SHELBY OAKS Starring: Camille Sullivan, Brendan Sexton III, Michael Beach, Sarah Durn, Robin Bartlett, and Keith David Director: Chris Stuckmann NICK The successful YouTuber turned successful director pool is rapidly growing, and you can add Chris Stuckmann to that list. In Shelby Oaks , Stuckmann shows a great eye behind the camera along with an ability to create an unsettling and eerie atmosphere without the need for much dialogue. It doesn’t always work, as some of the scenes can feel a tad tedious and overdrawn, but hiccups are expected for a debut feature. Oaks will have a lot of eyes on it thanks to Stuckmann and its historic crowdfunding campaign; however, I’m more excited to see what the director does next now that he’s gotten his feet wet. ADRIANO For his debut film, all eyes are on YouTube reviewer turned writer/director Chris Stuckmann, and I'm delighted to say that Shelby Oaks is good. It's unremarkable, sure, but good, nevertheless. Stuckmann wears his influences on his sleeves (The Blair Witch Project , Hereditary , etc.) and pours in tons of eerie tension, from its found-footage opener to the supernatural terror to come. He does it all with an excellent directorial eye, too, even if there are some cheap scare tactics thrown in. Admittedly, the third act shoots itself in the foot, but I'm still happy to say Stuckmann pulled it off. BODE Like many critics before him, Chris Stuckmann steps into the world of feature filmmaking with Shelby Oaks . Admittedly, as someone who followed his YouTube channel, it’s heartening to see him make it this far. That’s why I hate to say that I don’t think this fully works. While he has a decent handle of tone and atmosphere, the uninspired narrative ends up being its biggest crutch, increasingly becoming a hodgepodge of better horror movies as it goes. I’m not un-interested in seeing what he does next as a director, but he should probably think about working off someone else’s script. ROBERT The great rookie filmmakers in cinematic history know how to intersperse techniques and shots from their influences without it overwhelming their debuts. In Shelby Oaks , director Chris Stuckmann waves obvious imagery and homages in front of the audience’s face in service of a convoluted plot. The composition of the cinematography and the staging speak to an expert eye for directing, but the writing and story construction are where Stuckmann falls flat. I believe time and repetition will further solidify what Stuckmann can do, and I did have fun with this effort, but “effort” is how I would describe the viewing experience by the end. QUENTIN There was some hype amongst my cohorts surrounding Shelby Oaks because it’s the feature directorial debut of popular YouTuber Chris Stuckmann. To be perfectly honest, I had never heard of Stuckmann, but after watching, I fully believe this was directed by a YouTuber and bankrolled by Kickstarter. The narrative is unremarkably fine for something that wears its influences so blatantly on its sleeve, but something about the direction and performances just exudes homemade YouTube sensibilities. That’s not necessarily a bad thing, but for someone who doesn’t enjoy original YouTube content because of its inferior quality, it was jarringly noticeable. Maybe I’m just of the wrong generation for this movie.

SCREAM 7 Starring: Neve Campbell, Courteney Cox, Isabel May, Jasmin Savoy Brown, Mason Gooding, Anna Camp, Joel McHale, Celeste O’Connor, Sam Rechner, Asa Germann, Mckenna Grace, Matthew Lillard, Ethan Embry, and Roger L. Jackson Director: Kevin Williamson PAIGE While Kevin Williamson crafts some of the series’ most brutal kill sequences in Scream 7 , the story itself is an uninspired entry and features the weakest killer reveal in the franchise. Don’t get me wrong, it’s great to have Neve Campbell back front and center, and the mother-daughter dynamic grounds the film; however, the premise never fully builds momentum and lacks motivation. This one leans a bit too heavily on nostalgia and familiar plot beats instead of delivering the audience something fresh and new. ROBERT There’s been an anchor tied around Scream 7 with the dismissal of Melissa Barrera, the bowing out of Jenna Ortega, and the coordinated rewrites. Bringing back the OG actors and living creators were done to engender hope and goodwill, but the tipped scales never balanced back in the franchise’s favor. This effort was lifeless and soulless…not much of an effort at all really. It seemed as if this was a transitional movie, done to meet a deadline and make money to push out another installment with more time and thought behind it. It was a little fun but also dumb, confusing, and inconsequential. BODE Even if Scream 7 didn’t have a controversy-laden road to the big screen, my enthusiasm for it wasn’t very high anyway given my disappointment with the last two installments. Still, with the return of original creator Kevin Williamson in a writing/directing capacity, I was curious to see if a return-to-form was possible for this franchise. And while it certainly has its fun moments (particularly with some of the set pieces), it doesn’t quite make up for its heavy nostalgia, or ridiculous reveals. I wouldn’t personally call it the worst Scream , but it’s definitely far from the best.

