MOVIE REVIEW: V/H/S HALLOWEEN

 

A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

Director:  Anna Zlokovic, Paco Plaza, Casper Kelly, Alex Ross Perry, Bryan M. Ferguson, R.H. Norman

Cast: Samantha Cochran, Natalia Montgomery Fernandez, Teo Planell, María Romanillos, Lawson Greyson, Riley Nottingham, Jenna Hogan, Jake Ellsworth, Stephen Gurewitz, Carl William Garrison, Jeff Harms, Noah Diamond, Sarah Nicklin

Release Date: October 3, 2025

Genre: Horror

Unrated

Runtime: 1h 55m

Review:

The eighth installment of the V/H/S franchise opts for Halloween specific theme which should be a perfect fit for the anthology, but the shorts are mostly underwhelming and undercooked.  

 

The wrap around device, Diet Phantasma, written and directed by Bryan M. Ferguson has a fun 80s aesthetic which works in its favor until each sequence becomes increasingly repetitive as the film goes on.    

The first short, Coochie Coochie Coo, written and directed by Anna Zlokovic is a solid start by using a well worn haunted house trope and setting up funhouse of gross outs and jump scares.  It may not be groundbreaking, but its effectively constructed story makes it feel like one of the more well rounded entries in the film.  

Ut Supra Sic Infra directed by Paco Plaza of [Rec] fame offers an intriguing set up but plays out in a surprisingly paint by the numbers set up and payoff.  It doesn't help that the characters are all logically challenged as they place themselves willingly in situations that result in fatal situations.  Paco Plaza is one of the most established directors in this volume which makes this short rather underwhelming and disappointing.   

Fun Size, written and directed by Casper Kelly, is one of the goofiest entries here which delivers a handful of gory laughs thanks to the zany set up and murderous mascots that pursue our hapless quartet of drunken trick or treaters.  This entry would have benefited from a bit more world building to flesh out the concept of Fun Size's world since there's painfully little offered up.  

Kidprint, written and directed by Alex Ross Perry, is far and away the darkest and nastiest short in this volume as it deals with a child serial killer in the 90's.  Taking some real life inspiration from Blockbuster's Kidprint which was supposed to serve as real life footage of your child in case they were abducted or went missing.  This short takes that concept down a dark path with little held back in terms of violence against children and gore.  There's a solid kernel of an idea, but it moves too quickly through the reveal with the back half just being relentless gore before its cynically ironic ending.  

The final entry, Home Haunt, written and directed by Micheline Pitt-Norman and R.H. Norman offers initial promise with its retro aesthetic that's quickly jettisoned once it moves to the present day.  The story is fairly straightforward with things playing out in a fairly predictable manner.  There are some fun, over the top moments but ultimately it doesn't leave much of a mark.  

Overall V/H/S Halloween feels like a rushed, step down from the previous entry V/H/S Beyond which was far more consistent than this entry which is a real shame. 

C

MOVIE REVIEW: THE SMASHING MACHINE

 

MMA fighter Mark Kerr reaches the peak of his career but faces personal hardships along the way.

Director: Benny Safdie

Cast: Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten, Oleksandr Usyk

Release Date: October 3, 2025

Genre: Action, Biography, Drama, History, Sport

Rated R for language and some drug abuse.

Runtime: 2h 3m

Review:

Benny Safdie's, The Smashing Machine, has a different ebbs and flow than most sports biopics which gives it a distinctive but uneven feel that keeps us at arm’s length from Mark Kerr despite strong turns from Dwayne Johnson and Emily Blunt. There's a sense of melancholy that hovers over the entire film even as Kerr becomes a champion and deals with opioid addiction.  The first half of the film feels similar to Mike Figgis' Leaving Las Vegas, especially if you have no familiarity with Kerr's story beforehand as we watch him put his body through the ringer to become a champion.  There's something oddly sanitized about it all as we are never given any sort of insight into his struggle until much later on in the film.  Dwayne Johnson's performance has a measured intensity behind his determination to excel but the script never gives him many moments to really dig into the psyche of the man.  Only a small moment at a demolish derby gives us the slightest bit of insight into his internal machination and the film could have used more of them.  Johnson, to his credit, delivers his most focused performance that really shows he's capable of so much more than his standard fare.  The film gives him a showcase to deliver something more subtle in his acting which makes it all the more frustrating that the script doesn't give him something more interesting to work with.  Emily Blunt is in the same boat as she delivers excellent work as Kerr's acidic, passive aggressive girlfriend who becomes steadily more unstable and biting.  They share a sequence in the latter part of the film that allows both of them to shine which leaves you wishing the story had taken advantage of their chemistry earlier on.  Mixed martial artist, Ryan Bader, proves to be the biggest surprise as he delivers a rather tender and thoughtful turn as Kerr's best friend and fellow competitor Mark Coleman.  There's an unspoken bond that comes through when Bader and Johnson share the screen together which gives their relationship an authentic connection.  By the time it’s all said and done, The Smashing Machine, becomes just as much a story of Coleman's career resurrection as it does Kerr's which likely would have worked better overall for the story's focus.  

B-

MOVIE REVIEW: GOOD BOY

 

A man moves into a new home that has supernatural forces lurking in the shadows. As dark entities start to threaten him, his brave dog comes to the rescue.

Director: Ben Leonberg

Cast: Shane Jensen, Arielle Friedman, Larry Fessenden, Indy as himself

Release Date: October 3, 2025

Genre: Comedy, Horror, Thriller

Rated PG-13 for terror, bloody images and strong language.

Runtime: 1h 13m

Review:

Ben Leonberg's feature film directorial debut, Good Boy, is an impressive cinematic magic trick that effectively places you in a dog’s point of view as he watches his owner slowly succumbs to an evil entity in a haunted house.  Leonberg meticulously crafts his film by using a bevy of perspective shots to give Indy a palpable sense of emotions as he experiences the increasingly bizarre happenings occurring in the house.  The haunted house in the wood’s setting is a classic horror movie trope but by changing the perspective it feels fresh for the better part of the film’s efficient runtime.  Things unfold how you’d expect in most of these stories, but Leonberg has a solid sense of how to set up atmosphere and build tension to deliver a handful of well-timed frights that’s sure to make more than a few people jump in their seats.  A handful of wonderfully shot doggy nightmares have a mesmerizing effect that’ll leave you wondering what your dog is really dreaming about when they’re rustling around.  The general plot is related to overheard second hand conversations between Shane Jensen’s Todd and his sister Vera played by Arielle Friedman as we learn tidbits about his failing health and their tragic family history.  It would have been easy to simply rely on the central gimmick and deliver a barebones story, ala 2024’s  In A Violent Nature, but there’s enough heft to this story that it would have worked as a straight forward haunted house film.  What Leonberg is able to do with his real-life dog, Indy, is nothing short of amazing as the countless hours of shooting to get the right look or reaction from his canine star pays off in spades.  Indy is a rather adorable golden retriever which will instantly have you engaged in his long-term well-being, especially as things get precariously more dangerous.  He’s an incredibly engaging leading man in spite of the fact that he can’t speak which is a testament to Good Boy’s production and Leonberg’s masterful direction.    

A