Movies & TV Shows Recaps & Reviews | HexFlicks

Is Dexter Morgan Actually a Vigilante? The Debate That Gets to the Heart of the Show

hexflicks-da — Wed, 03 Jun 2026 17:05:49 +0000

There’s a question floating around the Dexter fandom right now that sounds simple on the surface but pulls on one of the most interesting threads in the entire series: is Dexter Morgan a vigilante, or is he just a serial killer who found the perfect operational loophole?

The first rule of Harry’s Code is don’t get caught, and Dexter only hunts killers because murdering civilians would draw too much heat. He’s not Batman. He’s a predator who stumbled into a sustainable business model.

It’s a spicy take. It’s also, the comments suggest, not quite right — though not for the reasons you might expect.

The Dictionary Defense

A vigilante is a person who undertakes law enforcement without legal authority. Dexter hunts killers who evade justice and executes them outside the legal system. By every functional definition, the label fits — regardless of what his internal monologue is doing while he does it.

He is a vigilante. The fact he likes it doesn’t mean he’s not a vigilante. Motivation and category are different things. A surgeon who genuinely loves operating is still a surgeon. The pleasure Dexter takes in the kill doesn’t reclassify what the kill objectively is.

Here’s the thing though — dismissing the original question entirely misses something genuine about what makes Dexter such a compelling character study.

The show is remarkably honest, especially in its early seasons, about the fact that Dexter’s moral framework is not primary. It’s retrofitted. Harry didn’t sit young Dexter down and instill a passion for justice — he looked at a child with an uncontrollable compulsion to kill and built a containment structure around it. The Code didn’t create the killer and point him at bad people. It found the killer and gave him a target demographic.

Dexter is in it because that is what he was conditioned to do from early childhood. We got to see him questioning the Code only briefly, which led to a severe crashout. That’s accurate to the show’s psychology. The Code is load-bearing infrastructure for Dexter’s sanity, not a genuine ethical commitment. When it wobbles, he wobbles.

Vigilantism as a Byproduct

Being a vigilante is essentially a byproduct of the operational loophole Harry built. Dexter wants to kill. Harry found a target pool that would minimize risk and maximize sustainability. The net result — fewer serial killers walking the earth, hundreds of lives saved — is objectively the output of vigilante justice, regardless of the input.

You can’t deny he is the reason the world has one less serial killer every time Dex gets a kill. The consequences are vigilante consequences even if the motivation is darker and more primal than any caped crusader would admit to.

This is actually the most interesting place the show operates — the gap between what Dexter does and why he does it. The outcomes look heroic. The psychology underneath is something considerably more uncomfortable.

The Evidence Against Pure Self-Interest

“he’s only in it for himself” argument also struggles against specific moments in the show that complicate it. Dexter frequently accelerates his timetable when someone is about to be killed — accepting more personal risk to prevent an imminent murder rather than waiting for a cleaner opportunity. That’s not the behavior of someone purely optimizing for personal safety. He also saves people directly on occasion, intervening in situations that have nothing to do with keeping his cover intact.

He shows his victims photographs of their crimes before he kills them. That’s ritualistic, yes — but it’s also a moral accounting. He’s not treating the kills as equivalent. He’s establishing, for himself at least, that a line was crossed that justifies what he’s about to do. A pure predator doesn’t need that ceremony. Dexter does.

He has a deep hatred for other serial killers. He hates their motives. He wants them to stop. That’s not nothing. That’s not the emotional landscape of someone who simply found a convenient hunting ground.

What the Show Is Really Saying

The genius of Dexter — at least in its strongest seasons — is that it refuses to resolve this tension cleanly. It wants you to root for him, and it wants you to be slightly uncomfortable about rooting for him, and it wants those two feelings to coexist without canceling each other out.

If Dexter were purely a vigilante with a noble mission, the show would be a straightforward moral fantasy. If he were purely a predator using good people as camouflage, it would be a straightforward villain study. What it actually is, is a long meditation on a person who contains both things simultaneously and has built an entire identity around not having to choose between them.

Harry gave him the Code not because Harry believed killers deserved to die, but because Harry believed his son was going to kill either way, and monsters were a more defensible option than innocents. The vigilantism isn’t Dexter’s values. It’s Harry’s engineering. And the show’s most interesting question is what Dexter actually is when you strip the engineering away — which is, of course, exactly what the later seasons try and somewhat messily attempt to explore.

The answer to whether Dexter is a vigilante is yes — functionally, definitionally, consequentially. But the more interesting answer is that he’s a vigilante the way a river is a water feature: technically accurate, but missing everything important about what it actually is and where it actually came from.

He kills killers. He likes killing killers. He was built to kill killers. All three of those things are true at the same time, and the show is most alive in the space where they refuse to fully reconcile.

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Oberyn Martell’s Death in Game of Thrones S04E08: Why “The Mountain and the Viper” Still Hurts a Decade Later

hexflicks-da — Wed, 03 Jun 2026 16:49:23 +0000

If you watched Season 4, Episode 8 , your reaction will be like someone walking cheerfully into a glass door you can see perfectly clearly. I really expected that to be the moment man. Its true you never really get over Oberyn Martell.

And you’re right to be devastated. Because what happened in that arena isn’t just one of television’s most brutal deaths. It’s one of its most instructive — a masterclass in how great storytelling uses character psychology to make tragedy feel both completely avoidable and completely inevitable at the same time.

A Character Too Good to Last

Oberyn Martell arrived in King’s Landing in Season 4 like a weather system — charming, dangerous, and impossible to look away from. Pedro Pascal, in a role that launched one of the most remarkable careers in contemporary Hollywood, made Oberyn into something the show desperately needed at that point: a character whose motivations were completely transparent and completely sympathetic.

He wasn’t playing political chess like Littlefinger. He wasn’t performing loyalty like the Lannisters. He wanted one thing — justice for his sister Elia, who was raped and murdered by Gregor Clegane on Tywin Lannister’s orders — and he wanted it publicly, on the record, with a confession attached. “His fight is personal. It’s easy to root for him,” as the first-time viewer put it. That accessibility was the show’s gift to the audience before it became the show’s instrument of destruction.

The Fight

The trial by combat between Oberyn and the Mountain is, by near-universal consensus, one of the finest action sequences in the show’s run. What makes it extraordinary isn’t the choreography, though that’s excellent. It’s the emotional architecture.

Oberyn dominates. Completely. The Mountain — this supposedly unstoppable force of pure violence — is on the ground, poisoned, apparently finished. Jaime and Tyrion are watching from the gallery with the same expression the audience is wearing: cautious, building hope, the specific excitement of someone who has been conditioned by this show to expect the worst but is starting to believe, just this once, it might not come.

“Ah, he’s got this. He’s down. Brilliant. Finish him now… Finish him… Bro, stop talking and finis… Noooooo!”. That progression — hope crystallizing into joy crystallizing into horror — happens in about thirty seconds of screen time, and it’s some of the most efficiently brutal emotional manipulation in television history.

The Fatal Flaw

Here’s what makes Oberyn’s death stick in the way it does, years and rewatches later: he already won. The poison was in the Mountain’s blood. Gregor Clegane was going to die. Tyrion would have been freed. The victory was complete.

But Oberyn wasn’t there for victory. He was there for confession — a public acknowledgment, spoken aloud in front of witnesses, that Gregor Clegane raped and killed Elia Martell and her children on Tywin Lannister’s orders. Without that, killing the Mountain was just violence. With it, it was justice with a paper trail.

He lost because he wanted justice, not victory, and that’s the most precise four-word summary of the tragedy available. His main motivation, was to implicate Tywin directly. A private death for Clegane meant nothing. A public confession meant everything. And that need — completely human, completely understandable, completely sympathetic — is what killed him.

He got too close. He stood over a man who wasn’t fully dead yet, demanding words from someone whose thumbs were still functional. And the rest is the most horrifying twelve seconds in the show’s run.

No One You Like Is Safe

We didn’t learn after Ned and Robb. No, we needed Oberyn to drive the point home — no one you like is safe, but Oberyn’s death lands differently than Ned’s or Robb’s, and the reason is important.

Ned died because he was naive. Robb died because he broke a promise. Both deaths were about character flaws that the show had been building toward. Oberyn died because of something that was also his greatest strength — the consuming, unrelenting love for a sister he lost decades ago that made him one of the most compelling figures in the entire series. His obsession wasn’t a flaw so much as a defining quality, and the show used that quality to destroy him.

That’s why it still hurts in a way that’s qualitatively different from the show’s other great losses. Oberyn didn’t die because he was reckless or foolish or naive. He died because he needed something more than survival. And that, is the human moments that make GoT.

Pedro Pascal: The Performance That Built a Career

It’s worth pausing to note what Pascal did with this role, because the character’s impact is inseparable from the specificity of the performance. The brothel introduction — that quickdraw, that easy physical confidence, the sense of a man entirely comfortable in his own body and appetites — established Oberyn as someone operating by completely different rules than everyone else in King’s Landing. The “I will be your champion” scene remains one of the show’s great dramatic moments, and Pascal plays Tyrion’s stunned relief in the reaction shot as well as any beat in the episode.

In the fight itself, Pascal brought a theatrical, almost operatic quality to Oberyn’s taunting — the war cries, the accusations repeated like a ritual incantation — that made the character’s psychology visible in real time. You understood, watching him circle Clegane demanding the confession, that this man had been rehearsing this moment in his head for twenty years. The words weren’t tactical. They were a compulsion.

It’s a performance that was, as the fandom has noted ever since, slightly too good for the show to keep around.

The Last Great Moment of the Show”

Oberyn’s death represents the high watermark of Game of Thrones, with everything after being a gradual decline. It’s a defensible position. However — Tywin’s death, Lysa’s defenestration, Hardhome, the Battle of the Bastards all have strong cases.

But there’s something to the argument that the Viper versus the Mountain represents the show at peak thematic clarity — a moment where character psychology, narrative consequence, and visceral shock are operating in perfect alignment. What the later seasons occasionally lost was exactly this: the sense that events were emerging from who these people were rather than where the plot needed to go.

Oberyn Martell died because of who Oberyn Martell was. That’s the simplest and most devastating summary of great dramatic writing available. And it’s why, years later, first-time viewers are still posting their reactions to that final sound — and veteran viewers are still typing “still hurts” in the comments like it happened yesterday.

Because it did, really. It always kind of did.

The post Oberyn Martell’s Death in Game of Thrones S04E08: Why “The Mountain and the Viper” Still Hurts a Decade Later appeared first on HexFlicks | Movies, Gaming & Books.

Cersei Lannister’s Fashion Evolution in Game of Thrones: How One Character’s Wardrobe Told the Whole Story

hexflicks-da — Wed, 03 Jun 2026 16:37:36 +0000

Cersei Lannister may have committed every political sin in the book, but she never — not once — committed a fashion crime.

Costume Design as Character Development

What makes Cersei’s wardrobe so remarkable isn’t just that it looked stunning on screen. It’s that costume designer Michele Clapton used every thread, every color, and every silhouette as a storytelling instrument — one that tracked Cersei’s psychological and political transformation across eight seasons more faithfully than some of the actual writing did.

The early seasons established a clear visual language. Before Robert Baratheon’s death, Cersei’s reds were deliberately muted — faded, almost suppressed. She wore blue on occasion, including notably during her time in Winterfell and in the aftermath of Bran’s fall from the tower. The gold was present but restrained. She was a queen in name, constrained in practice, and the wardrobe told you that before a single line of dialogue confirmed it.

After Robert’s death, everything changed. The reds deepened. The gold intensified. The House Lannister colors — lion gold and Lannister crimson — stopped being accessories to her identity and became declarations of it. As fans in the thread noted, “You could literally feel her power growing just by looking at what she was wearing.”

The Blue Gown Moment

Cersei in a striking blue gown, a departure from her signature palette that fans found unforgettable precisely because of its rarity.

Cersei almost always wore the red and gold of her maiden house, so seeing her in this blue gown was memorable. The deviation from her color code made the outfit land harder than any of her more characteristically Lannister looks — a reminder that the most powerful fashion statement is sometimes the unexpected one.

The Darth Vader Era

We all saw the “Darth Vader era” — the severe black and gold metal-worked ensembles of seasons six through eight, arriving in the immediate aftermath of her walk of shame and her destruction of the Sept of Baelor.

The short hair that the Sparrows gave her as punishment became something else entirely when she walked back into the Red Keep owning it. “Wearing her hair short after defeating the Sparrows was an act of triumph,” , “owning what was given to her as a punishment.” The severe military silhouettes and dark palette that followed weren’t mourning wear — they were armor. She had stopped performing the role of queen and started performing the role of conqueror.

Some fans lamented that this era made her wardrobe “one note” by the end — “basically a Disney villain,” but the counterargument is equally compelling: Cersei had simplified herself to pure, concentrated power, and the wardrobe reflected that reduction.

The Embroidery That Deserves Its Own Award

There was this extraordinary embroidery work present throughout Cersei’s costumes, and across the series more broadly. The craftsperson behind much of this work is Michelle Carragher, which we can call “a master of embroidery” — and the description is not an overstatement. The intricate needlework on Cersei’s gowns, often featuring lion motifs and vine patterns, represented hundreds of hours of handcraft per garment, much of it barely visible on screen at standard viewing distance but contributing enormously to the textural richness of every scene.

Fashion as Political Power

Underneath all the appreciation for the aesthetics, is something the show itself was doing deliberately: using fashion as a political language in a world where women had limited access to other forms of power.

All the intelligence of Tywin but no real power as a woman and unable to protect her children and her wardrobe was, in many ways, the one domain where that power gap didn’t exist. No one could stop her from wearing exactly what she chose. No one could prevent her from showing up to every throne room encounter draped in the full visual authority of House Lannister. In a world that denied her the ability to rule, she ruled every room she entered through sheer aesthetic dominance.

That’s not a trivial accomplishment. And the GoT costume department — led by Clapton, executed by Carragher and a team of extraordinary craftspeople — understood it completely.