PSYCHO THERAPY: THE SHALLOW TALE OF A WRITER WHO DECIDED TO WRITE ABOUT A SERIAL KILLER Starring: Britt Lower, Sydney Cole Alexander, John Magaro, and Steve Buscemi Director: Tolga Karaçelik KATIE Psycho Therapy is full of good ideas and has the talent of its incredible cast at its disposal, but it ultimately doesn’t utilise either to their full potential. John Magaro (Keane) and Steve Buscemi (Kollmick) are a genuinely hilarious comedic pairing, but good ideas are abandoned in favour of a contrived plot that is far less interesting. I was also elated when Britt Lower came onto the screen, and she proves to be fantastic at dark comedy, but I was so let down when it ended right after introducing one of its most interesting and compelling ideas. QUENTIN As a massive fan of The Coen Brothers, it’s kinda wild how much I didn’t care for Psycho Therapy since it has major Coen vibes. It’s billed as a black comedy thriller, but almost none of the dry and absurdist humor works, especially when it comes to Keane (John Magaro), who is extremely annoying throughout. With the comedy not hitting, one would hope the thriller aspect would pick up the slack, but nope. The clunky story, almost sleep-inducing indie tone, and abrupt ending make for a movie that also lacks thrills. Steve Buscemi does good work, as usual, but that just isn’t enough, unfortunately. ADRIANO If you want a movie with squandered potential, look no further than Psycho Therapy , because although it starts very intriguing with its weird concept and domestic turmoil plot, it very quickly spirals. I laughed a lot, and the performances from John Magaro, Britt Lower, and Steve Buscemi are amazing; however, I don't like when a movie just confuses me, even when I can follow what's happening. I also don't like character decisions that progressively make less sense, resulting in a plot that is almost entirely lost – not lost enough to make the movie not worthwhile, but enough to drown out its impact.

YOU HURT MY FEELINGS Starring: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Arian Moayed, and Owen Teague Director: Nicole Holofcener JACOB Similarly to Kelly Reichardt’s Showing Up from earlier this year, Nicole Holofcener’s You Hurt My Feelings operates on a more low-key playing field than a lot of other indies, even from A24. There are no huge revelations, plot twists, or abundance of dramatic tension, but that doesn’t keep the film from being any less compelling. Julia Louis-Dreyfus is excellent in the lead, working off a well-written script that has more depth than it lets on at first, and Tobias Menzies’ understated turn seeps into your soul. It’s hardly a mind-blowing watch, but it’s a nice time. PAIGE Writer/director Nicole Holofcener set out to deliver a sweet and light-hearted dramedy, and she succeeds with You Hurt My Feelings . While the film leans toward the more boring side of the tracks, I’m fairly certain an older audience, especially married couples, will enjoy this one. The film is filled with solid performances, and the comedic timing of the entire cast is executed fairly well overall. The message that it’s sometimes okay to tell white lies to those we love also will resonate with many. ADRIANO You Hurt My Feelings is the kind of slice-of-life dramedy that writer/director Nicole Holofcener knows how to do. It’s very low stakes…and maybe a little too lowkey…but Julia Louis-Dreyfus commands the screen with funny moments that don’t undermine the more effective serious notes dealing with the turbulence of fragile egos. Is this gonna change anyone’s life? No. But it’s an easy watch that could get to your core and make you laugh along the way.

