When The Strangers trilogy was initially announced I think most of us were intrigued. The concept of filming an entire trilogy back-to-back implies a level of faith in the material. Then hearing that they were going back to the aesthetic of the original piqued my personal interest. After all, the first one is a modern-day horror classic. As someone who didn’t love Prey At Night but has always considered the first to be a great thriller, I was ready to go back into the world of violent home invasion. And The Strangers: Chapter 1 looked to take things back to the basics.

I was fortunate enough to talk to director Renny Harlin, producer Courtney Solomon, and stars Madelaine Petsch and Froy Gutierrez about their new film. Knowing what a big horror fan Petsch is, I had to ask what it meant to be a final girl in a major horror franchise. We talked all about the tension-building mayhem of the new trilogy opener. But also plenty of teases for what is to come as there are clearly plenty of tricks up their sleeves. Check out the interview above (which features a special appearance by certain Strangers) and check back Thursday for my review.

The Strangers: Chapter 1 plot synopsis:

After their car breaks down in an eerie small town, a young couple (Madelaine Petsch and Froy Gutierrez) are forced to spend the night in a remote cabin. Panic ensues as they are terrorized by three masked strangers who strike with no mercy and seemingly no motive in The Strangers ― Chapter 1, the chilling first entry of this upcoming horror feature-film series.

THE STRANGERS – Chapter 1 will be available in theaters nationwide on May 17, 2024

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May 11, 1994 saw the release of Alex Proyas’ The Crow, and cinema was never the same. And now, 30 years later, we’re finally being treated to the definitive version on 4K UHD. You know what big fans of physical media we are here at JoBlo so we’ve been highly anticipating this release. And we also LOOOOOVE The Crow. We’ve covered it on our JoBlo Horror Originals YouTube Channel and have even taken a look at its terrible sequels. Heck, I’m not sure about you guys but The Crow was one of those films I always loved to talk about on the old JoBlo forums. I wonder what they’d be saying about the new film?

And shoutout to those that were able to snag the very cool Steelbook that went quickly out of print. It’s easily one of the coolest Steelbooks out there and features an absolutely beautiful design. Although, if you’re one of those people reselling it on ebay for $150 then maybe rethink your life choices.

The Crow has never had great releases, with its old DVD and Bluray on the uglier side. I’ve always considered that part of its charm but it’s an absolute treat to see the film fully realized in 4K. The HDR provides such a brilliant contrast in the night scenes. The blacks are deep but not crushing, and the highlights pop the image just enough. The church scene at the end features such vibrant red, that I felt like I was watching it with new eyes. And don’t worry, despite the lack of grain, there’s no excessive DNR that has become so prevalent in 4K releases. The sound mix is also wonderful, with a perfect balance that doesn’t require you to constantly have your finger on the volume control.

Unfortunately, outside of the absolutely beautiful transfer, there aren’t a ton of NEW features on the disc. “Shadows & Pain: Designing the Crow” follows the creation of the film through the eyes of Production Designer, Alex McDowell. It’s extremely well done and has a wealth of knowledge about the creation of the film.  “Sideshow Collectibles: An Interview With Edward R Pressman” follows the producer of The Crow as he goes over the movie a bit. It’s more surface level, but its cool to see the wonderful statues by Sideshow, who always knock these out of the park.

I was hoping to be able to get some new information about the film but, given its history, most of that has already been expounded upon. There are some cleaned-up Production Stills that help to provide a little more context to the behind-the-scenes. It’s really too bad there isn’t a wealth of footage from filming. Regardless, here are some fun tidbits I pulled from the new 4K release:

• The film has had some very messy releases, with one UK release even getting an ugly 1080i transfer. This is easily the highest fidelity release we’ve ever received for the film.

• Production Designer, Alex McDowell claims the Punk scene greatly affected The Crow‘s look, as he worked with directors like David Fincher, Michael Bay, and, of course, Alex Proyas on a variety of music videos.

• Devil’s Night was based on actual events in Detroit. McDowell and Proyas surveyed the damage after Devil’s Night in Detroit before filming.

• The miniatures are what help to give the film its texture, whether it’s the usage of a train set or remote control cars, the scale of the film is always at the film’s forefront.

• The pawnshop exterior was filmed on the studio backlot, for the most amount of control with the decay of the city.

