This week, Uma, Iain, and Bahir review the two Blumhouse movies currently in cinemas. Spoiler alert. Only one of them is good.
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Iain checks out the documentary on 1996's The Island of Doctor Moreau, director Richard Stanley's last film before Color out of Space.
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Uma, Iain, and Bahir get annoyed at some of the lazy writing that really doesn't belong on a show of this calibre.
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Blumhouse's Fantasy Island, takes the classic television series, adds a few twists, and tries to make it something darker.
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Three volumes, 22 episodes, and counting. Please sir, we want some more.
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You're either a dog person or you just wouldn't care.
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In the latest entry in our Richard Stanley retrospective, Iain takes a look at the South African director's second film: Dust Devil.
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This week, Uma, Iain, and Bahir review Hitman: Agent Jun, The World According to Jeff Goldblum, and Hulu's High Fidelity.
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Here's 12 episodes of Jeff Goldblum being the most curious jazz cat Jeff Goldblum can be.
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Uma, Iain, and Bahir continue on their journey with Picard and his crew, boldly going where no accent has gone before.
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In Hulu's gender swapped reboot, Zoë Kravitz takes on the role made famous by John Cusack.
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South Korea's top super spy dreams of being something MORE. An online comics artist! But can he truly leave his past behind?
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The first official trailer to the Apple TV+ reboot of Amazing Stories leans heavily into the nostalgia of the original series.
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You want Fantasy Island tickets? We've got Fantasy Island tickets!
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As the GSC's Pavilion KL branch closed permanently this February 17th, Iain looks back on his history with his "local" cinema.
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Smart. Contemporary. Self-aware. Greta Gerwig's Little Women is unlike every other previous adaptation of Louisa May Alcott's novel.
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Ahead of the release of Color Out of Space starring Nicholas Cage, Iain catches up with director Richard Stanley's previous films.
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On this week's podcast, Uma, Iain, and Bahir review Sonic, Richard Jewell, and To All the Boys: P.S. I Still Love You.
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You've seen it in colour. Now go see it again in black and white.
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Is it a worthy addition to Bond canon?
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