Cinema Playground Journal 2025: Week 41 (My Cinema Playground)

Multiplex Madness

Kiss of the Spider Woman

⭐️⭐️

Genre:  Musical

Director:  Bill Condon

Starring:  Jennifer Lopez, Gabriel Luna, Tonatiuh

It's a long lineage to track for Kiss of the Spider Woman.  The story originated as a novel published in 1976, which in turn was adapted into a film from 1985 starring William Hurt and Raul Julia.  Like all great stories, from Phantom of the Opera to Chicago (or Sweeney Todd, Little Shop of Horrors, and Mean Girls), it was eventually turned into a stage musical, and that version also got turned into a feature film.  I'm still waiting for my movie version of Evil Dead:  The Musical.  Just sayin'.

Kiss of the Spider Woman features a pair of Argentinian prisoners who share a cell together.  One chooses to pass the time by describing to his stoic political prisoner cellmate the plot of his favorite movie musical, Kiss of the Spider Woman.  This movie takes place over the course of a few weeks.  Why it takes so long to describe a single movie, I'm not certain.  These must be some heavily elaborate descriptions, relaying each celuloid frame with distinct detail.  As a musical, Kiss of the Spider Woman feels like it's more fun on stage than on film.  Most of the dialogue and staging feels very particular to that format and director Bill Condon seems disinterested in adapting for success.  His film prioritizes blocking, choreography, and set design over natural flow.  The dialogue is so rapid and drama so rushed that it feels like everyone is bored with the movie they're making and rushing to the next number.  But even so, it feels like this story can only work so well in this format and it's hard to take seriously.  Unfortunately, a tale of political prisoners in a dangerous climate should probably be taken seriously.  However, the ending to the movie leaves me puzzled because it plays it as if it dealt us a passionate tearjerker.  Passion was minimal and tears were nonexistent, though I confess that a story of prisoners escaping into a fantasy is promising.  I don't think this is the most compelling possible version of this story.

Roofman

⭐️⭐️⭐️

Genre:  Comedy

Director:  Derek Cianfrance

Starring:  Channing Tatum, Kirsten Dunst, Peter Dinklage, Ben Mendelsohn, LaKieth Stanfield, Juno Temple, Uzo Aduba, Lily Collias, Jimmy O. Yang

Channing Tatum plays with toys more than any movie he's featured in except maybe G.I. Joe in this film based on the true story of Jeffrey Manchester, an escaped convict who hid out in a local Toys "R" Us for several months in 2004.  During this period he begins a relationship with employee Kirsten Dunst and grows closer to her family which conflicts with his need to make his getaway before the authorities find him.  The movie is much cuter than I would anticipated a movie based on this story would be.  Roofman probably has all the ingredients and inspiration to make an interesting black comedy but it chooses to lean into making the story as huggable as possible.  The movie is pretty solid in spite of this, still bringing out laughs quite reliably, even if its tone feels like a slight miscalculation.  It's almost as if the movie is shooting for being a non-conventional holiday movie with a bad boy protagonist who just happens to rob people and bond with a family simultaneously.  But it feels conflicting sympathizing with Tatum's character no matter how "nice guy" he may be because he does some pretty shitty stuff during the duration of this movie.  I'm not entirely sure how I feel about the movie that was chosen to relate to this story but I'm willing to give it a recommendation based on the fact that it is an agreeable movie that I feel a lot of people will enjoy.

Soul on Fire

⭐️

Genre:  Drama

Director:  Sean McNamara

Starring:  Joel Courtney, John Corbett, Stéphanie Szostak, Masey McLain, DeVon Franklin, William H. Macy

MY SOUL!  IT BURNS!

Suddenly my criticisms of a movie like The Unbreakable Boy seem petty and minor now that I've seen Soul on Fire, one of the most disastrous inspirational dramas I've ever had the misfortune of sitting through.  The film tells the true story of John O'Leary, who survived a house fire as a child, leaving him scarred and without fingers.  O'Leary grows up with his disfigurments and disability, aiming for normalcy and eventually becoming a inspirational speaker.

Sounds like a great drama right?  It should be a wonderful story.  Soul on Fire soils it in so many ways that you can count the things it gets right on one hand.  I'm sure there are some to count.  They're just not coming to me right now.  I just remember getting so irritated at it.  Right out the gate, the movie is just off-putting.  The film opens with O'Leary in a classroom talking to students and telling his story.  After he tells them of the fire when he was a child, one of them raises their hand and asks "Would you do it over again?"

