Well I'm a bad butt cowgirl living in the wild wild west wicka wicka scratch yo yo bang bang. Me and Artemis Clyde Frog gonna save Salma Hayek from the big bad spidah.
In 1892 California, a woman contemplating adultery is forced to take refuge from a storm at the home of her first husband and his unstable wife, who claims to be haunted by their dead child.
A mark of a great film vs. a good film can be whether or not the people in your film are characters or caricatures. There are some roles where period pieces are played with tongue firmly in cheek. Each actor truly put in the work from sentence structure and cadence to understanding the relationship dynamics of the day. Kerr sought out to deliver a thriller and she worked hard to that goal and I think she succeeded.
Patriarchy is Projecting
Vivian Kerr, Jilon VanOver, Scottie Thompson, Connor Paolo for “Seance”
There’s a quote that says, “Patriarchy is projecting” and it’s the perfect description of Vivian Kerr’s Seance. The idea of men experiencing some facet of life that doesn’t fit into the hyper masculine boxes they’ve designed for themselves, so they blame women – specifically the influence of women – while eschewing any responsibility. It’s wildly interesting to me the horrors that have been lain on the backs of women to absorb and endure. There are long held myths about witches who lived in the woods in hemlock covered cottages, brewing demonic potions meant to bring malady to the general public. Come to find out, it was just lovely ladies running apothecaries trying to care for their loved ones. Is a witch truly the devil’s mistress or is she just an enthusiastic gardener?
Misfit high‑schooler Carrie White (Summer H. Howell) has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.
Score: 8.5/10
Director / Writer:Mike Flanagan
Starring:Summer Howell, Alison Thornton, Amber MidThunder, Matthew Lilliard, Josie Totah
Genre:horror, tv series
Runtime:8 Episodes
Release:10/06/2026
Excerpt
I have equally high hopes for the reception of Carrie. Performances are strong and passionate and the story boasts multiple narratives that never lack coherency even when shrouded in mystery.
Enter the Flanaganverse
As a bonafide fan of the MFU – the Mike Flanagan Universe – I’ve been excited for his reimagining of the Stephen King classic novel. It’s been adapted 3 times into films – the 1976 originator starring Cissy Spacek, the 2002 TV film, and the 2013 film starring Chloe Moretz and Julianne Moore. What Flanagan adds in series form is more than an adaptation and instead is more of an evolution. And it works!
We all know the story of Carrie – a socially stunted girl is forced to go to high school where she gets bullied for just existing. The violence and trauma seem to activate Carrie’s underlying secret – a telekinetic power fueled by her rage. Throughout every version we have Carrie’s overbearing mother Margaret, the kind cool girl – Sue, and the bully couple of Chrissy and Billy. Flanagan takes these parts and weaves his special form of magic that intertwines grief, social issues and current affairs. Carrie turns from a story of a girl being bullied and reacting murderously and detrimentally to a story about grief, bullying and finding your true self in the midst of endless roadblocks.
It’s a well done series that appears to double as a proof-of-concept for something I’m sure Flanagan has been interested in for a while. I don’t recall hearing whether Carrie is a bonafide limited series, or if it’s something more seasons can be added on to. If and when it does well, Carrie has the opportunity to act as a sort of redemption for the lackluster reception to The Midnight Club (2022), but more on that in a minute.
When two rival spies are ordered to eliminate the enigmatic operative they both once loved, a dangerous mission forces them to confront buried betrayals, unresolved desire, and a shared past that threatens to blur the line between duty and the heart.
Genre:espionage thriller, thriller, indie, black film
Runtime:77
Release:11/2026
Excerpt
In a world of two-screening – the act of dumbing down scripts with repetitions and exposition because it’s assumed the viewer will also be on their phones while watching – it’s nice to have a film that believes in the role of the audience again. Make the audience question, make them put pieces of the puzzle together and then let them know they were right.