Cersei Lannister did a lot of things we will never forgive her for. But the wardrobe? The wardrobe was flawless. And in a show remembered as much for its visual grandeur as its storytelling, that legacy is going to last considerably longer than the controversial final seasons will.

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Obsession (2025) : Full Recap & Ending Explained

hexflicks-da — Sun, 24 May 2026 14:07:56 +0000

Director/Writer: Curry Barker | Studio: Blumhouse Productions / Capstone Pictures / Tea Shop Productions | Distributor: Focus Features | Runtime: 109 minutes | Stars: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter

There is a version of Obsession that could have been made a hundred times before. A lovelorn young man. A mysterious artifact with dangerous power. A wish gone wrong.

The “monkey’s paw” subgenre has been a fixture of horror since W.W. Jacobs wrote the original short story in 1902, and it has been visited so frequently in the century-plus since — in film, in television, in animation, in video games that the mere announcement of a “be careful what you wish for” premise risks triggering a yawn before the first frame.

Curry Barker has admitted to being inspired by a version of this story: The Simpsons episode “Treehouse of Horror II.” That is a specific and confident inspiration to cite publicly — a comedy sketch that weaponized the monkey’s paw as satire, played entirely for laughs.

What Barker does with that comic DNA is strip it of all comedy, fold it back into the most earnest possible emotional terrain, and then use it to make a film about something that has nothing to do with magic and everything to do with what it looks like when a man treats a woman’s interiority as an obstacle to be bypassed rather than a reality to be respected.

Along with The Drama, it appears that this year is a banner one for thinly-disguised films about feckless men unable to deal with the interiority and agency of the women upon which they fixate.

The parallel is apt and pointed. Obsession is, beneath its supernatural machinery, a film about consent about the specific violence of deciding, unilaterally, that someone else should feel something for you, and the specific horror of what it looks like when that decision is actually enforced.

The film premiered at the 2025 Toronto International Film Festival as part of its Midnight Madness block and received a theatrical release in the United States on May 15, 2026 by Focus Features. It holds a 97% approval rating on Rotten Tomatoes — one of the year’s highest scores for any horror film and it has earned that rating by doing the hardest thing a genre film can do: making you feel, under the visceral horror, the weight of a genuinely moral argument.

Bear, Nikki, and the Specific Trap of the Friendzone

Bear is a music store employee who works alongside his childhood friend and co-worker Nikki. He has strong feelings for her but is unable to voice them, particularly as she does not seem to feel the same way.

Michael Johnston plays Bear with a very specific kind of recognizable male awkwardness — the kind that presents as sweet and harmless and is, on close examination, something more concerning. Bear is not a villain at the film’s opening. He is a young man with genuine feelings, genuine social anxiety, and a genuine inability to accept that the object of those feelings does not reciprocate them.

It’s clear that Bear at least has a chance with Nikki, although he makes a hash of it. Moreover, Nikki has been having a sporadic relationship with Ian that Bear doesn’t know about, while Sarah — their mutual friend — appears to have feelings for Bear that he doesn’t notice or acknowledge.

But rather than actually try to ask Nikki out, or, failing that, accept trying to find love with someone else, Bear uses the One Wish Willow, which ends in utter disaster.

This setup is the film’s most precise and underrated piece of characterization. Bear has options. He has a genuine shot at a conversation with Nikki, however uncertain the outcome.

He has Sarah, who clearly cares about him, quietly present in his peripheral vision. He has the basic adult choice of accepting that the person he wants does not want him back, and building a life around that reality. These are not exotic or demanding options. They are the normal instruments of human romantic navigation.

He does not use any of them. He uses a wish.

Bear decides to purchase Nikki a gift and while browsing in a new age shop he discovers the mysterious “One Wish Willow,” which promises to grant one wish.

He originally picked it out as a gag gift for Nikki at an occult shop. The gift framing is important: he was going to give it to her. But standing outside her house after a night out with friends, unable to say what he wants to say, he keeps it. And he uses it.

Bear is desperate enough to make a wish on a “One Wish Willow” when he drops Nikki off at her house following a night out with friends. He wishes for Nikki to love him “more than anyone in the f**king world.”

The specificity of the phrasing is everything. Not “I wish Nikki liked me back.” Not “I wish I had the courage to tell Nikki how I feel.” He wishes for a totality — more than anyone in the world — that is not love in any recognizable sense. It is possession. It is the elimination of every competing claim on her attention, affection, and selfhood. He wished not for love but for monopoly, and the One Wish Willow, with the terrible literalism of all cursed objects across the history of horror, gives him exactly that.

The Wish Granted

The wish is quickly granted. However, Nikki’s affections soon become twisted as she grows increasingly clingy and obsessive. Any attempt by Bear to dissuade her only increases these emotions. Nikki also begins to act erratic in other ways, such as screaming at things that only she can see.

The first hours of the wish feel like a fantasy come true. Nikki is suddenly interested in Bear — genuinely, warmly, physically. For a brief window, this is exactly what he wanted. Then the edges begin to show.

Several times throughout the film, Bear sees Nikki suddenly interrupt herself, often screaming in terror, before snapping back to her lovey-dovey persona. In one scene at a party, Nikki starts screaming, “It’s not me!” before repeatedly smashing herself in the face. As the film goes on, it becomes increasingly clear that Bear’s wish has in some way displaced Nikki, leaving a monstrous and violent entity in her place.

This is the film’s most important revelation, and it arrives gradually enough to be genuinely horrifying.

The One Wish Willow acts as a monkey’s paw, granting Bear’s wish but in a horrifying, tragic way. In the case of Nikki, the wish doesn’t actually change her personality or feelings. Rather, Nikki is replaced by a completely different, cursed version of herself that is obsessed with Bear to the point of self-mutilation and murder. The real Nikki breaks through periodically and regains control, although less frequently over time as the cursed Nikki takes over.

The distinction the film draws here is the most philosophically precise horror concept in recent genre cinema: Bear did not make Nikki love him. The Nikki who loves him is not Nikki. The wish did not alter an existing person’s feelings. It erased that person and replaced her with an entity built entirely from the wish’s specification — a being whose sole defining characteristic is the obsessive, total, violent love Bear asked for.

The real Nikki is still in there, watching. She surfaces in those screams. She surfaces in the moments of self-harm, which are not the cursed entity’s behavior but the real Nikki’s desperate attempts to communicate through the only mechanism available to her. She is a prisoner in her own body, and the man who put her there is sleeping in the next room.

Inde Navarrette’s performance in these dual-consciousness scenes is totally credible as both a teasing coquette and a full-blown psychotic — a performance by an actress in a horror film that you can’t recall being touched by another. She is playing two completely distinct people in the same body, and the transitions between them are so precise that you can see the exact moment the real Nikki surfaces and the exact moment she is suppressed again. It is a career-making performance in a film that had no right to produce one.

What Bear Does With What He Knows

The film’s most uncomfortable section is not the horror sequences. It is the extended period during which Bear knows — or suspects, and then knows — that the person with him is not Nikki, that the real Nikki is in pain, that the entity in her body is dangerous, and that he continues to enjoy the relationship anyway.

The most pointed example occurs when Bear knocks Nikki out with sleeping pills, and despite her body appearing to be asleep, the real Nikki takes over and asks Bear to kill her as opposed to remaining trapped inside her own body.

This is the scene that separates Obsession from every other wish-gone-wrong horror film — the moment where the true horror is not what the curse is doing to Nikki but what Bear is choosing to do with that information. The real Nikki, conscious and terrified, begging for death rather than continued captivity in her own body, is telling him in the most unambiguous possible terms what his wish actually cost. And Bear — who genuinely loves her, who is genuinely distressed, who is not a monster in any simple sense — does not kill her.

He also does not immediately do everything in his power to end the curse. He investigates, yes. But he investigates while continuing to live with the entity that replaced his friend, and the film is honest enough to name what that is.

Bear knew that the real Nikki was in pain, and still chose to stay with the version of her that wanted to be his girlfriend, despite the danger she posed to herself and others. His love was selfish, and he avoided accountability for his actions until the very end.

The film does not make this explicit through dialogue or authorial commentary. It simply shows you what Bear does and trusts you to understand what it means. It is the most sophisticated moral argument Obsession makes, and it makes it in images: Bear, knowing what the wish took from Nikki, choosing comfort over accountability because the version of Nikki he is living with is, in most ways, exactly what he wanted.

Ian, Sarah, and the Social Circle

Ian is the character with a sporadic relationship with Nikki that Bear didn’t know about. When Bear, desperate for solutions, tries to bring Ian into his confidence about the One Wish Willow and the possibility of using another wish to cancel his own, the exchange illuminates something important: Ian, refusing to believe the One Wish Willows were really magic, uses one to wish for a billion dollars — and the cash starts falling from the sky, prompting Ian to run to Bear’s house to tell him about his bizarre good fortune.

The Ian billion-dollar subplot is the film’s dark comedy valve — a moment of absurdist relief that also functions as a commentary on the One Wish Willow’s fundamental indifference to human wellbeing. The wish granted Ian what he asked for. It also, in the film’s moral accounting, placed Ian in the same position as Bear: a person who made a selfish wish on a cursed object and is going to pay for it.

Sarah — played by Megan Lawless with the specific bittersweet warmth of a character the audience can see deserves better than the attention she’s receiving — is Bear’s genuinely caring friend whose quiet feelings for him are the film’s most painful background note. Sarah appears to have no romantic attachments, and has obvious feelings for Bear that he completely misses because he is entirely focused on Nikki.

The cruelty of Sarah’s position is not that Bear doesn’t like her back. It is that he literally cannot see her. She is standing in the light of his attention and he is looking straight through her at the person behind her. This is not malice. It is the specific blindness of obsession, which the film understands to be just as supernatural in its own way as anything the One Wish Willow produces.

Sarah’s Death and the Point of No Return

Until Obsession nears its conclusion, this horror film hardly had a body count. That changes when Bear sneaks out to meet up with his friend Sarah.

The decision to keep the explicit violence minimal through most of the film’s runtime is one of Curry Barker’s most effective choices. The horror of the early and middle acts is psychological — the wrongness of Nikki’s behavior, the real Nikki surfacing in screams, the moral horror of Bear’s choices. When physical violence finally erupts, it hits with the force of everything that has been contained.

Sarah’s fairly obvious feelings for Bear have already come up between Bear and Nikki, and their warm, friendly heart-to-heart ends in vicious violence when Nikki breaks through her car window to smash her head against the steering wheel into an unrecognizable, gory pulp. The knowledge that Sarah’s dream of attending art school was about to come true is just the cherry on top.

The art school detail is the film’s most deliberately cruel narrative choice. Sarah, who has been the film’s quiet emblem of everything Bear overlooked — a person with genuine feelings, genuine dreams, a genuine future — dies in a moment of spectacular violence immediately after we learn something specific and wonderful about her future. The timing is not accidental. It is the film’s indictment of Bear’s wish made flesh: Sarah did not die because she did anything wrong. She died because Bear asked for something that had no room for her.

The cursed Nikki does not kill because she is evil. She kills because the wish specified that Nikki would love Bear more than anyone else in the world. Sarah is, by definition and by the wish’s own terms, competition. The One Wish Willow is not malfunctioning when it produces this outcome. It is functioning exactly as designed.

Multiple Willows and the Customer Service Call

Bear becomes hell-bent on getting out of this tragic situation. He purchases more One-Wish Willows but is unable to break any of them — turns out, they were really serious about the whole “one wish” thing.

Bear calls a customer service number on the One Wish Willow, asking a representative if there’s a way to undo the wish. The operator tells him the wish is impossible to reverse — unless, you know, Bear dies.

The customer service call is the film’s most darkly comedic scene — a genuinely funny piece of mundane horror that treats the supernatural bureaucracy of the One Wish Willow company as a kind of evil corporate entity with a phone line, hold music, and a very clear terms-of-service. The operator is not cruel. She is simply factual. The product does what it says. Bear made a wish. The wish cannot be unmade. The only exit clause is Bear’s death.

Previously told that only his death could end the wish, Bear pursues one last loophole: another person’s wish could cancel his out. But his attempt to convince Ian to be that person fails.

Ian has already used his wish on the billion dollars. He cannot use another. The film has closed every door Bear can find: the willows are unbreakable, the company is unreachable in any meaningful sense, and the only remaining person who could theoretically cancel his wish has already spent theirs on cash falling from the sky.

The Ending Explained: Two Wishes, One Overdose, and What Nikki Wakes Up To

The film’s final sequence is where Obsession earns its TIFF acclaim and its 97% Rotten Tomatoes score — a conclusion of such concentrated despair that it operates simultaneously as genre horror, moral fable, and character tragedy without sacrificing any of the three.

Bear, feeling very stuck in this codependent relationship and having exhausted his options, decides to attempt an overdose — the only exit clause the One Wish Willow company offered him. He takes a significant quantity of pills intending to end the wish through his own death.

In the critical moment, as Bear actually goes to throw all the pills up, Nikki makes a wish that he would be more in love with her — a wish on a One Wish Willow she finds nearby. That’s the reason why he dies: he actually doesn’t have time to throw them all up, because then a wish is in process.

This is the film’s cruelest and most precisely engineered plot mechanism. Bear, in the act of attempting to free Nikki from the curse by dying, is killed not by the curse but by Nikki’s own wish — the cursed entity in Nikki’s body, sensing his intention, using the same object that started everything to ensure her continued hold on him. The wish-that-kills-him is an act of love, in the entity’s logic. It is, in every other logic, the final consequence of what Bear set in motion.

Bear quickly dies from the overdose, and his death breaks the spell on Nikki. Before pulling the trigger on her own escape attempt, she “wakes up” — the real Nikki returns to her body, the full horror of her experience dawning on her face. Her scream-cries haunt the film’s final moments.

The awakening is the most gutting scene in the film, and Navarrette plays it without a single false note. The real Nikki — the person who has been trapped, conscious, screaming from inside her own body for the film’s entire runtime — opens her eyes into a room full of death and destruction that she did not cause and cannot fully account for. She is surrounded by the consequences of someone else’s wish. She is holding an object she made a wish on. And Bear is dead.