Other special features on the set include: Audio Commentary with Director Alex Proyas, Audio Commentary with Producer Jeff Most and Screenwriter John Shirley, Behind-the-Scenes Featurette, A Profile on James O’Barr, Extended Scenes, Deleted Footage Montage, and the Trailer. While not exclusive to this set, there’s a beautiful quote that Brandon says, which is actually a quote from the book Sheltering Sky by Paul Bowles. I think it’s the perfect way to end this:

“Because we do not know when we will die, we get to think of life as an inexhaustible well. And yet everything happens only a certain number of times and a very small number, really. How many more times will you remember a certain afternoon of your childhood. An afternoon that is so deeply a part of your being that you cannot even conceive of your life without it. Perhaps 4 or 5 times more. Perhaps not even that. How many times will you watch the full moon rise? Perhaps 20. Yet it all seems limitless.”

Will you be buying The Crow 4K UHD? Have you owned any past releases? Let us know in the comments!

THE CROW IS AVAILABLE ON 4K EVERYWHERE ON MAY 7TH, 2024.

The post Celebrating the 30th Anniversary of The Crow with the 4K! appeared first on JoBlo.

There are few names as big within the world of cinema as Cronenberg. David Cronenberg has been shocking audiences for decades, with his son Brandon taking up the mantle himself. Now, Caitlin Cronenberg follows in her family’s footsteps making her directorial debut, Humane. You can check out my review for the film HERE and hopefully will check out the film yourself. It’s such a terrifying look at a climate-battered world and the messed up solutions a fascist government would take. And it takes some unexpected turns.

I was lucky enough to chat with Caitlin about Humane and I proceeded to gush about the film for 15 minutes. It’s a rare opportunity to be able to discuss such a thought-provoking movie with the filmmakers themselves. So I fully took advantage of it, inquiring about the worldbuilding and if she felt any pressure due to her family name. Because Humane isn’t quite what you would expect it to be, as she’s a very different filmmaker from her father or brother. But I’d argue that just makes her all the more exciting of a filmmaker. With Humane being such a solid debut, I can’t wait to see what she brings us next.

Humane plot:

In the wake of an environmental collapse that is forcing humanity to shed 20% of its population, a family dinner erupts into chaos when a father’s plan to enlist in the government’s new euthanasia program goes horribly awry.

HUMANE IS PLAYING IN THEATERS ON APRIL 26TH, 2024 AND STREAMS ON SHUDDER ON JULY 26TH, 2024.

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It seems like every other week there’s a new horror release based on some classic literary character. Whether it’s Pinocchio or Winnie the Pooh, there doesn’t seem to be a sign of them slowing down. And this time their sights are on Cinderella. I’m sure you can imagine all the ways that classic tale can be given a horror slant, with Cinderella’s awful treatment by her stepfamily. The movie itself has some fun moments (you can check out my review HERE) but the real highlight is Natasha Henstridge as the Fairy Godmother. She relishes every moment of screen time and looks to be having a blast. So I was excited to be able to talk to her about the part.

Plus, if you know me, you know I’m going to ask Ms. Henstridge about some random horror movie she’s in. The culprit this time happened to be John Carpenter’s Ghosts of Mars, in which Henstridge starred. We get into how she was recommended by her at the time boyfriend after Courtney Love (yes, THAT Courtney Love) dropped out of the project just one week before filming. And it’s hard to think of Natasha without thinking of the film that put her on the map: Species. We get into whether or not the franchise has any place in today’s sexually sensitive society and if she’d have any interest in returning.

Cinderella’s Revenge plot:

Cinderella’s wicked stepsisters and stepmother push her too far, leading her to swap her glass slippers in pursuit of blood-soaked vengeance with the help of her Fairy Godmother.

CINDERELLA’S REVENGE IS RELEASING TO THEATERS ON APRIL 26TH, 2024.

The post Interview: Natasha Henstridge Talks The Insanity Of Cinderella’s Revenge + Future of Species Franchise appeared first on JoBlo.

PLOT: When a group of friends recklessly violates the sacred rule of Tarot readings, they unknowingly unleash an unspeakable evil trapped within the cursed cards. One by one, they come face to face with fate and end up in a race against death.