FORBIDDEN FRUITS Starring: Lili Reinhart, Lola Tung, Victoria Pedretti, Alexandra Shipp, and Emma Chamberlain Director: Meredith Alloway PAIGE If The Craft and Mean Girls had a baby it would be Forbidden Fruits . This movie is very much my cup of tea. The dialogue is juicy, witty, and shall I say… cunty. Our fruits here, especially Lili Reinhart and Victoria Pedretti, eat up their roles and bring distinct personality and energy to their characters. That said, the premise can feel a bit aimless at times, and it takes a little too long to reveal its twist, which doesn’t leave enough time for it to fully marinate. Still, the film has a confidence to its campiness that ends up making it an entertaining gem about toxic female friendships. ADRIANO The word “camp” gets thrown around willy-nilly these days, but thank God for director/co-writer Meredith Alloway for committing to showing us something actually campy. Everyone involved with Forbidden Fruits is all in on the silliness of its concept. It feels stilted, but nobody making this wasn’t in on that joke, especially not our ridiculous four lead actresses. The narrative is a total incoherent mess, but its gothic/femme approach to female cliques comes off as a love-child of Mean Girls and The Witches , and for that, Forbidden Fruits has future cult-classic written all over it.

FREELANCE Starring: John Cena, Alison Brie, Juan Pablo Raba, Alice Eve, Marton Csokas, and Christian Slater Director: Pierre Morel QUENTIN Both John Cena and Alison Brie have proven themselves to be funny, charming, and capable of delivering dramatic nuance. That said, Freelance is a blemish on both their records. It’s like someone tried to remake The Rundown from memory. I’ll give it a little credit for not being quite as predictable as I expected, but between the jokes that don’t land and the lifeless action scenes (not to mention one sequence with Expendables 4 -level green screening, which is to say terrible), almost everyone involved, except for Juan Pablo Raba (a genuine and charismatic delight), should be ashamed of themselves. NICK Although we've already learned that John Cena is best suited to comedies, Freelance once again attempts to make him an action star. The results make The Marine look like a tour de force. Where do I start? Cena and Alison Brie have no chemistry, the comedy is non-existent, the action is thoroughly generic, and I found myself checking out multiple times in spite of being wide awake. Early in his career, Dwayne Johnson branched out of WWE to do a film called The Rundown . Freelance is basically a worse version of that film in every single way. This one’s bargain bin bound.

THE END OF OAK STREET Starring: Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery Director: David Robert Mitchell PAIGE Move over Jurassic World , we’ve got a new dino movie in town. The End of Oak Street proudly wears its classic Amblin influence on its sleeve. Writer/director David Robert Mitchell crafts a personal story at its core that feels lived-in, while packing in plenty of mayhem that isn’t afraid of pushing the boundaries of a PG-13 rating. It’s a well-paced thrill ride from start to finish. The movie’s script is a bit thin, but that didn’t stop me from having a blast with this one. The End of Oak Street may honestly be the best dinosaur movie since the original Jurassic Park . AMARÚ The behind-the-curtain look inside the “perfect” 1980s TV-family really helps to emotionally invest you in the nostalgic thrill ride that is The End of Oak Street . Writer/director David Robert Mitchell brings a realistic terror to his dinosaurs, pushing the limits of its PG-13 rating, and allowing the wonder and magic of all of the sci-fi elements to stay grounded instead of feeling out of place. You feel the love and struggles of the Platt family through the great performances of Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery, making Oak Street an entertaining dichotomy of horror and heartfelt. QUENTIN The End of Oak Street hits many high notes, particularly with its Amblin-inspired vibes, moments of genuine surprise, and an unmitigated chutzpah to “go there.” That said, the tonal whiplash, empty characters, and plot contradictions make it tough to truly connect with, resulting in an enjoyably hollow blockbuster that could have been something greater. Mixing the dark horror tones of Jurassic Park and Poltergeist with the family-friendly adventure tones of Harry and the Hendersons and Flight of the Navigator is just a little jarring. Still, it’s the year’s best Spielbergian movie, which is funny considering Steven Spielberg himself gave us Disclosure Day earlier this summer. ADRIANO I’ve complained about nostalgia farming, but The End of Oak Street does it correctly. It takes the correct lessons from the 80s blockbusters that defined the concept, goes all in on the corniness and stupidity, and proudly sports its Steven Spielberg and M. Night Shyamalan influences, all while keeping the thrills elevated by the family at the centre. The character writing certainly has holes, but this family is endearing enough that it creates another layer in what could’ve just been a very fun dinosaur movie pushing the PG-13 rating. It’s a total blast, and the Jurassic World movies should be embarrassed. BODE Writer-director David Robert Mitchell heads back to suburbia with The End of Oak Street , and this time, the horrors are far more prehistoric. Owing as much to Joe Dante as it does to Steven Spielberg, Mitchell aims for the sun-kissed warmth and mean-spirited thrills of some of their joints. Like most Amblin imitators, there isn’t a ton under the hood, but the dinosaur set pieces are absurdly exciting. Plus, Anne Hathaway is excellent throughout. It’s fun enough as a late-summer diversion that you wish was a little better, and it beats all of the Jurassic World movies. ROBERT I think, in a different era of movie promotion, the reveal of dinosaurs in The End of Oak Street wouldn’t have been spoiled, thereby enhancing the impending mystery. Today, what we are left with is a well-acted and decently composed sci-fi family drama that painfully straddles tones but never has the gumption to take its intentions further. The tension and anger are never emotional enough, the comedic beats aren’t funny enough, and the violence, despite the number of bodies, isn’t violent enough. Also, the rhyme or reason for why characters do certain things is baffling, but not in the “badly entertaining” way.

