Entertainment
Kathleen Turner's Extremely R-Rated Comedy Slasher Is An Earlier, Raunchier Scream
By Robert Scucci
| Published
If you’re a horror fan, you probably think about the genre’s mainstream entries in terms of before Scream and after it. Scream changed the game because its characters, to some degree, are aware that they’re living in a slasher film. Matthew Lillard’s Stu is a horror movie expert who knows all the tropes, tricks, and rules for survival. Ghostface always has a different motive or identity, allowing the franchise to build out its lore in increasingly convoluted ways while somehow staying grounded. Most importantly, even though the gore is top notch, there are plenty of laugh-out-loud moments.
I’m not here to talk about 1996’s Scream, though, but rather 1994’s Serial Mom, a John Waters film operating on the exact same wavelength as Wes Craven’s teen-scream masterpiece, two years before it made its rounds. I’m not saying this to call out one filmmaker for ripping off another, either. Most likely, horror by the mid-90s had reached a point where audiences were bored with straight-up slashers, while more comical entries like Dr. Giggles didn’t necessarily perform well due to being so over the top. If anything, both filmmakers were simply in the same creative headspace and wanted to make something with the edge of a slasher, but humor that leaned more satirical.
Serial Mom is violent, crude, slapstick, and even features Matthew Freakin Lillard as a horror movie expert who uses genre rules as a means to survive the slayings happening in his community. This movie is nothing like Scream from a storytelling perspective, but it’s a perfect companion piece because it occupies the same lane, but with a wildly different destination.
Kathleen Turner Overdrive
Serial Mom is exactly what it sounds like. We’re introduced to Beverly Sutphin (Kathleen Turner), a picture-perfect Stepford wife type with a dark streak. While she seems perfectly sane on the surface (debatable, but just roll with it), she has a tendency to commit murder over perceived slights that bear absolutely no significance to her life. For example, somebody chewing gum loudly or wearing white shoes after Labor Day is enough to send her into a uncontrollable rage. She wants everything to be perfect, and when anything fails to live up to her psychotic standards, the cracks start to show.
When she’s not using magazine clippings to send inappropriate letters to one of her neighbors, Dottie Hinkle (Mink Stole), she’s calling her house and screaming profanities into the phone. Her son and daughter, Misty (Ricki Lake) and Chip (Matthew Lillard), are typical suburban teenagers, but they know better than to cross their mother. Especially after Chip complains about his math teacher, only for the guy to turn up dead after Beverly confronts him during a PTA meeting.
Slowly but surely, the entire community of Towson, Maryland goes on high alert as the victim count piles up, all while Beverly goes about her day completely unperturbed. Her husband Eugene has every reason to be suspicious, but like the rest of the Sutphin family, he’s terrified of her in that specific way where everybody knows better than to acknowledge the obvious problem sitting right in front of them.
The Running Gags Are The Reason To Stick Around
What truly separates Serial Mom from Scream, though, are its running gags. For one thing, Kathleen Turner looks certifiably insane in every single scene. Every shot frames Beverly’s wholesome side from one angle and her unhinged side from another, effortlessly shifting between the two and never letting the viewer feel fully confident about when she’s going to snap next. There’s a built-in tension there, and to me, that’s the movie’s funniest recurring joke.
Misty frequently has run-ins with authority figures like Detectives Pike (Scott Wesley Morgan) and Gracey (Walt MacPherson), along with other adults who all seem weirdly hot and bothered by her mere presence even though she’s barely a teenager. They share a knowing glance, then continue the scene as if absolutely nothing strange or sexually suggestive just happened.
The sight gags range from Golden Era Simpsons-level clever to downright juvenile, and Waters is clearly playing a numbers game to see how many zingers he can cram into a 93-minute slasher comedy.
The Scream Connection
The best part about Serial Mom, however, has to be its level of self-awareness. Like Scream, it knows it’s a slasher. Matthew Lillard’s characters in both films act as the bridge between fiction and real life because they’re the ones connecting the dots on a meta level and communicating them directly to the audience. In both films, they lay out the rules of the established fiction and back them up with examples from the media they consume.
At the end of the day, Serial Mom and Scream are two totally different movies doing two totally different things. Suggesting they’re alike from a storytelling perspective would be preposterous. But they are both slashers with twisted senses of humor, and they both hinge on meta-comedy that allows for their otherwise boilerplate premises to do something fresh with the slasher subgenre.
Scream plays things more seriously and is genuinely scary whenever it decides to lean into straight horror. There’s none of that in Serial Mom, which plays more like a slapstick comedy than a traditional slasher, but has just as much fun subverting expectations in its own twisted way.