Secret Agent Man (and Women)
Vivian “Oshun” Evergreen (Shannyn Stallworth) & LaShay “Poison Pen” O’Neal (LaToya-Patrice Suber) for Feel the Burn
As exciting as independent film is, it can be a crapshoot when it comes to quality. Having to sift through trust fund passion projects and ego-ridden propaganda films can overshadow the gems. And let it be known, Frank Long’s Feel the Burn is a gem! Made for $20,000 over 7 days, Feel the Burn is an espionage thriller, assassination film and love triangle romance all in one. The story is layered and dense, but the twists and turns to get to the ending all pay off.
We open on two incredibly elegant lady spies as they go to the agency to learn about their new job. Vivian Evergreen – code name “Oshun” after the African goddess (Shannyn Stallworth) – arrives in a souped up Mercedes and impeccable couture. Then we meet LaShay O’Neal – code name “Poison Pen” (LaToya-Patrice Suber) – who is an expert markswoman with a blond asymmetrical bob. The two go to see Jade (Ciel Noir) who gives them the assignment of a lifetime.
A musician on a tropical vacation with his family meets an ancient mythical creature who falls in love with him and demands his love in return, or else he faces deadly consequences.
Score: 4/10
Director / Writer:Frank Merle
Starring:Jamie Kennedy, Ash Tsai, Jason Markoff
Genre:horror, indie
Runtime:92 min
Release:2026
Excerpt
I’m not against a movie being made to facilitate a vacation, but the final story should justify the trip. Frank Merle’s Namaka (2026) is a thriller with a lot of potential but sometimes loses track of its own plot.
Namaka’s Siren Song
Ash Tsai as Namaka
I’m not against a movie being made to facilitate a vacation, but the final story should justify the trip. Frank Merle’s Namaka (2026) is a thriller with a lot of potential but sometimes loses track of its own plot. Set on one of the picturesque Hawaiian islands, Namaka serves as a cautionary tale though the underlying message is a bit unclear.
We open with our resident conspiracy theorist podcast host Guy Torina (Jamie Kennedy) imploring us to take care with the mystic nature of the island. He takes calls from locals and listens to their supernatural encounters while also giving them advice with mortal realm implications. He’s a bit of a ham, but he doesn’t seem toxic or overly problematic and seems to be really passionate about the lore of the islands. He’s recounting a tale of a missing man on the island when we switch to Alex Cook (Jason Markoff) and his wife Erica (Erin Killean). They’re going on an extended family vacation traveling with over 5 other members. Erica is excited to reconnect with family while Alex is looking forward to making music. He even purchases a new ukulele and while playing in a secluded spot in the jungle, a young woman makes his acquaintance.
Alex is instantly enamoured and this may be where some of the issues started. The story of Namaka is a part of Polynesian mythology. Namaka is often seen alongside her sister Pele who lives in the volcano and controls lava and earth. Namaka is primarily the goddess of the seas and she and Pele are constantly at odds because of a stolen paramour.
Merle has reworked some of the plot and basically reduced Namaka (Ash Tsai) to a man-eating siren who – despite being immortal – doesn’t seem to have control over her whims. If the production would have just cast someone as Pele, you could have a really interesting story wherein Alex is caught in a tug of war. But as it stands, Namaka is a tale of nonconsent and ignored red flags.
This film is a redpiller’s dream! A manic pixie dream girl who used her wiles to seduce an innocent artist with a heart of gold. Once ensnared in her trap, if the artist tries to escape, she threatens to destroy his entire world. It’s her fault for the decisions he makes and he’s powerless to stop her. At one point Namaka tells Alex that the “decisions” he’s made are his own, but not much in the film shows that he had actual autonomy. The end of the film does present the audience with a “the moral of the story is…” moment, but it’s really of no consequence nor is it based on anything that happens in the film. It feels like Namaka tried to straddle the decency line with their main character, and in their vagueness just made the whole thing confusing.
Fumbled Hat Trick
Jamie Kennedy as Guy Torino in Namaka
You can’t leave sexual coercion as something for the audience to decide. And without this decision being made, it shrouds every scene in which Alex returns to Namaka with a heavy gray cloud.
