Thursday, July 30, 2026

Release: The Bounty Hunter

 

The Bounty Hunter
Genre: Action
Director: Zack Snyder
Writer: Jacob Jones
Cast: Chris Evans, Mackenzie Davis, Michael Cimino, Maya Hawke, Redding Munsell, Zach Roerig

Budget: $85,000,000
Domestic Box Office: $46,900,222
Foreign Box Office: $33,194,206
Total Profit: -$53,001,701

Reaction: Definitely a disappointment following the studio's recent success and writer Jacob Jones' success earlier this season with Double Date.




"The Bounty Hunter is a gritty, stripped down action film that mostly succeeds on getting by on physicality and emotion rather than spectacle. The action itself is a bit more straight-forward than I was expecting from a Zack Snyder film, but it's mostly effective. Star Chris Evans does his best in the title role, even if he seems miscast as an aging boxing champ. He does manage to sell the desperation and does a good job with the father-son dynamic central to the plot, helping add stakes to an otherwise familiar story." - Derek Halston, Iron City Film Review


"The Bounty Hunter feels assembled from the most generic pieces of modern action cinema. The action and fight scenes, by the end, feel repetitive and never escalate in a meaningful way. Chris Evans is a puzzling fit as a battered, blue-collar bruiser, never fully convincing. The supporting cast only compounds the issue—Michael Cimino is strikingly unconvincing as a villain, lacking menace or credibility, while the rest of the ensemble feels miscast or underwritten. Combined with a predictable story and a title that sounds pulled from a stock template, the film ultimately struggles to make an impact." - Calvin Bryce, The Overlook Dispatch


"The Bounty Hunter feels like a much smaller, simpler movie awkwardly stretched into something bigger than it needs to be. The script leans heavily on exposition and coincidence, while Tony and Rat swing wildly between quirky comic villains and genuinely violent psychopaths without much connective tissue. Chris Evans does what he can but is clearly miscast and he struggles to make the “Frank the Tank” material feel anything but unintentionally goofy. There are some decent moments, but the plotting gets repetitive, and the rapid and frequent tonal shifts from scrappy action comedy to life-or-death hostage thriller can be jarring." - Gregory Fletcher, Los Angeles Times-Journal





Rated R for action violence and language






Wednesday, July 29, 2026

IN DEVELOPMENT

 

Kill Bin Laden: Stanley Tucci (Rediscovered Harmonies, Malik), Adam Scott (Painkiller Jane, Poison Ivy: Mind Games), and Stephen Lang (Task Force X, The Devil's Revenge) have been tapped to round out the supporting cast of the political thriller Kill Bin Laden. Scott will play Obama's speechwriter Ben Rhodes, Tucci will play a counterterrorism advisor to the president, while Lang will play Admiral McRaven. Darren Aronofsky is directing the film from a script by Alex Conn.

Ilvermorny: The Hidden School: The latest Wizarding World film for LRF has continued to fill out its cast with a combination of fresh and veteran faces as Hilary Swank (Ruby Ridge, Runaway), Kyriana Kratter (The Healing Garden, "Star Wars: Skeleton Crew"), and Angela Bassett (Stretch Armstrong, The Quiet Between Us) have all joined the film. Swank will play the school's headmistress, Bassett will play the director of the Magical Congress of the United States of America, while Kratter will play a particularly studious student at Ilvermorny. Francis Lawrence stretches his YA muscles as director of the film based on a script by Dawson Edwards.

The Midnight Library: Jack Lowden (Northrock, Photographs) and Ben Whishaw (Echoes of Red, Care of Death) will round out the cast of the Jessie Buckley-led adaptation of Matt Haig's best-selling novel, The Midnight Libary. Meirad Tako has penned the book's adaptation.

Tales from the Crypt: Several more faces are set for the anthology-style film based on the Tales from the Crypt franchise. New additions include Katheryn Winnick (Undefeated Abe, Masters of the Universe: The Sword of Power), Logan Miller (The Liberation of Evil, Midnight Tales), Kathryn Newton (Tinseltown, The Nest), and Ryder Allen (Heartstone, The Scam of Success). They will appear in some of the four segments in the film, which will be directed by the team of Michael Dougherty, Bryan Bertino, Ti West, and Andy Muschietti. Joshua Collins wrote each segment.

