FOLLOWING FILMS - Podcast, Movies, Music, and More

London Calling is the kind of action comedy that knows exactly how ridiculous it is and leans into that absurdity with unapologetic enthusiasm. Starring Josh Duhamel as a weary, sharp-edged hitman whose life is unraveling at high speed, the film blends bullets, banter, and unexpected sentiment into a chaotic but entertaining ride. It is not a movie that strives for subtlety. Instead, it barrels forward with loud confidence, trusting that charm and chemistry will smooth over its rough edges. Duhamel plays Tommy Ward, a professional killer whose career takes a disastrous turn after a job goes spectacularly wrong. Suddenly hunted and desperate to get back to London to reconnect with his estranged son, Tommy finds himself forced into an uneasy arrangement. To earn safe passage and settle a dangerous debt, he must mentor Julian, the awkward teenage son of a crime boss. What begins as a bizarre work experience arrangement quickly escalates into a violent and darkly comic adventure through Lo...

Hanky Panky is one of those films that feels like it was built almost entirely around the personality of its star. Released in 1982 and directed by Sidney Poitier, it pairs Gene Wilder with Gilda Radner in a comic thriller that mixes mistaken identity, espionage, and romantic comedy. It is not usually listed among Wilder’s greatest achievements, yet it has a curious charm that makes it worth revisiting, especially for anyone interested in his screen persona during the early eighties. The story centers on Michael Jordon, played by Wilder, an architect in New York who lives a tidy and unremarkable life. His routine is upended when a mysterious woman asks him to deliver a package and then disappears under violent circumstances. Before he can process what has happened, he is mistaken for someone else and pulled into a conspiracy involving stolen government documents. Wilder’s character is perpetually confused, exasperated, and frightened, which of course is where much of the comedy comes f...

The Horror Section has picked up another genre title, and this one comes with a story rooted in lived experience. The company announced today that it has acquired Stiletto, the latest horror feature from director Samuel Gonzalez Jr., known for The Plastic Men and The Retaliators. The film is currently in post-production. Stiletto is based on a story by Gigi Gustin, who also stars in the film. An actress and exotic dancer, Gustin drew from her own time in the dancer community to shape the story from an insider perspective. She leads a cast that includes Charlotte McKinney, Colleen Camp, Meghan Carrasquillo, Stephen Blackehart, and Hannah Hueston. Set on the first anniversary of her older sister’s brutal murder, the film follows Lyric, played by Gustin, as she searches for answers and attempts to protect fellow dancers from a masked killer targeting strip clubs. The story unfolds against a neon-lit backdrop, centering on Lyric’s fight for survival as the body count rises. Eli Roth is pro...

NEON, the award-winning independent studio behind a wide range of acclaimed nonfiction and narrative films, has acquired U.S. distribution rights to Once Upon a Time in Harlem, a documentary conceived and filmed in 1972 by filmmaker William Greaves and restored and directed by his son, David Greaves. The film premiered at the 2026 Sundance Film Festival, where it drew significant attention from critics and industry figures. NEON is planning a theatrical release later this year. Once Upon a Time in Harlem centers on a four-hour gathering organized by William Greaves in 1972, bringing together artists and intellectuals associated with the Harlem Renaissance, many of whom had not seen one another in decades. Filmed on 16mm, the footage captures wide-ranging conversations in which participants reflect on their personal histories, creative work, and evolving roles within a changing cultural and political landscape. According to Greaves’ original intent, the project was designed not only to ...

Heaven is a deeply personal and unconventional documentary, one that reflects Diane Keaton’s lifelong fascination with spirituality, architecture, memory, and the unseen forces that shape human belief. Rather than offering a journalistic investigation or a rigid theological argument, Keaton approaches the subject of heaven as a question, an idea filtered through culture, art, history, and personal reflection. The result is a meditative, impressionistic film that feels less like a documentary in the traditional sense and more like a cinematic essay, guided by curiosity rather than certainty. From the outset, Heaven makes clear that it is not interested in defining heaven as a single, authoritative concept. Keaton structures the film around a series of encounters with artists, architects, scholars, clergy, and everyday people, each offering their own interpretation of what heaven means to them. These perspectives range from religious doctrine to secular metaphor, from literal belief in a...

10 Rillington Place, from 1971, stands as one of the most unsettling and rigorously controlled crime films ever produced, a work that eschews sensationalism in favor of a quiet, creeping horror rooted in everyday spaces and human weakness. Directed by Richard Fleischer and based on the real-life crimes of John Christie, the film approaches its subject with an almost clinical restraint, allowing the true terror to emerge not from graphic violence but from the slow accumulation of dread. Rather than presenting Christie as a theatrical monster, the film depicts him as an unremarkable, softly spoken man whose ordinariness becomes the most frightening element of all. At the center of the film is Richard Attenborough’s extraordinary performance as John Christie. Attenborough resists the temptation to exaggerate Christie’s eccentricities, instead crafting a portrait of a man who appears timid, helpful, and vaguely pitiable. Christie’s halting speech, downcast eyes, and carefully measured move...

Keeper from 2025 continues Osgood Perkins’s exploration of slow-building psychological horror, reaffirming his reputation as a filmmaker more interested in dread than spectacle. Like his previous work, the film resists conventional horror rhythms and instead focuses on atmosphere, emotional unease, and the quiet terror of isolation. Keeper is not designed to shock in obvious ways. It unsettles through patience, ambiguity, and a steady erosion of safety that lingers long after the film ends. The narrative centers on a remote setting and a small group of characters whose sense of control gradually dissolves. Perkins has always favored confined spaces and limited perspectives, and Keeper follows that tradition closely. The film unfolds at a deliberate pace, allowing the audience to sit with discomfort rather than escape it. Events are presented without urgency, which paradoxically increases tension. The absence of constant explanation forces the viewer to observe closely and draw their ow...

Friday the 13th Part 2 (1981) occupies a fascinating and sometimes underappreciated place in the slasher canon. Arriving just one year after Sean S. Cunningham’s surprise hit Friday the 13th, the sequel had the unenviable task of continuing a story that seemed, on the surface, neatly wrapped up. Instead of merely repeating the original’s formula, Part 2 subtly reorients the franchise, laying down many of the elements that would come to define Friday the 13th as a long-running series rather than a one-off success. While it may lack the novelty and shock value of its predecessor, it compensates with atmosphere, character, and, most importantly, the first fully realized incarnation of Jason Voorhees as the franchise’s central menace. One of the most striking aspects of Friday the 13th Part 2 is how it reframes the mythology of Crystal Lake. The opening recap reframes the ending of the first film, reasserting Jason’s drowning as the primal trauma of the series while quickly moving past Pam...

Michael Crichton’s Westworld (1973) is a deceptively simple science-fiction thriller that has grown more significant with time. On its surface, the film is a high-concept adventure about a futuristic theme park where wealthy guests can live out fantasies without consequences. Beneath that surface, however, lies an unnervingly clear-eyed warning about technological arrogance, corporate hubris, and humanity’s blind faith in systems it barely understands. Though modest in scale and restrained in style, Westworld remains influential precisely because of its clarity and restraint. The premise is immediately compelling. Delos, a high-end amusement resort, offers three immersive worlds, Westworld, Medieval World, and Roman World, populated by lifelike androids programmed to serve human desires. Guests can drink, fight, seduce, and kill without fear of retaliation. The androids, known simply as robots, are designed to malfunction safely: if something goes wrong, they shut down. Or so the desig...