B Movies Blog

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January 2026

January 2 – We Bury The Dead (Theaters)

January 6 – Will Trent (ABC, Next day Hulu)

January 8 – The Traitors (Peacock)

January 8 – His & Hers (Netflix)

January 9 – People We Meet On Vacation (Netflix)

January 9 – Sleepwalker (Theaters)

January 9 – Primate (Theaters)

January 16 – Night Patrol (Theaters)

January 16 – 28 Years Later: The Bone Temple (Theaters)

January 21 – The Beauty (FX, Next day Hulu)

January 21 – Queer Eye (Netflix)

January 22 – Finding Her Edge (Netflix)

January 23 – Return to Silent Hill (Theaters)

January 28 – School Spirits (Paramount+)

January 28 – Shrinking (Apple TV+)

January 30 – Good Luck, Have Fun, Don’t Die (Theaters)

January 30 – Iron Lung (Theaters)

January 30 – Send Help (Theaters)

February 2026

February 6 – The Strangers: Chapter 3 (Theaters)

February 6 – Dracula (Theaters)

February 6 – Pillion (Theaters)

February 6 – Whistle (Theaters)

February 8 – The ‘Burbs (Peacock)

February 13 – “Wuthering Heights” (Theaters)

February 13 – GOAT (Theaters)

February 13 – Nirvanna the Band the Show the Movie (Theaters)

February 18 – 56 Days (Prime)

February 20 – This is Not a Test (Theaters)

February 25 – Scrubs (ABC, next day Hulu)

February 27 – Scream 7 (Theaters)

March 2026

March 5 – Ted (Peacock)

March 6 – The Bride (Theaters)

March 6 – Peaky Blinders: The Eternal Man (Theaters, Netflix on March 20)

March 11 – Scarpetta (Prime)

March 18 – Imperfect Women (Apple TV+)

March 20 – Project Hail Mary (Theaters)

March 27 – Ready or Not: Here I Come (Theaters)

March 27 – Fantasy Life (Theaters)

March 27 – They Will Kill You (Theaters)

April 2026

April 3 – The Drama (Theaters)

April 8 – The Boys (Prime)

April 10 – Malcolm in the Middle (Hulu)

April 15 – Margo’s Got Money Troubles (Apple TV+)

April 17 – The Mummy (Theaters)

April 17 – Normal (Theaters)

May 2026

May 1 – The Devil Wears Prada 2 (Theaters)

May 1 – Hokum (Theaters)

May 15 – Obsession (Theaters)

May 22 – I Love Boosters (Theaters)

June 2026

June 12 – Scary Movie 6 (Theaters)

June 19 – Toy Story 5 (Theaters)

July 2026

July 12 – Disclosure Day (Theaters)

July 17 – The Odyssey (Theaters)

August 2026

August 21 – Insidious: The Bleeding World (Theaters)

August 28 – The Dog Star (Theaters)

August 28 – Coyote vs. ACME (Theaters)

September 2026

September 11 – Sense and Sensibility (Theaters)

September 18 – Practical Magic 2 (Theaters)

September 18 – Play House (Theaters)

September 18 – Resident Evil (Theaters)

October 2026

October 1 – Terrifier 4 (Theaters)

October 2 – Digger (Theaters)

October 9 – Other Mommy (Theaters)

October 16 – Street Fighter (Theaters)

October 23 – Remain (Theaters)

November 2026

November 20 – The Hunger Games: Sunrise on the Reaping (Theaters)

December 2026

December 18 – Avengers: Doomsday (Theaters)

December 18 – Dune: Part Three (Theaters)

December 25 – Werewulf (Theaters)

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping some of my tween favorites into the ol’ VCR. 

Growing up, I had paper cuts on my fingers from flipping through the pages of so many teen magazines. I IDOLIZED the likes of Lindsay Lohan, Amanda Bynes, Hilary Duff, and the Olsen Twins. KP would help me recreate looks from movies the best we could, including Padmé’s royal look from Phantom Menace. And no, I won’t be taking any further questions at this time. 