The Chain: One of the most popular and acclaimed bands in history, Fleetwood Mac, are finally getting the biopic treatment courtesy of director Charlotte Wells (Aftersun) and writer Diane Esposito (Material Girl, Power Rangers). Sydney Sweeney (Starlight, Poison Ivy: Mind Games), Joe Keery (Starman, Heist Society), and Toby Kebbell (Duel, We Still Know Where You Live) are set to star as singer Stevie Nicks, guitarist Lindsey Buckingam, and drummer Mick Fleetwood, respectively. The film is expected to depict the formation of the most well-known lineup of the band and their eventual break-up amidst drug use, massive success, and failed romance.

Pokemon: It's long been in the works, but now the Pokemon franchise is finally headed to LRF screens as the debut film of Season 37. The Duffer Brothers (Hidden, "Stranger Things") are behind the camera for the blockbuster. Noah Schnapp (Haven, The Dark Tower IVL Wizard and Glass) joins the Stranger Things creator as Ash Ketchum who leaves his quaint hometown for an adventure across a Pokemon-populated world. Peyton List (Cedar Ridge, Camping) and Ross Butler (Tokyo Rose, Dragon Ball: The Wrath of the Demon King) will play Ash's traveling companions, Misty and Brock, respectively. Tanner Buchanan (Wrong Turn, Batman Beyond), meanwhile, will play Ash's rival, Gary. Diane Esposito (Material Girl, Power Rangers) also penned this one based on the massively popular multi-media franchise.

Now Showing: The Bounty Hunter

 

The Bounty Hunter
Genre: Action
Director: Zack Snyder
Writer: Jacob Jones
Cast: Chris Evans, Mackenzie Davis, Michael Cimino, Maya Hawke, Redding Munsell, Zach Roerig

Plot: Inside a small venue, a middle-aged man sits in his corner, cuts and bruises ravaging his face as he breathes heavily. He looks up to examine his opponent, chipper and young compared to him. He sighs, standing up, preparing to fight. In the background, an announcer claims that Frank (Chris Evans), the older fighter, was once a world champion. But now?

“OH MY GOODNESS! DOWN IN A FLASH!”

Frank crumples to the ground, immediately falling to the younger fighter. Frank tries to stand up, but nearly stumbles over himself. The younger fighter pounces, delivering a couple final blows to Frank. Frank tries to cover up, but he goes down, the referee’s count merely an echo…

“Frank? Are you okay?”

Now at the hospital, Frank opens his eyes, coming face to face with his wife Angela (Mackenzie Davis) and child Peter (Redding Munsell). Frank claims that he’s been through worse, but there’s little emotion in his voice. Angela tells him that he can’t keep doing this to himself. He’s not the man he once was. A tense silence grows between both spouses before Frank relents, admitting that this might have been his last fight. Angela assures him that he’ll find something new, the two exchanging a kiss.

The next day, Frank makes his official. He’s retiring from boxing. That afternoon, Frank is cleared from the hospital. As Angela drives the family home, Frank looks out at the city, the sun setting on the skyscrapers. Once the family reaches home, Frank tells Angela that he’ll pick up dinner later. He needs some time for himself.

Frank wanders about his town, aimlessly shuffling through society, paying little attention to anything. The mood shifts however when Frank hears a disturbance, finding a young woman being menaced by a crook (Zach Roerig) carrying her purse. Wanting to bring a sense of Justice, Frank charges toward the crook, slamming him towards a building before sending a warning.

“You fuck with this woman, I’ll see to it you’re six feet under, you got that?

The crook feins understanding, only to kick Frank in the shin, breaking his grip. The crook doesn’t go far, however, before being grabbed by the shirt by Frank and repeatedly elbowed on the back of his neck. Eventually, Frank rips the purse from the lowly crook’s hands and throws it to the lady. Enraged, The crook tries lunging after Frank, only to be caught and thrown onto a vehicle. He soon finds that the vehicle in question is a police car.

Frank sits inside the police department’s office, pondering his plight before an officer comes up to him. After giving the officer an explanation, Frank attempts to apologize, but the officer tells him not to worry. They’ve been on the hunt for the purse thief for months now, even putting out a thousand dollar bounty. The officer asks Frank if he’s ever considered being a bounty hunter. Frank isn’t sure what that entails, but says that he’ll think about it, asking if he’d qualify for the bounty.

“We’ll see what happens.”

That evening, Frank returns home to a relieved Angela asking him where he’s been. Frank doesn’t give an explanation, only saying that he needs to study, taking the walk to their bedroom, pulling out his phone and searching the term “bounty hunter”.

The next day, Frank returns to the police department, announcing his intent to become a bounty hunter. To test his moxie, the officers put him through a training progress, teaching him how to work with weapons and going over the examination process. He struggles at first, but as the days pass by, Frank finds himself growing more comfortable with the bounty hunter lifestyle, eventually earning his license. Now officially a bounty hunter, Frank goes over his first official case, a $100,000 bounty on a man who has eluded the legal system for several years.