He walks out to his living room — in the moment before his death — to discover that Nikki seemingly made a similar wish on him: that Bear would love her more than anyone in the world, or at least as much as she loves him.

The symmetry of the ending is the film’s final moral statement: Bear’s wish turned Nikki into something monstrous. Nikki’s counter-wish — made by the entity in her body, intended to bind Bear to her permanently — killed him. Two wishes, both rooted in a version of love that had no interest in the other person’s freedom, producing a final tableau of bodies and a surviving woman who has to live with the wreckage.

The tragedy of Bear’s wish is that the real Nikki — the version he was infatuated with despite not seeming to actually know all that well on a personal level since childhood — essentially disappeared. She was replaced by the cursed entity.

This is the film’s central horror, stated precisely: Bear wished for Nikki, but Nikki is not what he got. He got a projection — a being built from the specifications of his desire, wearing Nikki’s face, possessing Nikki’s body, with the real Nikki trapped underneath. He fell in love with the idea of Nikki, made a wish based on that idea, and the One Wish Willow built him exactly the idea. The actual person never entered into it.

The person who is truly responsible for all of this is Bear, who took away Nikki’s autonomy when he wished for her to “love him more than anything in the world.” But Bear knew that the real Nikki was in pain, and still chose to stay with the version of her that wanted to be his girlfriend, despite the danger she posed to herself and others. His love was selfish, and he avoided accountability for his actions until the very end. Now he’s left Nikki to clean up his mess.

The film does not let Bear be simply a villain. He is a person with genuine feeling who made a catastrophically wrong choice, then made a series of smaller catastrophically wrong choices in its wake, and ended up dead — leaving the person he claimed to love to face the aftermath of everything he did. That is not the trajectory of a monster. It is the trajectory of someone who loved selfishly enough that the love itself became the instrument of destruction.

“Just because you chose this for her doesn’t make it right,” the film implies through every sequence after the wish — in the real Nikki’s screams, in her midnight plea for death, in Sarah’s violence, in the customer service call that tells Bear the only escape is through him. Every element of the narrative is designed to tell Bear — and the audience — what he did and what it cost.

The Question the Film Leaves Open: What Happens to Nikki Now?

After all the suffering this character has endured, Nikki is left to take the fall. She is surrounded by death, holding a wish-object, in a room with a dead man who died from a self-administered overdose that she did not directly cause but whose timing was influenced by the cursed entity in her body. The legal, social, and psychological aftermath of that position is not pretty.

According to writer-director Curry Barker in a post-release interview, Ian’s billion dollars did not disappear when Ian perished. “No, it’s there,” Barker confirms. “So is there a world where Nikki finds the billion dollars before the cops get there, and actually gets something out of this horrible experience? ‘Maybe so,’ Barker says. ‘I never thought about that.'”

It is a strange, darkly funny grace note from a filmmaker who has otherwise given his surviving protagonist absolutely nothing to celebrate. The money is still falling, somewhere. Nikki, who was imprisoned, violated, forced to commit violence she had no knowledge of or consent to, and who now faces the likely prospect of criminal investigation for the deaths around her — Nikki, who is the film’s only true innocent — might find a billion dollars before the police arrive.

That is not an ending. It is the suggestion of a possible future, and it is as much as the film’s moral universe is willing to offer.

Curry Barker: The Filmmaker the Horror Community Needed

Obsession was made for $1 million. The film was picked up by Focus Features after its TIFF premiere and scheduled for a May release. The Blumhouse involvement — Jason Blum executive producing — gives the film the institutional credibility of a genre titan without the creative interference that larger budgets sometimes bring.

What Barker has made with that million dollars is a film that sits alongside Jordan Peele’s early Blumhouse output — Get Out, Us — in its use of genre mechanics to carry a genuinely coherent social argument. It’s somewhat similar to Jordan Peele’s 2017 Oscar-winner Get Out in its use of a displaced consciousness as the vehicle for its horror. The comparison is not overreach. Both films use their supernatural premises to externalize something that is entirely real: the violence of having your identity, agency, and consciousness subordinated to another person’s desire.

The directing makes you feel the tension throughout and immediately creates excitement for what Barker brings next. A really well-crafted movie that will absolutely be gaining a lot of praise from horror and movie fans alike.

The critical community has responded accordingly. The 97% Rotten Tomatoes score is the number, but what it represents is a film that managed to be simultaneously entertaining as a horror film — genuinely scary, genuinely propulsive, genuinely disturbing — and rigorous as a moral argument. That combination, at any budget level, is rare. At a million dollars, it is remarkable.

Obsession is the best horror film of 2025 that most people haven’t seen yet, and one of the best pure horror films of the decade so far. It takes a premise that could have been played a hundred times for laughs or cheap scares and uses it to make something genuinely uncomfortable about the specific violence of unrequited obsession — the kind that doesn’t require a supernatural object because it is already, in its human form, an act of erasure against the person it claims to love.

The real revelation is Inde Navarrette as Nikki. She’s totally credible as both a teasing coquette and a full-blown psychotic. It’s hard to recall a performance by an actress in a horror film that can touch this one.

Navarrette, Johnston, and Barker have made a film that will be discussed in horror circles for years — not just for its effective scares, its committed performances, or its lean, efficient 109-minute runtime, but for the specific, unresolved question it leaves hanging in the air after the credits roll:

Bear wished for Nikki to love him more than anyone in the world.

He got exactly what he asked for.

And the real Nikki — the one who never asked for any of this — is still sitting in that room, screaming.

The post Obsession (2025) : Full Recap & Ending Explained appeared first on HexFlicks | Movies, Gaming & Books.

Dutton Ranch (2026), Episodes 1–3 : Complete Recap & Ending Explained

hexflicks-da — Sun, 24 May 2026 13:36:06 +0000

Creator: Chad Feehan | Executive Producer: Taylor Sheridan | Network: Paramount+ / Paramount Network | Episodes: 9 (May 15 – July 3, 2026) | Stars: Kelly Reilly, Cole Hauser, Finn Little, Annette Bening, Ed Harris, Jai Courtney

There’s a line in Dutton Ranch‘s first trailer that tells you everything you need to know about the show’s ambitions and its self-awareness: “A legacy is a beautiful thing,” Beth Dutton says, staring into the middle distance with the particular expression of someone who has buried more of other people’s business than most undertakers, “but only if it survives.”

That is the question Dutton Ranch is asking not just about the Dutton name, which is now attached to a 7,000-acre parcel of South Texas land that nobody in Rio Paloma asked them to buy, but about what Beth and Rip Wheeler actually are when stripped of Montana, the Yellowstone Ranch, John Dutton’s political gravity, and every institutional advantage they spent five seasons of television wielding.

In Texas, the Dutton name is not currency. It is not protection. It is not the shadow of a dead patriarch falling across everyone else’s property line. It is a word on a mailbox that the Jackson family has not yet decided whether to respect or ignore.

Dutton Ranch is a direct sequel to Yellowstone, continuing the present-day timeline. It follows Beth and Rip after the events of Yellowstone Season 5 as they leave Montana to start a new life in South Texas.

The spinoff is, at its core, the Beth and Rip show — the couple whose fiery chemistry became the emotional backbone of Yellowstone — relocated to unfamiliar territory and forced to earn what they once inherited. It is also, three episodes in, considerably better than it had any right to be.

The World Before Rio Paloma: How They Lost Everything (Again)

The series premiere kicks off by doing what this franchise does best: destroying everything with fire. A devastating wildfire tears through Montana, forcing Beth and Rip to abandon their beloved home.

At the end of Yellowstone, the lovebirds, along with their adoptive son Carter, moved to a small ranch near Dillon, Montana, where they could focus on the land and not have the responsibilities of the Dutton name. Yet within just a few minutes of Dutton Ranch, their property has burned down, displacing them to the fictional town of Rio Paloma six months later.

While Rip gets to work cutting fences and getting the cattle out, he tasks Beth with grabbing Carter. The trio scramble, grabbing everything they can, before heading out to safety. With their home lost, and the land a smoldering mess of shattered dreams, they drive out to parts unknown. We then cut forward to Rio Paloma in Texas, six months later.

The Montana fire is narratively efficient to a fault — it dispenses with any lingering obligation to the Yellowstone geography in approximately four minutes — but it does something symbolically important. Beth and Rip did not choose Texas because it was the best option. They chose it because everything behind them was ash. This is not a fresh start born of optimism. It is a fresh start born of necessity, which means they arrive in Rio Paloma carrying the specific desperation of people who have already lost once and cannot afford to lose again.

Rip quickly secures a legacy property from an aging rancher named Jeanie, who wants to sell to genuine cowboys rather than massive corporations. Rip immediately renames it Dutton Ranch.

The renaming is both a statement of intent and an act of defiance. He has no Yellowstone to inherit, no Dutton patriarch to operate under. So he builds the name into a new piece of land and dares the world to take it from him.

The Jackson Empire

Before exploring the episodes themselves, the antagonist architecture of Dutton Ranch demands its own introduction — because the Jackson family is the show’s most important creative achievement and the element that will determine whether this series outlasts the novelty of watching Beth and Rip in a new geography.

Annette Bening plays Beulah Jackson, a powerful and cunning Texas ranch matriarch who serves as the series’ primary antagonist. Ed Harris stars as Everett McKinney, a weathered veteran and veterinarian with a dry sense of humor.

Jai Courtney is on board as Rob-Will, a ranch foreman who is a misogynistic, racist, and homophobic brute with a drug problem. Juan Pablo Raba plays Joaquin Jackson, the family’s adopted son and problem solver — which basically translates to hiding the family’s dirty laundry. Natalie Alyn Lind plays Oreana, Beulah’s rebellious granddaughter and Rob-Will’s daughter.

Beulah Jackson is the show’s most immediately compelling creation. She runs the neighboring 10 Petal Ranch, having spent decades trying to buy the exact plot of land that Rip and Beth just purchased from Jeanie, treating the local cattle market like her own personal monopoly.

Annette Bening, Oscar nominated five times and one of the most precise character actors working in any medium, plays Beulah with a particular Texas aristocratic register — all surface warmth and structural menace, the kind of woman who controls a room by making everyone in it feel slightly indebted to her before she’s said anything threatening. She is nothing like John Dutton. She is everything like John Dutton. The show understands this irony completely.

Ed Harris plays Everett McKinney, and the show teases that if Everett was once married to Beulah, he is likely only Rob-Will’s father, as Joaquin is clearly Hispanic — making Everett potentially Oreana’s grandfather and Carter’s love interest’s grandfather by extension, setting up a family web that will become dramatically consequential as the season progresses.

Episode 1: “The Untold Want”

At the beginning of Episode 1, Rob-Will Jackson awakens a man called Wes Ayers in the middle of the night. What follows is the series’ first act of violence — swiftly executed, immediately buried (quite literally), and detonated onto the Dutton Ranch’s newly acquired acreage as a power move by a man who is, from his first scene, established as someone whose impulse control is clinical in its absence.

Rob-Will kills Wes and buries the body on the Dutton Ranch. Not because the Duttons are involved. Because the Dutton Ranch is the most convenient nearby location for a problem he needs to make disappear, and because the new neighbors are nobody yet. The arrogance of that choice — disposing of a murder on someone else’s land without a second thought — tells you everything about what 10 Petal Ranch has been to Rio Paloma for decades. Everyone else’s land is, in some sense, still theirs.

Meanwhile, Beth and Beulah circle each other like hungry wolves. Their first meeting at the slaughterhouse is the episode’s best scene — two women who have both spent their careers being underestimated by men and who recognize each other immediately as the actual power centers of their respective operations.

Beulah stonewalls Beth at the slaughterhouse when Beth needs to schedule her steer in. Beth is not best pleased. When the pair butt heads over logistics, Beth realizes the game is rigged in their favour and leaves. The Jackson family seem to hold all the keys to the locks and control the doors in Rio Paloma.

It is a perfectly constructed first encounter: Beulah wins the tactical exchange without raising her voice, which is the specific kind of defeat that someone like Beth Dutton metabolizes into campaign strategy rather than retreat.

While Beth clashes with Beulah, she unexpectedly finds an ally in Everett McKinney, a veterinarian who helps her navigate the people, politics, and realities of ranch life in South Texas. Meanwhile, Rip focuses on rebuilding operations with the help of Azul, a longtime hand who stayed on after the sale, and ex-convict Zachariah.

There’s also an altercation at the gas station between Rip and Rob-Will, which preludes drama that could spill over into something far worse. The gas station exchange is brief and calibrated — two men who immediately recognize each other as exactly the type of threat the other represents, conducting the social ritual of mutual warning dressed as pleasantry. Cole Hauser plays it with the particular stillness of someone who has learned to be very quiet just before something terrible happens.

Carter at the Rodeo

Carter, now 19 years old and still in high school, struggles to adapt to life in Texas and quickly finds himself pulled into trouble after defending a mysterious girl named Oreana, unaware that she’s a member of the powerful Jackson family.

He’s only been in Rio Paloma for a few minutes, but Carter is already teetering into trouble. Not making any friends at school, he’s cajoled into going to the local rodeo by a girl who seems interested in him, but actually only invites him to buy alcohol for her friends because he looks old enough. While there, he finds Oreana in a fight with her boyfriend in the parking lot, with Carter punching him when he starts to get physically violent with her. Carter winds up in jail until Oreana bails him out.

Finn Little’s Carter has grown considerably since his introduction in Yellowstone as a feral, parentless kid who showed up on Rip’s doorstep and refused to leave.

He is, at 19, recognizably the product of Rip Wheeler’s particular parenting philosophy — which is to say, he is principled about violence and absolutely willing to use it in the right circumstances, has not fully learned to pick his moments, and is now romantically entangled with the granddaughter of the woman trying to destroy his family’s new beginning. The Romeo and Juliet framing is obvious and deliberately invoked; the show earns the right to it by making Oreana genuinely interesting rather than a passive love interest.

The Body

The episode ends with Rip discovering Wes Ayers’ corpse on his property. The weight of that discovery — not just the horror of it, but the instant, experienced calculus of a man who has spent his entire adult life knowing which problems get reported and which problems get managed — is all over Cole Hauser’s face in the episode’s final minutes.