Bratz: Sean McNamara’s Bratz is a film adaptation of, well, the Bratz dolls. It came out in 2007, so my obsession came a little later, but I was only 15, so I’m counting it. I’m a Jade girlie, through and through. TBH, Janel Parrish is basically a human version of the Jade doll, and she’s the only actress who actually sings in the movie. Also, yes, I know this movie is absolutely cuckoo bananas and has a plot so thin you could use it to Saran wrap leftovers, but not every movie has to have a deeper meaning, y’all. Sometimes, you want to watch a movie where grown women provide the singing voices for actual teenagers. 

The Bratz movie is available to stream on Freevee. 

Freaky Friday: Mark Waters’ Freaky Friday should be a gimme. You have OSCAR AWARD WINNING ACTRESS, JAMIE LEE CURTIS. You have Bowling For Soup’s incredible cover of “…Baby One More Time,” as well as an all-around bangin’ soundtrack. Jamie Lee Curtis learned how to play guitar for one scene, for crying out loud. It’s a religion, it’s a lifestyle. 

Freaky Friday is now available to stream on Disney+. 

A Cinderella Story: Mark Rosman’s A Cinderella Story and I go waaaaayyyy back. Back to the beginning, you could say. 🥁I love this movie. My love for this movie runs so deep in fact that I once recited Hilary Duff’s famous “waiting for you” monologue in a breakroom at work and received applause. I turn to this movie when anything bad happens in my love life. 

A Cinderella Story is available to rent on VOD. 

What a Girl Wants: Dennie Gordon’s What a Girl Wants is a true gem. For some reason, we were obsessed with two big things in the early to mid-aughts: witness protection (cc: Our Lips Are Sealed and Get a Clue) and surprise royal lineage (cc: The Princess Diaries and What a Girl Wants). I have no idea why these were such hot plots, but by God, there were several movies made about both topics. 

What a Girl Wants is available to rent on VOD. 

Legally Blonde: Robert Luketic’s Legally Blonde is one of those movies that can pull me out of a funk. The montage where Elle starts studying really hard is *chef’s kiss,* and I’m 100% guilty of putting on “Watch Me Shine” by Joanna Pacitti when I need to get back on my bullshit. Also, Jennifer Coolidge is in two of these five movies, and there’s no way it’s a coincidence. 

Legally Blonde is now streaming on Tubi. 

I do want to give an honorable mention to Confessions of a Teenage Drama Queen. I’ve already written about it, so I won’t subject you to another round of praise for this movie. I think I was obsessed with these movies for several reasons. I loved their fashion and confidence and quirkiness. These characters were what I wanted to be at the time. 

However, as I’ve grown up, I realize I’ve become bold like Jade, genuine like Jamie Lee Curtis as Anna (I still want to be like her when I grow up), strong like Sam, confident like Daphne, and hardworking like Elle. I hope I’ve made baby Baillee proud. Or, at the very least, I hope she would secretly love me but pretend I embarrassed her in front of her friends.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Lee Cronin’s Evil Dead Rise into the ol’ VCR. 

CW/TW: Flashing lights and TONS of gore. 

I love the entire Evil Dead franchise (and just because of my massive crush on Bruce Campbell). And, it’s officially safe to say that Evil Dead Rise is a welcome addition to the family. 

Thanks to the likes of this film and Scream VI, I’ve become a convert of taking a franchise out of its motherland; it seems that Friday the 13th Part VIII: Jason Takes Manhattan might be the exception and not the rule. 

Although Evil Dead Rise takes us away from the cabin in the woods to an apartment building in the city, it has familiar beats like Deadites performing professional gymnastic routines where their entire bodies crack like glow sticks. Keep your eyes (and ears) peeled for many a’ fun Easter egg along the way, with Henrietta’s Pizza being one of my personal favorites. Also, Evil Dead Rise has spawned one of my new favorite phrases of all time in “titty-sucking parasites.” 

When you accidentally make eye contact with your Favor runner. 

