Movie: Myths & Mutants 2: Slaughter Grindhouse Edition (2026)

Premiere: March 31, 2026 
Country of origin: USA
Director: Ryan Cavalline
Writer: Ryan Cavalline
Production Companies: Legend Hunters Films
Distributed: Legend Hunters Films
Genre: Fantasy, Horror, Grindhouse
Runtime: 1h 33min
Starring:Peter Blessel, Nikki Carlson, Tommy Cooper

Some films connect, some films do not.
Some invite you in, some push you away.
Some feel effortless, some feel heavy in ways that are hard to define.
That is part of what makes cinema interesting in the first place.

In 2021 came Myths & Mutants, written and directed by Ryan Cavalline. I started watching it with curiosity, but it did not fully work for me. It presents itself as a kind of fake documentary about Myths & Mutants in Pennsylvania, but I struggled to stay engaged.

I tend to enjoy mockumentary style films, like Gummo (1997) or Forgotten Silver (1995), where the format creates something layered or unexpected. This one did not quite reach me in the same way. It might connect more with viewers familiar with Pennsylvania or more invested in its specific setting and tone.

This year 2026 came the follow up, Myths & Mutants 2: Slaughter Grindhouse Edition.
Yes, “Grindhouse Edition” is part of the actual title.

Thriller: A Cruel Picture (1973)

The poster immediately leans into a gritty, dirty visual style, clearly aiming for an exploitation inspired aesthetic. Like old kung fu films, damaged film prints, missing frames, burn marks, heavy grain. The kind of texture associated with underground genre cinema, where imperfection is part of the language.

The Karate Killer (1973)

Grindhouse itself was originally not an art movement, but inspired by films shown in cheap theaters. Often exploitation films that pushed boundaries in violence, nudity and shock value. Over time it evolved into a visual language of its own, later influencing filmmakers like Quentin Tarantino, who revisited that aesthetic in a modern context.

They Call Her… Cleopatra Wong (1978)

At the start of Myths & Mutants 2, the creators include a kind of dictionary style definition of the words myth, mutants, and grindhouse. 

The first story, Hans Trapp: The Cannibal Scarecrow, presents a folktale that at times feels inspired by figures such as Dracula and Elizabeth Bathory. Hans Trapp is portrayed as a greedy ruler living in a castle atop a hill who makes a deal with the devil and develops a thirst for human blood. As expected, such bargains come with consequences and Hans Trapp soon transforms into a relentless killer.

In the present timeline of the story, he moves through the world wearing a scarecrow mask, wandering through nature and killing anyone he encounters. He also appears to have a connection to the surrounding environment, with an ability to influence and manipulate vines, using them to trap and restrain people.

At the same time, we also follow a radio host trying to track down the truth behind the legend, attempting to uncover whether Hans Trapp is real. A kind of hunt for a story that may very well become lethal in itself.

 

In some ways, this reminded me of In a Violent Nature, where long stretches of quiet movement in natural surroundings are broken up by sudden bursts of extreme violence.

Some of the gore effects were genuinely impressive, while others were less convincing. What pulled me out of the experience, however, was something much more specific.

Having worked in some cinemas and having a fair understanding of how film projection works, I found myself distracted by the artificial film damage effects. Real film damage, frame jumps, scratches, or burn marks happen for specific reasons. I still remember the first time I saw a frame begin to burn in a projector. For a brief moment, I thought the projector itself had caught fire.

Because of that background, I struggled with the way the film mixed pristine digital imagery, modern visual effects, 4K quality, random scratches, static and damaged frames. To me, the effect felt inconsistent rather than authentic. That was clearly an artistic choice by the filmmakers, perhaps intended to create a certain atmosphere rather than accurately recreate a grindhouse print. Unfortunately, my own experience kept pulling me back to how these things would actually appear on film, making it harder for me to become immersed in the story.

Between the two segments, there is also an intermission presented in the form of a trailer for a fictional film titled Jesus Christ vs the Evil Clown from Dimension X – Vol 1.

It is exactly what it sounds like, a campy, over the top concept that leans heavily into 1970s style exploitation humor. Jesus Christ facing off against an alien clown figure, somewhere between science fiction chaos and horror parody. There is also a clear inspiration from Killer Klowns from Outer Space (1988) in its tone and visual absurdity.

In a way, this short trailer is one of the more consistent examples of the film’s grindhouse identity. It fully commits to the style without hesitation. It is a shame it was only a trailer rather than a full feature, because it had a strong sense of direction within its own campy framework.