Episode 2: “Earn Another Day”

Episode 2 forces Rip to decide what to do with Wes’ corpse. Meanwhile, Beth and Carter have their own run-ins with 10 Petal’s owner Beulah Jackson and her family. IMDb

Rip’s decision — to move the body rather than report it — is the episode’s defining moral beat, and it is handled with the psychological honesty that has always distinguished the Yellowstone universe’s treatment of its morally compromised protagonists. He does not report it. He does not confront the Jacksons. He moves it, taking on the burden of someone else’s crime and converting it into leverage he hasn’t decided how to use yet.

This is Rip Wheeler in his purest form: a man who understands that the law is a tool other people wield against people like him, who has spent his entire life operating in the spaces between what is legal and what is necessary, who defaults to the calculated management of dangerous information over the uncertain outcomes of official processes. It is also, objectively, the decision most likely to make the next seven episodes significantly more complicated. Which is, of course, precisely why he makes it.

Rob-Will and Joaquin are meanwhile trying to deal with their own problem — they can’t find the body. The police will be looking for it after Wes’s partner, Whitney, filed him as a missing person. Sheriff Wade begins investigating the missing cowboy. IMDb

The missing body investigation is the season’s pressure valve: every episode that passes without the body being found or the truth surfacing is another episode of accumulated tension. The show is clearly building toward a moment when Rip’s knowledge of Wes’s murder becomes the most dangerous card on the board.

Beth Builds an Alternative Empire

While Rip deals with the physical problem, Beth addresses the structural one.

Everett points her toward an independent meatpacking facility near San Antonio run by a man named Claudio. Beth drives down, talks tough, and secures an alternative supply chain, completely bypassing Beulah’s corporate stranglehold.

This is the most satisfying Beth scene of the first two episodes — not because of its dramatic intensity, which is calibrated rather than explosive, but because it illustrates the specific way Beth Dutton operates.

She does not fight the system directly. She builds a parallel system and then uses it to make the existing system irrelevant. The slaughterhouse monopoly that Beulah used to stonewall her is now simply not the only option. Beth did not break the lock. She found a different door.

Knowing they are outnumbered, Rip begins building an army.

He speaks with Zachariah, the ex-convict ranch hand that Azul vouched for, about recruitment. Zachariah, played by Marc Menchaca, is the season’s most intriguing wild card — a man with a documented past that nobody has fully explained yet, vouched for by Azul with the specific credibility of someone who has earned the right to vouch for people. His loyalty will be tested before this season concludes.

Carter and Oreana: The Morning After

Carter skips school to hang out with Oreana the next day. There’s clearly romantic tension between the two, but Oreana’s boyfriend is clearly not going anywhere without another fight. Oreana and Carter will likely become the Romeo and Juliet of Rio Paloma — the rivalry between the Dutton Ranch and 10 Petals is bound to escalate, and Carter and Oreana will find themselves in the middle of two warring families.

Rip, who shared John Dutton’s wisdom about the opposite sex, has a man-to-man talk about girls with Carter — a relieved Rip realizing his adopted son is navigating something relatively normal for once.

It is the show’s warmest moment in two episodes, and it works precisely because it arrives in the middle of so much accumulated darkness. Rip talking about girls, after moving a murder victim’s body, is the show’s most effective tonal contrast — the domestic warmth that these two people are still somehow maintaining inside a life that keeps generating catastrophe.

The Episode 2 Closer: Jackson Internal Chaos

Oreana is revealed to be a Jackson — she is Beulah’s rebellious granddaughter and Rob-Will’s daughter. The fact that Carter is now entangled with her means the ranch war between Dutton Ranch and 10 Petal is no longer merely commercial and territorial. It is now personal, generational, and romantic simultaneously.

Episode 3: “Act of God Business”

Episode 3 is where Dutton Ranch shifts register. The first two episodes were establishment — geography, alliances, power structures, the specific topography of Rio Paloma’s social hierarchy. Episode 3 is the moment the show stops surveying the battlefield and starts the actual fighting.

As Beth fights to secure their business, Rip confronts a deadly threat. Tensions increase throughout Rio Paloma. The episode title — “Act of God Business” — is a piece of deliberate irony: nothing that happens in Rio Paloma is an act of God. Everything is deliberate. Everything is chosen. But the people responsible for the worst of it will, when confronted, always invoke forces beyond their control. Villains Wiki

Rip’s Deadly Threat

The threat Rip faces this episode is not abstract or bureaucratic. It is physical and immediate — a direct confrontation that tests whether the quiet menace he has been projecting since arriving in Texas is backed by the actual capacity for violence that his Montana history suggests. Plot Explained

Cole Hauser, who has spent three episodes playing Rip’s arrival in Texas as a man conserving energy — observing, filing information, declining unnecessary confrontations — finally lets the conservation break. The result is the episode’s most viscerally satisfying sequence and the clearest statement yet of who Rip Wheeler is outside of Montana’s protective mythology. He is not a man whose danger was borrowed from John Dutton’s institutional power. He is dangerous on his own terms, in any geography, against any opponent.

Beth and Joaquin

Beth’s meeting with Joaquin Jackson is one of the episode’s most carefully staged diplomatic exchanges — two people who are not enemies yet and are both trying to determine whether they have to be. Joaquin, as 10 Petal’s problem solver, is the family member most capable of pragmatic calculation. He sees Beth clearly.

The exchange between Kelly Reilly and Juan Pablo Raba is the episode’s best-written scene — two people who understand each other’s intelligence and are still trying to establish whether understanding leads to mutual respect or simply a more informed antagonism. Joaquin is not Rob-Will. He did not kill Wes.

He is cleaning up Rob-Will’s mess because that is what he has always done, and the question the show is beginning to ask is whether there is a version of this conflict that Joaquin would prefer to avoid.

Beth does not give him the answer he is looking for. She gives him a better question.

Carter and the Sheriff (Again)

Carter finds himself at the mercy of the local sheriff for the second time in three episodes and the pattern is beginning to establish itself as something the show intends to develop rather than resolve. Carter’s instinct toward protective violence, modeled on Rip’s example, is both his most admirable quality and his most immediate liability in a town where the sheriff’s relationship with the Jackson family is not yet fully understood.

Sheriff Wade, played by Josh Stewart, is investigating Wes’s disappearance with the specific energy of someone who knows more about how this town operates than he is publicly admitting. Whether he is a genuine investigator or a Jackson-aligned instrument of the local power structure is one of the season’s most important unresolved questions.

Everett McKinney: Friend or Liability?

Episode 3 introduces genuine ambiguity around Everett McKinney that the first two episodes carefully avoided. His helpfulness to Beth and his warmth toward Rip have positioned him as the show’s moral ballast — the old, weathered good man who can navigate between the warring parties.

But this episode begins asking whether his position between the Duttons and the Jacksons is geographical or strategic.

The show’s speculation that Everett may be Rob-Will’s father — and therefore Oreana’s grandfather — would make his relationship with the Duttons considerably more complicated. He would be the grandfather of Carter’s love interest, the father of the man who committed the murder Rip is covering up, and the chosen confidant of the woman who wants to destroy 10 Petal’s monopoly. That is not a neutral position. It is the most surveilled position on the board.

Ed Harris plays all of this with a veteran’s economy. He reveals nothing. He conceals nothing visible. He simply exists in the scene with the weight of someone who has been carrying information about these people for longer than the Duttons have been in Rio Paloma.

The Relationships Driving the Season

Beth and Rip: The Same Fire, New Fuel

The consistent critical consensus on Dutton Ranch is that Kelly Reilly and Cole Hauser’s chemistry carries everything around it, and three episodes in, that consensus is correct. Unlike the political land wars of Yellowstone, Dutton Ranch promises a more intimate exploration of Beth and Rip’s relationship against the backdrop of a Texas range war, featuring themes of loyalty, survival, and the high cost of maintaining a legacy in unforgiving territory.

What the show does well — better than the later seasons of Yellowstone managed — is give Beth and Rip problems that cannot be solved by institutional power, because they no longer have institutional power. The Wes Ayers situation is entirely Rip’s to manage; he cannot call a brand, cannot leverage a senator, cannot use John Dutton’s network.

He is a rancher with a body on his land and a neighbor who put it there, and the only instrument he has is the specific intelligence of a man who has been making hard decisions in dark places his entire life.

Beth’s commercial campaign against Beulah’s monopoly is similarly resource-constrained in a way that makes it more interesting than her Yellowstone boardroom wars. She has one ally in Everett, one supply chain in Claudio, and the conviction that every monopoly has a structural weakness if you look for it hard enough. Three episodes in, she is looking.

Beulah vs. Beth: Annette Bening’s Scene-Stealing Precision

The main antagonist of the show is Beulah Jackson, and Annette Bening makes her the kind of villain you simultaneously despise and find yourself watching with slightly more attention than the protagonists in every scene they share.

Bening’s performance is built around a specific understanding of how power works in small communities — not through overt dominance, but through the accumulated weight of years of controlled generosity.

Beulah has done favors for everyone in Rio Paloma. She controls the slaughterhouse, the cattle auction, the social calendar, and the sheriff’s professional context. She does not need to threaten anyone because the threat is structural and everyone already knows it.

What unsettles her about Beth is not Beth’s power — she has more of it. What unsettles her is Beth’s complete indifference to the social architecture Beulah has spent decades constructing.

Beth does not need to be liked in Rio Paloma. She does not need to be respected. She needs land, cattle, and a supply chain. The things Beulah offers everyone else in exchange for loyalty are things Beth simply does not want.

That indifference, in Beulah’s world, is more threatening than any direct challenge. You cannot control someone who does not want what you’re offering.

What Dutton Ranch Is Really About

The show’s deepest thematic argument, visible across three episodes, is about the specific cost of beginning again after catastrophic loss — not the logistical cost but the psychological one.

Beth and Rip left Montana because Montana burned.

They arrived in Texas with the intention of building something that was theirs in a different way than the Yellowstone Ranch ever was — not inherited, not protected by someone else’s name, but earned from scratch by people who know how to earn things.

The problem is that the violence follows them. Not because they cause it — the Wes Ayers murder happened before they arrived — but because the kind of people they are, the choices they are constitutionally incapable of not making, attract it. Rip moves the body because he cannot do anything else and remain who he is. Beth fights the slaughterhouse monopoly because she cannot coexist with a structure designed to control her. Carter punches abusive boyfriends in parking lots because he was raised by people for whom protective violence is a moral reflex.

The series establishes Texas as every bit as dangerous and complicated as Montana ever was. This is not the show’s failure. It is its honest thesis: you cannot outrun who you are.

You can move 2,000 miles south, rename a ranch, buy a new bull at auction, and drive through country that looks nothing like where you started. The fire still finds you. The bodies still appear on your land. The powerful neighbor still decides you’re a problem.

The only difference is that this time, the name on the gate is theirs. They built it. Nobody gave it to them. And that, the show argues in Beth’s trailer line and in every choice Rip makes in the dark, is the thing that might actually make it worth saving.

Episode 4 Preview: “Earn It or Take It”

Episode 4 has not yet aired as of the publication of this article. Based on the narrative threads left open after Episode 3:

The Body investigation is reaching a critical point. Sheriff Wade has been looking for Wes Ayers long enough that the absence of a body is no longer reassuring — it is suspicious. Rip’s decision to move rather than report is going to require active maintenance in Episode 4.

The Rob-Will/Rip confrontation that was building across the gas station exchange in Episode 1 and the threat in Episode 3 is due for escalation. Rob-Will is not smart enough to know when to stop pushing, and Rip is now fully operational.

Carter and Oreana are moving toward the Romeo-and-Juliet complication that the show has been architecting since the rodeo. With the ranch war between their respective families intensifying, their relationship is about to become a liability for both sides.

Beulah’s counter-move to Beth’s Claudio supply chain is overdue. Beulah does not ignore problems; she absorbs them into her institutional framework. Beth’s alternative meatpacking arrangement removed one of her leverage points, and Beulah will not leave that unremedied.

Everett McKinney’s loyalties will continue to be tested. Three episodes of perfect neutrality is the maximum the show will permit before forcing a choice.

Three Episodes In, Where Does This Stand?

Dutton Ranch is, against some reasonable pre-air skepticism, a genuinely strong piece of franchise television. The show has wisely traded the exhausting political baggage of Montana for a localized Texas turf war, and Beth is still delivering venomous lines with total precision while Rip brings his familiar quiet menace.

The casting of Bening and Harris was the season’s most important creative decision, and it has paid immediate dividends.

They provide the two things the Yellowstone spinoffs have consistently struggled to provide: antagonists with enough complexity to sustain a full season, and supporting characters with enough independent weight to make the world feel three-dimensional rather than constructed around the protagonists.

Three episodes in, Dutton Ranch is the best-reviewed Sheridan spinoff since the original Yellowstone and the most dramatically coherent thing to carry the Dutton name.

Whether it sustains that across six more episodes — whether the body stays buried, the war stays interesting, and Carter and Oreana survive the collision of their families — is what Friday mornings on Paramount+ are for.

The legacy is beautiful so far. Now it has to survive.

The post Dutton Ranch (2026), Episodes 1–3 : Complete Recap & Ending Explained appeared first on HexFlicks | Movies, Gaming & Books.

Mortal Kombat II 2026: Complete Recap, Review & Ending Explained

hexflicks-da — Tue, 12 May 2026 09:24:15 +0000

Director: Simon McQuoid | Writer: Jeremy Slater | Studio: New Line Cinema / Atomic Monster | Distributor: Warner Bros. Pictures | Runtime: 116 minutes | Stars: Karl Urban, Ludi Lin, Jessica McNamee, Adeline Rudolph, Martyn Ford, Hiroyuki Sanada, Joe Taslim

Let’s be honest about what Mortal Kombat II is and isn’t trying to be. It is not trying to be The Dark Knight. It is not trying to win awards or advance the art of cinema or say something profound about the human condition.