“A man and his rat.” The officer claims.

Out in the rural parts of town, surrounded by an embarrassment of riches, a young man passionately makes out with his girlfriend when they hear door knocks. The man slinks his way towards the front door, standing face to face with a landlord. Not only gave they not paid their rent, they’re set to repossess all of their belongings and evict them.

The young man, named Tony (Michael Cimino) by the landlord feins shock, claiming to have the check for him, but once he leaves, the landlord is immediately shot in the head by his girlfriend. As the landlord collapses onto the ground, Tony embraces his precious Rat (Maya Hawke) before making an announcement. Tomorrow, they’re going to leave this dump and pull a hit on the mayor. He’s going to be delivering a speech declaring for another tenure. Rat is ecstatic, making plans in regards to the weaponry. Tony warns her not to get excited. They need to plan so that no one thinks of suspecting them…

“Crime’s only as good as your disguise, and baby, we’re the masters of them.” Tony states.

In the other side of town, Frank tucks Peter in for the night when he comes across Abigail, who is both happy and relieved that Frank is busy with the child. As the two walk toward the kitchen, Abigail asks Frank how the bounty hunting business is going.

“Pretty good, though the fact that so many people keep skipping court is kinda wild.” Frank admits before letting Abigail in on some news. The mayor is going to deliver a speech tomorrow. He’s not sure why, but something tells him that trouble may be lurking, so he’s going to stop by City Hall to keep an eye on things.

Early next morning, the mayoral security team prepares themselves for the big day. Two younger personnel however are unaware that Tony and Rat have snuck into the hall, dressed up to look like security themselves. Tony claims that it’s their first day on the job. While a crowd gathers together to hear the mayor’s big speech, Frank gets his briefing from the head of security, who thanks him for the added assistance. As the speech continues, Frank keeps an eye out for security, standing between the people and the mayor’s podium. His eyes turn towards Tony, his arms behind his back as Frank finds, to his shock, that Tony has a gun. One that he’s set to shoot at any moment…

“MAYOR, HE’S GONNA SHOOT!” Frank cries out to the mayor. With the disguise foiled, Tony shoots at the mayor, who barely dodges out of harm’s way. Frank charges towards Tony, wrestling the gun away from him, only for Rat tackle him to the ground, landing some punches before being chased off by security. Tony and Rat flee the scene, but while Frank is being helped up, he looks at Tony, seeing how familiar looks compared to his mug.

Frank is on the news again that afternoon, being interviewed by local press on the event. After the mayor thanked him for the warning, Frank alerted him to launch an investigation on the perpetrators responsible. Something tells him that this is far from over…

“YOU’RE DAMN RIGHT IT’S NOT OVER!” Tony shouts, throwing his remote at the TV. He rants about how Frank ruined everything and that the next time he sees him, he’ll—

“Sweetie, you’re cute, but maybe leave the threats to me.” Rat quips. She wonders what they’ll do now that they’ve been found out by the authorities. Tony declares that they’ll be bold and track down the person who ruined their plan and make sure they keep their mouths shut. Rat thinks this plan is ridiculous, but goes along with it when Tony promises that if the time comes, she can kick his head off. The two slink off, finalizing their plans.

For the next few days, Frank is hot on the trail for Tony and Rat, but is unable to find a lead. During a drive, he receives a call from Angela and Peter and heads out of the car. They haven’t heard anything from them either. Frank wonders if maybe they’ve given up, only to hear a “psst” coming from a nearby cafe. Suspicious, Frank walks up to a man wearing a suit that is best described as “a 50s detective who joined a gang”. The figure explains that he has a tip regarding Tony and Rat, having heard of their whereabouts. He also reveals that the two are burglars of the highest order, thieving people out of their items thanks to Tony’s cunning intellect and Rat’s physical prowess.

This information, while valuable, does leave Frank to openly question: “How do you know so much about them?” He follows up by asking the mysterious figure knows Tony personally, only for him to take off his bandana and reveal…

“I am him!”

Tony grabs at Frank’s shirt collar and warns him to stay out of their business, or they’ll make him a mantle-piece. Frank breaks free, hitting Tony like a hard right. Tony proceeds to sprint inside the cafe, Frank following suit. What follows is a pier-six brawl as Tony throws several chairs at Frank, the bounty hunter dodging each one of them, even saving an innocent woman from being hit by one. Frank grabs onto the chalkboard revealing today’s specials and chucks it towards Tony, only to be caught by Rat who proceeds to break the board into two, grabbing onto two sharp shards of wood.