As of this writing, Serial Mom is streaming free on Tubi.
Entertainment
Christopher Nolan’s Latest Odyssey Trailer Looks More TV Drama Than Historical Epic
By Jennifer Asencio
| Published
The latest trailer for Christopher Nolan’s controversial The Odyssey was released on May 5, 2026, and revealed more of the director’s take on Homer’s epic. Like the other trailers and casting announcements, it drew equal parts controversy, criticism, and avid defenders.
This time, most of the action is focused on Ithaca, where Penelope (Anne Hathaway) and Telemachus (Tom Holland) deal with the numerous suitors trying to assume the throne by marrying the queen. Robert Pattinson lurks and smarms as Antinous, trying to woo Penelope, while cutaway footage shows the tribulations of Odysseus (Matt Damon) against Calypso (Charlize Theron), the whirlpool Charybdis, armored giants, and the Trojan War.
Ancient Accuracy Versus Anachronistic Angst
There are a lot of new problems with this trailer that echo issues people already have with Nolan’s vision. Previous complaints include ahistorical armor from a later Grecian period, boats that look more Viking longboat than bireme, and a plethora of miscast characters, such as Jon Bernthal as Menelaus and Lupita Nyong’o as Helen of Troy.
One of the two main problems with the new trailer is Tom Holland. The actor who has been bringing Peter Parker to spectacular life in some of the rare good content from the Marvel Cinematic Universe looks like a lost child as Telemachus, and has been apparently directed to play the Greek hero that way. The parts of the trailer that aren’t Anne Hathaway angsting as Penelope feature Holland having plenty of angst of his own. Sure, Telemachus had some daddy issues, but Holland looks more like a kid looking for his mommy than a prince defending his father’s kingdom against overwhelming odds.
A large part of Holland’s failure in the new trailer is that the dialogue is extremely cringeworthy. At one point, Antonius actually says, “You’re pining for your daddy,” as though this is a CW teen drama and not a serious Homeric epic. “That world is gone!” Penelope cries with the appropriate amount of suffering and phony British accent.
The translation allegedly being used for the movie is based on the work of Emily Wilson, a feminist translator who felt that Homer’s epic didn’t have enough modern sensibilities. She simplified the poet’s gorgeous turns of phrase and literalized his abstract concepts, trying to take the focus away from the male point of view and focus on the women. Her translation has caused controversy among scholars. It is not confirmed that Nolan used this version to base his script on, but the quality of the dialogue is a poor rendition of modern Gen Z slang.
Follies In Formation
Another thing that stands out from this trailer is the battle scenes we are shown.
For one, Odysseus leads the Greeks in a very un-Grecian formation as he charges down a beach. The Greeks were known for their discipline and their deadly phalanx formation, not for charging into battle like a horde of barbarians. The scene looks more like a sword-and-board version of the opening of Saving Private Ryan than anything the Greeks would have actually done. That may sound like a nitpick, but the discipline of the Greek troops and their loyalty to their kings and to Greece is a huge theme of Homer’s duology.
The other is a ridiculous charge by a troupe of giants who are dressed in armor that looks like they salvaged it from the leftovers of a King Arthur movie than a Homerian epic. These silver-clad warriors look out of place and anachronistic in The Odyssey, another example of Nolan using spectacle and visual shorthand rather than something that actually reflects the source material.
Sure, the special effects look cool, with Charybdis a wide, gaping hole in the sea and the battle in Troy looking explosive. But so far, that’s the only thing The Odyssey has shown it has going for it. Between its snarky, modernized dialogue and its attempt to be a visual spectacle, the trailer looks more like Not Another Marvel Movie than it does a tribute to an important ancient epic.
While, I admit that I may be more sensitive to this vandalism of Homer because my family emigrated to America from Sparta, I can’t help but feeling affronted that my heritage as a Greek is being used by Nolan as a cynical Hollywood cash grab. This telling of Homer’s Trojan War sequel is looking more like a pageant of modernized filmmaking meant more to show that it, to paraphrase Ian Malcolm, could be done, regardless of if it should. Plus, the removal of the values Homer wrote about means that it is more like a presentist fanfiction than anything the Greeks may have written.
We will all find out when The Odyssey premiers in theaters on July 17, 2026.
Entertainment
Megan Fox’s Raunchy, R-Rated Comedy On Netflix Is A Mean Girl’s Worst Nightmare
By Robert Scucci
| Published
I have this nasty habit of watching movies with no rhyme or reason, falling into genre holes, and slowly digging myself out. I do this with actors and directors too, most recently stumbling upon Megan Fox’s Till Death (2021). It’s a home invasion thriller that plays it straight, but has so many funny moments thanks to its pacing and situational humor. Having never seen 2009’s Jennifer’s Body, I figured now would be a good time to check it out, since I now know she works well in the blood-covered baddie wheelhouse.