Wha...why would he do it again?  What kind of question is that?  What kind of writing is this?

It's such a small moment to bring up but it kind of defines the production, where it's dealing with a story rooting in a harrowing experience but undercutting it with a playful attitude that refuses to acknowledge the horror of it, even aiming to not disturb when it comes to relating the event itself because it's so afraid of souring the audience and bumming them out.  I am shocked and a little appalled that the movie's optimistic tone is so sitcom-esque that even the movie's attempt at portraying the fire that disfigured its protagonist is being portrayed with such sterile, crass, and cutesy schmaltz that it conflicts with the horror it's trying to portray.  When the movie actually tries to take issue of it seriously, it comes up with hamfisted melodrama like O'Leary learning his fingers have been removed asking the doctors around him, in a purely Homer Simpson trapped in a vending machine moment, asks "They'll grow back, right?"  Then gets a whole angry-at-the-world scene of screaming "HOW DO YOU KNOW THEY WON'T GROW BACK?"  It's such an absurd scene that is meant to provoke a soft pity but is almost oddly comical in how much they're overplaying the sappy drama.

That's just an example of how much ham and cheese the drama eats.  The movie just goes on like that, stumbling across a plastic love story and him just kind of accidentally falling into his profession.  The asthetics complete the look, as very little in the movie looks genuine.  The body mold for O'Leary's scars looks like Freddy Krueger make-up that was rejected for looking rubbery, made softer to make sure the audience that sympathizes also isn't too put-off by seeing too much abnormality because just because they're sympathetic to the plight doesn't mean they've stopped being judgemental.  Then there is William H. Macy, who is wearing the silliest Joe Biden wig I've ever seen.  Every time he's onscreen I just want to smack that stupid thing off his head.  The movie has trouble aging O'Leary as well, as many decades pass but he always looks and acts like a grinning child, as if the film only took place in the span of a week.  All of these production flaws and uniformly poor performances that can only be concluded to be the result of "We were told to do it this way," which leads me to believe most of the film's faults are at the hands of director Sean McNamara, who seems to cave a rudimentary understanding of how to present drama.  This is the third of his films I've seen, after The King's Daughter and Reagan, and it genuinely seems as if he barely knows how to construct a movie.

To make things completely clear, I do not object to the movie's message or its story.  The problem I have with this movie is that it's just shoddy and presented in a way that makes it feel like its assuming the audience has the IQ of a goldfish.  Everything about this movie fails the story it's trying to tell.  The ham-fisted acting, the schmaltzy directing, the cluttered editing, the script with the ill-advised non-linear storytelling, the soft cinematography...this movie is irrevocably broken.  Which is a travesty because it's telling the story of a person who feels broken learning to feel complete again.

Tron:  Ares

⭐️⭐️

Genre:  Science Fiction

Director:  Jaochim Rønning

Starring:  Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson, Jeff Bridges

Disney has tried Tron twice already, and upon release they were met with a resounding "Nobody fucking cares."  It took twenty-eight years to make one Tron sequel and another fifteen to make this one.  I'm sure Tron 4 will hit in a couple of decades and 5 after I have left this mortal coil, as some executive greenlights it thinking "Was this a thing?  I can't remember."  Tron was the story of Jeff Bridges injecting himself into a computer, where he discovered that programming is actually a "digital world" called "The Grid."  The movie was very hard to make and was very unique and groundbreaking at the time, which makes it a little sad to admit how quaint it looks today.  Some may want to say it's the Matrix of its day but it probably has more in common with Gridman/Superhuman Samurai Syber Squad.  Things got flashier in Tron:  Legacy, directed by a little novice named Joseph Kosinski, who went on to make a name for himself with a humble movie called Top Gun:  Maverick.  The visuals kicked ass, Daft Punk conducted a banger soundtrack, and Olivia Wilde rocked that wig she was wearing.  It was just Tron again but cooler.  Now we have Tron:  Ares, where Disney is still trying to figure out if people like this franchise and is hoping to make it more popular by putting Jared Leto in it.

Yeah, I'm not sure that was the play you thought it was.

