are all tactics horror has used since the beginning. It’s just that so many modern filmmakers and storytellers are using it in a modern lens that is both fascinating and certainly relevant to the time, and they’re doing it with conviction. Example films like Skinamarink or the earlier films of Osgood Perkins (check out I Am the Pretty Thing that Lives in the House) laid a lot of the groundwork for where we are in 2026, so it's not like this movement is even all that new, comparatively speaking. 

 

It’s this conviction and modern lens that make a film like Undertone so diabolically effective. Director Ian Tuason is playing in the same space as many other liminal horror films, but his intention is not only the physical space in the film, but also the auditory space that often creates a sense of dread and impending doom. As the saying goes, it's the things that are unspoken or unheard that are often the most powerful. Undertone intends to weaponize those and does an impeccable job at it while crafting a film that makes sound the most important aspect, in all its choices. 

 

All About Perspective: Mortal Kombat II (2026) Review

Director: Simon McQuoid

Notable Cast: Karl Urban, Adeline Rudolph, Ludi Lin, Jessica McNamee, Lewis Tan, Josh Lawson, Martyn Ford, Mehcad Brooks, Tati Gabrielle, Max Huang, Damon Herriman, Chin Han, Tadanobu Asano, Hiroyuki Sanada, Joe Taslim, CJ Bloomfield, Ana Thu Nguyen 

 

I think it's fair, for a film that essentially starts immediately where the last one left off, that I, also, start my review of Mortal Kombat II by quoting the last line of my review for Mortal Kombat (2021).

“With its open ending and intention for more films in its writing and development, let’s hope that the next installment doesn’t hesitate to just lean into the absurdity. I’d give my heart (and spine) to that.”

 

So, in the spirit of good sportsmanship, here is what (rips out heart) I owe (rips out spine) to you, Simon McQuoid, and his team of truly insane filmmakers that crafted this sequel. You absolutely knew what your homework was, did the due diligence, and made the best Mortal Kombat film yet. Mortal Kombat II manages to be more of EVERYTHING than its predecessor. More plot, more characters, more fights, more catchphrases, more - more - more, and most importantly - it's more FUN. It’s a film that leans further into the absurdity - and lore - of the decades-spanning video game franchise, and it’s all the better for it. For some, maybe it’s too much. For me, it’s the kind of insane blockbuster entertainment that I wanted - and then some. 

 

Everything Seems to Work Out: Thor: Ragnarok (2017)

Director: Taika Waititi

Notable Cast: Chris Hemsworth, Tessa Thompson, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Jeff Goldblum, Idris Elba, Karl Urban, Anthony Hopkins, Benedict Cumberbatch

 

Even within the now-rather-infamous Marvel Cinematic Universe (MCU), the Thor series represents a fascinating part of it. While Iron Man set the tone for the series, the initial run of films was meant to represent various genres within the franchise. Sure, there was a common thread of spectacle, humor, and just enough heart; the Thor series felt so much more serious than the rest. For Thor’s first two films, the Shakespearean tones that blended with the fantasy elements of gods and monsters were initially met with mixed results from audiences and critics. While Thor represented a key cornerstone of the MCU, the character’s adventures were the weakest part of the initial ‘Avengers Initiative.’ 

 

However, during the ‘second phase,’ the MCU found a way to get the more cosmic aspects of the Marvel world to resonate with audiences: by making them funnier, brighter, and more entertaining. It worked for James Gunn’s Guardians of the Galaxy, so it could work for Thor, right?

 

Do A Person's Feelings Die with Them: Shikoku (1999) Review

Director: Shunichi Nagasaki

Notable Cast: Yui Natsukawa, Chiaki Kuriyama, Michitaka Tsutsui, Toshie Negishi, Ren Osugi

 

While the J-Horror boom of the late 90s and early 00s provided enough creep factor and impressive tonal scares to influence an entire generation, one of its better aspects was the films that used the emotional echoes of sadness and melancholy. Shunichi Nagasaki’s 1999 film, Shikoku, might be one of those intriguingly overlooked gems. Encased in a somber tone, this folk-horror ghost story effectively crafts a dreamlike haziness in its visuals and narrative, less a scare factory and more akin to a grim-toned fairy tale. While its narrative punch feels like it pulls back to avoid moving too far into melodramatic flair, which doesn’t necessarily always work in its favor, Shikoku is a film that deserves a gander for its subtle theming and impressive visuals for those looking for perhaps a less aggressive J-Horror tale. 

 

When Hinako, played by Yui Natsukawa, returns to her childhood home in Shikoku, she learns that her close friend from childhood, Sayori, has passed away in high school. As old memories resurface and a rekindled friendship with another childhood friend, Fumiya, begins to grow into something more, Sayori’s ghost starts appearing to her old friend. However, as Hinako starts to look into matters, she finds that Sayori’s mother, a medium, might be trying to resurrect her lost daughter. 