The second story is called The Legend of the Pigman.

It is said a family was involved in an accident and now still moves around the borders of the farm, carving through the land. The warning is simple: stay away from that place.

This segment feels more grounded in its setup. There is a clearer motive from the beginning, following a man searching for a girl who is already shown early on to have been killed. Because of that, it follows a more traditional narrative flow compared to the first story.

At the same time, it still carries the same stylistic elements, with occasional missing frames and that familiar grindhouse texture. In terms of influence, it clearly draws from films like The Hills Have Eyes (1977), The Texas Chainsaw Massacre (1974) and Wrong Turn (2002). The killer is a masked figure in a pig mask, armed with a chainsaw, though he is not alone.

Compared to the first segment, this one felt easier to follow. The first story was more difficult for me to sit through, while this one felt slightly more controlled in its pacing and tone, even if the violence was still present and often quite graphic. Overall, it leans more toward a crime-like structure than a mythological one.

I guess I am more on the “mutants” side than the myth side when it comes to this kind of film language. Sadly, it did not fully work for me. I enjoy grindhouse style films, but this one did not quite land in the way I hoped. Still was somewhat fun to check it out, some of the gore was fun.  

3/10


Links:
IMDB:
https://www.imdb.com/title/tt39924102

IMDB to first movie
https://www.imdb.com/title/tt15180274

Homepage:
https://legendhuntersfilms.com

Facebook:
https://www.facebook.com/groups/1512567775625534

Article written by: Sonny Mikszath

Movie: Obsession (2025)

Premiere: September 6, 2025 
(Toronto International Film Festival - Canada) 
Country of origin: USA
Director: Curry Barker
Writer: Curry Barker
Production Companies: 
Capstone Pictures, Tea Shop Productions, Under the Shell
Distributed: Capstone Global
Genre: Drama, Psychological Horror
Runtime: 1h 48min
Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson

My guess is that many people reading this have felt rejection at some point. Some may even recognize the darker thought that follows it, the idea of wanting someone to love you completely and only you. That is not a healthy place to stay in, but it is a very human starting point.

That is where Obsession begins.

Before getting into the film itself, it is worth noting the production context. The film was made on a very small budget with a largely unknown cast and crew. After its unexpected success there has been discussion about compensation for those involved. My view is simple. Agreements made before production should be respected. If extra rewards are given after success, that is a gesture of goodwill rather than an obligation.

In this film we follow Barren (Michael Johnston), a young man deeply in love with Nikki (Inde Navarrette). The story builds around a wish that feels like a darker mirror of the concept seen in the movie Big (1988). In that film the wish is playful. Here it becomes something far more dangerous. Barren wants Nikki to love him above everyone else in the world. This wish comes true and what follows is where the film changes shape completely. The romantic tone collapses into full on psychological horror. 
 

What makes it stronger is that the film lets you feel both sides of the situation. You understand Barren’s obsession, you also feel Nikki’s fear and loss of control. That dual perspective makes the emotional impact heavier.

Barren is played with strong emotional intensity. His performance carries a quiet instability that builds rather than explodes. There is a magnetism in how he moves and how he speaks, that reminded me of Jake Gyllenhaal. It is not about imitation, but about that same controlled intensity that slowly pulls you in.

Nikki becomes increasingly unsettling as the story progresses. It is not only what she does but the shift in presence that makes her feel unpredictable. At times she feels like a victim of the situation, at other moments she feels almost detached from normal behavior in a way that is hard to read. Inde Navarrette delivers a performance that feels controlled and unsettling throughout, especially in how her character shifts between vulnerability and something harder to define.

As the film moves toward its later stages it does not hold back. There are scenes of intense gore that are brutal and very explicit. This is not a film that softens its impact.

One of the most interesting choices is the music. Even during tense moments the score often stays calm. That contrast creates discomfort because what you hear does not match what you see. It reinforces the feeling that something is wrong beneath the surface.

What surprised me most is how real the film feels. There is no constant reminder that it is a low budget production. The pacing holds attention from start to finish. I was fully locked in throughout the entire experience. The lighting also deserves mention. Nikki is often framed with parts of her face hidden in darkness. That simple choice adds unease and strengthens her presence in many scenes.

Overall this feels like a modest horror film that delivers far beyond expectation. Strong performances, confident direction and a consistently unsettling tone carry it throughout. It fits naturally within the type of horror films associated with Blumhouse.