Tony charges toward Frank, pinning him towards the wall and pulling out a hammer. Rat steps toward Frank, placing the shard of wood on top of his forehead. Tony gives Frank one last out. Either stay out of their business or be taken out of the equation. In an act of desperation, Frank squirms about, trying to use his legs to kick at Rat. He succeeds, causing Rat to lose balance and drops her second shard on the floor. Tony and Frank dive for the shard, Frank claiming hold of the shard and the hammer. Before Frank can do anything, however, Rat chucks a chair through the glass window, breaking it and giving them an opportunity for escape.

That evening, a frustrated Frank returns home, venting about how he was so close to putting Tony and Rat away. Angela assures him that all isn’t lost and that he’ll get another chance soon. Frank hopes so, and walks off to reflect on the situation. He sits on his bed, combing over how the two criminals got away, realizing that he could have been killed. He writes down his to-do list for tomorrow. Chief among them? Buy some firearms in case they try anything like that again.

On the other side of town, Tony is on the verge of completing a dox of their target, Frank, quietly nodding and writing down plans for tomorrow.

Early next morning, Frank is finalizing a purchase for his new guns when he receives a phone call from Angela who urges him to come home now. They’ve not only been burgled, she’s convinced that the thieves are still in the house. Frank wastes no time, storming out of the gun store and driving off.

In a cross-cutting montage alongside Frank’s desperate drive home, Angela and Peter come across Tony and Rat, who claim to be part of a ‘moving company’. Peter exposes the lie quickly when he spots his favorite stuffed animal in Tony’s hand. Rat breaks the facade further by calling him a “little brat”, causing Angela to step in and defend her child. Angela and Tony get into a brief shoving match…

…by the time Frank returns home, he finds that the kitchen is in ruins with dishes being thrown around. Angela meanwhile has been knocked out cold. Frank rushes to her aid, doing his best to wake her up. Angela coughs up blood, barely coming back to consciousness, revealing that they took Peter hostage. She tried to save him but Rat was too strong. Frank tells her not to worry. He’ll find the bastards and get Peter home. Frank sits Angela up on the couch and heads out.

As Frank drives all over town, Tony and Rat come across an abandoned building, several stories tall and unoccupied. Tony grabs onto the terrified Peter, still squirming about in a desperate attempt to break free. Rat kicks open the door and the two step inside, climbing up the stairs until finally they reach the roof-top. Peter begs them to take him home, but Tony is unwilling, explaining that “daddy has been real naughty to us, so we need to be naughty back”. In this case, Rat’s going to throw Peter onto the concrete. Before Rat can get her hands onto Peter, he bolts off, running around in circles to tire her out. Eventually, however, Tony slaps him on the face, causing him to fall down and land on his right arm. Rat picks Peter up by the waist, prepared to send him to his death when he sees a group of cars appearing on the horizon. Peter calls out for help, praying that his father is out there somewhere.

The police demand that Tony and Rat stand down and let the child go. Tony asks what they’re going to do about it.

“It’s not what…but who!”

The scene comes to a halt as Tony and Rat glance over towards the other side and find Frank. Not only has he alerted the police about what’s happened, but he’s come to save his son. Tony thinks it’s a little late for that and almost tells Rat to pull the trigger, only for Frank to pull out his new gun, threatening to shoot if they don’t comply. Tony feigns defeat, claiming that they’re ready to comply with all of Frank’s demands…

…only for Rat to throw Peter onto the rooftop and charge at Frank. He shoots at her, the thief dodging every bullet before tackling Frank to the ground, landing a few shots in the process. Tony pulls Rat off of Frank, getting in his own punches. Tony yanks the gun away from Frank, turning it towards him and Peter. To him, this is a better way of putting an end to Frank and his kid. All seems lost for Frank, when something comes to mind…

“...before you shoot Tony, I want to ask you something. Do you know a man named The Tank?” Frank explains that a long time ago, there was a man who dominated the world of boxing thanks to his sheer physical presence, able to knock opponents out without any question. He ruled the boxing world for many years, until finally, the years of wear and tear wore him down and he had to retire.

“What, that your Dad or something?” Tony asks, watching as Frank rises to his feet.

“No…I am Tank. Frank…the Tank!”

