You know the old cautionary saying “you gotta look out for the quiet ones”. The horror flick, THE NICE ONES changes that to beware of the “suddenly nice” ones. It’s another variation on an attractive group of young revelers gathering in an isolated house when bad things start to happen. Genre veterans have seen a plethora of such gorefests, but there are usually one or two novelties in how they show the inevitable. That’s what keeps us coming back for the next one.
As Kate (Joelle Rae) and Dale (Emrhys {not a typo; I double-checked} Cooper) are driving to the aforesaid abode, she notices strange lights in the sky. Kate has been recently released from an institution for the clinically confused, and Dale had been her therapist before they started making mattress music. They’re meeting a handful of his old friends – most of whom don’t like Kate, and the feeling is mutual – except for Shelly (Ayvianna Snow), who is more amiable. When Kate tells them about the mysteriously moving lights suggestive of UFOs, they assume she’s having a schizophrenic relapse and dismiss her concerns. Most aggravating is Dale, who remains particularly condescending towards his partner, even as her fears start becoming a key part of their shared reality.
One by one, others start seeing those lights which cause major personality changes. Suddenly each affected person morphs into in a state of trancelike bliss, droning on about happiness to come, albeit by killing the rest to speed them along their path. The usual bloodbath ensues in its full glory of gory.
The rest of the details don’t matter. It’s all by the book. No sex or nudity; mild drug use, and less mild drinking. This one will probably get an R rating simply on the blood and guts component. No expense was spared on those effects. For me, the downside is that they never explain the source of the lights… or perhaps I just missed it. Writer/director Peter Stylianou leaves things open-ended, probably hoping to set up a franchise like the SMILE series. The premise could easily support a string of sequels, with or without any of the same cast, as new players fall prey to the same lights in their skies. Time (and gross revenues) will tell. This could enjoy a long home-market life – Especially re-emerging every October.
THE NICE ONES is available On Demand on September 29.
Looks like 2026 is shaping up to be a great year for documentaries. Now, don’t groan. They aren’t the cinematic version of “eating your vegetables” or “homework”. No, they’re going to be a big part of end-of-the-year top ten lists, not to mention “awards talk”. And this just might be the year that one or two of them crack the Oscar Best Picture list (it can now have as many as ten contenders). YOU CAN SEE EVERYTHING got lots of energized “buzz” at a recent film festival, plus I’ll be praising BOORMAN AND THE DEVIL when it gets a wide release. One of the most popular “doc genres” is the chronicling of a “true crime”, though I really enjoy the bios of “show folk” (really “jazzed” for upcoming ones of Martin Mull, Norm McDonald, and Maria Bamford). Well, this new “non-fiction flick” actually combines the two (“You got celeb in my crime…you got crime in my celeb”). And like that beloved candy, there’s much to savor in FUNNY MONEY: THE DANE COOK STORY. Let’s unwrap this tasty treat…
As the title states, this is the story of stand-up comedy superstar Dane Cook. The opening, like much of what follows, is the funny fella’ talking to us (the camera, really). We get lots of biographical info with faded photos and scratchy 8mm home movies, segueing into blurry home video. Even though he was a child of divorce, Cook made the best of it, with the help and support of his “best pal” and idol, his half-brother Daryl. Always a fan of comedy, Dane entered the world of the open-mike in 1990, during the big stand-up “resurgence” via cable TV, videotapes, CDS, and a slot at nearly every bar with a spotlight and a brick wall. As his star was rising, things weren’t going well for “bro Daryl” in his job as a prison guard. During an altercation, he was sliced with a metal can “shiv” and almost bled out. Dane facilitated a career change, putting him on the “payroll” as head of his security team. Then Daryl became his business manager, just as Dane broke into movies, put a recording on the top of the Billboard chart, and filled arenas and stadiums (a second show was added to MSG). When Dane decided he now needed the services of a big talent agency, Daryl tried to talk him out of it. Then, the unthinkable happened. Dane went to apply for a bank loan in order to purchase a plush estate (no more rentals), and the rep “lowered the boom”. Only “crumbs” were left in the accounts that Daryl had set up for him. Dane was getting “fleeced” by his beloved “bro”. This leads to a cross-country chase for him, as Dane, with his “financial forensics team,” makes some shocking and often absurd discoveries about this “crime spree”.