If you saw this bad boy at a Drafthouse, the pre show interview with director Lee Cronin includes a question about where he would rank the humor and tone of Evil Dead Rise compared to the other films. Cronin puts it somewhere between Evil Dead and Evil Dead II, and I fully agree. 

Evil Dead Rise doesn’t have the dark comedy and camp of Evil Dead II and Army of Darkness, but it definitely doesn’t skimp on the gore. In fact, I’d put it as one of the bloodiest in the entire franchise. 

In the spirit (lolz) of the Evil Dead series, I think the best way to finish out my thoughts on the film is in a handy-dandy list of bullet points: 

• Alyssa Sutherland is a fox. 
• Good for you, Bridget! You know you’re in a horror movie. The Boulet Brothers would be proud. 
• Oh wow, slay, Necronomicon! You got a glow up. 
• Staffany for Best Supporting Actress 2023. 
• Watch out, Toni. Alyssa’s coming for your Hereditary wall crawling and headbanging. 
• It’s an unspoken rule of thumb to never open the door for someone singing unsettling sea shanties and/or children’s lullabies. 
• I hope these aren’t the ghosts who Taylor Swift talks about visiting her in “Anti-Hero.”
• Is there a pasta pun I can make here?
• Blood-soaked Buick would’ve made a bitchin’ name for a Pop Punk band. 

My only criticism of Evil Dead Rise is that it’s unlocked a new fear of becoming a vessel for Deadites in an apartment building elevator. Fortunately, I live on the first floor. 

Me right before I school someone condescending on movie trivia. 

Similarly to Renfield, I’d recommend catching Evil Dead Rise in your local movie theater or drive-in. It’s just one of those flicks that reminds you of why visiting a movie theater is a magical experience. I was one of two people in the entire theater for this one, and it still ruled. It also wouldn’t be fair of me to mention that no one in this movie is safe. NO ONE. Prepare yourself accordingly. 

And remember, mother always knows best.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping the true crime limited series I’ve been watching into the ol’ VCR. 

As Jane Lane would say, “reality’s bizarre enough for me.” I have that quote tattooed on my body, so you know I believe it. 

I don’t take joy in real-life gruesome events, but I think it’s important to learn from these people for safety and to help us try to avoid these things in the future. I don’t condone the actions, and I’m not here to determine anyone’s innocence, regardless of what I say when asked about true crime cases. 

I’m not going to beat around the bush  — some of the miniseries on this list are extremely hard to watch, especially The Deep End, The Vow, and Stolen Youth: Inside the Cult at Sarah Lawrence.

Others, like The Staircase and The Real Bling Ring, were adapted into insane series and movies. The former including a scene where Colin Firth eats Toni Collette’s ass (something I never thought I’d see) and the latter having both Lifetime (with THE Austin Butler aka Mr. Whoa Mama, himself) and Sofia Coppola directed films.

There are even ones like Night Stalker that inspired episodes of podcasts like Disgraceland (I’d recommend both the AC/DC episode and the After Party episode where Jake Brennan actually interviews Tiller Russell, one of the directors). 

There are heinous things lurking within some of these documentaries, and there’s no way I could even begin to CW/TW each of them. Please watch these with extreme discretion and take the content warning seriously. If you’re hesitant, I’d recommend not watching or Googling the content for more information and context. 

• Murdaugh Murders: A Southern Scandal (Netflix)
• LuLaRich (Amazon Prime)
• Killer Sally (Netflix)
• The 12th Victim (Showtlme/Paramount+) 
• The Vow (HBO Max)
• The Way Down: God, Greed, and the Cult of Gwen Shamblin (HBO Max)
• Don’t F**k with Cats: Hunting an Internet Killer (Netflix)
• Worst Roommate Ever (Neflix) 
• Evil Genius: The True Story of America’s Most Diabolical Bank Heist (Netflix)
• The Deep End (Hulu) 
• Stolen Youth: Inside the Cult at Sarah Lawrence (Hulu) 
• Sins of Our Mother (Netflix) 
• The Staircase (Netflix)
• The Real Bling Ring: Hollywood Heist (Netflix)
• I Just Killed My Dad (Netflix)
• Night Stalker (Netflix)
• Bad Vegan: Fame. Fraud. Fugitives. (Netflix) 
• Tiger King (season 1) and Tiger King: The Doc Antle Story (Netflix)
• The Tinder Swindler (Netflix)
• The Curse of Von Dutch: A Brand to Die For (Hulu)
• The Keepers (Netflix) 
• Still Missing Morgan (Hulu) 
• Pepsi, Where’s My Jet? (Netflix)