 

Behold, The Beholder: The Eye (2002) Review

Director: Oxide Pang Chun, Danny Pang Phat

Notable Cast: Angelica Lee Sin-Jie, Lawrence Chou Chun-Wai, Candy Lo Hau-Yam, Edmund Chen, Yut Lai So, Chadatirud Lertaveesin, Yin Ping Ko

 

In college, I became obsessed a bit with Asian ghost films. Sure, it was the 00s, and everyone and their mom had jumped on the J-Horror boom a little, but I started digging much further and trying to get my hands on everything that I could. One of those was The Pang Brothers’ massively underrated The Eye (2002). Although it would be remade and memory-holed by most of the cinematic world in 2008, this Hong Kong horror film had managed to capture quite a bit of attention in the social circles I was navigating. That’s on top of the fact that the Pang Brothers were quickly becoming a new name in Hollywood at the time, even if those 15 minutes of fame would quickly fade thanks to a system that handicapped so much of their more interesting approaches with limited budgets or incredibly terrible scripts. 

 

Nonetheless, The Eye was a film that I had latched onto, and my memories of watching it on a possible bootleg I purchased at the FYE where I was working were very positive. Now it's damn near 20 years later, and Arrow Video has decidedly graced us with a new 4K release in the US, and I was eager to finally get a chance to revisit a film that definitely struck a chord with a much younger me. 

 

The Eye might secretly be one of the best ghost films in the post-2000s cinematic era. There’s something uniquely intimate and soft about the film. It works in subtle ways, less concerned with scares and traditional ghost horror and more focused on the growth of its lead character, Mun, as she comes to terms with her abilities and what they mean both to her and thematically. 

 

Chasing Your Dreams: Somnium (2025) Review

Director: Racheal Cain

Notable Cast: Chloe Levine, Will Peltz, Peter Vack, Grace Van Dien, Clarissa Thibeaux, Draya Michele, Jonathan Schaech, Gillian White, Steve Eifert, Bries Vannon

 

You know, Somnium has such a fascinating premise, and it is one hell of a hook. An overnight "sleep sitter," Gemma, played by Chloe Levine, works for a clinic that uses sleep suggestions on rich folks to change their habits and ideologies, and she struggles to adapt to her new life in LA. She made the trek from her small town in Georgia to be an actress all by herself, and now, as she desperately tries to get auditions with no real understanding of how the system works, she randomly stumbles into this job at Somnium that analyzes, reprograms, and writes dreams and feelings into people. Even on a baseline plot level, well, shit, I’m intrigued. It’s blending 1980s dream-science-fiction cinema with a more modern, slow-burning personal horror. Yes, please, go ahead and put my name on the list for that. 

 

Even more fascinating is how Somnium is treating its core ideas around ‘dreams.’ There's this interesting idea that the big city can feel dreamlike to someone from a small community (a feeling I know all too well, growing up in a farm community in South Dakota) and that everything can feel like both a threat and an opportunity. For Gemma, played with such a passionate, wide-eyed balance of confusion and fake confidence by Chloe Levine, it is the dream. The big city, the possibility of success, and leaving behind a life that felt like it was suffocating, particularly after a rather hard breakup with her hometown boyfriend, Hunter. Chasing the dream in a place that feels like a dream while working in a dream clinic. 

 

Fanning the Flames: Scream 7 (2026)

Director: Kevin Williamson

Notable Cast: Neve Campbell, Courtney Cox, Isabel May, Jasmin Savoy Brown, Mason Gooding, Roger L. Jackson, Anna Camp, Joel McHale, Celeste O’Connor, Sam Rechner, Asa Germann, Mckenna Grace, Mathew Lillard, Kraig Dane, Ethan Embry

 

You know, just when you thought things were going pretty fuckin’ well, Paramount and Spyglass had to go and do something real dumb and fire Melissa Barrera. The ‘rebooted’ Scream series found a lot of interesting paths to address creatively with both Scream (2022) and Scream VI for its new characters, and the producers/studio decided it would be a great idea to just detonate a landmine under the whole thing. The ripple effect of that decision was wild. They lost Jenna Ortega (who had found a very strong following in young viewers), and they lost their director, Christopher Landon, who went on to make the highly entertaining Drop in 2025. It didn’t quite look like the Scream franchise was, perhaps like Scream 4, going to be able to see this new era through.

 

However, Scream VI did make a franchise high best in theaters, so never count out the bean counters when it comes to a horror franchise. Thus, Scream 7 exists. To be fair, while this seventh entry into the meta-slasher iconic series does rank towards the bottom, it isn’t the horrific train wreck that I was expecting. Bringing back Kevin Williamson and Neve Campbell is one hell of a pivot, particularly since producers/studio seemingly gave the latter the middle finger regarding her involvement in Scream VI, and there are a lot of interesting aspects of this film that carry it through. Sure, it's very obvious that this was a script rushed through into production, and the overall thing feels more like a spin-off than a legitimate sequel, but it features some fantastic kill sequences, and Kevin Williamson is bringing a lot of old-school solid filmmaking to it, so it doesn’t feel quite like a side dish. For that, I will give it credit.