Separately, this show biz “rise-to-fame” fable and the true tale of greed and deception would be compelling enough, but in this expert blending by documentary vet Bret Harvey (with writing collaborator Pollyanna Hardwick-Brown), the result hits on all emotional cylinders. Though I was unfamiliar with the body of Dane’s work, I found the story of his childhood (lotsa’ “hard knocks,” for sure) and his career ambitions very enlightening, especially the story of him grabbing an absent comic’s “slot”. Then there’s the endearing bond he has with his older stepbrother (Dane still taps into those old emotions). We get “talking head” interviews with childhood buddies of both men, along with their sister. And then there’s Erika, Daryl’s ex-wife (his second missus), who also spins quite a tale. She’s “tough to read” as we wonder if she’s a “co-mastermind” or a very, very naive “dupe”. But her “side” is needed since we never hear from Daryl himself, other than old videos and a haunting final phone message. Yes, it’s heartbreaking, but often quite hilarious, even with the zany scheming of the guilty (you may never think of spaghetti sauce and Bagel Bites in the same way again). Still, much like Dane, we’re left wondering about the “crime”. It’s one thing to “skim”, but he tries to take it all. Perhaps due to his years at the mic, Cook is quite an engrossing storyteller as he pulls us into his astounding career highlights (he passed on auditioning for SNL, but later hosted), then guides us into a dark quagmire of lies and larceny. Still, somehow he can find the laughter bursting through the tears. Kudos to him and filmmaker Harvey for taking us on the wild, wacky, and heartbreaking ride of FUNNY MONEY: THE DANE COOK STORY.
3 Out of 4
FUNNY MONEY: THE DANE COOK STORY is now streaming as a Video On Demand via all major outlets and apps
James Belmont (Brad Pitt) and Odin in Heart of the Beast from Paramount Pictures.
As Fall begins, and with the big awards “heavy hitters” still a few weeks away, the multiplexes could use a good dose of “star power”. Or should I say “Pitt” power? Yes, the Oscar winner returns after burning up racetracks around the globe in F1: THE MOVIE. His newest release doesn’t try to emulate that one’s high-octane thrills and spectacle, nor its shiny CG sheen. Oh, but it’s not a “drawing room” drama, since it has lots of action, suspense, and unexpected “pathos”. It’s an offbeat “movie meal” crafted by Brad’s FURY director. This time they’re not steering another tank in WWII since they’re in the modern day as the duo, along with an amazing canine co-star, journey into the HEART OF THE BEAST.
After a brief fast-forward, we’re introduced to the story’s focus: retired Army Special Forces vet James Belmont (Brad Pitt) and his furry “brother in arms” combat canine Odin (Uber), a frisky, dark-haired German Shepherd. James has landed his single-engine floatplane on a lake deep in the Alaskan wilderness. It’s part of their “much-earned” “downtime” in order to deal with the aftereffects of wartime in the Middle East. Their shared wounds are both mental (PTSD flashbacks) and physical (“Odie” lost a leg, and both are scarred). Luckily, the fishing is great, and the quiet is calming…until a chatty hiker (J.K. Simmons) breaks into their solitary “bliss”. Over campfire beers, their “guest” warns James about a fast-moving storm. By morning, the duo is alone once more. Their supplies are loaded into the plane, and, using his piloting skills, the plane breaks past the dark clouds. Then, the unthinkable happens: James is struck with a health emergency (his “ticker” seems to be having an “episode”). They crash to earth, with the plane sinking to the bottom of a lake. After the two reunite, James retrieves some supplies. They’ve no choice but to hike through the wilderness, nearly sixty miles, to reach a road. Can these devoted friends survive the brutality of nature, the weather, and the wildlife before their supplies and strength run out? This could be the greatest battle these wary soldiers have ever faced.
It would be tempting to say this film is a “one-man show”, but really it’s a “one-human show”, with Pitt flexing his emotional acting chops as the “walking wounded” Belmont. For much of the story, he’s stoic, especially when interacting with the “interloper”. Oh, but Pitt “flips the switch,” giving us an energized and engaged James when bonding with Odie. Pushing past his “matinee idol” smoulder, Pitt exposes his vulnerable side when protecting and caring for his animal “soulmate”. It’s joyous to see him taking risky roles so many decades into his film career. Simmons provides some needed levity as the “party crasher’ who helps fill us in the “backstory” of JB and OD. As for the latter, Uber (and his team of stunt dogs and doubles) melts our hearts with his soulful, brown, watery eyes as the challenges of the trek reopen his own past traumas. He’s the “protector” that we’re rooting for James to protect and heal all of their pain.