Jennifer’s Body has everything you could possibly want in a horror comedy. It leans into young adult tropes, giving it an inherent amount of campiness because every adult is beyond clueless. It’s high school, you know, the most important four years of your life, so for the kids involved, everybody is in a heightened state because they have little to no real-world experience, but they’re also in mortal danger thanks to a very peculiar series of events that occur in their community.
Throw a blood-sucking succubus into the equation, add gratuitous amounts of splatter for dramatic effect, and Jennifer’s Body ends up being way more fun than it has any right to be, thanks to Megan Fox and Amanda Seyfried’s straight-faced commitment to the bit.
Besties Forever
Jennifer’s Body fittingly starts off more like Mean Girls than a horror flick when we’re introduced to our protagonist, Anita “Needy” Lesnicki (Amanda Seyfried), and her super popular bestie, Jennifer Check (Megan Fox). Jennifer is your stereotypical high school beauty queen who can have every underclassman groveling in her presence. Needy is much more reserved, dresses humbly, and likes to keep a low profile despite the fact that she’s best friends with the most popular girl in school.
Needy’s life changes forever when Jennifer decides to take her out to see the indie rock band Low Shoulder at a local bar. Their relationship dynamic goes like this: Jennifer wants to do something, Needy doesn’t, Jennifer bullies Needy into doing it anyway, and Needy reluctantly tags along.
A fire breaks out at the concert and destroys the venue, killing several people in the process, and the girls separate when Jennifer decides she wants to hang out with the band in their van against Needy’s advice. Needy goes home thinking Jennifer is going to do whatever Jennifer always does, but is horrified to learn that whatever happened between the fire and Jennifer’s return has changed her for the worse.
The next time we see Jennifer, she’s covered in blood, seemingly in a trance, before trying to bite Needy in the neck like a vampire. The next day at school, Jennifer looks totally normal, as if the previous night didn’t happen, complete with her usual glowing skin and on-point contouring. However, Needy sees through the illusion. Whenever Jennifer’s looks start to deteriorate, it means she’s hungry and needs to eat one of her classmates to preserve her beauty, starting with the captain of the football team, and chaotically spiraling from that point forward.
A Vampire Story With A Twist
What sets Jennifer’s Body apart from its contemporaries is its willingness to have fun, and to do it with style. While a $16 million production budget may not sound huge these days, it was enough to allow for some great practical effects. The movie is mostly set in a high school, so it’s reasonable to assume a decent chunk of that budget went toward making sure we got some top-notch gore.
There’s also a level of campiness that really drives things forward because this movie is basically Mean Girls meets The Lost Boys in terms of its sense of humor. Jennifer knows she’s transformed into something terrible, and while Needy knows something is clearly wrong, she has to use her smarts to figure out exactly how to break the spell that turned her into a blood-sucking monster with impeccable taste in fashion.
The plot line involving the band, and their recurring presence in Devil’s Kettle, Minnesota, keeps things lively, but also hints at a much more sinister undertone once you learn how connected they are to Jennifer’s sudden transformation from high school bombshell to salacious succubus. There’s really no fat on this movie. Every character and plot line that gets introduced serves a purpose rather than getting brushed aside and forgotten about.
In 2026, Jennifer’s Body feels like pretty standard horror comedy fare, especially after movies like The Babysitter (2017) and Little Evil (2017). Both films, along with plenty of others, latched onto a similar formula, but Jennifer’s Body is still one of the earlier examples of the modern mainstream horror comedy as far as I’m concerned. It’s gory, but not too gory. It’s sexy, but not over the top to the point where any mature teen watching with their parents would immediately want to crawl out of their skin. Most importantly, it’s fun.
Between the emotional manipulation and blood sucking, we’re still reminded that growing up anywhere is difficult, and friendship matters. Especially when the occult is involved and your best friend happens to be the person causing all the collateral damage. After all, you want to stay on Jennifer’s good side.
As of this writing, Jennifer’s Body is streaming on Netflix.
Entertainment
New Star Wars Movie Proves That Disney's Failure Is Complete
By Chris Snellgrove
| Published
Star Wars is a franchise full of quotable lines, which is why the Prequel Trilogy became the center of so many hilarious memes. One of my favorites comes from the Original Trilogy, when Darth Vader disses his old master, Obi-Wan Kenobi, with the hard line, “Now, his failure is complete.”
