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Suspect from 1987 is a legal thriller that blends courtroom drama with political intrigue and romance. Directed by Peter Yates and starring Cher, Dennis Quaid, and Liam Neeson, the film occupies a distinctive place in late nineteen eighties cinema. It is not a fast-paced or sensational thriller, but rather a measured and character-driven story that focuses on power, corruption, and moral responsibility within the American justice system. While it did not become a defining classic of the genre, Suspect remains a thoughtful and engaging film anchored by strong performances and a serious tone. The story follows Kathleen Riley, a public defender played by Cher, who is assigned to represent Carl Wayne Anderson, a deaf homeless man accused of murdering a government employee. Anderson is portrayed by Liam Neeson in a largely silent role that relies heavily on physical presence and emotional restraint. As Kathleen begins to investigate the case, she uncovers inconsistencies in the evidence and...

Pulse from 1988 is a quietly unsettling science fiction horror film that reflects a very specific cultural anxiety of its time. Directed by Paul Golding and starring Cliff DeYoung, the film takes a familiar suburban setting and turns it hostile through an unseen electrical force. While it never achieved mainstream success, Pulse has endured as a minor cult film, remembered less for spectacle and more for its atmosphere and unsettling ideas about technology, family, and trust. The story centers on David Rockland, a young boy who spends the summer with his father, Bill, following his parents’ divorce. Bill, played by Cliff DeYoung, lives with his new wife, Ellen, in a seemingly ordinary Los Angeles neighborhood. Almost immediately, David begins to notice strange and threatening behavior from the house itself. Lights flicker, appliances malfunction, and the electrical system seems to act with malicious intent. As the danger escalates, David finds himself struggling to convince the adults ...

  Today on the Following Films Podcast, we’re joined by Zainab Azizi, producer at Sam Raimi’s Ghost House Pictures and one of the key creative forces behind the upcoming film Send Help. We talk about working inside Raimi’s production company, developing elevated genre films, and what it’s really like collaborating with one of the most iconic voices in modern horror. From behind-the-scenes process to navigating the studio system, this is a conversation about making bold films and surviving the chaos that comes with them. Send Help will be in theatres on January 30th.

Fackham Hall arrives as something of a minor miracle. At a time when theatrical comedies are increasingly rare and full-blooded parody films rarer still, it feels almost anachronistic to sit in a cinema and watch a movie whose primary goal is simply to make the audience laugh. Not chuckle politely or exhale through the nose, but laugh openly and often. That alone makes Fackham Hall worthy of attention, but the film justifies its existence far beyond novelty. I went into the film having only seen a handful of the properties it is parodying. I am certain there are references and genre specific jokes that passed me by entirely, aimed at viewers deeply familiar with a certain tradition of stately homes, hushed scandal, and rigid class structures. Yet the film never makes that a problem. It understands something essential about parody that many lesser examples forget. Recognition can enhance a joke, but it should never be the joke itself. Like the classic spoof films that inspired it, Fackh...

Roofman is one of those rare films that takes an unbelievable true story and transforms it into something quietly meaningful. Directed by Derek Cianfrance, the 2025 film resists easy categorization. It is not a traditional crime thriller, nor is it a straightforward comedy or romance. Instead, it is a thoughtful and surprisingly warm character study that finds humanity in an unlikely place. By focusing less on spectacle and more on emotional truth, Roofman becomes a film that lingers long after it ends. The story follows Jeffrey Manchester, portrayed by Channing Tatum, a former Army reservist who earns the nickname “Roofman” by robbing fast food restaurants through their roofs. After being imprisoned, Manchester escapes and secretly lives inside a closed Toys “R” Us, constructing a strange but functional life while remaining hidden from the world. On paper, this premise sounds absurd. In execution, it becomes poignant. The film treats Manchester’s situation not as a gimmick, but as a r...

  February 2026 is shaping up to be a packed and eclectic month for home video collectors, blending prestige restorations, cult horror favorites, studio comedies, family-friendly blockbusters, and buzzy new television. From grim British crime dramas and slasher sequels upgraded to 4K UHD, to nostalgic animation collections and steelbook reprints designed for shelf appeal, the month offers something for nearly every type of viewer. Below is a complete breakdown of February’s major home video releases, organized by street date, with brief synopses to help you decide what deserves a spot in your collection.

Tess & The Details’ Standing on the Edge is a sharp examination of emotional contradiction, a song and video pairing that thrives on imbalance rather than resolution. At first glance or first listen, it lands like a sugar rush of pop punk joy. The song is immediate and infectious, designed to stick around after a single listen, and it barrels forward with an intoxicating sense of momentum. Everything about its surface suggests release, movement, and confidence. But that forward motion is a carefully constructed misdirection. Beneath the polish and speed, the song is quietly unraveling. The track leans heavily into its catchiness without ever letting it drift into emptiness. Instead, that brightness acts as camouflage for lyrics that are far darker and more internal than the sound implies. Standing on the Edge explores emotional precarity, the feeling of hovering at a breaking point without ever fully tipping over. There is a constant sense of emotional vertigo, an awareness that so...

Icefall is a stark and tense survival thriller released in 2025 that places human desperation against the overwhelming power of nature. Directed by Stefan Ruzowitzky, the film attempts to combine crime drama, wilderness survival, and character-driven tension into a single frozen narrative. While it does not fully escape familiar genre patterns, Icefall succeeds in creating a cold atmospheric experience that is often gripping and occasionally haunting even when its storytelling falters. The story centers on Harlan, a Native American game warden played by Joel Kinnaman, who arrests a notorious poacher during a routine patrol in a remote frozen region. What initially appears to be a simple law enforcement encounter quickly spirals into something much more dangerous when Harlan learns that the poacher knows the location of a sunken plane filled with millions of dollars beneath the ice of a frozen lake. This revelation draws criminal interests into the area and forces uneasy alliances to fo...

Shelby Oaks is an ambitious and deeply personal horror film that wears its influences openly while still striving to carve out its own unsettling identity. Directed by Chris Stuckmann, the film arrives with a unique weight behind it, not only because of its genre aspirations but because it represents a critic turned filmmaker stepping directly into the medium he has analyzed for years. The result is a movie that feels both reverent toward horror history and intensely concerned with the emotional fallout of obsession, guilt, and belief. A particularly notable comparison is Roger Ebert, whose transition from criticism to filmmaking resulted in Beyond the Valley of the Dolls, written with Russ Meyer. While the film is wildly different in tone and intent from Shelby Oaks, it stands as a reminder that critics have occasionally made bold, unconventional leaps into creation. Ebert’s script was unapologetically excessive, satirical, and deeply aware of the cinematic landscape it was commenting...