It is trying to put recognizable characters from a beloved video game franchise on a cinema screen, make them fight each other in increasingly elaborate and gory ways, and deliver enough fan service to justify the price of a ticket while building toward a third film. By that standard , the only fair standard to apply ; Mortal Kombat II is a considerable success.

It finally gives fans everything they want and more. It introduces favorite characters, includes unlimited video game references, and delivers an epic tournament.

The story is a simple one, built to serve this particular purpose, and because of that it is predictable but that doesn’t make it any less fun.

It holds a 64% approval rating on Rotten Tomatoes based on 115 critics’ reviews, with the consensus calling it an improvement over its predecessor. That improvement is real and identifiable: the first film spent too much time with Cole Young, a new character nobody asked for, at the expense of the franchise’s actual icons.

Mortal Kombat II corrects this imbalance, introduces Johnny Cage in the form of an absolutely committed Karl Urban performance, delivers on the tournament structure the first film only teased, and kills several beloved characters in ways that are either devastating or deeply satisfying depending on which side of the Outworld/Earthrealm divide they occupy.

It arrives like a punch directly to the ribs and never really stops swinging. The long-awaited sequel throws audiences straight back into Earthrealm’s bloody survival fight except this time the scale is larger, the fatalities are nastier, and the film somehow finds room for both horrifying violence and a washed-up action star having an existential crisis in sunglasses.

It is, in summary, exactly what it should be.

Edenia Falls

The film opens in the kingdom of Edenia. Young Princess Kitana joins her father King Jerrod and mother Queen Sindel as Jerrod is about to engage in Mortal Kombat with the ruthless Emperor Shao Kahn. Jerrod puts on a big fight against the massive Shao Kahn, but before he can strike the killing blow, Shao Kahn lets Jerrod’s blade impale his hand which he turns against the king before impaling Jerrod with his own giant hammer. Sindel and the rest of the Edenians bow to Shao Kahn, and he tells Kitana that she is now his daughter.

Martyn Ford, the British professional bodybuilder and actor standing six feet eight inches tall, makes Shao Kahn into the most physically imposing presence the franchise has ever put on screen. This is not the 1995 version’s camp theatrics. This is a being of genuine, terrifying mass who moves like something assembled specifically to end other things. When Kahn murders King Jerrod, the ease of it , the calm with which he converts Jerrod’s killing stroke into his own death establishes the film’s central problem immediately: how do you defeat something like this?

The answer, the film will eventually reveal, is that you don’t. Not directly. Not by strength. You defeat it by taking away the thing that made it invincible, and then you let someone with a personal score to settle and a very sharp pair of fans finish the job.

Enter Johnny Cage

Team Raiden ; the Thunder God himself and Sonya Blade recruit Johnny Cage after a comic convention. They believe that despite Johnny depreciating as an actor, his past as a karate legend means something. Johnny, unfortunately, is despondent due to his popularity being in the gutter. Depressed and psychologically broken, he thinks he doesn’t have skill anymore.

Karl Urban does something in this role that lesser actors would have fumbled: he plays the comedy completely straight. Johnny Cage’s existential crisis ; a fading action star who used to be genuinely dangerous and can no longer tell if the skills that made him famous were ever real — is played not as comic relief but as a genuinely affecting character arc about identity, purpose, and what happens when the thing you built your self-image around turns out to have an expiration date.

The film’s greatest surprise is probably how funny it becomes whenever Johnny Cage appears. Karl Urban understands the assignment completely.

Cage spends much of the story reacting to the insanity around him exactly like a confused audience member would. His sarcastic comments and complete disbelief help make the world easier to enter for newcomers unfamiliar with Mortal Kombat lore. Without him, the film could easily have collapsed under its own grim seriousness.

Urban’s casting was the franchise’s most crucial addition, and it shows in every scene he occupies. He is playing a man who does not believe in himself, dropped into a situation so insane that disbelief is the only sane response and watching him gradually discover that he was, in fact, chosen for a reason is the film’s most satisfying character arc.

The Revenants and the Amulet: Shao Kahn’s Master Plan

Before the tournament begins, the film establishes the conspiracy that will make the actual tournament fights almost secondary.

Quan Chi, on Shao Kahn’s orders, revives Kung Lao and Kano as Revenants undead warriors stripped of their free will and bent entirely to Outworld’s purpose. He is unable to corrupt and control Kano, however, due to Kano’s already thoroughly corrupt nature.

This detail is perfect and very funny. Quan Chi’s necromantic process requires a soul with enough remaining virtue to corrupt. Kano, who has none, is essentially immune to being made worse. The revenant program hits a wall with him.

Quan Chi, Shang Tsung, and the revenant Kung Lao attack Raiden and steal most of his godly power for the Amulet of Shinnok, which they bind to Shao Kahn making him effectively immortal. Raiden is barely alive yet incapacitated as a result.

The Amulet of Shinnok is the film’s central MacGuffin and its central problem.

Shao Kahn is impossible to beat in the film thanks to the amulet ; a plot device that allowed the scheming sorcerer duo of Quan Chi and Shang Tsung to steal Raiden’s godly powers and transfer them in a manipulative plot involving the resurrected and corrupted revenant version of Kung Lao.

The tournament rules require the champions to fight. But the tournament cannot be won through fighting alone, because the emperor’s opponent cannot be killed while he holds godlike power.

The film is clever enough to make this explicit ; the heroes figure out the problem fairly quicklyand the rest of the narrative is structured around the solution rather than the illusion that pure fighting ability could win the day.

Round 1: The Tournament Opens

The tournament’s opening rounds deliver the film’s first major fight sequences and establish the emotional dynamics that will carry the remainder.

Johnny Cage vs. Kitana

Johnny goes up against Kitana, unaware of her fighting skills. Johnny manages to get through the fight without getting severely injured, but he ends up fainting before Kitana can fulfill Shao Kahn’s order to “FINISH HIM!”

She’s a skilled warrior, and beats Johnny Cage, but lets him live during the first battle of the tournament. This mercy is the film’s first indication that Kitana is not what she appears not Shao Kahn’s loyal adopted daughter, but something more complicated.

Her decision to spare Johnny, directly defying the emperor’s order, is a declaration of private war that she has been building toward for decades.

Sonya Blade vs. Sindel

Sonya finds herself up against a corrupted Sindel. Sindel uses her signature sonic screams to push Sonya’s attacks against her, but Sonya eventually gets behind Sindel and uses her rings to blast a hole through Sindel’s back, then impales her head on a spike on the floor.

The Pit stage ; that classic, spike-studded arena from the original game is realized here with full R-rated commitment. Sonya’s fatality on Sindel is grimly satisfying: a callback to the game’s most famous environmental hazard, used against the exact character that the franchise’s most devoted fans will recognize as occupying the wrong side of this particular fight.

Liu Kang vs. Kung Lao

This is the tournament’s most emotionally brutal match. After dying in the first movie, the hat-wearing Earthrealm fighter Kung Lao is brought back to life by Quan Chi and Shang Tsung as an evil version of himself. He’s forced to turn on Raiden, his mentor, and fight his friend Liu Kang.

Despite his efforts to redeem Kung Lao, Liu Kang is forced to kill him making Liu kill his best friend with Kung Lao’s own razor-sharp hat. It is the film’s most elegantly horrible use of game iconography: the Razor Hat, Kung Lao’s signature weapon, turned by Liu Kang’s hand against its owner.

Max Huang, as the revenant Kung Lao, sells the tragedy of it ; you can see the person underneath the corruption fighting to surface before Liu Kang ends it with the speed of someone who cannot afford to hesitate.

Cole Young

Cole Young was the most controversial addition to the 2021 film ; a new character created specifically for the movie who occupied narrative space that fans felt belonged to established franchise icons. Mortal Kombat II handles the Cole problem with brisk decisiveness.

Cole puts up a valiant fight against Shao Kahn, and it even seems like he gains the upper hand at one point. Sadly for the Earthrealm hero, Shao Kahn overpowers him, slamming him to the ground. He deals a killing blow by crushing his head with his mighty war hammer.

Death may not be final in the Mortal Kombat universe, but it’s hard to see how Cole comes back from such a brutal end. The character was a polarizing addition to the roster, as he doesn’t feature in the games. He may not have survived, but he went out swinging.

The critical community’s response to Cole’s death has been, putting it diplomatically, not grief-stricken. Whether this was always the plan or an acknowledgment of fan response to the first film, dispatching Cole via Shao Kahn’s hammer is simultaneously the film’s most fan-servicing kill and its least emotionally complicated. Cole earned his exit. The hammer earned its use.

The Kitana Revelation and Jade’s Turning Point

Kitana is stunned to reveal she has been working as a double agent for Raiden since she wants to bring Shao Kahn down for good. The revelation repositions her entire arc retroactively ; her mercy toward Johnny wasn’t impulsive rebellion but deliberate strategy, the latest move in a long-running intelligence operation against the man who murdered her father.

Kitana harbors rage, but she had acceded to Shao Kahn’s wishes for years, becoming his adopted daughter, guarded and trained by Jade. Little did they know, the older Kitana has defiant energy and hatred simmering beneath the surface.

Adeline Rudolph plays Kitana’s revelation scene with a stillness that is more frightening than any amount of dramatic declaration. This is a woman who has waited twenty years. She has learned patience from someone who taught her as a control mechanism, and she has turned that patience into a weapon.

Jade, Kitana’s bodyguard, confronts her for betraying Shao Kahn. The dynamic between Kitana and Jade ; childhood friends, raised together in service of a tyrant, now on opposite sides of a choice is the film’s most emotionally rich supporting relationship.

Jade soon follows Kitana’s suit, using her bo staff as her primary weapon and giving Kitana her iconic fans. The moment of the fans changing hands is the film’s most loaded image: the instrument of Kitana’s eventual salvation passed to her by the person who was supposed to be her keeper.

The Baraka Detour: Johnny Cage, an Alien Fight, and the Best Nut Punch in Cinema History

Realizing they cannot defeat Shao Kahn while he has the amulet, Liu Kang, Jax, Sonya, and Johnny travel to the home of the Tarkatans. Johnny fights and defeats their leader Baraka, earning his trust as he guides them to a hidden entrance below Shao Kahn’s palace.

The Baraka fight exists primarily as a showcase for Karl Urban’s commitment to the role ; a Hollywood actor fighting a Tarkatan warrior with retractable arm blades is exactly the kind of absurd premise that requires either full sell or embarrassed half-measures, and Urban goes full sell every single time.

Baraka yields after taking a devastating Nut Punch, declaring Cage the greatest fighter he’s ever seen.

The Nut Punch ; Johnny Cage’s most iconic and ridiculous signature move from the original games ; lands here with the full commitment of a production that understands its audience perfectly. It works not because it’s the most sophisticated fighting move in cinema history but because everyone watching has been waiting for it, and the film delivers it with complete, unironic sincerity.

The sharp-toothed Baraka loses the fight against Johnny but becomes indebted to the human, teaming up with the Earthrealm heroes at the end of the movie.

The Baraka-as-ally development is the film’s most surprising character beat and one that, for franchise fans, connects interestingly with later game continuity where Baraka’s relationship with Earthrealm’s champions becomes considerably more complex.

The Amulet Heist, Jax’s Death, and the Plan That Falls Apart

The four Earthrealm champions try to get the amulet but Jax is killed by Shao Kahn while Liu Kang and Sonya are taken away for the next round of the tournament.

Shao Kahn is far too strong for Jax. He defeats Jax by skewering him through the throat with the hilt of his hammer. Jax’s death is the film’s most genuinely affecting loss ; Mehcad Brooks has played this character with a grounded, brotherly warmth that made him one of the 2021 film’s most likeable elements, and his removal from the board lands with weight.

In the traumatic melee, Bi-Han revived by Quan Chi but not as the Lin Kuei enforcer Sub-Zero has become Noob Saibot, a teleporting wraith who has a sickle and a shadow clone called Smoke. Bi-Han takes the amulet to the Netherrealm to hide it. Once the emperor wins his last bout, it’ll be game over for Earthrealm.

Noob Saibot is, for franchise fans, one of the most beloved character evolutions in Mortal Kombat mythology ; Sub-Zero’s sinister elder brother, killed and resurrected as a creature of pure shadow. Joe Taslim, who was so effective in the first film as the ruthlessly cold Sub-Zero, transforms here into something stranger and more unsettling. The shadow clone mechanic , Noob splitting into two dark figures — is realized practically enough to satisfy while keeping the film’s tonal register stable.

The Netherrealm Team-Up: Scorpion, Johnny, and Kano Walk Into Hell

Kano, preferring the luxuries and riches of Earthrealm over Outworld, betrays Shao Kahn and reveals to Johnny that a revived Bi-Han has the amulet and is currently in the Netherrealm. Raiden, using what little power he has left, sends Kano and Johnny to the Netherrealm.

The Kano defection is the film’s funniest plot beat: a mercenary who has no loyalty whatsoever to any cause or principle ultimately sides with Earthrealm not because he has been inspired or converted but because Outworld doesn’t have the material comforts he enjoys. He is, authentically and consistently, the worst person in the film and his presence in the Netherrealm sequence as part of the unlikely heroic trio is one of the movie’s great tonal achievements.

Raiden sends Johnny Cage and Kano to meet Scorpion, as he can guide them through the Netherrealm to retrieve the Amulet of Shinnok. Kano tells Scorpion that Sub-Zero is back, prompting him to take action.

Hiroyuki Sanada’s Scorpion ; the Earthrealm revenant who has been fighting a centuries-long vendetta against Bi-Han gets his rematch in the Netherrealm, and the film wisely allows this fight to feel personal rather than procedural.

Whenever Hanzo hears Bi-Han’s name, the atmosphere shifts immediately into unresolved rage and grief. The film strongly hints their conflict is nowhere near finished. Noob Saibot barely unleashes his full abilities here, which feels entirely intentional ; clear groundwork for a future sequel.

The “Get over here!” line lands. Of course it does. The film knows exactly what it’s doing.

