[EXPRESSO] Five Nights At Freddy’s 2 (2025) | Hind N Seek

Predictably so, we’re back for more FNAF movie escapades, and i’m back to still not knowing (or caring) much about the series, but curious enough to check these films out.

The events of the first film that went down that night at Freddy Fazbear’s Pizzeria became a local legend, leading to a “Fazfest” being held in town.

The protagonist’ little sister, Abby, misses her animatronic friends (more correctly, the children’ souls bound inside them), but things go south as she’s approached by a new menace, the Marionette, and we explore the original Freddy Fazbear establishment, and learn of its sordid secrets.

I didn’t expect much, the first one i thought it was okay, middling but about what you would expect… but in retrospect, that might have been a fluke of sorts.

This sequel is just drivel, lazy slop, just a random mish mash of stuff cobbled together, with no structure, no cinematic structure, more interested in mimicking verbatim stuff that i suppose happens in the games, as this time series’ creator, Scott Cawthon, is the only one credited for the screenplay, and clearly doesn’t care that this is a film and not a videogame, more interested with dated, inane preoccupations of “not being enough like the games” and confusing “lore” for “plot”.

It’s just so lazy, cliched and downright stupid it’s actually insulting, even for a children’s horror film, one clearly aware that it can squeeze any clump of shit and it won’t matter to the box office (or its establishe fanbase)…. so does exactly that.

Even worse than the actors trying but unable to save the movie from itself, it’s how it ultimately amounts to little more than a big set-up and lore dumpage for the third one, more than its own thing.

Can’t wait to be swindled again!

[EXPRESSO] The Black Phone 2 (2025) | Nightmare Lake Camp Winter Massacre

The Black Phone 2 it’s a direct sequel, yes, but one to a movie with a definitive, unambigous ending, as Blumhouse figured it could order a sequel regardless since the first one was a critical and financial success, with most of the same cast and director too.

I guess why not since the Nightmare In Elm Street series has been MIA since 2010, so might as well turn a sequel that really didn’t need to exist into a replacement of sorts for that, with a dash of Friday The 13^th.

Yeah, it’s the MEGAN 2.0 kind of sequel, minus the fact that this is still a horror film, just a different one than the first.

At the end of the first movie, Finn did manage to kill the serial killer known as The Grabber and escape from his murder basement, becoming famous as the killer only survivor.

4 years after, Finn’s sister, Gwen, is suddendly getting dreams of getting phone calls from a black phone and seeing visions of 3 boys getting chased in a winter mountain camp called “Alpine Lake”, alongside ones of the deceased serial killer…

It’s actually good, they did manage to actually pull off this kind of sequel by working around what was done in the script for the first film (in this case by leveraging the supernatural aspect), managing to spun a follow up that might actually have been intended to exist all along, bring back the villain and have a solid atmosphere, good characters and some creepy shit.

It’s a bit longer than it needed to, the 80s filter it’s a bit excessive, but it also does enough to add its own flavor to the formula, and despite the concept it works, giving even more closure and being even more “sequel proof”. Hopefully.

[EXPRESSO] HIM (2025) | They Forgot That I Am

If Opus cemented my belief the “eat the rich”-”social horror” strain of horror has been overdone to death … HIM is just further, further proof.

To be fair, it’s not that the idea of a horror movie set in the “american football/rugby” biz about its status of unofficial national religion is bad in itself.

The concept has potential, but the movie doesn’t explore anything, and i mentioned Opus, because it’s basically the same plot, just substitute the music biz and the “Not-Jamestown” commune led by old popstar with a brutalist football dungeon governated by an aging, nearly retired legendary NFL quarterback, Isaiah White giving a second chance to Cameron “Cam” Cade, an aspiring quarterback suffering from head trauma that could jeopardize its entire career, so Cam accepts do to a special training in the isolated facility led by Isaiah….

