EVIL DEAD BURN...Among Other Things

EVIL DEAD BURN (Blu-ray)

2026 / 110 min

Warner Bros

#InPartnershipwithWB

Review by Josey, the Sudden Cat🙀

Evil Dead Burn, alright. They're also stabbed, sliced, sawed, shot, squished, beheaded, bludgeoned, impaled, dismembered and hit by cars…all in vivid, gory detail. As for the yet-to-be-possessed characters, what happens to some of them is even worse. In fact, there were a few occasions when I wondered how the hell this thing slipped by with an R rating. That’ll be great news to some of you.

The third film of the rebooted Evil Dead franchise, this one is tenuously connected to Evil Dead Rise through the prologue and post-credit scene. Other than that, it works just fine as a stand-alone film, so long as the viewer is already aware of the dire consequences of reading from the Necronomicon out-loud (if you’re reading this, of course you are). One of this series’ strengths is that all of them are successful on their own merits. 

Evil Dead Burn follows a similar narrative structure to the previous two films, starting with a first act that introduces its characters before unleashing the Deadites and special effects crew. However, director/co-writer Sebastien Vanicek throws in a couple of interesting elements we haven’t seen before. For the first time, nobody foolishly reads from the Necronomicon despite being warned not to, meaning the characters in this film didn’t bring it on themselves.

"Want me to change the smoke alarm battery while I'm up here?"

Second, it’s revealed in an old recording that an ancient weapon exists which can actually kill the Deadites. So when they come knock-knock-knockin’ on the Price family’s door, they’ve got more than mere possession and slaughter on the agenda. Still, possession and slaughter are the main focus of the film, which it delivers in spades. Along the way, we become invested in Alice (Souheila Yacoub), who had the misfortune of marrying a douchebag, Will (George Pullar), the first to meet a horrible death at Deadite hands, and now has to deal with her horrible in-laws after the funeral. 

But you can’t keep a good douchebag down, and Will soon spreads the evil among the Prices themselves (not even the dog is safe!). This is when Evil Dead Burn more-than-earns its place in the franchise, with gobs of relentless gory mayhem, all convincingly depicted with excellent practical effects. If forced to pick the nastiest scene, it’s a toss-up between a character who’s stabbed in the ear with a fountain pen (aided by unnerving sound effects), and another whose head is beaten into pudding by a dishwasher door. Your results may vary, of course.

Like the other two films, Evil Dead Burn eschews Sam Raimi’s comedic approach in favor of a grim tone, which suits me fine because Raimi’s classic brand of splatstick has kind-of run its course, anyway. After a somewhat meandering opening act, the film shifts gears and delivers a fast-paced, deliriously icky good time. And make sure to stick around through the end credits!

EXTRA KIBBLES

FEATURETTES - Evil Dead: Blazing the Trail focuses largely on director/co-writer Sebastien Vanicek; The Hot Shot: Evil Dead Burn’s One-Shot Sequence shows the making of a single-take scene that appears midway through the film. Though everyone involved is obviously fond of it, I personally found it kinda goofy; This One’s Gonna Burn takes a look at the make-up effects.

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Catnip Reviews: TULSA KING (S3), L.A. GUNS: LIVE FROM THE GUILD THEATRE and BAD COUNSELORS

Snack-sized opinions from the frisky felines at Free Kittens…

TULSA KING Season Three (Blu-ray) - Considering his filmography over the last three decades or so, to call Dwight Manfredi Sylvester Stallone’s best role in years might be considered faint praise. But he really is quite good in Tulsa King, which is about to enter its fourth season. In fact, there are even moments when he (almost) disappears into the character, where we feel like we’re watching a larger-than-life mobster, not the larger-than-life actor playing him. You’d probably have to go all the way back to 1997’s Cop Land for a more believable performance. But like Cop Land, he ain't doing all of this singlehandedly. Sly is supported by a great cast that includes Dana Delany, Annabella Sciorra, Frank Grillo, Jay Will, Martin Starr, and joining for Season Three, Kevin Pollack and Robert Patrick. Having not watched the previous two seasons (sorry, Paramount+, I have enough overpriced streaming apps), I appreciated Tulsa King quickly recapping a few open storylines before diving into the main plot of Season Three, which pits Manfedi and his family against the ruthless leader of the Tulsa Mafia (Patrick), while being pressured by an FBI agent (Pollack) to become an informant. While seldom as compulsively watchable as Paramount+’s other crime series, MobLand, Tulsa King benefits from good characters and solid writing.  (2025/418 min/Paramount).