I’ll freely admit that the obsession around true crime is morbid, and I’m guilty of watching every true crime documentary and miniseries I can get my hands on. As I mentioned earlier, I think it’s about the intent. If you’re watching true crime materials for sick reasons, it taints the message. Also, when documentarians exploit the dead or those grieving their losses, it’s gross. 

However, I think a lot of these stories need to be told, and I think it’s important to understand why and how some of these things happened. I’m not belittling what anyone went through as a cautionary tale, and I never would. These victims deserve to be remembered and to have a platform, if they’re able. It’s extremely brave for survivors to share their experiences and to give a voice to victims who aren’t here to speak for themselves. 

While true crime documentaries and miniseries can be seen solely for entertainment value, don’t let yourself forget the “true” part of the genre. These are real stories. Real people were traumatized and harmed, and some of them didn’t survive. Educate yourself on how you can help those you love in abusive and/or dangerous situations. Learn how to keep yourself safe. If true crime has taught us anything, it’s that it’s easier to find yourself in high-risk situations than you think.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Ari Aster’s Beau is Afraid into the ol’ VCR. 

I’m a huge fan of Hereditary and Midsommar. Hell, I just ordered a Midsommar pin from A24 last week. That’s why, I’m so sorry to say, I hated Beau is Afraid. And you know what that means. It’s time for the infamous disclaimer: 

The great thing about movies is that we can discuss and debate them. Just because I think a movie is great doesn’t make it a good movie, and just because I think a movie is awful doesn’t make it a bad movie. Also, making a movie is extremely difficult and incredibly badass, and I don’t want to detract from the process.

With the formalities out of the way, let’s get into it. 

Joaquin Phoenix stars in a live action version of that one Chipotle commercial with the Kacey Musgraves cover of “Fix You” that always makes me cry. 

I feel like Beau is Afraid is one of those movies where someone will ask, “But did you get it?” when you say you didn’t like it. Believe me, I GET it. I more than understand the symbolism and the nuances. I fully comprehend that the movie is shot in a frenzied manner to mimic Beau’s mental health. Beau’s an unreliable narrator of sorts, and what we see/perceive may or may not be what’s actually happening. I get it. 

However, I feel as though Ari Aster was so desperately trying to avoid being pigeon-holed as a horror director that he overcorrected. It has all of the Ari Aster hits, including mommy monologues, face plants onto rocks, attic climaxes, and my personal favorite, lit house against dark background (I feel like Joe Bob Briggs rattling off the drive-in totals). Beau is Afraid has all of the same commentary on generational trauma, family dynamics, and mental illness we see in both of its predecessors. That begs the question, if the format isn’t broken, why fix it?

I respect Ari Aster’s decision to take some risks within Beau is Afraid, and honestly, some things work. For example, the animated and stop-motion parts throughout the film are beautiful and extremely impressive. I’d go so far to say that the forest scenes are the strongest in the film. 

Joaquin Phoenix wishing he was cast in Hereditary instead. 

I also want to say that all of the actors give INCREDIBLE performances. Joaquin Phoenix, Nathan Lane, Amy Ryan, Patti LuPone, Parker Posey, and everyone else involved did a wonderful job. The main issue with Beau is Afraid doesn’t lie in the performances, but in the content. 

I mentioned earlier that parts of the film are purposely shot to feel overwhelming and disorienting to parallel Beau’s mental state, which is great in theory. The problem is this leads to a lack of cohesion within the film itself. I would also argue that Ari Aster was heavily influenced by the likes of Michel Gondry, sans big hands. Once you see the movie, you’ll understand what I mean. 