Like Opus, the entire thing is thinly held together by its lead actor performance, in this case Marlon Wayans playing Isaiah… or would, despite Wayans’ great performance this time i feel it’s not enough to suffice, especially with his character mostly devoid of a personality, and the entire thing being too obvious, downright spelt out as the movie it’s too afraid you won’t get some of the more obvious symbolism ever displayed, all the themes sanded down to be as broad and generic as possible, meaning nothing as the movie confuses parroting an arthouse modern “social horror” aesthetic for actual substance, since it has none, it’s all “pigskin deep”, talking about “no pain no gain” on and on yet unable to actually commit to its ideas.

While aware of its inherent silliness, it doesn’t know how to use that to enhance the horror, so it just amounts to a big ball of stupid, of well produced imagery that ultimately means nothing.

[EXPRESSO] War Of The Worlds (2025) | Redditors VS Aliens

Yep, we doing this one.

The plot sees a Homeland Security officer, Will Radford (Ice Cube) at work being “benign Big Brother” for the government (while also monitoring his family, to their dismay), when a meteorite shower reveals to be a worlwide attack by alien machines, forcing Will to do what he can to save his family and help fight back the invaders however he can.

On paper it’s not necessarily a bad idea to make a modern War of The World remake focusing on the aliens taking over data infrastructures in the surveillance state internet reliant reality where everyone’s on their phones, playing up the “government conspiracy” angle… and proposing it as a screenlife thing, like a sci-fi Unfriended.

Yeah, that already sets off more bells than a Blue Oyster Cult comment section, and makes it abundantly obvious this was shot during the 2020 Covid pandemic, with Amazon sitting on it for 5 years before they remembered, “bothered” to do post-production and made it available on their streaming service.

They knew they were sitting on a turd, one so riddled with brazens self-promotion it’s comical (the climax of the movie involves an Amazon drone helping save the day), not that the movie actually decides if it’s against or pro “Big Tech”, and while Ice Cube’s acting is bad, it’s not like he has much to work with, the entire thing is so fuckin stupid and becomes even stupider, and a cinically rushed shitshow with plenty of IA generated news segments (and stock footage that looks bad enough to be IA generated slop too), on top of very shitty special effects.

And yet it’s so fiercely bad it does actually become one of the rare modern “so bad it’s good” movies, it has that kind of entertaiment quality to it.

[EXPRESSO] M3GAN 2.0 (2025) | Panzer Kunt

2 years after the M3GAN killer robot was destroyed, her creator, Gemma, moved on and kept working in robotics while advocating for more cautious laws about IA, while taking care of her niece Cady, but unknown to them, someone stole M3GAN technology and created another killer robot, AMELIA, which has gone rogue and start killing anyone involved with the project.

M3GAN, whom has been hiding in their home cloud network, springs back to alert Gemma she could be next, and that if they want to have a chance of stopping AMELIA killing her and her niece, they need to graft M3GAN a new robot body, even more as the stakes quickly escalate…

Yeah, it’s not really a horror movie anymore, the gore is still pretty graphic but the tone is completely different, going basically for a ubercharged pastiche that skips a lot of modern narration to go for satirical and autoironical, which still has that 90s sci fi-horror aesthetic, as it’s a bit Robocop, a bit Ghost In The Shell, Matrix, Terminator, heck, you can even feel drafts of Alita Battle Angel, with M3GAN basically needing a new berserker body to fight.

It does manage to develop further the characters from the previous film, especially M3GAN herself, and it all does work since she’s indeed “the bitch”, “the slay queen”, she is incredibly fun to see in action and sells it.

If you expect a more in-depth critique of modern use of IA, or a more conservative sequel that’s actually a horror film, you might detest this one, which is understandable but honestly i do commend the effort to keep it fresh and not just rehash the first film, since it does embrace his deliberate sarcastic detour into action sci-fi, and for what it is, it’s a riot, hugely entertaining.