KITTY CONSENSUS: 😼😼😼

L.A. GUNS - LIVE FROM THE GUILD THEATRE (Blu-ray) - Back in the ‘80s, when hair metal ruled the world, you had your big guns, then you had your L.A. Guns. A little raunchier than your usual Bon Jovi clones but less dangerous than Guns ‘N’ Roses (though cut from similar cloth), the band didn’t pack arenas or dominate MTV, but managed to crank out a catchy hit or two that ended up becoming their legacy. Led by singer Phil Lewis and guitarist Tracii Gunns (the sole original member), the band has gone through more line-up changes than Spinal Tap, but hey, they’re still kicking around. Live from the Guild Theatre shows the most recent version of the band chugging through a set-list consisting of “classic” and more recent material, including their best-known song, “The Ballad of Jayne.” Though their glory days are obviously far behind them, L.A. Guns sound okay for a bunch of geezers, but this perfunctory concert video is strictly for die hard fans who still feel the band never got its due.  (2026/83 min/Cleopatra Entertainment).

KITTY CONSENSUS: 😼😼

BAD COUNSELORS (DVD) - I know what you’re thinking...taking one look at the generic cover and title, you’re assuming Bad Counselors must be yet another raunchy teen comedy set at yet another summer camp. But you’d only be half right. It is indeed a comedy set at a summer camp, but it’s a Christian youth camp and Bad Counselors is actually a faith-based movie that throws in just enough mild “naughtiness” to earn its PG-13 rating. The plot itself ain’t half bad, that of a couple of douchebags trying to fulfill their community service by posing as counselors, even though they know nothing about Christianity (yet, of course). I’ll give the movie kudos for one thing…it doesn’t beat the viewer over the head with sanctimonious preaching. But despite being surprisingly sweet-natured at times, it’s only occasionally funny and ultimately kind of a chore to endure, not helped by characters who are largely uninteresting, though Missi Pyle (in a small supporting role) is cute as always.  (2026/97 min/Alliance Entertainment).

KITTY CONSENSUS: 😺😺

SCARY MOVIE is an Homage to Itself

SCARY MOVIE (4K UHD)

2026 / 95 min

Paramount

Review by Stinky the Destroyer😾

Were there really that many people pining for a legacy sequel to a franchise that was instrumental in killing the parody genre in the first place? Apparently so, because the latest Scary Movie film (arriving 13 years after the last one), was a big hit, even though it mostly plays like a high-five to itself and its creators, the Wayans brothers.

I’m old enough to remember when these guys were actually funny. If you’ve never seen the classic sketch comedy, In Living Color, or Keenen Ivory Wayans’ hilarious directorial debut, I’m Gonna Git You Sucka, you owe it to yourself to seek them out. Now that was some funny shit, even if the viewer wasn’t always familiar with what they were satirizing.

Then the original Scary Movie came along, which was largely a satire of a slasher film (Scream) that was already a satire of slasher films. It had its moments, but mostly dumbed things down with lots of dick jokes, drug humor, the “N” word and pop culture references that wouldn't be relevant in a year or two. The sequels were even worse, though.

Marlon reacts to his Oscar snub.

The brothers are back for the first time since Scary Movie 2, bringing with them a cast of new and familiar faces. But the more things change, the more they stay the same. Though horror itself has changed a lot over the years, Scary Movie (2026) is largely content to keep making fun of the Scream franchise (which itself has long-since descended into self-parody). A few modern films are referenced here and there, so if the idea of M3GAN breakdancing has you in stitches, you’ll love the Get Out-inspired hypnosis scene (where Marlon Wayans being stoned is the actual joke). And let's not forget the scene recreating the “birth” sequence from The Substance, where out of a character’s back pops the Epstein Files (huh-huh…it’s funny because it’s the Epstein Files). 