It’s very rare that I don’t like an A24 movie, so I want to throw out a couple of other reasons I didn’t like Beau is Afraid out of context for fun: 

• Why did they ripoff Treehouse of Horror VII? 
• The penis monster looks like one of Jonah Hill’s dick doodles from Superbad by way of The Jim Henson Company. 
• I can never hear “Always Be My Baby” the same way. 

Pictured, another Ari Aster favorite: mothers screaming about their sons. 

So yeah. There you have it. 

I was disappointed by Beau is Afraid, but again, I applaud Ari Aster for taking risks and wanting to create something different. There are really beautiful pieces to the film, and the acting is superb. The problem is, ideas are jammed together like puzzle pieces that almost fit but don’t quite belong together. I think some editing, including a restructuring of the storyline, could really make this a great film. More specifically, I think the forest component of the film is so strong, the entire film could be focused on the play and be used as the driving force.

My feelings about Beau is Afraid aside, I’ll still be first at the box office to see anything Ari Aster directs.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Robert Iscove’s From Justin to Kelly into the ol’ VCR. 

Before I get started, I want to give a huge thank you to Jaime French, who covered this movie in her Makeup & Movies series. It inspired this piece, and you should definitely check out her channel. 

Much like a new Slayer emerging, I remember this movie exists every few years (yes, I know the correct version of the line is that “into every generation a Slayer is born,” but cut me some slack for the sake of the reference). From Justin to Kelly is PAINFULLY rooted in the early aughts, down to Kelly’s denim skirts and twisted updos. This movie honestly watches like a rejected Mary-Kate and Ashley screenplay where they couldn’t get the rights to…anything. 

I should also mention this movie is a musical. If you’re asking me why on earth I’m including such an obvious sentence, it’s because the first musical number doesn’t start until seven and a half minutes in and has ZERO lead in. As in, Kelly’s shitty friend Alexa just GRABS a guy and starts singing to and dancing with him. Jaime French wasn’t kidding in her video when she discusses how startling the musical numbers are. I wonder what Simon Cowell and his baby gap tees had to say about the final cut. 

Funnily enough, the endings of the song and dance numbers are equally abrupt; it’s almost like watching a reverse flash mob. As controversial as it may be, From Justin to Kelly walked so the likes of Teen Beach Party and High School Musical could run. The biggest difference between these movies being that most of the dancers in From Justin to Kelly seem to be invertebrates. And, Kelly and Justin seem to sing telepathically to each other in one scene. Brady and Mack could never. 

From Justin to Kelly came out in 2003, so you can imagine how women are objectified. To clarify, the entire movie is set in Florida during Spring Break. So yes, there are obligatory and gratuitous references to a whipped cream bikini contest. There are also numerous references to food being unhealthy. However, I will say it could be worse, considering the setting and timeframe. 

Now, there is a darkside to From Justin to Kelly, and I’d be remiss if I didn’t mention it. Kelly Clarkson was forced to do this film, as part of her American Idol contract. In an interview with Vanity Fair, Kelly Clarkson describes how miserable she was during this entire process: 

“I begged them—since I had to do it contractually—I wanted my single to be released before the movie came out and I think that literally saved my career,” she said. “It was ‘Miss Independent.’ The fact that that was successful, I think that overcame what the movie was.”

– Kelly Clarkson

Kelly goes on to state, “I can get over the fact that it’s silly and cute—that’s not embarrassing to me at all. I just don’t find it very cool that somebody makes you do something that is not your passion and you don’t want to do.”

If you didn’t think From Justin to Kelly was about to spur a larger discussion on the pressures of Hollywood, you’ve come to the wrong place. Why are young stars taken advantage of, especially women? In this case, it looks like the winner of American Idol, regardless of gender, had to fulfill this obligation, but why? 