Sadly, it just all feels very lazy. Namaka is a collection of tropes with a heist-like score underneath. We have Walter Notch (David Howard Thornton), a “crazy” unhoused man spouting words of wisdom presented as gibberish and ultimately mean little to the plot. There are two bumbling disbelieving detectives who wave off claims of a dead body. The long-suffering wife who gives Alex so many chances to explain his predicament. And the mysterious woman who can’t help but be drawn to Alex because of his music – which, I’m happy to suspend disbelief, but the music was not great and it was clear Markoff can’t play the ukulele. Also, when I mentioned earlier about this being shot to justify a vacation, I wasn’t kidding. There are several scenes where we take helicopter tours and go to the beach and mountain climbing! I’m not sure we ever learn the names or hear from any of the other family, but there are full scenes with them on vacation.
These scenes are even more notable because they are largely shot using a hat camera. And I think that’s my biggest problem with this film – it’s a hat camera. It’s supposed to be a fun indie horror that keeps the audience guessing, but it’s wildly obvious and lacks any finesse or nuance. Everyone who sees Alex’s hat camera knows immediately what it is and most are – at best – annoyed. What should have been a fun way to introduce “found footage” style filming again fell flat. Namaka is full of so many creative and interesting parts (David Howard Thornton is Art the Clown in the Terrifier (2016) films and delivered a great cameo, that amounted to little), but it just doesn’t work.
David Howard Thornton as Walter Notch in Namaka
There were some bright spots. Jamie Kennedy as podcaster Guy Torino was a pleasure from start to finish. Whether he was cutting to commercials or striking out with women at the bar, he gave an involved performance that he disappeared into really well. Markoff is good natured and has good timing which helped a lot of the comedic beats land. He and Tsai shared chemistry and made good use of their time on screen. Tsai has several credits to her name and put a lot into Namaka, even as one-dimensional as she was.
Tl;dr: Steeping this film in island mythology could have been really interesting. Namaka is a flawed indie film that should have stuck to its roots.
In the ruins of a burned-out church, a defeated and depressed musician debates existence with two irreverent puppet companions, while reliving the betrayal, artistic rejection, and failed romance that pushed him toward nihilism.
Score: 4/10
Director / Writer:Walter Santucci
Starring:Jack Grisham, Evelyn Vazquez, Tony Nittoli
Genre:experimental, short, indie, alternative
Runtime:66
Release:2026
Excerpt
I’m not sure that the viewer is supposed to see it as a metaphor of how depression can mess with memory and perspective. If I’m supposed to acknowledge the blinders Human has put around the situation, or am I supposed to believe him completely and be on his side. For a film so multilayered and unique production-wise, it feels like the same amount of care wasn’t paid to the story – if that’s what this actually is.
I Hate Myself and Want To Die
Human waxes
Puppeteering multihyphenate Walter Sanducci’s new film I’d Rather Be Turned Into Cat Food (2026) vacillates wildly between performance art, biopic, fever dream, therapy session and propaganda film. It’s unequal parts pleasure and pain wherein the pleasure of the film is the amazing soundtrack composed by Santucci, and artful editing, and the pain is… well first, let’s define pain. Sometimes sharp, sometimes dull, sometimes quick and other times lingering, pain is a universal feeling whose intensity and tolerance lies in the body of the beholder. This film is full of pain only it’s mistaken for self-awareness and introspection and the film may suffer because of it.
After receiving a devastating diagnosis, a severely depressed veteran who hides his pain through self-isolation and alcohol must accept the help of his famous cousin or risk becoming just another statistic.
Score: 6.5/10
Director / Writer:Ammie Masterson, Kevin Machate, Todd Rodgers
Starring:Kevin Machate, Beth Shea, Ammie Masterson, Barry Corbin, Gayland Williams
Genre:drama
Runtime:23
Release:2026
Excerpt
In a world plagued by social injustice, medical inequity and community initiatives that are less and less about actual community, movie watchers are learning towards escapism. So why is that Kevin Machate’s moody drama Worst Enemy (2026) works so well in a moment that’s made to resist it?
I’m a Hazard to Myself
Kevin Machate as “Shane” in Worst Enemy
In a world plagued by social injustice, medical inequity and community initiatives that are less and less about actual community, movie watchers are learning towards escapism. Many would rather ignore the harsh truths of life to settle into the blessed freedom of fantasy. So why is that Kevin Machate’s moody drama Worst Enemy (2026) works so well in a moment that’s made to resist it?