The aforementioned director who worked with Pitt a dozen years ago is David Ayer. With this work, he’s coming off of a couple of well-received Jason Statham “bone-crunchers”. This one gives Ayer more of a challenge for his filmmaking abilities. He’s balancing the gorgeous scenery with several harrowing stunt sequences, while always reminding us of the emotional commitment in the story’s duo. Much of what works is due to the structure of the script by Cameron Alexander (one of the 2017 “Blacklist” screenplays). It combines elements of other great “sole survivor against nature” films like THE REVENANT and ALL IS LOST. Oh, but it’s not one “soul” since Ayer keeps us emotionally connected to Odin and his plight. The gorgeous location work, with New Zealand doubling for Alaska, almost makes us forget about the long trek…until Ayer reminds us with a raging river to cross and hungry wildlife ready to pounce. As if the incredible plane crash wasn’t enough for our heroes. This leads to a story problem for many who may have a tough time accepting Belmont’s stamina and strength sustaining him over his cardiac “glitch”. Maybe it’s his adrenaline “amping up” in response to the possible loss of Odie ( a little “suspension of disbelief” perhaps is warranted). If you can get past this, you’ll be rewarded with a journey full of terror and surprising tenderness. It’s this love and devotion that propels and powers the HEART OF THE BEAST.
2.5 Out of 4
HEART OF THE BEAST is now playing in theatres everywhere
Even though Summer vacations are a not-too-distant memory as Fall begins, that’s not stopping the multiplex from taking us around the world, with movies set in faraway lands. And like last week’s charmer, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM, this is animated, too. No, we’re not back in the northern U.K.; rather, we’re headed to the warmer climes of the Philippines. Oh, and it’s not told in stop-motion clay-figure animation, but in glorious, gorgeous CGI, with some brief detours into “classic” 2-D. Plus, we’re treated to a terrific introduction to the local customs and mythology. But, not to worry, kids, it’s far from a dry historical lecture. That’s because there are laughs a’ plenty, with the magic and monsters (maybe a bit scary) found on FORGOTTEN ISLAND.
This fantasy fable focuses on two young women, whom we meet during their early grade school years. The raucous, uninhibited “Jo” Yuson gets a bit too energetic and destructive during her class presentation (with a “splash zone”) all about her Grandma Lola’s time on the legendary island of Nakali, home to strange creatures. While waiting outside the principal’s office, Jo meets the shy, bookish, bespectacled Raissa. The duo quickly bond, and after a visit to the home Jo shares with Lola (voice of Dolly De Leon), they decide to become BFFs, cementing the bond with friendship bracelets. Through the years, the two become inseparable, spending many hours on the nearby beach, in search of the magical “sand dollar” that will open a portal to Nakali. Finally, the end of high school nears; Lola has passed, and Jo (H.E.R.) bounces from job to job in the local mall’s food court. But Raissa (Liza Soberano) has big, big plans: she’s been accepted to Caltech and will be flying off to America. Jo tries to convince her to stay, but settles for one last night together on the beach before the flight early in the morning. And, who would have guessed it, they find that mystical sand dollar (or does it find them). A glowing portal entrance appears in the sand and draws the duo into a dark void. They wake up hours later in Nakali, with no idea what they did after arriving. Plus, the sand dollar is missing, so they’ll have to retrieve it in order to make Naissa’s flight. Luckily, they meet Raww (Dave Franco), a “were-dog (were-aspin, actually)”, who tries to help “fill in the blanks”. Unluckily, they’re pursued by the very angry (Raissa has her wings) Manang (Lea Salonga), a vampire-like demoness. In their frantic search for a way home, Jo and Raissa team up with many exotic creatures and friendly demons and explore several cultures of Nakali. It’s all wondrous, but the clock’s ticking, and Manang’s not far behind. Will they make that flight?