Contestants on American Idol are often new to fame, so to lock them into an iron-clad deal, especially for an area of the arts they have little to no interest in, is just gross. We’re beginning to see more and more representation in film, be it size, LGBTQIA+, or POC inclusion, but there’s still so much pressure placed on singers and actors alike, and so much room for representation and inclusion. I’m not saying I have the answers, but I’m saying we need to do better. 

From Justin to Kelly is a silly romp that serves as a time capsule for those of us who grew up in the early to mid-aughts. I think it would be served best with the likes of High School Musical or The Challenge. Side effects may include yearning for chunky highlights, searching for platform sandals on Google, and wanting to attach ties to the nearest skirt. 

From Justin to Kelly is now streaming on Amazon Prime.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Chris McKay’s Renfield into the ol’ VCR. 

Let’s be honest. I’m, in no way, surprised at how much I enjoyed Renfield. With Nic Cage as Dracula, Nicholas Holt as Renfield, and both Awkwafina and Ben Schwartz involved, there wasn’t a lot of room for failure. 

Renfield is one of those movies that reminds you why you love going to the theater. It’s the perfect combination of comedy, cheese, and Count Dracula. Renfield also does a wonderful job of staying faithful to its source material (unless you count the CGI rendering of the original footage with Nic Cage and Nicholas Holt’s faces on their respective characters) but also revamps (pun intended) the characters we’ve seen over and over before. 

He’s come a long way from yelling about alphabetizing. 

You’ll get a sweet serotonin boost as Renfield evolves from spineless servant to heartful hero. You’ll be happy for him and his little, colorful apartment and wardrobe. You’ll find yourself rooting for a character who is trying his best while also ripping limbs from countless villains. 

Also, Ben Schwartz essentially plays Jean-Ralphio Saperstein by the way of Tony Montana, and it’s an absolute delight. 

Also also, I’m mad at each and every one of you for not telling me how hot Nicholas Holt is. I don’t know if it’s because he’s giving big “I can fix him” energy or what, but boy howdy. I digress. 

Seriously. All of you are going straight to jail for keeping this from me. 

Renfield is exceptionally gory; however, it’s so outlandish and cartoonish that I think those with a weak stomach and/or those who aren’t horror movie fans could handle it. People in my theater laughed at some of the more gruesome scenes, to put things in perspective. 

I don’t want Renfield to meet the same fate as other big franchises, but I would like to see another movie with this cast. And, I do think the ending leaves the possibility open. Again, I don’t want this movie diluted down to a never-ending comedy horror franchise, but if there’s a sequel, I’ll be there. 

So friends, head on down to your movie theater of choice, grab a popcorn and soda (or full meal, depending where you are), and snuggle in for a good time. I command it.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Hamish Steele’s series Dead End: Paranormal Park into the ol’ VCR. 

I’m going to come in hot on this one. I absolutely adore this show, and it’s a travesty that it was canceled by Netflix. When the announcement came through, I was heartbroken. Dead End: Paranormal Park is not only executed well, but its representation is incredible. There are multiple POC characters and several LGBTQIA+ characters, including a trans male lead who is voiced by trans actor Zach Barack. 

Although Hamish Steele said the story will be concluded in the next entry of DeadEndia, the graphic novels on which the series was based, it’s still upsetting to know we won’t see it brought to life through a streamer. 

Dead End: Paranormal Park focuses on Barney and Norma as they navigate the mysteries and supernatural goings on at the theme park where they work. Along the way, Barney and Norma encounter new friends and paranormal enemies. Oh yeah, and Barney’s pug, Pugsley, becomes possessed, retains a shard of said demon’s soul, and gains the ability to speak. If it couldn’t get any better, Pugsley is voiced by Alex Brightman. Needless to say, I have Pugsley on my list of future tattoos. 

If you’re anything like me, Dead End: Paranormal Park will make you laugh, sob, and everything in-between. This series is also for fans of Gravity Falls, The Owl House, and Steven Universe. Believe me, if you love those shows, you’ll adore this one. I’d savor the two seasons available on Netflix. I’m a binge watching queen, but space these episodes out — trust me, the emotional beats will pack more of a punch. 