Leto plays Ares, a digital soldier that has been 3D printed into the real world to do real world violence instead of pixel violence.  The problem is that he can only hold form for twenty-nine minutes.  The only person with the knowledge of a "permanence code" to keep his form is Greta Lee, so bad boy businessman Evan Peters sends Ares and other digi-badasses out to retrieve her.  So now we have Tron visuals in a real city setting, which is more humdrum than you might think it is because it just looks like an average alien invasion movie at best and the Adam Sandler movie Pixels at worst.  Seeing Tron tech in the real world looks cool in a trailer shot.  Seeing it play out in a narrative feels like it's sucking the joy out of the entire concept.  It's like doing a He-Man movie and setting it in California.  Nobody should even consider it and yet, it happened.  Tron:  Ares is the most fun for its few action sequences where it's back in the Grid.  Maybe it's just more of the things that we've already seen Tron do but the Grid's atmosphere is just more interesting for the action on display.

Otherwise, Tron:  Ares wallows in its own self-serious, visually stunning mediocrity.  Which is to say that it's definitely a Tron movie.  As much work as has been put into the action and visuals of this movie, it's probably the least interesting Tron movie.  The original has the novelty of being unique in a time period where no movies were being made like it and nobody would even try to do it again for over a decade.  Legacy showed off what all the advancements the original made led to in modern Hollywood with spectacular visuals, Jeff Bridges horrific floating CGI face notwithstanding.  Ares is a couple bells and whistles but its novelty is very small in comparison to the previous films, and there isn't a lot of story to progress in the first place, so I can't say I'm invested in where a Tron franchise might go.  Tron has always been a sound and light show and not a story.  Both the sound and light in Tron:  Ares are top notch.  Tron fans should be pleased with that.  Those hoping a hidden gem will be awakened by dusting this franchise off will leave empty handed.

But the question everyone wants answered is whether or not Nine Inch Nails tops Daft Punk's score to Legacy.  The answer is no but it still rocks.

Netflix & Chill

The Woman in Cabin 10

⭐️⭐️

Streaming On:  Netflix

Genre:  Thriller

Director:  Simon Stone

Starring:  Keira Knightley, Guy Pierce, David Ajala, Art Malik, Gugu Mbatha-Raw, Kaya Scodelario, Daniel Ings, Hannah Waddingham

I love Alfred Hitchcock movies, and one of my favorites is The Lady Vanishes.  Maybe it's just the echoes of Lady Vanishes flowing through the veins of The Woman in Cabin 10 that drew me to it but somehow I found myself watching this curious mixture of melodrama and thrills as Keira Knightley witnesses a woman thrown overboard on a cruise ship and is determined to find out who it is, only to be doubted by everyone when the woman she's looking for never seemed to have existed.  Movies like this are highly dependent on their resolution to their mystery, as they seek to bring a seemingly impossible scenario down to earth with a logic that explains everything.  Simple explanations work best so you don't run into convolution.  The Lady Vanishes had a simple explanation.  The Woman in Cabin 10 does not.  The conclusive resolve is very out there, and would require a lot of jumping through hoops, as well as good ol' fashioned finger-crossing, to actually be plausible.  The journey until then is Keira Knightley running around on a boat trying to convince people that she's not crazy and she does this as well as can be expected.  The movie has some fun value until it becomes unreasonable.  Ridiculous movie.  Didn't hate it.

Movies Still Playing At My Theater

Anemone ⭐️⭐️1/2

Bone Lake ⭐️⭐️1/2

Casper ⭐️⭐️⭐️

The Conjuring:  Last Rites ⭐️⭐️

Downton Abbey:  The Grand Finale ⭐️⭐️⭐️

Gabby's Dollhouse:  The Movie ⭐️⭐️1/2

Good Boy ⭐️⭐️⭐️

The Long Walk ⭐️⭐️⭐️

The Lost Bus ⭐️⭐️⭐️

One Battle After Another ⭐️⭐️1/2

The Smashing Machine ⭐️⭐️1/2

The Strangers:  Chapter 2 ⭐️

New To Digital

The Conjuring:  Last Rites ⭐️⭐️

Freakier Friday ⭐️⭐️1/2

Him ⭐️

Traumatika ⭐️1/2

New To Physical

The Bad Guys 2 ⭐️⭐️1/2

Dangerous Animals ⭐️⭐️1/2

F1 ⭐️⭐️

I Know What You Did Last Summer ⭐️⭐️

The Last Rodeo ⭐️⭐️

Nobody 2 ⭐️⭐️⭐️

Coming Soon!