REVIEW: I almost had to check my calendar and make sure we weren’t in January. Usually, this level of horror is relegated to those dark winter months so I was surprised to see Tarot getting a May release. And then even further shocked to not see a single advertisement for the film. I go to the theater a lot and yet I wasn’t exposed to a single Tarot trailer. Never a good sign of a film’s quality. But also brings the advantage of having absolutely nothing spoiled for me leading in. Even still, this film is so generic that I feel like I’d not only seen the trailer, but I’d already seen the entire movie two decades ago.

The story of Tarot follows a group of college friends as they’re off on a weekend getaway. In typical horror movie fashion, they find a mysterious deck of Tarot cards in the basement and decide to use them. What starts as simple astrology readings results in the death of the members of the friend group, correlating to their horoscope. Yes, it’s every bit as dumb as it sounds. Every cliché you can think of, they’ve got here. And given the PG-13 rating, expect tame kills and tired jump scares. With no true establishment of the villain’s powers, the script seems to be constantly making up the rules as it goes along.

I knew I was in for trouble when the film spent nearly ten minutes on Tarot readings. Each friend in the group has theirs read and essentially spells out the rest of the film. The acting is brutal and there lacks any sort of tension. I’ve always found astrology readings to be very dumb so the fact that they’re treated so scientific here is painful. Every reading is taken as an absolute fact. But don’t worry, there’s still a healthy dose of skepticism as characters are constantly wary of their own situation. However, it gets to the point of annoyance as they go back and forth on whether or not they’re cursed. Even after they’ve fully seen the supernatural beings and multiple friends have died. As you can probably tell, you’ll be rolling your eyes a lot during the film.

Jacob Batalon is the only member of the cast that even somewhat works. Harriet Slater‘s accent was constantly popping through and it was very distracting. I loved Avantika in the Mean Girls musical but she just blends into the background here. Thankfully she’s involved in the only interesting kill in the film. I’ll never claim that it’s essential for a horror movie to have a likable cast. It’s an added bonus though not entirely necessary. But if you’re not going to give me someone to root for then at least give me a villain to cheer on. Instead, we’re treated to one of the most unlikable casts imaginable and a villain with weak reasoning. The design of some of the creatures work well but they’re shot awkwardly and lit way too brightly.

Tarot is an unbelievably bad film that will result in more groans than actual scares. It’s increasingly frustrating as it goes along and is lacking in any kind of originality. The creature designs feel very “been there done that” and lack any true tension. The characters are all cliches, constantly making bad decisions. Even looking at it from a trash appreciation angle, it’s hard to see what this film brings to the table. Unlikeable characters, a generic villain, and a story so convoluted it’ll make your head spin. So if you take the chance to see this in theaters, it doesn’t matter what month you were born, your reading is all the same: boredom.

TAROT IS IN THEATERS EVERYWHERE ON MAY 3RD, 2024.

Tarot

TERRIBLE

3

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With the Chucky TV series having reached the end of its current season (which is hopefully not the last), it’s crazy to think of all the insanity this character has gotten up to. What started as a serial killer inhabiting a Good Guy doll and trying to take over the body of a young boy has become a show involving the White House and launching nukes. So when I sat down with stars Brad and Fiona Dourif, I made sure to ask them about all of it. Because if we fans weren’t expecting it, I can only imagine what it’s been like for the people behind these characters.

I was also gobsmacked with the news that Mr. Dourif had quietly retired from acting. He was simply performing as Chucky as a favor for both his daughter as well as the character’s creator Don Mancini, whom he considers to be family. As someone who has loved the man’s work going way back to Billy Bibbit, it was hard not to get emotional at the news. He’s one of the best character actors out there and was always a highlight of anything he’s in. Here’s hoping that Chucky gets renewed for another season, so that we can get more Dourif. Because a world without Chucky isn’t a world I want to live in.

Chucky Season 3 plot:

In Chucky’s unending thirst for power, season 3 now sees Chucky ensconced with the most powerful family in the world — America’s First Family, inside the infamous walls of the White House. How did Chucky wind up here? What in God’s name does he want? And how can Jake, Devon, and Lexy possibly get to Chucky inside the world’s most secure building, all while balancing the pressures of romantic relationships and growing up? Meanwhile, Tiffany faces a looming crisis of her own as the police close in on her for “Jennifer Tilly’s” murderous rampage last season.

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PLOT: While stranded at a rural Arizona rest stop, a traveling salesman is thrust into a dire hostage situation by the arrival of two bank robbers with no qualms about using cruelty-or cold, hard steel-to protect their bloodstained fortune.