Usually, I begin my critique of the actors involved, so I’ll tell you that both H.E.R. and Ms. Soberano are splendid as the two leads, capturing the emotional bond of the BFFs. Franco brings lots of frenetic energy to the “teen-dog”, while Salonga is quite intimidating as the vindictive vamp. I should also single out the wonderful work of Jenny Slate (yes, Marcel the shell with shoes on) as the memory-craving, cat-like demon Batiba and Manny Jacinto doing an infanilized riff on his “The Good Place” TV role os the baby demon, the massive, three-eyed blue Bungi.Kudos also to Ronny Chieng as the adorably angry king Truffle Wuffle, Jo Koy at “tree royalty” Datu, and Kevin McCann as the vain, silly aquatic hunk, not “merman”, but Mermahn (many might think him a parody of Jason Momoa’s Aquaman in the DCEU, but I thought of Prince Namor, the Sub-Mariner from classic Marvel Comics).
Yes, they’re great, but the real stars of this film are the legions of talented artisans that lent their considerable talents to making a masterpiece that’s bursting with creativity and visual splendor. At the forefront is the excellent directing team of Joel Crawford and Januel P. Mercado, following up on their much-better-than-expected PUSS IN BOOTS: THE LAST WISH. Yes, that was terrific, but this is a major step forward, matching the animation innovations we’ve seen in the “Spider-Verse” films. There is a tactile, textured quality that’s not overdone to the point of being live-action mimicry, although the rich camera techniques expand on iconic movies like THE MATRIX and AVATAR. For dramatic and comedic emphasis, characters suddenly shift into Anime tropes and pop with manga-inspired line drawings. This leads to several superb 2D “hand-drawn” (though probably using the “Flash” methods) sequences (Raww’s “version” of the first meeting with his two new pals). Speaking of that fuzzy fellow, he’s the source of some great slapstick as parts of him go from human to “weredog” to tiny pooch puppy. That’s just a small sample of the astounding “physical acting” and movement showcased. There’s a wonderful bit of visual emoting from an intense karaoke singer at Raissa’s graduation party 9those poses) to the vamp vixen as she stalks and struts as her body literally breaks in two (I like the crazed frozen smile of Batiba, also). The dazzling color scheme immerses us inside, not only in Nakali, but also in the streets of the women’s home village. And yes, this is a wonderful intro to the culture and its wonderful mythology. Plus, the musical choices are excellent, mixing new tunes with pop classics. Everything is so engaging, but I wish that the editing could be a bit tighter, as a third act “recap” should have been trimmed of a couple of set pieces (save them for a special edition disc). It’s a minor quibble, since this is such an invigorating, phantasmagorical journey that not only rewards the eyes and ears, but also fills our hearts with the joys of lifelong friendship and devotion. And that’s what makes FORGOTTEN ISLAND truly unforgettable.
4 Out of 4
FORGOTTEN ISLAND is now playing in theatres everywhere
“Seconds: Season One” is a procedural series from Finnish TV that offers something different from the usual police dramas I’ve covered. One night, a train crash and explosion incident at a small town station kills over 60 people and injures many more, including passengers in the train and a large group partying in the station’s lounge. Witness testimonies are scant and inconsistent over what happened. Our protagonists are the team of accident investigators from their equivalent of our National Transportation Safety Board.
For six hourlong episodes, the team headed by Marita (Leena Poysti) wades through the debris, witnesses, survivors and victims’ family members trying to figure out the cause in order to prevent such a disaster from happening again. Was it human error? A failure of the new AI control system that’s about to be adopted by all of Europe? Was there some act of vandalism that set these tragic events in motion?
The team is awash in possibilities – none of which seem plausible or consistent with aspects of the evidence. They’re not only separate from the police, whose job is to punish anyone who committed a causative crime regardless of the full array of contributing factors, but in some ways at odds with them. Conflicting interests exist as to control of the physical evidence and contact with witnesses. The investigative agencies don’t always play nicely with each other, complicating the tasks for both.
We also are given a panoply of subplots and personal issues. The AI system creators might be covering up a known flaw to finalize the sale of their billion dollar product, rather than lose out to a few rival companies from other countries close behind in developing theirs. The dude driving the train may not be honest about what he observed. There’s a chicken-or-egg question about whether the train caused the explosion or whether the explosion caused it to crash? This occurred at night in the boonies, rather than in the middle of a city, further limiting the witness pool.