It soon becomes clear that the Wayans brothers are their own biggest fans, even giving a shout-out to White Chicks (which they seem to remember more fondly than anyone else). Elsewhere, the movie packs in white jokes, black jokes, dick jokes, gay jokes, drug jokes, gratuitous cameos and gobs of “N” bombs, all set to a hip-hop soundtrack, which we all know is the hallmark of every movie parody. Most of the gags on display would’ve been eye-rolling 20 years ago. Today, they feel like pandering, simple-minded attempts to amuse undiscriminating 13-year-old boys…or the Wayanses themselves.

EXTRA KIBBLES

FEATURETTES - Scream Together features interviews with some of the veteran cast; Fresh Meat focuses on the newer cast members; Wayans World shows the brothers on-set; Scene Dissection takes a closer look at specific sequences of the film.

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How To Watch SUPERGIRL

SUPERGIRL (Blu-ray)

2026 / 108 min

Warner Bros

#InPartnershipwithWB

Review by Stinky the Destroyer😺

Somewhat notoriously, Supergirl was not a hit with critics or moviegoers, and certainly raised the ire of militant fanboys ready to stick their forks in it before even buying their tickets. One guy even posted a meme saying “Here’s the real Supergirl” along with a screenshot of the 1984 film, blissfully unaware that it was one of the decade’s biggest dumpster fires. And he probably posted it with the same confident smugness that MAGAts have when ‘owning the libs’ by dwarfing their pick-ups with a giant flag.

Far be it from me to declare anyone’s opinion wrong, but if I may be so bold, maybe some of them are simply watching movies wrong. After The Phantom Menace came along to briefly kill my will to live, I’ve never-again approached a single movie fully expecting to love or hate it. If it confounds any pre-conceived expectations, that’s on me. So it didn’t bother me that Supergirl was aesthetically grimy, with a plot built on the same foundation that initially turned John Wick loose on his enemies. Nor did it bother me that the titular character was a bitchy, self-absorbed Gen Z-er who drank too much and wasn’t traditionally beautiful (which also chapped the asses of a few basement-dwelling incels armed with a laptop and Hot Pockets).

So is Supergirl actually a misunderstood masterpiece? Hell, no…not even close. In fact, I wasn’t really all that interested in seeing it, even though I found last year’s first entry in DC's rebooted franchise (Superman) to be a pleasant surprise. The main reason Supergirl became part of date night one evening was because my wife wanted to see it. Still, I didn’t sit there in the theater with a stern face and crossed arms daring the film to try entertaining me.

Dog is My Co-Pilot

With no expectations over how it stacks up against other comic book movies (even within its own franchise), I had a good time. While certainly no out-of-body experience, I enjoyed Milly Alcock’s cynical, down-to-earth portrayal of Kara Zor-El/Supergirl, as well as the catalyst for this adventure…she’s trying to save her dog, Krypto, whose been poisoned by Krem (Matthias Schoenaerts), the leader of a band of brigands and is also in possession of the antidote. Along the way, she reluctantly teams up with Ruthye (Eve Ridley), a young girl seeking revenge on Krem for murdering her parents. 

Comparatively speaking, there isn’t a hell of a lot at stake (unless you’re a serious dog lover, of course), but with the world’s fate hanging in the balance in damn near every other superhero movie, having a story built around character growth and a personal vendetta is a refreshing change of pace. Not that Supergirl is devoid of spectacle…there’s loads of fights, chases and plenty of ka-boom, all pulled off with adequate special effects. As for Jason Momoa’s highly publicized turn as bounty hunting biker, Lobo…he’s fun, but mostly playing an extension of his real life persona (and not really in the film all that much).

