Spinal Tap II: The End Continues (2025): This belated sequel to the great Spinal Tap is not an ideal note for director Rob Reiner to go out on – but then, who is so lucky to finish on a masterpiece?
As it stands, it’s not totally unfair to call the film a bit unnecessary, at least in as much as it doesn’t do anything surprising with its very aged fictional rockstars that didn’t already happen in the first one, but there more concise, and more energetically. This doesn’t mean there aren’t any good jokes in here – in fact, there are still more funny ones than bad ones – or that the film isn’t at least worth one rainy Sunday afternoon watch. There’s just nothing it does that suggests anyone involved actually needed to make it.
Imborrable (2022): Even at seventy minutes, this Spanish fake documentary about the attempt at creating a horror short film that goes astray is a drag. The actual narrative core could have been presented in twenty minutes at most, but director Jorge Rivera drowns it out in a series of talking heads that never seems to stop, and proceeds to go on and on forever in tangents that often have very little to do with anything and make the hour of farting around that make up the beginning of many a found footage-style POV horror film look downright concise.
Forbidden Fruits (2026): If ever there was a film that’s clearly not made for me, it’s Meredith Alloway’s meandering, social media irony-drenched bit of feminist hang out movie with a horror appendix. I found the characters obnoxious, the way the film treats its themes somewhere between impenetrable and pointless, and really didn’t want to spend any time with these people or in their world.
However, even I have to give the filmmaker credit for her unwavering aesthetic through line. There’s an insistent visual style to Forbidden Fruits you can’t help but respect, even if it bores you to tears as a film.
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