RED, WHITE & ROYAL BLUE Starring: Nicholas Galitzine, Taylor Zakhar Perez, Uma Thurman, and Stephen Fry Director: Matthew López KATIE Red, White & Royal Blue is perfect viewing if you’re looking for an easy-to-watch, cliché rom-com ending with a “happily ever after.” It’s fun, glossy, and cheesy while still touching on some meaningful themes and offering timely critiques on traditional values in modern Britain. It was much funnier than I expected too, and it didn’t take itself too seriously either. While it’s predictable and some parts of the plot are underdeveloped, the central performances are really enjoyable. Plus, it’s refreshing to see such a sweet and joyful queer love story. ADRIANO I’m not heartless. When a cheesy rom-com comes around, even when it’s not amazing, I’ll most likely still fall for it. That said, there is too much missing from Red, White & Royal Blue for me to give it a pass. It’s not horrible by any means. There’s some fun to be had, including a standout performance from Uma Thurman, but the movie just isn’t very funny, and the chemistry between Nicholas Galitzine and Taylor Zakhar Perez is lacking. It does succeed when it goes for the tender moments, but I was not nearly invested enough to fully enjoy myself. PHILL Sweet, cheesy, and borderline saccharine: These are the things that make good rom-coms worth watching, and something that Red, White & Royal Blue achieves extremely well. Also, though…the fact that it’s centered on two men adds the complication of a self-identity story since Prince Henry (Nicholas Galitzine) keeps his true self and royal heritage hidden from the world, an aspect that truly elevates the film. It’s incredibly easy to root for Henry and Alex Claremont-Diaz’s (Taylor Zakhar Perez) love story since they’re very likeable characters, and the film is full of so much charm, fun, and sentiment that it simply works. PAIGE While Red, White & Royal Blue is a cute, cheesy little rom-com that is very reminiscent of What a Girl Wants and The Prince & Me , the streaming movie is kind of cliché. It very much plays out like a Hallmark romance flick, just with more sex appeal to make it hot and steamy. With that said, our leads try their best to sell the relationship, but their performances are very much a mixed bag. Overall, despite its stumbles, it’s nice to see a queer movie with a happy ending. CALEB Hallmark-esque melodrama usually isn’t my cup of tea, but I’ll admit that Red, White & Royal Blue has some admirable qualities. The dialogue is unsurprisingly schmaltzy, but the romance at the heart of the film is mostly well-realized. The on-screen chemistry between Prince Henry (Nicholas Galitzine) and Alex (Taylor Zakhar Perez) elevates the stereotypical material and gives the film its beating heart. Unfortunately, what lets this Prime Original down is the painfully sloppy visual delivery. Rushed, sitcom-grade cinematography hinders Royal Blue at nearly every turn, transforming what could have been a beautiful love story into something undeniably ugly.