Feeling a new sense of adrenaline, Frank charges towards Tony, hitting him with several jaw-jacking punches, turning the clock back several years in the process. Rat tries to stop him, but Peter kicks her in the shin, leaving it between Frank and Tony. Tony tries to fight back, but without Rat to serve as his shield, he stands no chance. Eventually, Tony is backed towards the edge of the roof, dropping his gun when he realizes where he’s at. Frank steps up to Tony, delivering one final punch that sends him tumbling off the building, crashing onto the top of a police car in the process.

Frank turns his attention towards Peter, who rushes up to him and gets a hug. Frank is relieved that Peter is safe, but among seeing Rat come to her senses, tells him to go with the police. As Peter runs out, Rat stalks behind Frank, the bounty hunter unaware…

All of a sudden, Frank feels a sharp, piercing pain in his back and crumples to the ground. Rat lets out a roar, having placed a knife deep into his back. She pulls it out of his back and sets Frank up, forcing him towards the edge of the building. With Tony unconscious, Rat feels that there’s only one thing to do.

“If you’re taking us down, we’re taking you with us!” Rat exclaims as she throws herself and Frank off the building…

…At the last moment, however, a group of policemen come together, grabbing Frank into the process. As for Rat, she slams onto the concrete, having missed the police cars, killing her instantly.

Frank takes a look around him, unable to hear clearly. He sees Tony being taken away by police, then looks at Rat’s limp body before finally seeing Peter’s face as he contorts in fear over what’s happening to him.

Then, he passes out.

“Frank? Are you okay?”

Frank has returned to where he started, sitting inside the hospital, having been treated for a stab wound on his back. Frank tells Angela that he’s fine, causing Angela and Peter to give him a warm hug, tears streaming down their faces. They’re all thankful to be alive, and there’s even more good news. Frank has earned his $100,000 bounty for the capture of Tony. Peter asks Frank what he’s going to do with all that money…

Several months later…

Inside the same building where Frank saved Peter from Tony and Rat, a group of young kids, including Peter, are learning how to defend themselves in the event of trouble. Frank watches on, now serving as head instructor. Angela sneaks up behind him, saying that it was nice of him to donate the money towards making the building a safer place, but wonders what this means for his bounty hunting career. Frank assures her that he’s still a bounty hunter…

“...but I’m taking easier cases from now on. Besides, I think one battle for my life is enough for me.”

Angela and Peter both chuckle and share a kiss, watching their students practice their craft.


Tuesday, July 28, 2026

Release: Buffy the Vampire Slayer 2

 

Buffy the Vampire Slayer 2
Genre: Horror/Comedy
Director: Cathy Yan
Writer: Walter McKnight
Based on the Buffy the Vampire Slayer media franchise and characters created by Joss Whedon
Cast: Meg Donnelly, Dacre Montgomery, Max Irons, Annalise Basso, Kira Kosarin, Teagan Croft, Elisabeth Shue, Nick Frost, Sophie Lowe, Bailey Bass, Elena Kampouris

Budget: $40,000,000
Domestic Box Office: $72,416,224
Foreign Box Office: $59,109,445
Total Profit: $55,194,234

Reaction: This Buffy sequel has bested the first film in every possible box office category, showing that there is still an appetite for teenaged vampire slayers on the big screen.



"Buffy 2 is a chaotic, fun, and surprisingly heartfelt sequel that balances teen drama, horror, and dark comedy with flair. Meg Donnelly’s Buffy is grounded and determined, Dacre Montgomery’s brooding Angel adds depth, and Max Irons’ Spike is pure menace. From Victorian flashbacks to cheerleading showdowns, Cathy Yan keeps the action inventive and the stakes high, while family and friendship moments give the story real weight. Over-the-top, clever, and occasionally brutal, this sequel proves Sunnydale is never boring." - Dexter Quinn, Cinematic Observer Newsletter


"Buffy the Vampire Slayer 2 successfully blends horror and humor while expanding its world and characters. Cathy Yan brings a stylish, energetic tone, and Meg Donnelly continues to grow into the role of Buffy with confidence and vulnerability. The addition of Spike and Drusilla injects real menace, while the cheer competition climax is a clever and chaotic set piece. It’s a fun, character-driven sequel that builds momentum for the franchise." - Carla Vance, Midnight Screen Review



"While Buffy the Vampire Slayer 2 has moments of charm and solid performances, it struggles with uneven pacing and tonal inconsistency. The film juggles too many threads—Buffy’s grief, family drama, Angel’s backstory, and the Spike/Drusilla threat—without fully developing any of them. Spike stands out as a compelling villain, but Drusilla feels underused, and her quick exit undercuts the stakes (no pun intended)." - Cal Crowe, Washington Globe






Rated PG-13 for violence, some frightening images, and brief language.