There are several possible reasons, but I’m inclined to believe it’s because at the end of the day, a story of truth and passion will always rise to the top. In Worst Enemy we follow Shane (Kevin Machate). There was a time when his maladies would have seemed excessive; his sweet dog has died, he’s broken up with his partner, his parents were abusive and his father still is, he lives in Waco, he’s an alcoholic war vet and he’s just been diagnosed with Major Depressive Disorder and Borderline Personality Disorder. The only bright spot is his cousin Ashley (Beth Shea), a successful Hollywood actress who he adores.
It’s… a lot. But sadly it’s no longer a possibility. When it rains it pours and it seems like every time Shane has found his bottom, the floor falls just a little deeper. He has the promise of a new job on the horizon and that’s the only thing getting him through. He has a confidant in Ashley, but as willing as Ashley is, she’s got call times and her own family to consider. When Shane reaches Ashley, she’s always ready with a kind and inspiring word, but most times when he reaches out he gets her voicemail.
Shane’s caseworker Dr. Tucker (played by director Ammie Masterson) tries to validate Shane’s experiences, but because of her association with the VA (and his growing drinking problem) he’s reluctant to confide in her. It’s just another way vices can stunt development. When Shane joins his dad Jim (Barry Corbin) and step-mother Gloria (Gayland Williams) for dinner, things go from tense to very bad.
Don’t Let Me Get Me
Gayland Williams as “Gloria”, Barry Corbin as “Jim” and Kevin Machate as “Shane” in Worst Enemy
The encounter only adds fuel to the fire of Shane’s depression and the hope at the entrance of the pit he’s stuck in gets further and further away. Worst Enemy feels like a reference to Pink’s song. “I’m a hazard to myself, don’t let me get me. I am my own worst enemy.” and it’s something that Machate displays beautifully in Shane. You can see the stress, the sadness, the reluctance in his eyes. Even when he’s trying to bask in the few moments of happiness, he carries a sadness that surrounds him like an aura.
Situations like this make you want to find an enemy, but when something is everyone else’s fault – all of the people who failed you and shaped you into this shell of your own potential – then you really have no one to blame but yourself. At least that’s how depression can make it seem and the script shows this in a succinct yet hard-hitting way.
Worst Enemy makes you wonder not only about the people in your life who could use more support, but also about yourself. In a 23 minute film, Machate and Masterson were able to craft a film that spoke volumes, but directly. Shane’s story is not so obscene that it couldn’t happen to us or someone we love.
Technically, it’s a great effort for an indie film. The cinematography and sound are top notch and it was fun seeing an uncredited cameo of Keegan Michael Key as a member of Ashley’s acting project. Though the script is heavy there are a couple of tension relieving moments of humor and they work well and don’t distract from the film.
Overall I applaud Masterson and Machate on this film and would certainly recommend it.
When Patricia approaches Ashley with a tailor-made project and is rejected, she gets a gun. Patricia breaks into Ashley’s home and takes her hostage. What ensues is a psychological cat-and-mouse game that culminates in a surprising and bloody climax.
Score: 7.5/10
Director / Writer:Ryan Moore
Starring:Cheyenne Perez, Grace Kaufman, Emily Hall, David Lengel
Genre:indie, psychological thriller
Runtime:84
Release:2023
Excerpt
At one point Ashley says, "You can’t just put a gun to someone’s head and force them to give up social media!" and while I laughed, I found myself feeling genuine concern. Her posting schedule is going to be really behind!
Why Don’t You Love Me?
“Grace Kaufman stars as Ashley in Ryan Moore’s Influence“
It’s unusual to have Béla Tarr’s 7.5 hour Criterion Collection epic Sátántangó feature as a set piece in an abduction thriller, but Ryan Moore’s Influence (2023) said, hold my beer! It’s a bold move from the young director, and one that has interesting dividends.
We follow writer/director Patricia (Cheyenne Perez) as she tries to sell her script in Hollywood. She’s hit with lovely rejection letters and promises of nothing. By day she edits footage for her boss – a jaded wellness ambassador named Melissa (Emily Hall), and by night she doom scrolls wellness influencers on Instagram. It’s a vicious cycle of faux inspiration and toxic positivity that sends Ashley even further into a depressive spiral.