The Final Act

The finale runs four simultaneous story threads , the tournament’s last round in Edenia, the Netherrealm fight against Noob Saibot, the battle for the incapacitated Raiden in his sky temple, and Kitana’s chain of captivity and somehow manages not to collapse under the weight of its own plotting.

In Edenia: After achieving immortality, Shao Kahn takes on Liu Kang and Sonya Blade simultaneously in the final fight of the tournament. He makes quick work of Sonya, and turns his attention to Liu Kang. Despite a valiant effort ; Kahn is cheating, after all , Kang is bested and impaled through the stomach. But he doesn’t die. Instead, Kang turns into floaty embers and vows to head to the Netherrealm to bring Kung Lao back from the dead.

“This is not the end, it’s only the beginning.”

The Liu Kang transformation , fire rather than death, an ascension that mirrors his game mythology as a champion who eventually becomes a god of fire is the film’s most significant sequel setup beat. In the video games, he’s often resurrected as a Raiden-like god of fire, which could be what happens in Mortal Kombat III.

In the Netherrealm: Scorpion and Kano take on Noob Saibot, while Johnny still doesn’t have the power to take on the villain. Jade, Kano, and Scorpion all use their powers against the amulet, but it’s too strong to destroy.

Once Johnny accepts his fate and the fact that he was chosen, he delivers a boast to Bi-Han about how he is “Johnny Fucking Cage” and he unlocks his arcana powers to deliver the final powerful kick, destroying the amulet and sending Bi-Han into a lava pit.

Scorpion bisects Saibot vertically. It’s a satisfyingly gory kill, although death seems more like an inconvenience to Bi-Han, and we will likely see him return in the future.

The arcana unlock is Johnny Cage’s character arc paying off: the man who couldn’t believe he was chosen, who spent the entire film questioning whether his skills were real or performed, discovers in the moment of maximum pressure that he is, in fact, the thing Raiden said he was. His self-declaration — the name, the “Fucking”, the complete commitment to the moment is Karl Urban playing the most self-aware possible version of action hero sincerity, and it works completely.

In Raiden’s temple: The moment the amulet is destroyed, Raiden immediately regains his strength and dispatches Shang Tsung. The Shang Tsung death is notably swift ; the sorcerer who has been scheming for two films is removed with efficient finality. Chin Han plays the moment with appropriate theatrical horror. The power Tsung borrowed was always conditional.

The Ending Explained

Now facing a mortal Shao Kahn after the amulet’s destruction, Kitana gains the upper hand. She uses her razor fans like a rotor blade to cut open Kahn’s mask. Just as it looks like she could win, Kahn grabs Kitana by the throat and starts to strangle her: “Weak, just like your father.”

This line is the film’s most elegantly deployed villain mistake. Shao Kahn has spent twenty years using Kitana’s father as a reference point for weakness ; the king who couldn’t stop him, the king who lost, the king whose kingdom he took. Invoking Jerrod now, in the arena where Jerrod died, in the moment where his adopted daughter has him at disadvantage, is not a display of dominance. It is the last mistake of a man who genuinely does not understand what is about to happen to him.

This is the last push Kitana needs to enact her vengeance in the very same arena her father died in two decades earlier, using both fans to make mincemeat out of Shao Kahn’s head.

Kitana beheads him with her fans and becomes the rightful Queen of Edenia.

The location — the same arena — is the film’s most precise structural choice. Shao Kahn murdered Kitana’s father in this place. The aura of that act has defined Kitana’s entire life: the captivity, the service, the long patience, the double-agency, the waiting. The fact that she kills him here, with the fans that Jade — the person assigned to guard her ; gave her, in the same stone arena where everything started, is not coincidence. It is completion.

The Aftermath: Who Lives, Who Dies, and What Comes Next

When the dust finally settles, only Johnny Cage and Sonya are left alive of Raiden’s Earthrealm champions, with Princess Kitana promising to help them rescue their deceased comrades from the Netherrealm.

Valeria and her daughter are safe after helping Creasy and Poe in the Favelas. [Note: that reference belongs to another film.]

The survivor count is notably grim for a film that nominally ends in victory. Liu Kang is fire-embers. Jax is dead. Cole Young is dead. Kung Lao has been killed twice. Raiden is alive but diminished. The “victory” is real in that Shao Kahn is beheaded and Earthrealm is safe but the cost is so steep that triumph feels, as one critic noted, closer to bittersweet exhaustion than triumph.

If the films stick to the canon of the original games, Mortal Kombat 3 will see Earthrealm besieged by a full-on apocalyptic Outworld invasion. In the games, that invasion is led by Shao Kahn himself after his defeat at the hands of Liu Kang ; he resurrects his corrupted Queen Sindel on Earth, which allows him to bypass the tournament rules and invade Earthrealm directly.

The series has now killed Shao Kahn, which suggests a different antagonist configuration with Shinnok looming in the shadows, Noob Saibot operating as a deadly wildcard, Edenia’s rebellion ready to ignite, and Kitana officially breaking away from Outworld’s control, the next installment is poised to leave the tournament format behind in favor of an all-out inter-realm war.

Greg Russo, who co-wrote the original, has described the reboot as a trilogy with the first film set before the tournament, the second film set during the tournament, and the third film set post-tournament. The structure is clean, the intention is clear, and the setup is complete. A third film is in development.

What Mortal Kombat II Gets Right, Gets Wrong, and Gets Exactly Right

The film’s primary weakness is the one that has plagued every ambitious ensemble action franchise: the pacing moves so quickly that some emotional moments barely have time to breathe before another fight sequence interrupts them. Kitana’s backstory the murdered father, the decades of captivity, the simmering hate carries enormous potential but is not given the development it deserves. Her pain shapes many major decisions in the story, yet it often feels rushed.

The film is also, genuinely, messy. It’s dumb fun and quite entertaining in places, but it’s painfully obvious the film could have been so much more than that.

What it gets exactly right is Karl Urban ; the franchise really benefited from the addition of Karl Urban and the tournament structure that the first film promised and failed to deliver. The fights are better choreographed, the fatalities are more committed, and the game iconography is deployed with enough reverence to satisfy fans without alienating newcomers.

Core themes include loyalty, sacrifice, power, and duty. These are not profound themes in this context ; they are the functional emotional architecture of an action franchise sequel. But Mortal Kombat II executes them with enough sincerity and enough spectacular violence to make the 116 minutes feel earned.

The 1995 Mortal Kombat film had “Techno Syndrome” and the kinetic absurdity of a different era. Tony Scott never got his hands on this material. Mortal Kombat II 2026 has Karl Urban saying “I’m Johnny Fucking Cage” before kicking an amulet into a lava pit, and Adeline Rudolph making a bladed fan out of twenty years of grief.

It turns out that’s enough.

The post Mortal Kombat II 2026: Complete Recap, Review & Ending Explained appeared first on HexFlicks | Movies, Gaming & Books.

Man on Fire (2026) : Complete Series Recap, Review & Ending Explained

hexflicks-da — Thu, 07 May 2026 08:25:28 +0000

Man on Fire is one of those properties that has already done this before , twice, in fact and each time it has become something different. A.J. Quinnell’s 1980 novel created John Creasy: a broken man who finds temporary purpose in protecting a child, then finds that the child’s loss ignites something in him that nothing else could.

The 1987 film with Scott Glenn was a grimier European affair. Tony Scott’s 2004 adaptation with Denzel Washington became a cultural touchstone ; propulsive, operatic, saturated with that distinctive Tony Scott visual language of bleached colors and lens flares and rage turned into aesthetic. Denzel didn’t just play a man on fire. He was fire. Every scene was conducted at the temperature of a forge.

Netflix’s 2026 series uses all seven episodes to ask what happens after when Creasy still has fire left, but no clean way to put it out. That is a genuinely interesting question, and one that the series format, more than any film could, has the space to answer.

The core shift is structural: instead of compressing Creasy’s trauma, bodyguard assignment, revenge mission, and political conspiracy into two hours, showrunner Kyle Killen stretches that arc across seven chapters, spending real time with the broken man before the fire catches.

The series draws from Quinnell’s novels, which first introduced the character of John Creasy. Part of the pitch of this particular take on Man on Fire is that it also partially adapts the sequel novel, The Perfect Kill. So this is not just a retread. It is an expansion ; Creasy’s story given room to breathe, and then room to bleed.

The result is a series that is, by critical consensus, 62% on Rotten Tomatoes, with a Metacritic score of 60 out of 100 indicating mixed or average reviews neither the knockout that the cast and pedigree promises nor the failure the franchise history might have predicted.

What it is, consistently, is watchable: a propulsive seven-episode thriller anchored by a lead performance that earns the weight of the role and two supporting performances that, when the three characters are in the same room, produce something significantly better than the sum of the show’s individual parts.

Mexico City and the Four Years That Followed

John Creasy is a former U.S. Army Special Forces Captain who, after leaving the military, did contract work for the CIA. On his last assignment in Mexico City, his entire team was ambushed and killed.

The first episode wastes no time kicking the plot into gear, showing Creasy as a cocky operative who brags to his superior, Tappen, about his perfectly planned mission. Sadly, everyone on his team is captured and killed, with Creasy suffering a devastating injury.

The Mexico City ambush is the series’ foundational wound ; the event that precedes everything, that explains everything, that Creasy has spent four years trying and failing to move past. Men dressed in black entered the building and killed his team with the kind of systematic precision that suggests inside information. Creasy survived, which is its own punishment.

Four years later, Creasy is suffering from PTSD, drinks heavily, and works in a warehouse. After a failed suicide attempt, his friend Rayburn recruits him to a security assignment in Brazil.

Haunted by his past, he’s now covered in scars, dons a disheveled beard, and has taken to drinking copious amounts of alcohol to cope with his frequent nightmares.

Yahya Abdul-Mateen II, whose range extends from Aquaman‘s villain to Watchmen‘s Doctor Manhattan to Matrix Resurrections‘ Morpheus, inhabits Creasy’s wreckage with the specificity of an actor who has done the work. This is not generic damaged soldier.

It is a particular man with a particular failure carved into him ; someone who believed he was the best at the thing he did, who built his entire identity around that belief, and who watched that belief get demolished in real time.

The failed suicide attempt lands with the gravity it deserves. Creasy is not trying to die because he has given up on life in the abstract. He is trying to die because he has lost the only thing that made the life feel purposeful, and nothing has replaced it.

And then Paul Rayburn walks into his hospital room.

Paul Rayburn

Bobby Cannavale only appears in the first episode, but his absence hangs over the series. “You needed somebody with Bobby’s outsized presence,” showrunner Kyle Killen says. “He is the kind of person that can make an impression in one episode that you’re still thinking about all these other episodes later. You can understand the size of the hole that he leaves, both for Poe and for Creasy.”

This is exactly right, and it is a significant creative gamble that the series pulls off because of the specific choice of actor. Cannavale brings to Paul Rayburn the particular warmth of a man who is both entirely capable of manipulation and entirely sincere in his love for the person he’s manipulating. He needs Creasy. He also genuinely wants Creasy to be okay. These things coexist in him without contradiction.

Rayburn’s line to Creasy before his death becomes the series’ organizing metaphor: “Some guys, you have to light a fire under them to get him going. My job is to stack wood in your general vicinity because I know sooner or later you’re going to light your own fire.”

The wood-stacking image ; the idea that Rayburn’s role in Creasy’s life is not to ignite him but to provide the material for his own ignition is the most elegant piece of writing in the series and the thematic frame for everything that follows. Creasy doesn’t need someone to motivate him. He needs something to care about. Rayburn understood this. The mission he brings to Creasy in Brazil is, in some sense, a gift not the security work, but the framework for rediscovery that the security work creates.

Rayburn, a CIA operative living in Brazil with his family, gives Creasy a path back into the world before the bombing changes everything. He has recruited Creasy for a security assignment attached to Brazil’s President Carmo ; a job that will require Creasy to be functional, present, and responsible for other people’s safety. It is the precise thing Creasy needs. And then the bomb goes off.

Episode 1: The Bombing of the High-Rise and the Weight of 600 Dead

The apparent fresh start collapses after a luxury high-rise bombing kills Rayburn, his family, and more than 600 Brazilian citizens.

The scale of the bombing is important, and the series is careful to maintain it. This is not a targeted assassination that happens to kill a few bystanders. This is a mass casualty event — a building reduced to rubble, hundreds of lives ended, an entire city in trauma. The political dimensions of that scale will become clearer as the series progresses; for now, what matters is that Paul Rayburn is dead, his wife is dead, their younger children are dead, and the only survivor is his eldest daughter, Poe.

Creasy didn’t plan on being the only stable force left in Poe’s life, but it grants him the purpose he was missing. “He needed something to care about other than himself,” Abdul-Mateen says. “Once he found something outside of him to care about, then that gave him motivation and drive, and a reason to live.”

Poe Rayburn, played by Billie Boullet with the particular prickliness of a teenager who has learned that emotional armor is a survival tool, is not a passive victim. She has been raised by a military man in constant motion; her family relocated repeatedly as her father’s work demanded and has developed, as a consequence, a very low tolerance for vulnerability and a very high tolerance for chaos. She’s trying to do the opposite of Creasy: go back to a place that no longer exists. Forced to move all over the world with her ex-military father, she’s desperate to return to her old home, and constantly clashing with parents she views as overbearing.

The dynamic between Creasy and Poe is the series’ most important relationship, and it is handled with more patience than the genre usually permits. They do not bond immediately. They are, in the early episodes, two people who have been forced into proximity by catastrophe both damaged, both resistant, both deeply suspicious of intimacy because they have both recently had the people they loved taken from them in one violent moment.

The Conspiracy Assembles: Who Built the Bomb and Why

Over the middle episodes, as Creasy and Poe go into hiding, the architecture of the conspiracy that killed Rayburn and 600 others comes into focus.

Prado Soares (Thomás Aquino) and President Carmo (Billy Blanco Jr.) are proven to be at the top of the conspiracy, with the pair using the bombing as a way to grab emergency power in Brazil. Tappen is revealed to be corrupt, using blackmail over the Brazilian president to pull the strings.