I initially assumed Blumhouse had a direct production role because of the branding at the start and the overall style of the film. However, when checking the credits, the production companies are Capstone Pictures, with Jason Blum listed as a producer. That clarified the situation and explained why the association felt stronger than the actual credit structure.

This film starts as something familiar. It ends as something far more disturbing. The core message stays clear throughout: be careful what you wish for. This was a fully engaging experience from start to finish.
10/10

 

 

Trailer

IMDB
https://www.imdb.com/title/tt37287335

Article written by: Sonny Mikszath

 

Movie: Dead Again (1991)

Premiere: August 23, 1991
Country of origin: USA/UK
Director: Kenneth Branagh
Writer: Scott Frank
Production Companies: Paramount Pictures
Distributed: Paramount Pictures
Genre: Drama, Thriller
Runtime: 1h 47min
Starring: Kenneth Branagh, Emma Thompson, Andy Garcia 

I have not seen that much of Kenneth Branagh outside the three Poirot films, all of which are very well made. His performance in those is very strong, especially in how he carries the character and directing with detail and control. I have also seen his work in Frankenstein, which was solid. 

It is very impressive to see how much he handles in this film. He is not only acting in a dual role but also directing the entire project. That level of control over both performance and structure is rare, I would say and it shows in how tightly the film is constructed. 

  

At its core, the story seems simple at first. A black and white 1940s murder case involving the Strauss, where the husband is suspected of killing his wife. But very quickly it becomes unclear if it is really that simple. In present time, detective Mike Church (Kenneth Branagh) is helping a young woman (Emma Thompson) with no clear memory of who she is. The question slowly grows, is she connected to the events from the 1940s, or is something else going on? 

 

This story is full of twists and turns. The more you try to analyze it, the stranger it becomes. It plays with perception in a way that keeps shifting what you think is real.

One of the strongest parts is the 1940s setting. It feels very authentic, how it is framed, paced, the lighting, the camera movement and the dialogue rhythm all feel like they belong to that era of movie making. It does not feel like a modern film imitating the 40s, it feels like stepping into a movie from that era.

  

The mystery structure is also the main strength. Hypnosis, memory, identity and past reconstruction create a strong “guessing game” effect, where you are never fully stable in what you believe. It constantly shifts what feels like fact and what feels like interpretation, so you are always re-evaluating earlier scenes in a new light. Just when something feels solved, another layer appears that reframes it again, keeping the viewer in a constant state of uncertainty without ever fully locking into a single explanation.

The cast also adds a lot to the experience. One of the really fun parts of going back and discovering older films like this is suddenly recognizing actor after actor showing up. You start noticing, “wait, I know that person,” then another appears and another. It slowly turns into a full surprise star gallery filled with actors you recognize from later famous roles and productions. That makes the movie even more enjoyable to revisit and analyze today.

 

Kenneth Branagh as Mike Church/Roman Strauss
The detective figure gives a grounded performance that anchors the chaos of the film. His gradual descent from control into confusion becomes one of the strongest parts of the tension. Then the music composer Roman Strauss in the 40´s. It is also truly amazing to see Kenneth Branagh handling such a complex dual role while also directing the movie. That level of control over both performance and filmmaking is honestly very impressive.

 

Emma Thompson as Grace / Margaret Strauss
Emma Thompson does a fantastic job with her dual layered performance as well. She carries the emotional instability of the story very naturally, shifting between vulnerability, confusion, fear, and mystery. Since the film constantly plays with identity and perception, her performance is essential in making the audience question what is really happening.

  

Andy García as Gray Baker
Andy García’s character is very well structured and well played too. Baker becomes an important pressure point within the mystery, especially in how information slowly unfolds around him. García gives the role a calm but emotionally loaded presence that works very well within the noir inspired atmosphere of the film.

  

Robin Williams plays the hypnotist Dr. Cozy Carlisle. His role is interesting and memorable, but feels more like a thematic guide than a core part of the main plot. Though the story would still function without him in a structural sense.

Some honorable mentions.

 

Wayne Knight appears in a noticeable role and while not central to the story, he adds texture to the world and contributes to the unfolding suspicion and public perception around the mystery. He is a very recognizable actor from roles such as Seinfeld and Jurassic Park.