Of course, there’s plenty of media frenzy and outrage among the locals, seeking to punish whoever cost the lives and health of so many of their friends and family. Several seemingly likely culprits ebb and flow along the way. Marita’s process is influenced by recurring chats with her hallucinated sister, who died 36 years earlier. Another key player is schizophrenic. The woman who ran the station’s bar is a newcomer, and easy target for blame. One member of the team, Eero (Juho Milonoff), is an arrogant asshole who may be more obstructionist than helpful.
The cast is solid; the pace is slow; really slow. There’s less physical action than in typical crime dramas to keep the energy level up for sustained interest. Those who like puzzles will be most in synch with what they do and what they find in putting the whole thing together. The season ends with resolution of the case, setting the table for Season Two, which will set them on a new disaster to unravel.
3 Out Of 4 Stars
Finnish crime drama SECONDS premieres September 22, 2026 in the U.S. and Canada on MHz Choice.
After a harrowing plane crash, Special Forces officer James Belmont (Brad Pitt) and his combat dog, Odin, find themselves stranded deep in the Alaskan wilderness. Together, they are forced into a brutal fight for survival against the elements. From acclaimed filmmaker David Ayer, Heart of the Beast is an intense adventure thriller that explores the unbreakable bond between a man and his best friend as they face their greatest battle yet.
The film is from director David Ayer (FURY).
HEART OF THE BEAST IS ONLY IN THEATRES ON SEPTEMBER 25, 2026!
Rated PG-13 for intense survival violence, peril, and bloody/injury elements.
The screening is at 7pm on Wednesday, Sept 23rd at B&B West Olive.
WINNER – Sundance Film Festival: Best Directing – U.S. Dramatic
Haru and Luis love competing in Tokyo’s ballroom dance scene, but after tragedy strikes, Haru withdraws into isolation. When friends coax her back to the studio, she develops an infatuation with the new instructor. She must face what comes next as sparks fly.
Directed by Josef Kubota Wladyka and starring Rinko Kikuchi, Alberto Guerra, Alejandro Edda, YOU, Yoh Yoshida and Damián Alcázar, Sony Pictures Classics will release HA-CHAN, SHAKE YOUR BOOTY! in theaters nationwide September 25, 2026.
Rated R.
The NASHVILLE screening is Tuesday, September 22 at 7:00pm at AMC THOROUGHBRED 20, 633 Frazier Dr, Franklin, TN 37067
WINNER – Sundance Film Festival: Best Directing – U.S. Dramatic
Haru and Luis love competing in Tokyo’s ballroom dance scene, but after tragedy strikes, Haru withdraws into isolation. When friends coax her back to the studio, she develops an infatuation with the new instructor. She must face what comes next as sparks fly.
Directed by Josef Kubota Wladyka and starring Rinko Kikuchi, Alberto Guerra, Alejandro Edda, YOU, Yoh Yoshida and Damián Alcázar, Sony Pictures Classics will release HA-CHAN, SHAKE YOUR BOOTY! in theaters nationwide September 25, 2026.
Rated R.
The screening is Tuesday, September 22 at 7:00pm at AMC Creve Coeur. Doors open at 6pm.
Adapted from Colleen Hoover’s best-selling novel, this seductive, psychological thriller follows renowned author Verity Crawford (Anne Hathaway) and Lowen Ashleigh (Dakota Johnson), a struggling writer who relocates to the remote Crawford estate to ghostwrite for Verity. After Lowen uncovers what appears to be Verity’s chilling autobiographical notes, she wrestles with the disturbing and twisted confessions about Verity’s husband Jeremy (Josh Hartnett), and finds it hard to separate fiction from reality, manipulation from attraction, and opportunity from obsession.
VERITY opens in theaters October 2.
Rated R.
The screening is Tuesday, September 29, 7pm at the B&B West Olive Creve Coeur 10. Doors open at 6pm.
Okay, let’s continue on with the Halloween-themed films this weekend (yeah, it’s still nearly six weeks away). Now, this one’s not specifically set during the holiday, and it’s definitely not for families (as the old joke goes, unless it’s Addams or Manson), like those punkin’ luvin’ sheepies. However, this is also an “IP”. The new Shaun film comes from a nearly twenty-year-old TV show. This one’s a bit more convoluted. It was a computer game first introduced thirty years ago, then a movie series six years later, followed by several more. Off the theatre screens since 2019, the studio behind it thinks that it’s overdue for a “reboot” or “re-imaging”. And what better director for the project than the man behind one of the surprise horror hits of last year (it even scored an acting Oscar). So, is there still life (or afterlife) in the world of RESIDENT EVIL?