The political structure of the plot ; a president engineering a false flag bombing to consolidate emergency authority lands differently in 2026 than it would have in, say, 2010. The idea of elected officials manufacturing crises to justify the expansion of executive power is no longer the territory of paranoid thriller fiction; it is the territory of recent history. The series doesn’t belabor this, but it doesn’t have to. The architecture is familiar enough to feel grounded.

Audiences learn that Rayburn’s high-rise wasn’t the original target, but Creasy’s involvement changed the plan ; the protagonist was meant to perish in the explosion. This detail recontextualizes the entire first episode retroactively: Rayburn didn’t just happen to be killed alongside his family.

The bombing was modified because Creasy arrived. Paul Rayburn’s death is, in a devastating irony, caused by the presence of the man he was trying to save. The wood-stacker became the kindling.

Creasy’s first move after faking photographs of his and Poe’s dead bodies is an original one: allowing them to operate in secret. Meanwhile, back in the United States, his old CIA ally Tappen has turned heel for mysterious reasons. He wants Creasy dead.

Scoot McNairy as Tappen is the series’ most controlled piece of villain work. McNairy has spent a career playing men under institutional pressure ; Halt and Catch Fire, Narcos: Mexico and he brings to Tappen the specific energy of someone who has made a series of reasonable-seeming compromises that have, collectively, led him somewhere irredeemable. Tappen isn’t a monster. He is a pragmatist who has been pragmatic one too many times, and the corruption is now structural.

The Favelas: Valeria, Livro, and the People Who Already Know How to Survive

Creasy agrees to help Valeria Melo get safe passage out of Brazil in return for her assistance hiding them in the favelas.

Alice Braga, who has spent two decades playing women navigating danger with the specific intelligence of someone who has had to develop that intelligence to survive — I Am Legend, Predators, Elysium, Queen of the South — brings to Valeria a warmth and a practical competence that the series desperately needs in its middle sections. When Creasy and Poe are at their most isolated, Valeria provides the human texture that keeps the show from becoming a pure procedural.

The walls Creasy has been forced to put up are softened at times not just by Poe, but also by Valeria. Each of their respective traumas has forced these characters to isolate themselves in a prison that is, at times, of their own making, and as their lives become more at risk, they’re forced to protect each other and eventually lean on each other. The three characters mesh well and are far more compelling when they’re on screen together than when the plot splits them up, which it unfortunately often does.

This is the series’ primary structural weakness, and it is worth naming: the conspiracy plot and the character work operate in different registers, and the show has to keep separating its trio to service the procedural demands of the narrative. Every time the plot requires Creasy to go interrogate someone while Poe and Valeria wait somewhere, the viewer feels the loss of the dynamic that makes the show worth watching.

In the favelas, Poe befriends Livro (Jefferson Baptista), a young man from the community who becomes part of the extended protective circle around her.

Livro and Vico are not just pieces around Creasy. They are the reason Creasy survives the story emotionally as much as physically. The favela sequences give the series its most authentic-feeling texture ; a world that operates according to its own codes, its own loyalties, its own understanding of danger, that is both separate from and entangled with the political conspiracy running above it.

The Middle Episodes: Tiago, Osmar, and the Conspiracy’s Architecture

Creasy interrogates his captive terrorist, Tiago (Elzio Vieira). Tiago points him in the direction of Gabriel Estevas, a.k.a. Osmar, a terrorist leader, but dies in a shootout after leading Creasy into a trap.

The Osmar thread is the series’ most operationally complex section — a chain of sources, double-crosses, and escalating violence that establishes the conspiracy’s full scope. Much of this information comes to light through Osmar, the man who made the bombs, and Emanuel Ferraz, the leader of the FRP crime syndicate, still calling the shots from prison.

Through Ferraz’s intel, Creasy is also able to have Poe identify Tappen as the man she saw on the motorcycle the night of the bombing.

Poe as witness is the series’ most important narrative engine. She saw something the night of the bombing ; a face, a presence and that makes her a liability to the people at the top of the conspiracy. Her value to Creasy is protective; her value to the audience is testimonial. She is the only person who can connect the abstract political corruption to the specific physical event, and the series is careful to build toward the moment when that testimony can be used.

Osmar is killed in what is made to look like a suicide by Soares and Tappen after Creasy leaks his tortured confessions to the CIA and the prisoner exchange with Poe. The quick sequence of events reveals that Osmar’s fate befell the other bomb makers in the white vans, with some being arrested to cover for President Carmo. Soares also kills Ferraz while Tappen is violently interrogating him, leaving Creasy to clean up the trio at the top of the conspiracy.

Each source that Creasy develops is killed before it can become official testimony. The conspiracy is not just powerful; it is aggressively self-cleaning. Every time Creasy gets close enough to expose someone, the machinery above closes down on them. It is a structure designed to prevent exactly what Creasy is trying to do and the series is honest about how much of what Creasy does is improvisation in the face of an opponent with far more institutional resources.

The Prison Heist and the Dead Man’s Switch

Episode 6 sees Creasy stage a daring prison heist to secure an important target. The heist sequence is the series’ highest-budget action set piece and one of the few moments where Man on Fire fully delivers on its action-thriller promise ; a sequence of genuine physical propulsion directed with the kinetic energy that Steven Caple Jr. (who helmed the first two episodes and Creed II) established as the show’s visual template.

As a new adversary arrives on his trail, Creasy hatches a plan to get Poe and the others out of the country. The favela goes on high alert when enemies arrive with an agenda. Creasy races against time to extract information in a high-stakes hostage situation.

The plan to extract Poe from Brazil requires clearing enough of the conspiracy’s upper structure to make movement safe. And the upper structure’s most effective remaining protection is Tappen’s kill switch.

The Finale: Tappen’s Kill Switch, the Hospital, and the Poison Tape

The finale episode begins with Creasy, Melo, and Ivan meeting inside an empty warehouse as they plan their next move against Carmo, Soares, and Tappen.

Creasy believes that Tappen has protected himself by setting up a dead man’s switch. He thinks Tappen has secretly recorded his conversations with Carmo and Soares about their crimes, and that these recordings will be released if anything happens to him. Because of this, Creasy decides that the only way to bring the truth out is by killing Tappen and triggering that switch.

This is a beautiful inversion of the genre’s usual logic: Creasy’s goal is not to prevent the kill switch from activating ; it is to cause it to activate. He wants the recordings released. The only way to force the transparency that will expose Carmo is to kill the man using those recordings as leverage. The kill switch is both Tappen’s protection and, in Creasy’s hands, the instrument of his own destruction.

To make this happen, they prepare a tape and hide it inside a safe deposit box. The tape is set up with a poison that is not meant to kill anyone but is strong enough to create panic and force a reaction. After that, they stage a fake robbery at Ivan’s father’s condo to draw attention.

The staged robbery draws Tappen and Soares into the open specifically, into a hospital, where Creasy has engineered the conditions for the final confrontation. The hospital setting is deliberate: it is a place where violence is simultaneously the most shocking and the most consequential.

Creasy kills Tappen in a hand-to-hand fight, leaving the villain to bleed out. The death is not spectacular. It does not have the operatic excess of Tony Scott’s version of Creasy’s revenge.

It is brutal, exhausting, and deeply physical ; two men at the limits of their endurance, one of whom has more to lose than the other and fights accordingly. McNairy’s final scenes as Tappen are his best: a man confronted with the specific accountability of his choices, finding that the reasoning that made those choices feel tolerable no longer holds.

Soares then has nothing left to lose. He threatens Poe. But Creasy has taught Poe what to do in exactly this situation. As the situation becomes tense, Creasy quietly signals Poe to fight back using what he taught her. She reacts quickly, and in the struggle, Soares ends up shooting Creasy. Even then, Creasy fights back and kills Soares.

The moment where Poe activates the defense technique Creasy taught her is the series’ most satisfying narrative payoff not because it is surprising, but because it is earned. The entire arc of their relationship has been moving toward the moment when Poe stops being someone Creasy protects and becomes someone who participates in her own protection. The shot lands. Creasy kills Soares. The conspiracy’s ground-level operatives are eliminated.

And then the kill switch fires.

Tappen’s kill switch exposed his corruption, leading to the arrest of Carmo and his administration.

The Ending Explained: Los Angeles, the Eulogy, and a New Mission

Later on, news reports confirm that Carmo has been arrested, and Creasy’s name has been cleared.

The aftermath is distributed across a series of brief, precise coda sequences that the show handles with admirable restraint. It doesn’t linger on the political resolution; it is more interested in the personal one.

Melo decides to stay in Brazil with her daughter. This is the series’ most emotionally complex supporting character beat. The deal Valeria made with Creasy was safe passage out of Brazil in exchange for hiding them. She earned it. She chooses not to take it.

The place she was trying to escape has, through the events of the series, become something different to her; a place where she participated in something that mattered, where she built connections she didn’t have before. Leaving now would feel like abandonment.

Vico and Livro are now working with Ivan. The young men from the favelas, who entered the story as peripheral figures in Poe’s protective ecosystem, exit it with agency and employment ; a small but real acknowledgment that the people who helped Creasy survive are not simply dropped back into the circumstances they came from.

Creasy is revealed to be alive and in Los Angeles with Poe, who is now living with her grandmother. The pair have been cleared of any wrongdoing in the bombing. Poe gives her family a proper eulogy, acting as a cathartic moment for her to get closer to the traumatic events she’s endured.

The eulogy is the series’ emotional climax, and it is deliberately quiet; a teenage girl, in front of her family’s memorial, saying the things she never got to say to them before the building came down. Billie Boullet carries this scene with a maturity that has been building since the first episode, and the restraint of the moment — no swelling score, no camera pulling back for grand visual statement — is the right choice for a show that has occasionally struggled to trust its quieter instincts.

Creasy is shown to have opened up a bit, being less cold toward those around him, especially Poe, as the two are now bonded as family. While he’s not perfect, Creasy and Poe are putting their bleak pasts behind them, and he is well on his way to being the soldier he once was.

This is the series’ essential statement, delivered in behavior rather than dialogue: Creasy didn’t just complete a mission. He was changed by it.

The man who recoiled from Rayburn’s kids wanting to hug him in the first episode is now, seven episodes later, someone who has let a teenager into the part of himself that had been sealed off since Mexico City. He is not healed. He is not whole. But he is, for the first time in four years, someone with a reason to keep going that isn’t just institutional assignment.

And then the CIA comes knocking.

Creasy gets an invite from his old CIA boss as a way of recompense for Tappen’s actions: specifically, a chance to get revenge on the operatives in Mexico City who killed Creasy’s team at the beginning of the series. After the conflict is resolved, Creasy is given a new mission by the CIA that connects back to his past in Mexico City. He agrees to take a look at it, setting up a new direction for the story and hinting at a possible Season 2. PRIMETIMER

The Mexico City thread ; introduced in the pilot as the foundational wound and then deliberately set aside while the Brazil conspiracy consumed the narrative is now the dangling thread that a potential second season would pull. The series also partially adapts the sequel novel The Perfect Kill, and there is more source material to work from, including the 1993 novel The Blue Ring, set in the Mediterranean, where Creasy takes on another criminal cartel.

Creasy accepts. Of course he does. The fire is lit now.

What Man on Fire Is Really About: The Stack of Wood Theory

The series’ most interesting thematic argument is embedded in Rayburn’s wood-stacking metaphor, and it is worth unpacking fully because it is not just a characterization of Creasy. It is the show’s theory of what it means to help someone.

Paul Rayburn didn’t try to fix Creasy. He didn’t lecture him about his PTSD or his drinking or his self-destruction. He showed up at his hospital bed and offered him a job ; a specific, purposeful task in the general vicinity of the thing that used to make Creasy feel like himself. He stacked the wood. He didn’t strike the match. He trusted Creasy to do that himself.

Valeria reflects on the show’s central thesis at its halfway point: “Sometimes you meet someone…it’s like you see a piece of yourself in them.”

Valeria sees herself in Creasy another person who has been surviving rather than living, who has organized their existence around keeping a child safe because there is no broader framework available to organize it around. Her friendship with Creasy is not romantic; it is the recognition of parallel damage. And the show is right to treat that recognition as the foundation of something genuinely useful.

Poe, meanwhile, is not just the charge that Creasy protects. She is the thing that makes the wood catch. A teenage girl who has lost everything, who is prickly and angry and determined not to be defined by her loss, who gradually, reluctantly, lets the broken man who killed the people who killed her family into the place behind the armor ; she is the match. Not because she tries to be. Because she is, simply, the specific person that Creasy couldn’t remain closed against.

The Legacy Question: Does It Justify Its Existence?

The ghost in every frame of Man on Fire (2026) is Denzel Washington ; specifically Denzel Washington in the Tony Scott adaptation, giving one of the defining action performances of the 2000s, a performance so specifically his that the character essentially became him. Every creative decision Kyle Killen made had to contend with that legacy.

For viewers attached to Washington’s 2004 film, the new version does not replace it. Instead, it uses television to ask what happens after when Creasy still has fire left but no clean way to put it out.

That reframing is the right one, and it is where the series justifies itself most clearly. The 2004 film asked: what does a man do when the thing he was protecting is taken from him? Man on Fire 2026 asks: what does a man do when the thing that was supposed to destroy him ; the loss, the mission, the fire turns out to be the thing that saves him?

The answer the series gives is that protection, even reluctant protection, even protection born of obligation rather than desire, has the capacity to remake the person doing it.

Creasy didn’t save Poe. They saved each other. And the wood that Rayburn stacked ; the last gift of a man who died in the wreckage of the plan he thought would rescue his friend is what made the fire possible.

Finally

Man on Fire (2026) is a good thriller with occasional flashes of something better. The three core characters mesh well and are far more compelling when they’re on screen together than when the plot splits them up, which it unfortunately often does.

The conspiracy machinery occasionally overwhelms the character work that makes the show worth watching. The favela sequences are the most visually alive portions of the series; the middle-episode procedural grind is the most expendable.

But Yahya Abdul-Mateen II carries the weight of this role with genuine commitment and enough specificity to make Creasy his own rather than a copy of the Denzel version. Bobby Cannavale makes more of one episode than most actors make of seven. Alice Braga brings a quiet authority that the series is not always smart enough to fully deploy.