EENIE MEANIE Starring: Samara Weaving, Karl Glusman, Andy Garcia, Mike O’Malley, Jermaine Fowler, Steve Zahn, Randall Park, Marshawn Lynch, and Chris Bauer Director: Shawn Simmons QUENTIN As far as straight-to-streaming distractions go, you could do worse than Eenie Meanie , mostly thanks to Samara Weaving. Her committed performance and take-no-shit charm are further evidence of why she should be a bigger star, especially considering she almost single-handedly saves Meanie ’s confused story. The problem is that writer-director Shawn Simmons doesn’t seem to know what kind of movie he wants to make. There is a bit of a character study at the center, but it’s drowned out by undercooked heist tropes, a wavetop toxic romance, and lackluster car chases. But worst of all? A complete waste of national treasure Marshawn Lynch. PAIGE Eenie Meanie , starring the always watchable Samara Weaving, has some promising elements to it, including cool driving sequences and a clever heist. This action thriller is right in Weaving’s wheelhouse, and she flexes her no-bullshit, badass attitude throughout. Unfortunately, the movie can’t quite get the tone and pacing right, both swerving all over the road. One minute it’s a high-speed chase, next it’s a family/romance drama, and then a crime comedy. Those mashups can work together, but director Shawn Simmons doesn’t blend them smoothly enough. Overall, Eenie Meanie may be rough around the edges, but I still stuck around and didn’t mind the ride. ROBERT It is heartening to see Hollywood generating stories for female actors that were normally reserved for their male counterparts. In Eenie Meanie , centering on Samara Weaving as the most competent wheelperson in the Rust Belt was an inspired choice. However, the ancillary pieces revolving around Weaving’s Edie, including the circumstances of the plot and the visual effects, were lackluster, resembling a Jason Statham B-movie. I couldn’t ride along fully with the film up until the last twenty minutes, when it ramped up to places I didn’t expect and found a deeper well of emotion of which I didn’t think it capable; not enough to salvage it though. KATIE Eenie Meanie is a mostly entertaining, if uneven and confused, thriller that’s driven by Samara Weaving’s performance. Her character is annoyingly one dimensional, but Weaving still manages to make her somewhat compelling. However, overall, I found the film lacking in emotional engagement even though the ensemble is great across the board. The car chases and stunt-driving showcase writer-director Shawn Simmons' ability to create exciting action sequences, but outside of that, the film is full of an array of clichés, giving the odd impression that it was trying to replicate something better rather than being a thing of its own.

THE LAST HOUSE Starring: Greta Lee, Wagner Moura, Noah Alexander Sosnowski, Riley Chung, Emma Ho, and Gabriel Barbosa Director: Louis Leterrier PAIGE The first half of The Last House pulled me in, and I was intrigued by the premise and the possibilities of where it could go. But after the first hour, the movie became incredibly drawn out. As it went on, it felt like it didn’t know what to do with its own premise. It fails to build on its potential and ultimately becomes a very generic creature feature. And to be honest, the monsters were more threatening when we didn’t know what they looked like. My biggest question after watching this movie is: how the hell did Greta Lee and Wagner Moura agree to star in such a mediocre pandemic-like flick? KATIE The Last House is a lockdown-inspired thriller with an initially strong premise that ultimately fails to stick the landing. It’s at its best in the first half, when it goes from a family making the best out of a bad situation to something more dire, and the question of their survival is where it feels claustrophobic with a strained atmosphere. From there, it struggles to commit to a tone, and the insular drama feels slightly theatrical. Although the performances are good, the film doesn't get the most out of its very talented cast. It also reveals its hand too early, which destroys the sense of tension. ROBERT How actors parlay prestige breakout films into large-scale projects is always a point of fascination for me because they usually have options. When considering The Last House for Greta Lee and Wagner Moura, what was it: a decent concept on the page, the chance to work together, or the Brinks truck of money they hopefully received? Aside from the latter, there seemed to be little enticement. The script muted their acting sensibilities and played as any mundane survival film. There was substandard visual appeal and the plot was as stagnant as the main family’s situation by the end. 2022 called for its topical movie back.