SOCIAL SPOTLIGHT

 

Actors don’t just light up the screen — they light up the feed. Social Spotlight takes a look at how today’s stars promote their movies through the platforms that matter.

This round we have the latest Instagram post from Buffy the Vampire Slayer 2 star Meg Donnelly....



Monday, July 27, 2026

Now Showing: Buffy the Vampire Slayer 2

 

Buffy the Vampire Slayer 2
Genre: Horror/Comedy
Director: Cathy Yan
Writer: Walter McKnight
Based on the Buffy the Vampire Slayer media franchise and characters created by Joss Whedon
Cast: Meg Donnelly, Dacre Montgomery, Max Irons, Annalise Basso, Kira Kosarin, Teagan Croft, Elisabeth Shue, Nick Frost, Sophie Lowe, Bailey Bass, Elena Kampouris

Plot: In Victorian London, William Pratt (Max Irons) wanders a lonely street after being humiliated by London’s elite. Drusilla (Sophie Lowe) emerges from the fog, speaking to him with unnerving interest. She circles him and suddenly presses him against a wall with inhuman strength. She bites him, and later, William rises pale and trembling. Drusilla smiles with satisfaction, guiding him deeper into the night as her new vampire companion, Spike.

Present Day. During a crowded vampire movie night at the Sunnydale drive-in, Spike and Drusilla slip through parked cars. A woman screams as Drusilla lunges onto a car roof, and chaos erupts when Spike tears open a passenger door. People flee between rows of vehicles while engines start and cars scatter across the lot.

At lunch the next day, Buffy Summers (Meg Donnelly) recounts to her best friend Willow Rosenberg (Annalise Basso) how Oliver died in a vampire attack soon after prom. The memory is still raw, but she explains she didn’t want the news defining her at school. Willow reminds her she doesn’t have to carry everything alone, but Buffy is clearly struggling with the loss.

That evening, Buffy sits at the kitchen table while Joyce (Elisabeth Shue) prepares dinner and Dawn (Teagan Croft) complains about school. Joyce notices Buffy is distracted and asks if something is wrong. Buffy brushes it off, saying she’s just tired. Dawn snaps that Buffy is “always tired lately” and never around anymore.

Buffy is in the school library when she finds Giles (Nick Frost) buried under a mound of fallen books he accidentally knocked over. He enthusiastically explains he is her new Watcher and immediately launches into a rundown of Sunnydale’s growing vampire problems. Buffy is skeptical until he details Spike and Drusilla’s recent movements - showing he's knowledgeable in addition to clumsy.

Joyce comes to the school to drop off paperwork and runs into Giles in the library. He introduces himself as the librarian and immediately knocks over a rolling cart while shaking her hand. Joyce laughs politely, but becomes uneasy when Giles asks pointed questions about Buffy’s adjustment to Sunnydale and whether she’s been acting differently at home with everything that's happened. Joyce leaves confused.

Amber Grove (Bailey Bass), from rival Ridgecrest High, marches into Sunnydale's cheer practice with her cheer squad in tow.She criticizes the routines planned by Cordelia Chase (Kira Kosarin). Buffy watches the rivalry escalate. Willow mutters from the stands, questioning if Amber's bitchy attitude might require supernatural explanation.

Buffy, Willow, Cordelia, and Giles examine the drive-in aftermath. Giles identifies the culprits as Spike and Drusilla based on past Watcher reports. He warns that wherever they appear, destruction follows. Buffy says that they need to find them before they hurt more innocent people. Cordelia however insists that it should be second priority following the regional cheer competition.

While investigating, Buffy encounters Spike, who taunts her before launching into a fast, brutal fight. Buffy blocks his swings, landing kicks to his chest, but Spike is able to corner her until Angel (Dacre Montgomery) suddenly appears and drives him back violently. Spike retreats with a smirk, while Angel warns Buffy that she's in over her head. Buffy asks who Angel is, but he vanishes.

Convinced Amber is secretly supernatural, Willow confronts her outside of Ridgecrest High School holding a cross and a bottle of holy water. Amber shrieks from the water splashing onto her cheer uniform. Willow realizes that Amber is fully human - just mean, and runs away.

Giles attempts to dig through the library's archives, finally finding a thick old volume. He hands it to Buffy. The text details Angel's past. Giles explains that Angel was long ago a human named Liam before becoming a violent vampire known as Angelus. 