[EXPRESSO] Drop (2025) | Dream [*] Distance

Christopher Langdon (Scouts Guide To The Zombie Apocalypse, Happy Death Day, Happy Death Day 2U, Freaky) is back, this time leaving aside the horror genre for a straight up thriller about a widowed therapist, Violet, whom goes on a date after years of being traumatized from her abusive past relationship, only to receive (via air-drop) threathening messages during the date, starting from annoying her with meme images but eventually ramping up to the mysterious contact showing he can kill her son if she doesn’t comply, and asking her to kill her date, among other things…

It’s a pretty simple (but not too simple) premise, mostly taking place in a highrise fancy restaurant, taking full advantage of the “restricted” location to great effect, as Violet (and the audience alongside her) tries to crack the mystery of whom is actually the killer hiding in plain sight, forced against absurds odds in a life-or-death situation when she’s constantly monitored, to parse through what might or not be red herrings, and to keep up the facade in spite of everything, which also forces Violet to confront her past abuse…

It’s pretty intense, captivating, acting is quite good, there’s actually more to the plot (that i won’t spoil), the characters are quite good (even the secondary ones like the hammy waiter/actor-to-be are funny or cute), it’s exactly as long as it needs to be (where i could easily have seen this being forced to be 2 hours or something like that nowadays), and there’s no absurd twist just for the sake of “outsmarting” the audience….. there is that scene, the one that’s in most trailers (you’ll recognize it when you see it), that’s kinda ridiculous, but its a minor niggle, especially since it helps in making thing even more entertaining in the final act.

Recommended.

[EXPRESSO] Wolf Man (2025) | “Get away you weirdo monkey man!!”

Leigh Whannell continues his “remake rumpus” of the classic monsters following up his 2020 releaed The Invisible Man (and the whole Dark Universe failure) with his take on the Wolf Man.

The story revolves around a family on vacation in a house in the woods of Oregon, with the father trying to use the unfortunate circumstances that brought them there in order to mend his strained family situation, then being bitten by a strange animal while protecting his wife and daughter, and gradually transforming into a beastly creature…

The themes of “sins of the father/parental neglect-abuse” are interesting for a werewolf film, as it the idea to opt for body horror, to focus on the slow transformation to parallel the father’s descent into the brutal, alienated and alienating monster that once walked the skin of a man, and i’d never felt like the idea didn’t work or the script didn’t quite click, nor like there was some “filler”.

Nothing like that.

Honestly, it’s far from bad, but it also frustates me as being so close to being straight up a good, because it’s quite decent but it’s bogged down by feeling honestly uneven, starting good, delivering on the tension, on the claustrophobic atmosphere, even managing to make you care more than you’d wager about these characters that at a first glance feel generic… and honestly never proper bloom, despite the good acting, especially by Christopher Abbott (yes, funnily enough) as the father.

That combined with some questionable special effects, some retreads on cliches, the movie never achieves the emotional depth it soughts to, so it ends up feeling incomplete, like something is plain missing, uneven in execution and underdeveloped where it counts in spite of clear effort.

Not bad, at all, just… kinda disappointing, especially considering the talent involved.

Pity.

[EXPRESSO] Abigail (2024) | A particular set of vampire skills

Abigail poses an intriguing premise, asking what if a kidnapping went south because the gang did not known they were abducting a child vampire, heck, even worse, the daughter of Dracula, before they retired to an unknown villa as they wait for the ransom money?

The result it’s actually quite interesting as the strong premise is taken to some unique degrees since there’s a Tarantino-esque (or Tatantino-adjacent) approach to relationship these criminals have with each other while waiting for the ransom to be paid, and the already strong vibes of Dusk Until Dawn are empowered by the very splattery and over the top amounts of high budget, exploitation levels of gore on display, and the playful element is further strengthened by how it feels almost like a reverse Home Alone, as the child vampire literally plays with them before going for a brutal, sadistic kill, after making the kidnappers feel like they’re in control.