RESIDENT EVIL Starring: Austin Abrams, Paul Walter Hauser, Kali Reis, Zach Cherry, and Sara Paxton Director: Zach Cregger NICK Resident Evil is like watching someone step into a video game, and I mean that in the most complimentary way. Whether it’s the shot composition, the usage of first- and third-person perspectives, or Austin Abrams’ screams that channel Ryan Gosling from The Nice Guys , this thing fires on all cylinders. It’s a great blend of horror and humour with a surprising amount of laughs and some of the most effective jump scares I’ve seen in ages. Most importantly, it’s genuinely scary. I’m sure video game fans may have some issues, but I’m not sure what more you could ask from this. QUENTIN Most of my familiarity with Resident Evil comes from the not-great Paul W. S. Anderson series of movies. Compared to those, Zach Cregger’s take on the material is stellar. However, relative to Cregger’s two previous offerings, Barbarian and Weapons , this new adaptation is a distant third when ranking his filmography. I imagine fans of the video game will be pleased since the presentation is so video game-y, complete with first-person angles and obvious homages to the game that I recognized without ever having played it. There also is far more humor than I expected. Ehh…it’s fine, I suppose, but it didn’t do anything for me. AMARÚ Writer/director Zach Cregger and lead Austin Abrams drop you right into Resident Evil , press play, and say “let’s f***in go.” Cregger’s kinetic camera work, with the periodic use of handheld long takes and first-person point-of-view, is simultaneously patient and urgent, reminding me of when I’d watch others play the game. Abrams’ manic nature has the proper presence to basically carry the film solo, pushing its hilariously frightening narrative forward with thrilling amusement, earning its many juicy jump scares. This was one of my favorite theater experiences of 2026 and an absolute freekin’ blast. PAIGE Zach Cregger’s Resident Evil is hands down the best film I’ve seen from this IP. He not only elevates the horror genre, but he does so with this franchise, too. The cinematography is wickedly stylish, and the 90-minute runtime is used so effectively. It’s a pretty straightforward survival horror film that honestly feels like you’re playing the game. The jump scares really work, and the humor feels relatable and keeps the movie entertaining. Austin Abrams carries this film on his shoulders and absolutely kills it in the role. While the third act feels rushed and the ending is a bit abrupt, this film is a gnarly ride.

CARNAGE FOR CHRISTMAS Starring: Jeremy Moineau, Chris Asimos, Dominique Booth, Lewi Dawson, Olivia Deeble, Lisa Fanto, Molly Ferguson, Patty Glavieux, and Betsey Brown Director: Alice Maio Mackay This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN Given that this is an uber micro-budgeted film from a 19-year-old director that somehow has six features under her belt, I suppose I’ll give Carnage for Christmas an “A for effort.” That said, this thing is bad, man. It’s like a student film you’d find on YouTube. The acting is really rough, some of the visual flourishes are incredibly cheesy, the acceptance messaging is over-the-top preachy, and, honestly, it’s barely even a Christmas horror movie. Other than a Santa suit, this movie could have taken place in July without much changing. At only 70 minutes, this felt much longer and tremendously lacking. PAIGE Alice Maio Mackay’s queer, Santa-slashing, mystery movie Carnage for Christmas lacks the traditional horror and holiday spirit it is going for. This amateurish, low-budget film truly feels like an R-rated, wannabe Nancy Drew knockoff built on lifeless performances and cringe worthy dialogue. The film's visually distinct, almost overexposed, aesthetic is another flaw on top of the 70-minute runtime that is surprisingly sluggish. I hate to say it, but with all things considered, this movie deserves to be on the naughty list for how bad it is.