18th Century Ireland. Liam is lured into becoming a vampire by Darla (Elena Kampouris). He travels across Europe with Darla, even crossing paths and teaming up with Drusilla and Spike to wreak havoc. After slaughtering and feeding on a Romani clan, he is cursed with the return of his human soul, leaving him anguished over the harm and violence he has caused. 

Dawn excitedly tells Buffy about a school event she wants her to attend the night before the competition. Buffy promises she’ll try, but later cancels at the last minute due to patrol. Dawn lashes out, accusing Buffy of caring more about cheer and strangers than her own family. Buffy starts to explain, stops herself, and apologizes without giving a reason. Dawn storms off.

Buffy is able to track down Angel and questions him. Angel admits that everything she read was true and that he regrets every life he took. Buffy listens intently, but wants to know if they are truly on the same side. Angel tells her that he wants to stop Spike and Drusilla's chaos.

Sunnydale High hosts the regional cheer competition, bringing crowds and rival teams into their gymnasium. Buffy alternates between cheer routines and scanning the area for vampires. 

Backstage, a vampire grabs Amber while she is adjusting her uniform. Willow tackles the creature. Her bottle of holy water spills open, burning the flesh of the vampire. Amber trembles in shock.

As Sunnydale's routine begins, the gym lights shut off. Drusilla appears on the rafters. Spike blocks the exit. Drusilla descends to the cheer mat, eyes fixed on Buffy. Buffy clashes with Drusilla across the mat while Willow and Cordelia try to guide the civilians away from the violence. Giles tries to help as well, but it trampled by the crowd. 

Buffy grabs a large cheer trophy and drives it forward, staking Drusilla in the heart with it. Drusilla crumbles into ash. Spike watches from above. He then retreats into the shadows.

The rest of the cheer competition is cancelled. Buffy is happy that she was able to destroy Drusilla before she took any more lives, but Angel warns her that Spike is bound to seek revenge. 

Amber finds Willow and thanks her awkwardly for saving her life. Willow tries to downplay it, but accidentally suggests she’ll keep monitoring Amber just to be sure.

Late that night, Buffy returns home bruised and exhausted. Joyce is awake, having heard about the chaos at the competition on the news. She asks if Buffy is okay and gently touches a bruise on her arm. Buffy insists it was just an accident. Joyce doesn’t fully believe her but pulls her into a hug anyway.

Buffy, Giles, Willow, Cordelia, and Angel meet in the library to discuss what's next. Giles warns that other powerful forces may be stirred by recent events. Buffy accepts that Sunnydale will always attract trouble, but at least she isn’t facing it alone.


HISTORY LESSON (SEASON 15)

 

Welcome to History Lesson, where we take a closer look at the movies that dare to tackle real-life events with varying levels of accuracy, drama, and WTF casting choices. These films promise to educate and entertain, but more often than not, they rewrite history with the subtlety of a sledgehammer. We’ll be your guide through the land of miscast biopics, dramatic embellishments, and historical “inspired-by” liberties, breaking down whether these flicks are Golden Reel Award-worthy masterpieces or just a big-budget Wikipedia summary. Either way, it’s more fun than your high school history class—and there’s popcorn.

This time around we will take a look at Season 15's fact-based slate....




HISTORY LESSON: TO THE MAX
To The Max is a gloriously ridiculous romp that transforms a true-crime tale into a Guy Fieri-flavored fever dream, complete with flaming exhausts and frosted tips. The film dances between a dark comedy and a heist movie, taking itself about as seriously as an infomercial for donkey sauce. Director Matt Spicer and writers Lon Charles and Chad Taylor somehow meld absurdity with just enough sincerity to keep you invested in Max Wade’s chaotic descent from high school hotshot to inmate in solitary. Historical accuracy? Forget about it. This is less a fact-based account and more what would happen if Ferris Bueller took a hard left into Breaking Bad.

Noah Centineo as Max Wade feels like an inspired yet risky choice, portraying a kid whose overconfidence and entitlement are both infuriating and strangely endearing. Rob Lowe and Kathryn Hahn as his clueless parents steal every scene they’re in, embodying the kind of affluence-induced neglect that practically screams, “We didn’t sign up for this!” But let’s get to the real standout: Guy Fieri playing himself as the victim of an epic car heist. His tearful courtroom monologue about his Lamborghini as a symbol of his immigrant grandfather’s American Dream deserves an honorary Golden Reel Award for sheer audacity. The fact that this scene feels both ridiculous and weirdly moving encapsulates the tone of the whole film. Much like Flavortown itself, To The Max is absurd, over-the-top, and oddly captivating.