Even as a kid, I was fascinated by the idea that failure was not necessarily a fixed state. Just as the Dark Lord of the Sith could slip further and further into the Dark Side, it’s possible for a smaller failure to get increasingly worse over time.
Ironically enough, this line perfectly sums up the Disney era of Star Wars. The House of Mouse made some major mistakes with this franchise early on with a Sequel Trilogy so bad that it drove Star Wars out of theaters for the better part of a decade. They had to pivot to making TV shows, and the only real unqualified success was The Mandalorian. Now unable to get any new ideas to the big screen, Disney is about to premiere The Mandalorian and Grogu, and the fact that their last hope is to make a movie based on a past-its-prime series proves one thing: Disney’s failure is now complete.
The Beginning of the End
In retrospect, it’s clear that the beginning of the end for Star Wars was 2017’s The Last Jedi. While I personally enjoyed the film (it was beautifully shot and took big, creative swings), the majority of fans didn’t agree. The film subverted expectations in several hated ways, including killing Snoke and transforming Luke Skywalker into a cranky curmudgeon.
The second Sequel Trilogy film yielded solid box-office returns ($1.3 billion), but it generated enough negative word of mouth that the next movie suffered. Solo: A Star Wars Story made only $393 million against a $366 million budget, meaning it actually lost money once you factor in marketing and distribution costs.
This failure caused Disney to pivot, transforming several intended film projects (including movies featuring Boba Fett and Obi-Wan Kenobi) into TV shows. On paper, this was supposed to help drive subscribers to Disney+, letting the studio have it both ways: audiences would get their Star Wars fix at home through these series and in theaters through movies like 2019’s The Rise of Skywalker. However, that final sequel film was a critical and commercial failure (it made “only” a billion and has a 51 percent critical score on Rotten Tomatoes), which is why we haven’t seen a new Star Wars film in theaters since 2019.
See You, Space Cowboy
The Star Wars shows on Disney+ have proven to be a decidedly mixed bag. Some series that seemed like they’d be surefire hits failed to energize the fandom, including Obi-Wan Kenobi and The Book of Boba Fett. Some shows were hard to appreciate if you didn’t know the deep lore.
For example, you might be lost watching Ahsoka if you didn’t previously watch the entirety of Rebels. Meanwhile, The Acolyte was a complete and mind-bogglingly expensive failure. Ultimately, the only breakout success was The Mandalorian, which focused (at least, at first) on episodic adventures in the vein of a Firefly-esque space western.
Now, Disney is bringing that show’s two main characters to the big screen later this month with The Mandalorian and Grogu. It’s the kind of film that fans would have eaten up a few years ago, back when The Mandalorian was the hottest show in a galaxy far, far away.
The show fell off in a big way over time. On Rotten Tomatoes, the first two seasons had both fan and critical ratings above 90 percent. But critics gave Season 3 an 84 percent, while fans gave it a much lower, much harsher 51 percent.
In other words, Disney waited until half the fandom hated The Mandalorian before deciding to bring its heroes to the big screen. Furthermore, even most fans looking forward to The Mandalorian and Grogu are worried it will feel more like an extended TV episode than a blockbuster feature film.
These factors at least partially explain why the film is projected to earn only $80 million in its opening weekend. That’s $4 million less than Solo: A Star Wars Story earned, meaning The Mandalorian and Grogu is on track to earn less money than any live-action Star Wars movie in cinematic history.
Disney’s Failure Is Complete
Now, it’s clear that Disney’s failure is complete when it comes to Star Wars. The failure of the Sequel Trilogy created a ripple effect that turned Solo into a box-office bomb, ultimately canceling a series of intended films. After the failure of The Rise of Skywalker, execs kept canceling exciting movie projects, including Patty Jenkins’ Rogue Squadron. Disney was forced to focus entirely on Star Wars TV shows, which generated mostly disappointment and failures after the initial success of The Mandalorian.
Disney is now forced to put The Mandalorian on the big screen as a Hail Mary attempt to make Star Wars relevant to moviegoing audiences again. But after over a decade of mishandling the franchise, they have ensured that The Mandalorian and Grogu will have the worst opening of any live-action Star Wars film. Sure, more projects are in development (like Starfighter, starring Ryan Gosling), but Disney is in a precarious place. Should The Mandalorian and Grogu bomb as Solo did, it may poison future box office returns just like The Last Jedi did.
That would make this more than just another cinematic failure for this galaxy far, far away. After nearly half a century of entertaining fans, we may actually be witnessing the end of the Star Wars franchise as we know it.
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