Cinema Playground Journal 2025: Week 40 (My Cinema Playground)

Multiplex Madness

Anemone

⭐️⭐️1/2

Genre:  Drama

Director:  Ronan Day-Lewis

Starring:  Daniel Day-Lewis, Sean Bean, Samantha Morton

Daniel Day-Lewis returns to the screen after a brief retirement due to good ol' fashioned nepotism, headlining this movie directed by his son, Ronan, while also helping him with the screenplay.  That screenplay sees Sean Bean raising the abandoned son of Daniel Day-Lewis, who has been living as a hermit in the Irish wilderness.  As the now teenage boy begins to lash out, Bean travels to Day-Lewis's spot in the woods to convince him to come back and see his son.  The movie is a very old fashioned stage drama made of a series of scenes of characters bitching about their trauma in closed settings.  Ronan Day-Lewis tries to make it feel bigger with directorial flair and a manipulative score that hammers the viewer psychologically, but that only makes the movie louder and more melodramatic.  It's script is an old-fashioned play to give the leads as many dramatic monologues as possible while all the added flourishes just make the film feel drawn out, which makes it also come off as a work of indulgence by two talents that are too lost in their own self-adoration to realize they've overdone it.  The thing the film is missing is that it doesn't feel like it was made for a story, it feels like it was made to spit out chewed-up drama and maybe a story, a theme, an insight, or something might happen by happenstance.  Despite this, I didn't hate it.  The idea it's trying to sell is interesting enough that even though my attention span was taking a beating, I actually maintained interest just fine.  If the movie didn't stretch itself out as much as it does, I might even have considered it a good movie.  It's well-acted and quite striking most of the time.  There are individual things about this movie that are excellent.  It's just easy to get tired of it.

Bone Lake

⭐️⭐️1/2

Genre:  Thriller

Director:  Mercedes Bryce Morgan

Starring:  Maddie Hasson, Alex Roe, Andra Nechita, Marco Pigossi

The double entendre is both intentional and very much appreciated in Bone Lake, evoking the horror fanatic's love of violence and sex all in two words.  The film sees a couple heading off to a romantic vacation at a giant rental home at Bone Lake for some down time and sexy time.  Things get upended when another couple shows up with the claim that they have booked the house, and the pair share the space, which grows more tense as the other couple's behavior starts to become out-of-line.  It took me a while to figure out why Bone Lake felt so familiar to me.  Obviously, the first thing that came to mind was Barbarian, as the set-up is very similar but Bone Lake takes the more tried path instead of upending expectations.  I also had some echoes of Heart Eyes, but I can't explain why without getting into spoilers for both movies.  Eventually, I realized that the movie was reminding me of a nearly forgotten thriller from Pitch Black director David Twohy called A Perfect Getaway, starring Timothy Olyphant and Milla Jovovich, which has some parallels.  Now, I'm not accusing Bone Lake of ripping off A Perfect Getaway because A Perfect Getaway barely made a blip on anybody's radar and it's probably unlikely that very many associated with Bone Lake have even heard of it.  I'm not even certain that A Perfect Getaway was all that original with the two couples pitted against each other narrative and there is probably another movie that did it earlier and better.  All I know is A Perfect Getaway played its reveals much better than Bone Lake.

Bone Lake wants to be a mind trip of psychological tension but it doesn't quite achieve it.  The mind games feel diluted because they're obvious from minute one.  The aggressors are very clear in this movie and the film holds no pretense of hiding it, so it becomes frustrating waiting for the protagonists to catch up with the clues that are right out in the open and a solution that should be right in front of them.  The one thing about Bone Lake is that it successfully balances both a cynicism and an optimism for romantic relationships, as our main couple are in a rut that feels like is driving them apart but as the story progresses they do lay out that they have a foundation for a healthy and trusting relationship.  But those doubts and mundanity are present and that is preyed upon, almost in a Jigsaw way to prove that their love is not "true love" by an antagonist with a chip on their shoulder.  It's a question of which aspect wins out that drives the main plot of the story and that is an exceptional idea.  It's just kind of flacid where it promises to be orgasmic.  For a movie that advertises itself as a sex-fueled thrill ride, both the sex and the thrills are surprisingly negligible.  It's fun enough, if uninspired.  But I guess not everybody gets lucky at Bone Lake.