In the opening moments, we’re introduced to a bedraggled, frazzled medical courier named Bryan (Austin Abrams). He’s making an organ delivery at a Colorado hospital during a cold, snowy night. He’s eager to clock out and head home to his girlfriend (she just told him over the phone that she’s “preggers”), but a doctor pleads with him to make one more delivery to a hospital in Raccoon City. And since it’s “double overtime”, Bryan agrees, despite his lack of snow chains on his clunker of a car. The combination of icy conditions and his ongoing “convo’ with his “bae” leads to him striking a woman who dashes out of the forest. He skids to a halt and gets out. Walking back, Bryan sees her body’s snow imprint, but…no body. He follows her footprints and finds her lying in the snow, wearing a cocktail dress and barefoot. After an encounter with a local policeman, Bryan heads away to a distant farmhouse. He’s chased by the watchdog, whose head explodes into a tangled mass of razor-sharp fangs and writhing tentacles. Just what has happened? Somehow, Bryan must find a way to reach a research hospital in downtown Raccoon City. But could this desperate delivery take Bryan into a horrific hellscape teaming with mutated monsters bent on making him one of their own? What a way to earn a couple of overtime bonus bucks!
Unlike many action game movie adaptations, this centers on one character, who’s in nearly every scene. Luckily, the talented Mr. Abrams is more than up to this formidable task. His Bryan is the ultimate “everyman”, thrust into a situation well past his abilities and “skill set,” as his ongoing mantra may be, “I’m not good with (fill in the blank)”. This “wage slave” would be having the most stressful night of his life, even without the slimy horrors lurking in every shadow. Abrams shows us how his heart is with his ladylove, as their relationship jumps to the new, higher level of parenthood. His voice cracks as he struggles to say the right words. And then the world goes “wonky”. With his frantic body language and darting eyes, Abrams conveys Bryant’s panic as he must concoct a defensive strategy very, very quickly. And with his humanity, we also get his “keep going” courage and his snarky sense of humor that prevails (his “f-bombs” hit on target, more than his bullets). It’s wild to think that Abrams will be in more deadly danger as the lead in WHALEFALL next month. Here, he does get a few other terrific actors to share his panic. Of note is the hilarious Paul Walter Hauser as a shadowy “secret spook” named Paul (yes, but his unsaid last name could be Ex Machina, as he “spills the beans” on the cause of this “s#*storm”) in a couple of brief scenes, who has us wanting more (he and Bryan are a superb team). And in the final moments, we get some chaotic chuckles from Zach Cherry as an exasperated head genetics geek. But still, this is Abrams’ “showcase”.
So, who’s this horror movie “wonderkind” who has been given the keys to this decades-old IP? Why, it’s director Zach Cregger (“Mr. WEAPONS”), who co-wrote this script with Shay Hatten. Sure, he gives us lots of excellent “jump scares” and “edge-of-your-seat” suspense sequences, while maintaining an overriding vibe of impending doom. That’s not what surprised me. I was not expecting the humor, as I may have laughed more than I gasped (frequently on both counts). Now, I’ll admit that I’ve never played the game, nor have I seen any of the previous flicks (it seemed like one screen in the multiplex always had one), as I went in “fresh”, so I’m not one of the critical “gamers” who are kvetching online about the jokes. And I enjoyed Cregger’s “spin” that plays on how one of us would try to survive in a “mutant monster-verse”, figuring out weapons and security (padlocks are tougher than we’ve been led to believe). Speaking of the creatures, they’ve found a great balance between the CGI and practical effects, which reminded me a bit of the work of Rob Bottin (1982’s THE THING) and Chris Walas (1986’s THE FLY). They’re truly the stuff of “body horror” nightmares. My only quibble may be the ending, as it feels like a bit of a downbeat detour to Bryan’s jolt-fueled journey. Ah, but this is a full banquet of terror and thrills with a tasty side dish of gags (in every sense), giving a new saucy, spicy spin to the plague-filled play(or slay)ground of RESIDENT EVIL. At least it’ll remind you to tip those delivery workers.
3 out of 4
RESIDENT EVIL is now playing in theatres everywhere.