I know I usually have a witty little quip to end my pieces, but I just love this show so much; I can’t tell you how many people I’ve recommended it to. I hope you watch it and get swept up in this creepy and heartfelt world. 

P.S. (which in this case apparently stands for Patrick Stump) Patrick Stump from Fall Out Boy voices a character and works on the musical episode, and it’s a delight. 

Both seasons of Paranormal Park: Dead End are streaming on Netflix.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Taylor King’s Super Hot into the ol’ VCR. 

We all know Amazon Prime is the host to the weirdest and wildest collection of horror movies. However, every so often, you find a diamond in the rough. Super Hot gleams in the mine, my friends. It almost feels like Hot Rod if Akiva Schaffer had gone the horror route, and Rob was trying to save Denise from vampires alongside Jonathan. Akiva, if you need an idea for Hot Rod 2, it’s sitting right here. 

Another reason I love Super Hot is its depiction of being a teenager in a small town. It reminds me so much of my friends from high school, down to the pop punk and faux Arctic Monkeys on the radio. We also all know that guy who works at the comic book and memorabilia store. The one who doesn’t think you’re worthy enough to be in the store, let alone buy whatever you’ve placed on the counter. 

Learn from my mistakes and don’t Google “Super Hot movie” 

Super Hot, in a way, represents the last big adventure you have with your friends the summer after senior year. Sure, there will be friends who stick around, but the only contact you’ll have with others is in your memories. I’m at risk of turning a piece about a low-budget horror movie about hot vampires trying to resurrect Dracula for eternal youth into a heartfelt piece focused on childhood memories. So, I’ll leave it at this: Thank you to my nerd herd. We’ve all gone our separate ways, but I’m so glad y’all were in my life for the time you were. 🖤

MOVING ON. Super Hot is worth the watch, and without spoiling too much, I’m glad we’ll see a couple of characters in Taylor King’s upcoming Van Helsing. This movie would be best served sandwiched in-between Slice and Satanic Panic in a triple feature. So go ahead and grab yourself a slice of this gem while it’s Super Hot. 

Super Hot is now streaming on Amazon Prime.

Hello, Movie Mavens! Welcome back to the B Movies Blog. Today, we’re popping Matt Bettinelli-Olpin and Tyler Gillett’s Scream VI into the ol’ VCR. 

I’m not going to bury the lede on this one. I think Scream VI is the overall weakest entry in the Scream franchise thus far. HOWEVER, I still had a really good time with it. Because, in my humble little opinion, the Scream franchise shows that you don’t have to sacrifice quality as the franchise expands. In fact, I think the Scream franchise has the most consistent quality of any horror franchise. I said what I said. 

Listen, I’m a Halloween girl, through and through. I have a Laurie Strode tattoo to prove my loyalty. However, Halloween VI and Halloween Ends both suck. I love the Nightmare on Elm Street franchise, but after Dream Master, it gets rough (I’m especially looking at you, Freddy’s Dead: The Final Nightmare). Friday the 13th is extremely hit or miss after Friday the 13th Part 2 (although Jason X did give one of the best scenes in the entire franchise). 

I’ve never been disappointed by a Scream movie. I’ll defend Scream 3 because every franchise has some stinkers. And, compared to some of the duds I’ve mentioned, Scream 3 comes out smelling like a rose. It has PARKER FREAKING POSEY, for crying out loud. I’ll defend Gale’s bangs. Try me. 

Speaking of Scream 3, I’m going to give another controversial opinion here (as if I haven’t already). Tonally, Scream VI is giving a mix of Scream 2 and Scream 3, with an emphasis on Scream 3. Again, I said what I said. 

Gale and her bangs are here to back me up. 

Scream VI marks the return of the self-proclaimed “Core Four” from Scream (2022) after they’ve moved to New York in an attempt to start over after the events of the year before. This goes without saying, but we have a new slew (pun intended) of characters added into the mix. We also have a new set of rules, as according to Mindy, we’ve officially entered franchise territory.  I’m not going to spoil Scream VI, but take the advice of legacy characters from Screams past: don’t trust anyone. 