Coyotes

⭐️⭐️

Genre:  Horror, Comedy

Director:  Colin Miniham

Starring:  Justin Long, Kate Bosworth, Mila Harris, Katherine McNamera, Brittany Allen, Kier O'Donnell, Norbet Leo Butz

Nature battles white privilege in this black comedy where a pack of coyotes descends on Hollywood Hills and begins to eat the spoiled inhabitants alive.  Off-beat horror movie mainstay Justin Long hunkers down with wife Kate Bosworth, daughter Mila Harris, and prostitute Brittany Allen to fend off the blood-thirsty beasts.  Of the things you can probably say about this movie, you can't claim that it's not handing out exactly what its selling.  The movie is primarily gore and giggles in a low budget package.  The premise largely squeezes amusement out of the idea of pampered rich people stumbling through a night of survival, though the laughs can be inconsistent.  The comedy of the movie is a mixture between rambunctious silliness, macabre black humor, and cringe awkwardness.  It almost feels as if the movie was put on by an amateur improv group.  Some of it is really funny but most of it feels like filling time however possible.  The titular coyotes themselves look fine for the most part, but they often feel too static to be a threat, which is due to the low budget limitation of barely being onscreen with any of the cast.  The movie tries to frame them as intensely as possible but they feel like they were duct taped in from a reel of stock effects footage.  Horror hounds who enjoy a little humor with their frights will find it of interest, though both the scares and the laughs feel a little half-hearted.

Good Boy

⭐️⭐️⭐️

Genre:  Horror

Director:  Ben Leon berger

Starring:  PUPPY!  HE'S SUCH A GOOD BOY!

Another inspired take on the haunted house genre hits the cinema, as Presence told the movie from the ghost's perspective and now we has Good Boy, which tells a ghost story from a dog's perspective.  The film was shot in small chunks over four hundred days, working with the director's own dog, Indy, hoping they'd get a workable reaction from him.  Patience is a virtue, and Good Boy is a success.  The film follows Indy as he plays the dog of a man with a chronic illness who moves out to his grandfather's "haunted house" for some peace and quiet.  Days pass by as shadowy entities begin appearing, which only Indy seems to notice.  Good Boy is a passable haunting tale with some decent shocker sequences, though it's the clever framing of Indy that cranks it up to a higher level than it would have achieved otherwise.  The film reminds me quite a bit of last year's In a Violent Nature, which took a cliched story and framed it away from where the focus would normally be.  Like In a Violent Nature, some of the exposition also suffers in Good Boy but it more successfully maintains its gimmick.  The focus being on Indy does cause the performances of its human characters to suffer, as the film is obviously ADR'd most of the time (most of the filmmaking was an effort to get the dog to do what he was supposed to do with human performance added later) and the dubbed line-reads are quite mood-draining.  Good Boy hits enough highs in the face of the faults that stem from its limitations to make it one of the more interesting movies of the year.

The Smashing Machine

⭐️⭐️1/2

Genre:  Drama, Sports

Director:  Benny Sadfie

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

The Jungle Cruise reunion we've all been demanding, sadly in a package that is not Jungle Cruise 2.  Dwayne "The Rock" Johnson plays real life UFC fighter Mark Kerr and Emily Blunt as his girlfriend.  He fights in the ring, they fight in the house.  He does drugs, eventually kicks them.  Comeback to glory?  Not really.  For a good deal of The Smashing Machine I was struggling with why Mark Kerr demanded a biopic.  The only conclusion I could make is that Dwayne Johnson's agent was desperate to find him a dramatic role and this was better than nothing.  It's not particularly inspiring nor did he seem to live a very interesting life.  The Smashing Machine is more-or-less about a guy who did a thing for a little while and was stressed the fuck out.  There's not really much of a story here, though there is an interesting framing device late in the movie where the film chooses to close on a shot of modern day Mark Kerr in a grocery store, living a mundane life.  Maybe it's just a story of fleeting fame, about someone who became decently known for a little bit but eventually just became a regular dude.  That's nice.  The movie still isn't much of anything, even if Johnson and Blunt are pretty good in it.  I do find it mildly amusing that Johnson is cast as Kerr in his prime thirty years ago when present day Johnson and Kerr are around the same age.  I feel that there is probably some sort of irony in ageless superstar playing an aging has-been.  I don't think the movie was smart enough to see that, though.