HISTORY LESSON: THE SECOND LIFE OF JOHN WILKES BOOTH
The Second Life of John Wilkes Booth is an unapologetically wild historical reimagining that has Quentin Tarantino’s fingerprints all over it — minus the gratuitous blood sprays (well, mostly). The film plays fast and loose with history, taking the infamous assassin from infamous to incognito in record time. Is it historically accurate? About as accurate as a history book written by a drunk time traveler. Booth faking his death, marrying a schoolteacher, and reciting the Gettysburg Address? Sure, why not! It’s bold, absurd, and surprisingly poignant, leaning into the “what if?” fantasy in a way only Tarantino could greenlight without blinking.

The casting is as eclectic as the plot. Emile Hirsch as John Wilkes Booth is a gutsy choice — his smirking charisma perfectly captures the deranged narcissism of the infamous actor-turned-assassin, though at times he leans more tortured artist than political zealot. Colin Farrell as the dogged journalist Langford Upham is pure gold, playing a character who seems one missed clue away from starring in his own HBO miniseries. Michael Madsen’s hard-drinking ex-Confederate Moody Suggs steals every scene he’s in, though one wonders if Madsen just wandered onto set, bottle in hand, and Tarantino decided to roll with it. And Margaret Qualley as Booth’s unwitting, sweet-natured wife feels like the moral compass this swirling fever dream needs. It’s a cast that’s somehow both pitch-perfect and completely off the rails, which makes the film feel like history as retold in a bar fight.




HISTORY LESSON: MISFIT
Misfit dramatizes the production of The Misfits, but don’t expect historical accuracy to be its priority. Gus Van Sant helms this moody, slow-burn biopic where everyone’s sweating — literally and metaphorically — on a chaotic Nevada film set. Joaquin Phoenix stars as Montgomery Clift, a man grappling with his post-accident insecurities, closeted desires, and an addiction to painkillers, because nothing says "method acting" like suffering. Christina Hendricks steps into Marilyn Monroe's shoes, navigating forgotten lines, a crumbling marriage, and lingering stares from both her husband Arthur Miller (Peter Sarsgaard) and Clift. Meanwhile, George Clooney’s Clark Gable smokes, swaggers, and undermines Miller’s script for fun. The film paints a sweltering picture of Hollywood glam gone wrong, but whether these personal dramas happened exactly as depicted? Well, let’s just say that the Nevada heat isn’t the only thing embellishing this tale.

The movie doesn’t let truth get in the way of a good story, leaning into every tortured Hollywood trope imaginable. Did Marilyn and Monty bond over shared insecurities while she cradled his head? Maybe in another lifetime. Was there an unspoken cowboy love story between Monty and his wrangler? Sure, if that helps the screenplay get into Sundance. And while Hendricks impresses as Monroe, some moments feel more fanfic than fact, like the Confidential headline scandal conveniently sparking jealousy and diversion. By the time Gable collapses post-production, the film almost asks you to believe the set’s dysfunction killed him. Misfit tries to be a tribute to its tragic icons but ends up as an oddly glamorous therapy session for Hollywood’s most brooding era.




HISTORY LESSON: KURT & COURTNEY: ALL APOLOGIES
Kurt & Courtney: All Apologies is the grunge-era melodrama you didn’t know you needed — and maybe didn’t. Director David Robert Mitchell spins this chaotic love story into a hazy fever dream, and while Ben Foster and Riley Keough embody the tragedy of Kurt Cobain and Courtney Love, their performances are overshadowed by the sheer gall of this script. Foster is convincing as a mumbling, heroin-addled Cobain, but it’s Keough’s Love who takes the spotlight — part raging hurricane, part unhinged comedy relief. Unfortunately, the film leans so hard into their dysfunction it often feels like it’s daring you to yell, "We get it, they were messy!" Nicholas Braun as Krist Novoselic deserves a special mention for looking like he wandered onto set straight from an indie comedy about a guy who owns too many flannels.

As for historical accuracy, let’s just say the movie is about as faithful as Courtney allegedly was in 1993. Did Love actually administer naloxone like a roadie moonlighting as a paramedic? Doubtful. And Kurt’s handwritten greenhouse note, feverishly scribbled before his tragic end? Pure biopic speculation, because the filmmakers apparently decided reality wasn’t dramatic enough. The movie’s absurdity peaks with Bruce Dern as William S. Burroughs — because, sure, why not? But for all its faults, the film is completely watchable, much like watching a slow-motion train derailment set to Smells Like Teen Spirit. If nothing else, it’s proof that the grunge era was both glorious and gloriously unhinged.