I had a really good time with Scream VI, and I’d recommend watching Scream 4 and Scream (2022) for a refresher. If you’re feeling extremely frisky, watch all the Screams of yore. There are tons of Easter eggs* and nods to the Screams of yesteryear, so if you haven’t revisited previous entries of the franchise recently, now’s the time. I know there are already rumors swirling of Scream VII, and I can only hope Mindy Meeks-Martin will return because she’s one of the best new characters in the entire franchise. 

*Two of my favorites being someone dressed as The Babadook on the subway and a college student dressed as Rod from Hot Rod at the frat party. 

Our queen 

I know I’ve mentioned that Scream VI is comparatively the weakest entry in the Scream series, so I figured I would give you all my current ranking as a standard of comparison. Here goes: 

1. Scream (1996)
2. Scream 2 
3. Scream 4 
4. Scream (2022)
5. Scream 3 
6. Scream VI

Bias aside, Scream VI is a fun ride, and it makes for a wonderful theater experience. The Scream franchise is also unique in that it’s impossible for the trailer to spoil the movie; you can’t allude to Ghostface’s identity without a hell of a lot of exposition. We know who the killers will be in our franchises, but Ghostface’s identity is never the same. 

Scream’s roots are in meta commentary, which allows the franchise to easily adapt to its audience. Samara Weaving’s character even discusses this in the opening sequence. I think Scream VI is a welcome entry into the Scream franchise, and I’m really interested to see where the franchise will go next. You meta believe I’ll be waiting for the next entry. 

Pictured: Sam watching a student production of Rent.

Scream VI is now streaming on Paramount+.

Hello, Movie Mavens! Welcome back to the ol’ B Movies Blog. Today, we’re popping Anthony DiBlasi’s Last Shift into the VCR. 

With the announcement/release of Malum, I wanted to revisit Last Shift. Since we’re all friends here, I’m going to be honest: I didn’t like Last Shift the first time I watched it. However, I’ve become a convert in the years since. 

In my humble little opinion, the subtle and simple scares are the most effective tool in Last Shift’s belt. The sounds of bones cracking, the phone all but rattling off its cradle, and the video clips from interviews with the Paymon family do it for me; I could do without the bigger scares, like the scene where the bodies of the Paymon family are all vibrating in the background of the holding cell akin to something you’d see in a 90s nu metal music video. 

I was honestly really impressed during this viewing. The scenes where Officer Loren turns for what only appears to be a moment to find something unexplainable are “chef’s kiss.* The cutaways to the stacked chairs and the hallway-lined photos are brilliant, and they’re both examples of low budget horror at its finest. 

Also, the dialogue in the interview clips is extremely well-written, and one line has stuck with me for days. When Kitty Paymon is talking about bludgeoning someone to death, she says, “She didn’t even look like people anymore.” The delivery of the line and the line itself are both haunting, and they show us how disconnected the Paymon family is from reality. 

I also have a wild conspiracy theory I’d like to throw out. What if the entity the Paymon family is worshiping is the same entity from Hereditary? Think about it. Both groups discuss a king of Hell, and one of the girls even slams her face into the table in the investigation room a la Peter. I’m just saying. 👀

My only complaint, and I use the term lightly, is the timeline. It feels out of time because the interview clips are reminiscent of the 60s or 70s. But, in the interrogation room scene where Officer Loren watches a woman shoot herself to commemorate the death of John Michael Paymon, she says he was killed a year prior. Additionally, the photo Officer Loren finds in her father’s old locker makes it seem as though her father was killed when she was young. Maybe it’s an old photo? Regardless, this mystery doesn’t hurt the movie’s watchability in the least. 

Last Shift is a welcome addition to the “sins of the father” horror subgenre, and I’m interested to see how the story is reimagined in Malum.Last Shift is another shining example of low budget horror, and shows how big budgets don’t necessarily make a better movie. My recommendation would be to watch Last Shift with all the lights off and to pair it with the Father’s Day segment from Holidays as your pre-show.