REVIEW: Having the same style as a famous filmmaker can be both an advantage and disadvantage. In many ways, The Last Stop In Yuma County reminded me of Tarantino’s The Hateful Eight. It’s coming together of many stories and a rewatch giving so much context to every little event meant a certain level of skill. Sure, it may look like No Country For Old Men (and even feature a bit part with Gene Jones) but it’s very much its own film. And now that director Francis Galluppi has been chosen to make an Evil Dead movie by Sam Raimi himself, all eyes will be on Yuma County. But don’t go into this expecting another filmmaker’s tendencies. Galluppi has a style all his own.

The first thing that stands out about The Last Stop In Yuma County is its gorgeous cinematography. It’s great to see something set in the desert and not have this weird orange tinge. I love Breaking Bad just like the rest of us but not every desert scene needs the exact same look. If anything, there’s a slightly overexposed look to it that I really liked. The score combines with what’s in the frame in such a satisfying way that it just oozes atmosphere. The sound design helps to establish the tension but even the barren landscape contributes. This is the kind of movie you can feel.

The story follows the many lives intersecting at a diner as they wait for gas to arrive at the local station. The most prominent of which are the two brothers who robbed a nearby bank. All the patrons are desperate to continue their journey, while the brothers hope to go under the radar. Every bit of dialogue reveals another layer of the ever-unwinding tapestry of this tale. Characters you don’t expect to be prominent are and those expected to save the day are gone in a flash. Actor familiarity is used to the movie’s advantage, with the entire cast rounded out with recognizable character actors.

All of the performances here are good but it’s Jim Cummings and Richard Brake that make the most of their roles. Cummings is a great lead that manages to go on quite the journey of self-discovery. As much as this is an ensemble piece, this is really Jim’s film. He brings so much to the role and works so well as the audience surrogate. Brake may just be the most underrated character actor out there, as he’s able to bring some menace to any role he inhabits. One half of a pair of bank robbers, Brake’s demeanor helps set the tone for the entire second act. His interactions are the catalyst for nearly every plot development, so a lot is riding on him.

Francis Galluppi served as both the writer and director so there’s a lot to get excited about with this young filmmaker. He’s never bogged down with trying to keep the audience up to speed. You’re either along for the ride and paying attention or you’re not. He’s not rewarding the lazy watcher so make sure you’re giving the narrative you’re undivided attention. Otherwise, you won’t be privy to the satisfying payoffs. And just when you think you’ve got his filmmaking style cornered, he goes in a different direction.

The Last Stop In Yuma County is a slow burn in the best of ways. Little nuggets of information are revealed, increasing the intrigue with everyone. Whenever you think the story is going one way, something unexpected happens that throws everything for a loop. And given that the story structure is a little off the beaten path, these moments come at unexpected times. The tension rides high and builds up to such crescendos of violence that I was left blown away by its execution. I wasn’t entirely sure what to make of the film as it progressed, but by the end, I wanted to restart the journey again. So this is far from my Last Stop in Yuma County.

THE LAST STOP IN YUMA COUNTY IS IN THEATERS AND DIGITAL ON MAY 10TH, 2024.

Link To Purchase the Film Digitally

The Last Stop In Yuma County

AMAZING

9

The post The Last Stop in Yuma County Review appeared first on JoBlo.

PLOT: Cinderella is pushed too far by her evil stepsisters and stepmother, which causes her to switch out her glass shoes and use the assistance of her Fairy Godmother to seek bloody vengeance.

REVIEW: Everyone knows what they’re in for when it comes to these movies at this point, right? I don’t need to lay out the schpeal about public domain horror? Good, because it seems as though these films are here to stay. And in instances like this, I kind of get it. A twisted take on a tale that’s been told a thousand times? We saw Seth Grahame-Smith do something similar with his Pride, Prejudice and Zombies and even Abraham Lincoln Vampire Hunter. So it’s not like this is a brand-new concept. The real question remains: how well does this film do with transforming the Cinderella story into one of horror?

Cinderella’s Revenge is a pretty basic concept, with young Cinderella (Lauren Staerck) is neglected by both her stepmother and her stepsisters. The entire stepfamily is utterly loathsome and comically mistreats her. Outside of the opening murder, there’s a very long stretch of time where this just feels like a Cinderella movie. One with plenty of eccentricities, but a standard adaptation nonetheless. It’s when the horror is introduced that I finally start to perk up again.