Raymond Cruz shows up very, very briefly as the Supermarket Clerk. It is only a tiny scene, maybe five seconds long, but I recognized him almost immediately even though the shot is a bit blurry. That actually sent me off on a side track looking through his IMDb page, which was fun in itself. Wait he is in Gremlins? Fun. Some years later he would become more widely known for modern crime and gangsta style roles in film and TV shows.

 

Another small role that stood out was the late Lois Hall, who plays the first nurse we see early in the movie. She had a very long acting career going all the way back to the 1940s, which fits the atmosphere of this film perfectly.

There are of course more recognizable faces throughout the movie, but these were some that stood out the most to me this time around.

This film sure was really interesting and good, the tone stays consistent throughout, balancing noir atmosphere with psychological tension. The pacing builds steadily.

I rate it a solid 9/10.
In the end, it is less about solving a simple murder mystery and more about watching how perception, memory and suggestion can reshape reality itself.

ps. If you come this far and read, look at the poster at the top again, did you only see the female? Look again. 

Article written by: Sonny Mikszath

Movie: Herman (2025)

 

Premiere: December 2, 2025
Country of origin: USA
Directed by: Andrew Vogel
Written by: Andrew Vogel
Production Companies: VP Independent, LBM Pictures
Distributed by: S&R Films
 Genre: Fantasy, Horror, Thriller
Runtime: 1 hour, 23 minutes
Starring: 
Colin Ward, Suzann Toni Petrongolo, Lawson Greyson, 
Alex James, Soni Theresa Montgomery, Lamar Alexander

Herman is the story of someone in a very dark place—and that place is becoming a physical manifestation. Imagine a low-budget Jacob’s Ladder or Silent Hill, and you’ll have the right idea of where it’s headed. The writer and director is Andrew Vogel, an independent filmmaker behind, VP Independent, a company in L.A. It’s never an easy job, but I hope they keep making their dreams come true, because Herman shows real promise. It reminds me a bit of Benson and Moorhead. And just like them, this film explores a supernatural story in a limited space with limited resources—and it’s very engaging as a viewer. So let’s get down to the plot!

Herman is an experienced old man, living in a secluded cabin in a landscape so remote that he barely meets anyone. Life is wearing him down, and he has hung a noose in his private study. Its shadow is visible through the window into the living room—a constant reminder. His past is tormenting him to the point where the pain becomes unbearable. One stormy night, there’s a knock on the door. Two nuns enter, and Herman must confront his past.

The film takes place mainly inside this cabin, and it doesn’t feel like a real place. It’s so isolated that it feels more like an emotional space than a physical one. It’s clear that Herman isn’t just mentally unstable—he seems forgotten, confused, as if he can’t place himself or his surroundings. He is lost. Colin Ward delivers a performance that is beyond great as Herman. There’s one scene in particular where he listens to a conversation between two other characters, and what they say triggers a chain reaction of powerful emotions within him. The way Colin expresses these feelings is like a boiling stew—pure perfection.

The film does have a problem that is common in this type of story. There’s a point where it feels like a scene is missing. The version I saw was a preview, so that could explain why it felt a bit off. The scene I’m talking about is where another visitor suddenly cries out that his girlfriend is dead—it comes out of nowhere, almost like a flash. The visitors in the cabin are also rather weak as characters. They don’t feel entirely real. I assume this was intentional, but it made some scenes feel a bit dull. The two nuns  are played by Suzann Tony Petrongolo and Soni Theresa Montgomery. And unfortunately, they don’t do much to me. The actors are doing a good job, but the characters don’t have that much to work with. The director plays a secondary character, and I think that role was a bit too obvious. It was used as a storytelling device more than a character. At times, the film overexplains its symbolism, which is always a tricky balance in films like this. Like any art form, it’s hard to know when you’ve gone too far. Thankfully, the film picks up again in the last half hour, but there’s about a 20-minute stretch in the middle that didn’t quite land for me.

The sound design is phenomenal. The dialogue is very clear, and the cinematography is stellar—far better than I expected.

7 out of 10. I know my rating might seem a bit low, but keep in mind that the positives outweigh the flaws. I would definitely recommend this to the right audience any day of the week.

Check out the companion video here with the writer/director/producer and Editor Andrew Vogel 

IMDB: 
https://www.imdb.com/title/tt34938727
Facebook:
https://www.facebook.com/profile.php?id=61559623590014
VP Independent: https://www.instagram.com/vpindie/

Instagram:
@vpindie
@andrewmakesmovies
@zanntoni

http://www.euroobscura.com/

Article written by: Robin Andersson
https://filmfett.wordpress.com/