Netflix & Chill

V/H/S/Halloween

⭐️⭐️

Streaming On:  Shudder

Genre:  Horror, Anthology

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

Starring:  David Haydn, Samantha Cochran, Natalia Montgomery, Teo Planell, María Romanilos, Ismael Martínez, Lawson Greyson, Riley Nottingham, Jenna Hogan, Jake Ellsworth, Stephen Gurewitz, Carl William Garrison, Jeff Harms, Noah Diamond, Sarah Nicklin, Rick Baker

To paraphrase that tagline that Lionsgate used to remind the world that they were milking a franchise, "If it's Halloween, it must be V/H/S."  Shudder has now released five V/H/S films annually every October since 2021, bringing the found footage anthology's total to eight films, ten if you include spin-off films, and will be twelve in a few weeks if you include the Black Phone movies, which are unofficially considered "same universe" as Scott Derrickson's V/H/S/85 segment.  This year's offering tasks its staff of horror filmmakers to create short films that fall on everyone's favorite night of fright, Halloween.  The only established horror name of note in the pool this time is Paco Plaza, who directed the first three [REC] films and was arguably someone who utilized found footage more effectively than any other filmmaker back in the day.  However, the most prolific filmmaker on the team is Alex Ross Perry, who is best known for indie dramas and documentaries.  I don't know what convinced him to play in V/H/S/land but the more the merrier.

A lot of the segments this year are more off-beat than horrifying.  The only ones that seem to aim to disturb are the offerings of Plaza and Perry, the former telling a Spanish tale of a police investigation of a teenage Halloween party gone horribly wrong and the latter about a mysterious child murderer who may be on the prowl on Halloween night.  Perry's sketch might be the best made of the bunch, though I'd consider the most entertaining to be a goofy tale about "too old for this" trick-'r-treaters who don't adhere to "One Per Person" sign and get locked in a factory that threatens to chop them all up into candy.  Admittedly, this segment is probably too similar to the opener, which sees another group of teenage candy-snatchers that get trapped into a spooky house with a scary mother and her creepy children.  This one has some kickass imagery in it, though I'll admit that the premise drifts into a strange lore territory that doesn't hit for me.  It does, however, house the most curious line of the film, where they wander into the dilapidated house and one of the girls growls "This is a health hazard!  You're going to get another fungal infection!"  The remaining segment is the closer, which is more carnage than story, as people put on a haunted house only to get stuck in a horror labyrinth that kills everyone in gruesome ways.  Even the children get on-screen, gory fatalities in this one.  The wraparound are about a cola company testing out a new beverage, which kills people in horrific ways.

V/H/S has never been the most consistent horror franchise, which is probably natural as it's just a series of small productions that have been stitched together and they're always going to vary in quality, pacing, and even tone.  But that's always the exciting thing about anthologies as they're always something new every twenty minutes.  V/H/S/Halloween is probably the weakest of Shudder's exclusive run with the series, though it is still a step above the original trilogy weak link, V/H/S:  Viral, so take comfort in knowing that this group of okay offerings probably won't kill the series.  It's unfortunate that the idealized holiday didn't bring about more inspiration, which makes this one feel a bit more of a letdown, though entertainment value does surface.

Movies Still Playing At My Theater

Avatar:  The Way of Water ⭐️⭐️⭐️1/2

Casper ⭐️⭐️⭐️

The Conjuring:  Last Rites ⭐️⭐️

Dead of Winter ⭐️⭐️⭐️

Downton Abbey:  The Grand Finale ⭐️⭐️⭐️

Gabby's Dollhouse:  The Movie ⭐️⭐️1/2

The Long Walk ⭐️⭐️⭐️

The Lost Bus ⭐️⭐️⭐️

One Battle After Another ⭐️⭐️1/2

The Senior ⭐️⭐️

The Strangers:  Chapter 2 ⭐️

New To Digital

Caught Stealing ⭐️⭐️⭐️

Downton Abbey:  The Grand Finale ⭐️⭐️⭐️

Primitive War ⭐️⭐️⭐️

Spinal Tap II:  The End Continues ⭐️⭐️1/2

The Threesome ⭐️⭐️1/2

The Toxic Avenger ⭐️⭐️⭐️1/2

Twinless ⭐️⭐️⭐️1/2

New To Physical

The Life of Chuck ⭐️⭐️⭐️

Coming Soon!