Also, it plays around with the old vampire lore weaknesses for some laughs but also to depict vampires not so much refined monsters but as more cunning feral abominations always hungry for blood, yet somehow manages to have some emotional moments, some strange empathy, it’s a surprisingly strong pastiche that is able to draw nicely from its obvious inspirations but also work on its own and being a fun horror comedy romp that delivers fully on the idea and be hugely entertaining from beginning to end, with a really good cast that includes Kevin Durand and also Giancarlo Esposito (of Far Cry 6 fame) in a minor but still welcome role.

It’s a shame people might sleep on it, because it’s still worth watching even if the trailers are not taking any chance with subtlety and sorta spoiling it….which i kinda understand but kinda not.

[EXPRESSO] Renfield (2023) | Flies On The Windscreen

Robert is a man stuck in a toxic codepent relationship with his boss, and partecipates in group therapy sessions to get over it… while also find new abusive monsters to feed his own, Count Dracula itself, as Robert is actually Robert Renfield (Nicholas Hoult), the vampire’s infamous long time familiar, now living in modern New Orleans.

But Renfield it’s tired of being second fiddle and wants out, trying to turn his life around for himself, even falling in love with a righteous police officer (Awkwafina) that feels offended of doing menial jobs instead of busting down the criminal gang that killed her father.

I wasn’t sure what to make of the premise of Renfield, but i fully support Universal’s bent for trying to do new things with their old legacy franchises, this time a comedy horror about Dracula’s iconic familiar/slave, bringing him out of the sanitarium in a modern setting and basically having him try to escape his life as Dracula’s servant, moonlighting as an anti-hero that just needs to feed on insects to gain their life force and rip out people limbs like they’re made of rotten weeks old tuna.

Plus we have Nicholas Cage as fuckin Dracula, hell yeah i was absolutely IN… and after watching the movie i can say this is NOT the case where i love the concept but not the movie as a whole, because the gamble paid off and makes for a light hearted, silly little horror comedy with surprising wit, lots of funny over the top gore effects of good quality and enjoyable action scenes.

Excellent casting too, especially Cage as Dracula is a delightful, brutal but also a manipulative, petty asshole of a monster.

The movie it’s also short, but honestly for the better as it avoids spreading the premise thin.

[EXPRESSO] Jurassic World: Dominion (2022) | Jurassic Mixtape Meatloaf

While i would have a lot to say about this one, i’ll reserve some of it for when we tackle the entire “Jurassic Park/World” series, so i’ll keep it brief.

While long overdue, it’s finally that time again. Time to go see the new “big budget Asylum movie equivalent”, i really go in these later Jurassic movies with this mindset, after Fallen Kingdom i don’t even entertain the idea that i might be too hyperbolical, given that someone greenlit that script.

Speaking of which, yes, the plot sees the fallout of that shit awful ending, leading to dinosaurs escaping free into our modern world, and the inevitable fight for survival that ensues. This also leads to Chris Pratt having to save the offsprings of Blue the velociraptor, the actual true protagonist of this new trilogy.

Like pretty much any other goddamn IP from decades ago that still receives installments, Jurassic World: Dominion treads heavily on nostalgia, even more than before, as it basically recasts all the surviving actors from the original Jurassic Park and “alluding” to that one a LOT.

Talk about a series that peaked so hard and so instantly, to the point nobody really cares anymore about anything that came after the 1993 original.

Even so, i feel this is arguably the best of the Jurassic World movies, thanks to a script that’s not fuckin tosh, despite trying to balance the “nostalgia mixtape best of 1993” of having pretty much all the original cast back, the callbacks (horror-style scenes included), more focus on story and the more chaotic dino bullshit from the other Jurassic World movies.

Honestly i’m surprised the final result isn’t a complete mess despite the movie wanting to compromise/squish together both the old and the new.

At least it’s entertaning big budget b-movie meatloaf funtime.