Just under two hours later (how’s that for efficiency?), I walked out of the theater thinking I probably would have enjoyed Supergirl just as much at home, but at least I didn’t feel ripped off. Speaking of home, the film is now out on Blu-ray (as well as 4K and DVD), sporting a good transfer and big batch of bonus material (some of which might have you appreciating the movie a little more). Now having seen it a second time (I’m wagering many of you won’t), my assessment is unchanged. Supergirl ain’t gonna save the DC Universe, but being an undemanding stand-alone adventure, it’s still better than anything Zack Snyder croaked out.

EXTRA KIBBLES

FEATURETTES - The longest of the bonus features, The Making of Supergirl is a pretty good 25 minute production overview with various cast/crew interviews; Flying off the Page takes a look at Supergirl’s comics history; Girl’s Best Friend is all about Supergirl’s scene-stealing dog, Krypto; A Practical Legacy…yes, some of the FX were done practically; A DC Team: Lobo focuses on Jason Momoa’s character; Showdown at Everly Square takes a look at a major action sequence; Mixtape for a Hero is about the music score; You Are Here looks at the various planet locations where the film takes place. Most of the featurettes run from 4 to 11 minutes in length.

SHORT - “Krypto Saves the Day! Coastal Catastrophe" features Krypto and Superman.

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I LOVE BOOSTERS: Shiny New Boots

I LOVE BOOSTERS (4K UHD + Blu-ray)

2026 / 113 min

NEON

Review by Princess Pepper😺

Having now seen both of writer-director Boots Riley’s films (his first being the gloriously bonkers Sorry to Bother You), I can be assured of a few things…

• Sharp satire and cultural commentary.

• An unusual visual aesthetic.

• Narratives that begin conventionally, but grow increasingly bizarre and genre-defying.

• A twist you won’t see coming.

• At some point, an unexpected dive into sci-fi territory.

• And finally, at least one WTF moment that you can’t believe you just saw. More likely two or three.

Riley’s new, criminally underseen film, I Love Boosters, boasts all those traits. It doesn’t quite reach the delirious heights (or depths) of Sorry to Bother You, but is still one of the more conceptually original movies of the year. And for this writer, it proved to be somewhat educational. Until now, I was unfamiliar with the term, “booster.”

For those equally lacking in street smarts, a booster is someone who steals things from stores and resells them, usually at half the retail price. The film’s protagonists are a trio of them, collectively known as The Velvet Gang, whose clothing thefts have become so notorious that they regularly make the news, earning the wrath of famous fashion designer/store chain CEO Christie Smith (Demi Moore). One of the gang, Corvette (Keke Palmer) is a struggling designer herself who actually admires Christie, at least until it’s revealed that the woman stole her most recent design.

Helletubbies.

So of course, a little payback is in order. Not only do the girls start hitting Smith's Metro Designers store chain, they plan on boosting her most recent creation…a suit that allegedly retails for $100,000. But they also have a little competition from Jianhu (Poppy Liu), a disgruntled Metro employee intent on robbing every store until Smith ends slave-labor factory conditions. That’s the nutshell summary of the basic plot, which doesn’t do it justice, but to reveal more would spoil some great, sometimes amusingly shocking twists. I will say the narrative eventually throws in teleportation, a sexually-driven, soul-sucking demon and a batch of skinless antagonists. 

While Riley doesn’t weave the wilder elements into the film as seamlessly this time around, he still puts together a great story and throws in plenty of perceptive satire. Especially amusing is the depiction of trend-driven retail chains as creatively vapid and indifferent to its employees. Both visually and through Will Poulter’s hilarious performance as a store manager, Metro Designers is simply an exaggerated version of any real store where the music’s too loud and employees are needlessly equipped with headsets.

The film also benefits from amusing performances all around, with Poulter, Naomi Ackie and a WTF turn by LaKeith Stanfield being particular standouts. Elsewhere, I Love Boosters is visually arresting and features another strange-but-fitting score by Tune-Yards (who also did Sorry to Bother You). More or less ignored in theaters, this one deserves to find a wider audience at home.