One influencer catches her eye. A young woman named Ashley (Grace Kaufman) who has 4M dollars and what seems to be a more measured view on depression . She’s all about embracing the bad feelings and taking time to sit with yourself. This resonates with Patricia, particularly when they run into each other in a chance encounter.
The interaction between them sets the stage for the film. Patricia starts following Ashley around town trying to initiate meet-cutes. She’s trying to entice Ashley to work with her, she gets a gun, she holds Ashley hostage. As one does. As a thinly veiled metaphor for how creatives and companies butt heads, Influence is smartly done. Instead of waving away or dismissing the more extraordinary parts of the plot, the viewer simply files Patricia’s actions (and Ashley’s acquiescence) under “It’s Possible!”.
When I Make Me
“Cheyenne Perez stars as Patricia in Ryan Moore’s Influence, but now she’s got a piece.”
In a world where discussion of mental health is rampant, it can be seen as okay to root for a person who eschews social graces (like, not holding someone in their own home) in favor of self determination. At the end of the day who is the real villain? The person lying on social media to sell $40 lip balms and $120 face masks, or the person who abducts them until they agree to live in their truth?
It’s the abductor, they’re the villain. But since this is also our protagonist, Moore creates an atmosphere where we try to understand Patricia’s motivations. And the wild part is that we do. Any audience can understand the pressure Patricia is under to make her mark in a fast-paced industry. Every person in LA understands that the rent must be paid. It’s easy to understand why, when powerless, Patricia wants a gun. When filled with self-doubt she decides to accomplish her goals regardless of the consequences. It’s all perfectly understandable with the key difference being… but we don’t do it.
Patricia asks out loud if she’s crazy and I believe the fact she’s planted on the reality side of the fantasy line points to yes. Even Patricia’s search for truth is done from a commode. There exists an artifice that if Patricia could really see it, it may change the trajectory of her life.
Each minute of the film becomes more and more rife with delusion. And it all climaxes in an enjoyably predictable way. The seriousness of the situation is often undercut by something that would only make sense in Los Angeles. At one point Ashley says, “You can’t just put a gun to someone’s head and force them to give up social media!” and while I laughed, I found myself feeling genuine concern. Her posting schedule is going to be really behind!
So Easy to Love
“Cheyenne Perez stars as Patricia in Ryan Moore’s Influence“
Perez is a wonderful actor who you may recognize from her stint as Jo in HBO’s The Sex Lives of College Girls (2021). She’s well matched with Kaufman whose longest stint was as Kate Burns in Matt LeBlanc’s Man with a Plan (2016). Both actresses have appeared in many roles since then, and always have time for an indie film. Despite the lower budget, both women give their all delivering tense and thrilling performances.
Another notable mention goes to Emily Hall whose vapid, outtouch influencer (and also Patricia’s sleep paralysis demon) manages to play someone truly awful yet completely recognizable. Again, it makes sense when Patricia is coaxed into this world of bad because it seems as though the bad people are rewarded. The difference is that Melissa knows she’s terrible. She accepts her own selfishness which removes the blinders blocking her consequences. Patricia on the other hand, tries to imbue morality in a situation that is anything but, and in crafting that lie, expends the energy needed to see the truth.
The role of Taylor (KT Kent) – Ashley’s manager- is especially important as it’s only on the phone but Kent’s performance makes Nicole a huge part of the narrative. She’s also not beholden to morality. And while she acknowledges her selfishness, she’s also great at her job, and that job is caring about Ashley.
There are lots of thought pieces presented in the film in a way where it’s clear they are for introspection later. The film doesn’t leave loose ends necessarily, it simply draws this “day in the life” bon mot to its logical conclusion. Indie films are getting more and more creative with the look of their films and director Moore along with cinematographer Alice Miller deserve all of the recognition. The film looks great, it’s shot and acted well and leaves the audience with plenty to sit with as the credits roll.
A cultured woman living in an isolated home hires a housemaid to live with her and tend to the house. Their days begin with politeness and casual conversation, but as time passes, their differences begin to drive them to conflict.