Staerck does a decent job as Cinderella and her charisma helps elevate an otherwise stale character. The writers don’t do her any favors by making Cinderella rather stupid and unable to completely get a grasp on most situations. Once she gets her cool little mask and starts getting her revenge, it’s not very believable. It mostly just feels like a teenage girl playing dress up versus her being given supernatural abilities by her Fairy Godmother. And she seems to mess up a lot for someone who is being helped by an otherworldly being.

After setting up the Stepfamily as being the worst of the worst, their comeuppance is absurdly satisfying. I found it extremely cathartic to see the step-family finally get theirs. I always hated them in their various incarnations, so it’s nice to have that sweet release that only horror can afford us. But I won’t deny that I was a little bit let down by the kills. A gnarly opening decapitation set my gore expectations high but it’s mostly tame. Sure, there’s blood, but outside of the final kill, they’re all pretty by the books. And even then, there’s too much CGI enhancement going on to really enjoy them.

I have to give credit to Stephanie Lodge who plays the wicked stepmother, Katherine. She truly nails the wicked and evil aspect and leans into being as awful as possible. Her treatment of Cinderella is all that was needed to show some great motivation but stepsisters Josephine and Rachel are the icing on the cake. They’re nearly as despicable, even in moments where they should learn their lesson. Natasha Henstridge is one of the film’s highlights as the Fairy Godmother. Obviously, this plays against the usual type of actress we see in this role, but I’d say it works. Henstridge looks to be having an absolute blast, and she provides a bit of charismatic light. If anything, I wish she was in it more because the film gains a bit of steam whenever she’s on camera.

But as much as I enjoyed the actors, they don’t have a lot to work with. There are stupid inclusions such as a celebrity designer montage. It almost feels like they’re making fun of the TV movie versions that always seem to spring up but it clashes with the rest of the film. I liked the concept but they do go a bit overboard with it, and there’s not much of a payoff. It seemed more like the filmmakers just wanted to include an Elon Musk lookalike (amongst many others). It was one of many times I was thinking “Where is the horror?” And even when there is something that involves blood and guts, the FX are so poor, that it mostly results in an eye roll.

One of the biggest issues is that I’m not really sure who the audience for this is. Because the story plays out like a standard Cinderella movie for far more than most would expect. And the vengeance angle doesn’t entirely land. So I’m not sure if their approach will really pay off. While there are some fun moments to enjoy with friends, this is mostly a dull affair. Without any great kills and failing to fully combine the story with horror in an effective way, the clock has struck midnight on Cinderella’s Revenge.

CINDERELLA’S REVENGE IS PLAYING IN THEATERS ON APRIL 26TH, 2024.

Cinderella

BELOW AVERAGE

5

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Streaming services are the bane of my existence. It’s 2024 and there are so many options that it makes my head spin. Netflix, Hulu, Disney Plus, Paramount Plus, Prime Video, Peacock cover the main streamers but that’s not counting the niches. Like old cartoons? Check out Boomerang. Like anime? Then Crunchyroll is for you. But what about horror fans? Sure, Hulu has its “Into the Dark” label and Netflix is always releasing something horror-related (though I question the quality.) And the horror genre features multiple options with Screambox, Arrow Player, Full Moon Features, and even Tubi. But the subject of today’s spotlight is the best of them all, with a great UI and wonderful selection of films, nothing can compete with Shudder.

Shudder features the best catalog of horror films out there and is always partnering with horror greats. Just yesterday we saw the release of Infested, which may just be the best Spider film of the modern era. And this comes just two weeks after the wonderful Late Night With The Devil. It’s also the movie that got Sébastien Vanicek the job as the director of a new Evil Dead (turns out, one of two). And on that same day, Humane released to theaters. For those unaware, that’s Caitlin Cronenberg’s directorial debut (which you can check out my glowing review HERE) and it comes to Shudder in July. Shudder is allowing us to see these films when they would have otherwise either never gone into production or failed to reach the right audience.

And that’s not to say that everything they release is great. Baghead was one of the worst movies of the year but that doesn’t take away from Shudder’s mission statement. Nearly every Thursday/Friday you can expect a new horror film. And with exclusive content like Late Night With The Devil, Suitable Flesh, Destroy All Neighbors, Birth/Rebirth, and When Evil Lurks, you just never know when the next horror classic is waiting around the corner. There are sure to be flubs but that’s true of any service.