EXTRA KIBBLES

FEATURETTE - The Making of I Love Boosters

INTERVIEWS - Three individual interview segments featuring Boots Riley & LaKeith Stanfield, Keke Palmer & Demi Moore, and the “Velvet Gang.”

AUDIO COMMENTARY - By director Boots Riley

BLOOPER REEL

IMAGE GALLERY

TRAILERS & TV SPOTS

INTERVIEW WITH THE VAMPIRE: Tom Cruise Sucks in 4K

INTERVIEW WITH THE VAMPIRE (4K UHD)

1994 / 122 min

Warner Bros

#InPartnershipwithWB  

Review by Josey, the Sudden Cat😼

After revisiting Interview with the Vampire for the first time in…geez 30 years, a nagging question began to vex me like an unscratchable itch. Perhaps someone reading this can answer it for me, but more on that in a minute.

Based on Anne Rice’s uber popular novel, this movie was highly anticipated back in the day, and subjected to plenty of pre-release grousing (including some by Rice herself) over the casting of Tom Cruise in the lead role of Lestat, the insatiable, salacious and remorseless vampire who turns Louis (Brad Pitt) into an undead companion. Of course, the story is more thematically complex than that, but I’ve never found it particularly interesting…or scary.

Cruise nailed it, though, and in my humble opinion, he remains the best part of the entire movie. While the rest of the cast is wallowing in misery or being sucked dry, here’s ol’ Tom making the most of a rare opportunity (for him, anyway) to chew up the scenery. Whenever he’s onscreen, Interview with the Vampire is a hell of a lot of fun. But even though he’s top-billed, the main character is actually Louis, who’s so relentlessly morose throughout the thing that his plight becomes rote. And to be frank, I occasionally found Pitt's somber performance unintentionally funny, not helped by some goofy dialogue ("Actually, I'm quite fond of looking at crucifixes."). He's very pretty, though.

But that’s just me. A lotta folks love this one, and I can certainly see why. As modern vampire flicks go, you’d be hard-pressed to find one more atmospheric and aesthetically gorgeous (which could also describe most of the cast). Though I prefer my vampire films to have more of an emphasis on actual horror, a movie with a sympathetic bloodsucker as its main protagonist was pretty unique for the time. And admittedly, I do love how this one ends…with a final scene that’s both cryptic and funny (on purpose).

Not-so-casual Friday.

Interview with the Vampire has been given an outstanding 4K restoration, nicely preserving Philippe Rousselot’s moody cinematography and the vivid production design. There are also two audio options, a new Dolby TrueHD mix and the original theatrical mix. Both sound good, though I personally preferred the boost that the new track offers. Additionally, a couple of brand new bonus features are included, as well as some vintage material from previous releases. Fans of the film should be very pleased with this upgrade…

…and hopefully, one of 'em can answer my nagging question…

Anyone who’s seen the film knows it chronicles poor Louis’ sad, remorseful life ever since being turned into a vampire by Lestat in 1791. Throughout the years, Louis shares a mansion with Lestat (until he burns it down, anyway), travels to Europe in search of others like him (until burning down their digs), then wanders the world in sorrow all the way up to the present day. But as far as I can ascertain, neither Louis nor Lestat ever struggle financially, despite never holding jobs or having any other discernable income. So my question is, how do these guys continue to afford swanky homes, fancy threads and travelling the world? Who the hell is paying their bills?

I know we probably aren’t supposed to question such things, but hey…even the vampires in The Lost Boys were reduced to living in a cave.

EXTRA KIBBLES

NEW KIBBLES - Eternal Night and Deadly Light features director Neil Jordan looking back at the work of cinematographer Philippe Rousselot; Interview with the Vampire: Creating the World is about the film’s visuals, with Jordan and production designer Dante Ferretti.

OLD KIBBLES - In the Shadow of the Vampire and Lestat, Louis and the Vampire Phenomenon are a couple of archival featurettes.

INTRO - Archival intro by director Neil Jordan, author/screenwriter Anne Rice and actor Antonio Banderas.

AUDIO COMMENTARY - By director Neil Jordan

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