Score: 5.5/10
Director / Writer:Albert Goya
Starring:Lucia Goya-Betts
Genre:psychological thriller, indie
Runtime:94 minutes
Release:2026
Excerpt
Artist is a fresh faced, put together young woman with voluminous blond hair and piercing blue eyes. Conversely, Karen has a haggard aura that’s accentuated by old lady makeup lines, an ogre-like attitude and way too much energy for her age.
Noblestone (2026) is the second indie feature by British-Spanish director Albert Goya. The film was made with zero budget and took two years to complete. It’s a two-hander deftly handled by Goya’s sister, Lucia Goya-Betts. It’s a surreal and visceral story that is part Fight Club (1999), part The Talented Mr. Ripley (1999) and part What About Buck? (1991). If that sounds like a heady combination, rest assured that it is. But somehow this elevated piece of “crack treated seriously” works.
Noblestone is director Albert Goya’s second feature following The Lady Governess (2023). The film was produced under Goya’s stage name “Tito Wiley”. Goya created The Lady Governess at 16 and completed Noblestone at 19. The young artist wrote, directed, edited and composed the film. It’s a valiant effort that shows a lot of promise for his unique style of storytelling. Noblestone follows the path of The Lady Governess in fundamental ways. We have our unnamed main character – a self-absorbed artist in Noblestone – and Karen (Lucia Goya-Betts). Karen is a force of nature who is both entirely herself and completely inscrutable.
In The Lady Governess, our main character is a lonely widow who hires Karen to keep house and keep her company. Noblestone serves as kind of a spiritual sequel to Goya’s first work and this is an important motif to keep in mind while watching. Both of our lead women have no name, but are defined and stricken by loneliness.
"Where Leviticus could have been an undeniable hit, it serves instead as a stepping stone. That’s not a bad thing, it’s a show of faith in Chiarella’s vision."
Recently I watched Dan Levy’s Big Mistakes (2026) and noticed it seemed to turn a growing trope on its head. When characters in these special projects make wild decisions or don’t do something that falls under the basic rubric of “common sense” it can be frustrating to the audience. While the characters in Big Mistakes were in larger than life situations, it didn’t stop them from trying to figure out what was going on. They asked questions, and when they didn’t, the reasons were believable and kept the twisting plot surprisingly grounded.
In Adrian Chiarella’s feature debut Leviticus (2026), we’re treated to a slick queer thriller romance that doesn’t ask or answer nearly enough questions to be cohesive. The main character is Naim played by Joe Bird of 2022’s Talk To Me (also an Australian horror). Naim is friends with Ryan (Stacy Clausen in what appears to be his feature debut), and on the precipice of discovering they are actually more than friends. This leads to the boys forming an unbreakable bond until Naim sees something he shouldn’t and makes a decision that changes the course of his life, Ryan’s and others as collateral damage.
Kara Zor-El, aka Supergirl, joins forces with an unlikely companion on an interstellar journey of vengeance and justice when an unexpected adversary strikes too close to home. -IMDB.com
Score: 6.5/10
Director / Writer:Craig Gillespie / Ana Nogueira
Starring:Milly Alcock, Jason Momoa, David Corenswet, Eve Ridley
Genre:Superhero, Action
Runtime:108 minutes
Release:06/26/2026
Excerpt
"If we’re going to connect to Kara as an audience, we need to know who she is. Kara may not fully know who she is, but the audience should – especially as our hero."
Stepping Out of Superman’s Shadow
Sure, it’s a bird… it’s a plane… it’sSuperman (2025), but what of Kara? She’s probably watching her cousin’s hero shenanigans from the comfort of her local bar on whatever planet she happens to be in at that moment. She’s likely got snacks, cold beer, a hyperactive dog and a healthy dose of trauma. Kara Zor-El is a hero in her own right though without that pesky “people pleasing” gene Kal-El seems to have. When a threat hits too close to home, Supergirl decides to jump in and goes on a journey to self-discovery and finding a place called home. Craig Gillespie directs the second James Gunn DCU film, and the first film for DC, Supergirl (2026) and it’s thrilling, hilarious and inspires the heroes – willing and reluctant – in all of us.
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