Then there’s the Joe Bob of it all.

I never thought we’d see the day when Joe Bob Briggs is back on my television introducing me to genre classics old and new. With Darcy the Mail Girl at his side, he has become a staple of the streaming service. Hell, there was an episode last night that put a spotlight on The Autopsy of Jane Doe (a film we’ve covered on the JoBlo Horror Originals channel). Much like our YouTube channel, it’s a great way to be introduced to horror films that may have passed you by. Plus, he always has interesting insight whether from his own research or from guests that range from the filmmakers to historians. Right now the series is airing every other Friday through August, so all the more reason to keep the service.

And if you’re wondering, this article is aimed at their actual Shudder streaming service. Not that AMC+ crap. Because as much as you’d think it’s just Shudder with bonus non-horror material you’d be wrong. Because AMC+ features the worst app I’ve ever experienced in my life. Adding movies/TV shows to a list only for them to be deleted the next time you join the app. So make sure you support Shudder directly, as it’s the least frustrating option. Not to mention that a full year only costs $71.88 a year. I spend more on toilet paper.

What do you think? Do you have Shudder? Is it the best horror streaming service? What can they do to improve? Let us know in the comments below!

The post Shudder And Why It’s A Necessity For Horror Fans appeared first on JoBlo.

PLOT: Tashi, a former tennis prodigy turned coach is married to a champion on a losing streak. Her strategy for her husband’s redemption takes a surprising turn when he must face off against his former best friend and Tashi’s former boyfriend.

REVIEW: There are few films that affected me as much as 2022’s Bones and All. From the moment those credits rolled, I decided I would make an effort to see every Luca Guadagnino movie in theaters. The director is able to capture life through the lens in such a way that draws out intense emotions, regardless of subject. So add the talent of someone like Zendaya and it feels like the film is already starting out on third base. As much as Challengers is about tennis, it’s mostly using that as a framing device for its true subject matter: the love triangle between Tashi, Art, and Patrick.

Challengers follows an ever-shifting narrative as it follows the lives of three pro tennis hopefuls. Zendaya is absolutely phenomenal as Tashi and manages to carry over her natural charisma. I hate when films are constantly telling versus showing and they do a great job of simply showing Tashi’s pull. It continues a trend of her taking on vastly different characters, with a fearlessness that few possess. She has surprisingly spare dialogue compared to her screen time, but she says so much with even a look.

Art Donaldson is the less showy role, but Mike Faist is great as the struggling tennis player. His dynamic with Zendaya has so much to it that each of their interactions could be studied for clues. Josh O’Connor seems to impress in everything he does and here is no different. Patrick is the kind of pompous douche that I tend to hate but it works for what they’re going for. Each personality trait is essentially given so as to see how it will play off the two others. Because the film makes it clear early that there’s no one that really matters to the narrative outside of these three. I struggle to even think of anyone’s name outside of the daughter Lilly, and even her they make sure to keep on the outer rim of the story.

As much as I loved the performances, there were some other elements that felt questionable. I found myself getting very frustrated at the film’s pacing, as it creeps into a tad pretentious at times. The final thirty minutes features so much slow motion that it made my head spin. And it feels like by the time the full picture starts coming into view, there’s still twenty minutes of slow-motion tennis and reactions to sit through. I found myself very antsy as I wanted to get away from these awful people.

Where the film impresses the most is in its small moments between the characters. Information is relayed in such a believable way that every emotion hits hard. Whether it’s a simple glance or lack thereof, so much is said without words. Then the narrative, being bandied about like a jigsaw puzzle, comes together in a satisfying way. There’s a lot to break down and infer and each new scene changes the texture of those that came before it.

Challengers was no doubt a great film but it’s not one I’d want to revisit anytime soon. The tennis can be a bit much by the end as Luca really likes to do the exact same music cue to signal a moment. And there does seem to be an over-reliance on slow motion that can be obnoxious. There were times when I was just begging for the film to simply play out at normal speed. It’s overindulgent and a tad frustrating, but it manages to bring about feelings that only the most talented of filmmakers can muster. And I’ll take that over something soulless.

CHALLENGERS IS PLAYING IN THEATERS ON APRIL 22ND, 2024.

Challengers

GOOD

7

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