And Billie Boullet ; the youngest principal, with the heaviest emotional arc delivers a performance that the series earns and that earns the series.

Rayburn was right. Some guys, you just stack wood around. The fire comes eventually.

Man on Fire took seven episodes to find its heat. The question Netflix will answer soon enough is whether there is more wood on the pile.

The post Man on Fire (2026) : Complete Series Recap, Review & Ending Explained appeared first on HexFlicks | Movies, Gaming & Books.

Apex (2026) : Full Recap, Review & Ending Explained

hexflicks-da — Thu, 07 May 2026 07:53:01 +0000

There is a specific kind of grief that doesn’t respond to therapy or time or the usual instruments of consolation. It responds to extremity. To the kind of physical punishment that forces your body to override your mind, to the kind of danger that makes the past irrelevant because if you think about the past for even a moment, you die.

Apex understands this intuitively and it builds its entire structure around a woman who has been unconsciously seeking that kind of extremity ever since the worst day of her life, not realizing that the wilderness she chose for her pilgrimage already had a predator in it.

“It’s about a woman who finds herself in the woods with a serial killer and she has to win,” Charlize Theron told Netflix. “This is an action-adventure, psychological thriller. It’s really a story about survival, not just physically but emotionally, and about finding out what you’re made of.”

That dual survival , physical and emotional is not incidental to Apex. It is the architecture. Everything Baltasar Kormákur builds around the chase sequences, every canyon and rapid and cliff face and cave, is in service of a story about a woman who has been outrunning her own guilt for five months and has finally been placed in a situation where she cannot outrun anything at all.

She has to stop. She has to climb and in climbing, she has to face the thing she has been moving through the wilderness to escape.

Kormákur, whose previous work includes Everest and Adrift, described the film to Netflix as “visceral almost existential. Through action, through horror, through hardship, you reveal the characters, and that’s always been important to me.”

The Troll Wall

The film does not begin in Australia. It begins on the face of the Troll Wall in Norway ; one of the tallest vertical rock faces in Europe and it begins with an argument.

While bedding down in their cliffside portaledge, Tommy calls Sasha out for her reckless approach. “That’s exactly why you have a climbing partner,” he tells her, “so that someone can make the call when one of you loses the plot.”

This exchange matters more than it seems in the moment. Tommy is not criticizing Sasha’s skill. He is identifying something structural in how she moves through the world ; an appetite for risk that occasionally tips past calculated into something that looks like self-obliteration. She knows it. She bristles at it. And she agrees, reluctantly, to turn back when the storm worsens.

Then the avalanche hits.

As they rappel down the mountain, an avalanche hits. Tommy is sent plummeting down the cliff, and Sasha has no choice but to release his dead weight, or she’ll die with him.

The physics of the decision are clean. The emotional wreckage is not. Sasha let go of the rope.

Tommy fell. She lived. And for the five months between that moment and the opening of the film’s main narrative, she has been carrying the weight of a choice that was correct and feels like murder.

Eric Bana, who plays Tommy in what amounts to a substantial prologue and a handful of haunting flashbacks, brings the grounded warmth of an actor who knows exactly how much emotional scaffolding a brief role needs to hold.

Kormákur noted that “Eric Bana came in and created a great relationship with Charlize. He’s an excellent actor” and his presence as comforting memory, as the weight Sasha released, as the compass she keeps beside her in the van, shapes every decision she makes for the next 85 minutes.

Wandarra National Park

Five months later, a grieving Sasha drives alone towards Wandarra National Park, Australia. A ranger warns her of a string of disappearances in that region.

She keeps driving anyway. This is, on one level, the behavior of someone whose relationship with danger has been recalibrated by trauma if the worst already happened, what exactly is she supposed to be afraid of? On another level, it is the behavior of someone who is, consciously or not, still looking for the kind of physical extremity that might drown out the internal noise. Following Tommy’s lucky compass, which he believed in, Sasha is still trying to grapple with her reality. Australia was Tommy’s home country. This trip is a memorial and a punishment in one.

She stops at a gas station where she has a tense encounter with two hunters, who leave after a stranger intervenes. The stranger, Ben, gives Sasha directions to Grand Isle Narrows, with Sasha starting at Blackwater Bay.

The gas station encounter is precisely calibrated. The hunters are overt ; leering, physically imposing, obviously threatening in the way that cinema has trained us to recognize as threatening. Ben is the opposite. He is calm, helpful, deferential. He dissolves the situation without calling attention to himself. And then he offers directions.

Ben offers her two choices ; an easy route and a difficult one and Sasha chooses the harder route. Of course she does. The harder route is the only choice that means anything to her. The easy route is for people who aren’t carrying what she’s carrying.

This is the first time Ben outsmarts her. It will not be the last.

The Hunt Begins

The following morning, Sasha kayaks through the rapids and camps overnight, but wakes to find her bag missing. She stumbles across Ben’s camp, where he offers her breakfast and additional supplies.

He hints at knowing about her climbing past after reading online about Tommy’s death, and tells her he was watching her at the bay. He also admits to stealing her bag. A frightened Sasha attempts to leave.

The bag theft is the first crack in Ben’s helpful-stranger mask and the admission of it is itself a control mechanism.

He is telling her: I was already watching you before you knew I existed. I have been several moves ahead of you since you arrived. The friendliness was never benign; it was reconnaissance.

Bringing out a stereo and a crossbow from his tent, Ben tells Sasha that she has until the end of the song to get as far away from him as possible. Then the hunt begins.

This is the film’s formal declaration of its genre shift from grief-driven character study to survival thriller and it’s handled with a precision that earns it. The song playing over the countdown is not incidental. It is Ben’s ritual, his ceremony, the aesthetic frame he has built around what he does.

The crossbow comes out of the tent with the same unhurried inevitability as everything else he does. He is not excited. He is not angry. He is working.

Ben is not theatrical in his menace. He is quiet, methodical, and almost clinical which makes him considerably more unsettling than a more aggressive antagonist would be. Egerton leans into that stillness fully, and the result is one of the more unexpected villain performances of 2026.

Taron Egerton, whose career has largely been built on charm ; Kingsman, Rocketman, Tetris — weaponizes that charm here in a way that is genuinely unsettling.

The helpful stranger at the gas station and the man who emerges from the tent with a crossbow are separated by only a few hours and no visible internal shift. Ben is not performing niceness; he is simply operating in different modes of the same project. That continuity of affect ; the absence of a villain switch being flipped is what makes him disturbing.

Sasha vs. the Australian Wilderness

The film’s extended chase sequence is where Kormákur earns his reputation as a director of physical extremity. Running from Ben’s camp, Sasha escapes on her kayak but loses it when she hits her head on a river rock. She runs through the riverbank, desperate to find help. She hears the voices of a family nearby only to realize that Ben has placed a video recording of a family as bait to lure her.

The fake family recording is the film’s most psychologically unsettling beat. It is not a trap designed to kill her.

It is a trap designed to make her feel the full humiliation of hope ; the surge of relief at the sound of other people, followed by the understanding that even that relief was manufactured by the man hunting her. She ran toward safety and found a speaker playing a performance of it.

Ben shoots at her with his crossbow. Sasha manages to dodge several shots, but one grazes her thigh, causing her to fall back into the river. Injured and disoriented, she still reaches a ravine and strategically climbs up to safety.

Using her binoculars, she spots a canoe tied to the shore but also sees Ben nearby. Unable to find her, he screeches and leaves.

The screeching ; that animal sound that Ben emits when his prey eludes him is the one moment where his control slips into something primal.

It is the only indication that beneath the ritual and the methodology, there is something genuinely unhinged.

The contrast between his methodical calm and that single sound is more frightening than any amount of theatrical villain behavior could achieve.

She attempts to steal the empty canoe but triggers a bear trap.

The trap is the end of Sasha’s active resistance and the beginning of the film’s most confined and claustrophobic section. Ben does not need to chase her anymore. She has walked into a mechanism he prepared.

The Cave

Ben takes Sasha to a nearby cave where the carcasses of many missing people are hidden. Ben reveals he is a practitioner of cannibalistic tribal rituals, claiming consuming others keeps them alive in him, and intends to do the same to Sasha.

The cave sequence is the film’s thematic epicenter ; the moment where the mystery of Ben’s psychology is finally laid out, and where the relationship between hunter and hunted acquires its full, disturbing complexity.

As Sasha tries to free herself, quietly enduring the pain and planning her escape, Ben explains that everything is part of a ritual for him. He questions her about the Troll Wall and Tommy’s death, saying the incident doesn’t make sense to him.

This is the most revealing detail about Ben’s inner life: he has researched Sasha. He knew who she was from the moment he saw her at the gas station.

He chose her not randomly but specifically ; a woman with a documented history of surviving extreme situations, a woman whose psychological profile of grief and guilt makes her both vulnerable and formidable. He researched her after meeting her at the gas station. The hunt was never casual. It was curated.

Inside the cave, Sasha makes a horrifying realization.

Ben has been storing the bodies of the missing people she saw at the ranger station. The missing persons board she walked past on her way into the park ; those faces she noted and dismissed, the warning she chose to ignore is now surrounding her in its physical reality. The cave reveals his true intentions: he hunts for thrills, but he’s also adopted a twisted affinity for consuming his prey, sometimes in the form of homemade jerky.

This is the film’s most queasy callback: the jerky Ben offered her at camp. The hospitality she experienced before the hunt was constructed from the remains of previous hunts. The friendliness was literal cannibalism at one remove.

After learning that Ben’s first victim was his mother, Sasha makes a break for it.

The mother revelation is delivered in the cave and functions as the film’s most pointed character note about Ben’s psychology. He did not become a hunter in the wilderness and then turn it on people. He began with the person closest to him ; the intimate violence that precedes the outward-directed violence in almost every serial killer’s biography and then extended the ritual outward into a methodology for acquiring victims.

The tribal justification ; consuming others keeps them alive in him is not derangement masking as philosophy. It is philosophy masking as derangement. Ben has built a coherent, internally consistent worldview around what he does, and that coherence is somehow more disturbing than madness would be.

Using his mother’s picture to distract him when he gets emotional, Sasha attacks Ben and escapes.

The mother’s photograph as a distraction mechanism is elegant: she uses the only crack in his composure ; the residual emotional charge around the first victim, the one death that is not ritual but origin to create the window she needs.

The River Battle: Chained, Exhausted, and Still Refusing to Stop

Sasha bites Ben’s ear off and manages to escape from her shackles, fleeing down river. Ben follows, but a steep drop knocks him unconscious. While Sasha attempts to break her bonds, he regains consciousness and overpowers her. She knocks him off and fractures his leg with a rock.

The river sequence is the film’s most sustained set piece ; two people, chained together, both at physical limits, the current indifferent to either of their survival. The current takes them downriver. Sasha is still bound, and Ben uses a cable to tie them together. She manages to knock him unconscious and tries to kill him with a rock, but he wakes up. Ben almost chokes her to death in the struggle, but he hesitates, giving her a chance to attack and break his leg.

The hesitation , that single moment where Ben, fingers around Sasha’s throat, does not complete the kill is one of the film’s most debated details. Critics have split on its interpretation.

Is it the ritual instinct overriding the impulse he needs the hunt to feel right, and throttling a chained prisoner in a river isn’t the ceremony he built? Is it something he has never fully processed about his mother surfacing in the face of a woman he has spent hours studying? Or is it simply that the methodology requires her to survive long enough to reach the summit, to make the hunt feel complete?

At night, Sasha recounts her guilt of letting Tommy fall and feeling responsible for his death. The film here does something structurally elegant: in the brief respite between the river fight and the film’s climax, it returns to the emotional wound that started everything. The hunt has stripped away everything else. There is nothing left but the guilt. The wilderness Sasha came here to outrun has been replaced by a man who forced her to face it.

The Climb: Full Circle, and a Second Deliberate Letting Go

In the morning, the pair decide the only way to quickly exit the canyon they are in is for Sasha to wait several days for Ben’s infection from his broken leg to kill him, or to do a tandem climb out. Sasha fashions a Prusik knot to help Ben up.

This is the film’s most structurally audacious choice, and it is also the one that has drawn the most criticism: Sasha choosing to tandem-climb out of the canyon with the man who just spent 24 hours hunting her, rather than waiting out his infection. The decision is not irrational waiting days in a canyon with a wounded cannibal, with no food and limited water, is genuinely risky but it is the kind of logic that only works if you accept that the film is operating at a mythic register rather than a procedural one. Sasha cannot wait. She has to climb. The film needs her to climb.

While climbing, Sasha stops at a ledge and discreetly loosens her harness. But when Ben notices and tries to pull her off, it slips off. She removes the knot holding him, and a horrified Ben falls to his death. Sasha continues the climb now without gear and reaches the summit.

The symmetry is unmistakable and completely intentional. The film’s conclusion mirrors its opening. At the beginning of Apex, Sasha is forced to let Tommy fall.

At the end, she strategically chooses to let go. The first letting go was a survival decision made in a split second with no preparation and no agency. The second is a survival decision made with full deliberation, with planning, with clear intent. In the first, she had no choice. In the second, she is the one who built the mechanism ; the loosened harness, the removed knotand triggered it.

What changes between Norway and Australia is not the outcome. In both cases, someone falls. What changes is Sasha’s relationship to the act of releasing the rope. She is not a passive victim of physics anymore. She is someone who looked at what needed to happen and made it happen.

Ben’s final expression ; horrified as the knot releases is the film’s most psychologically loaded image. The man who orchestrated a hundred elaborate rituals of predation dies the way his victims died: surprised, falling, without agency. The apex predator, meeting the apex moment.

The Ending Explained: The Summit, the Compass, and the Ocean

Sasha walks through the forest in the dark and stumbles upon a car, which rescues her. She returns to the ranger station and explains where the missing people are.

The helicopter heads to the cave and recovers the remains of the 20 bodies from Ben’s jerky-making cave. The news reports that the disappearance was not due to the harsh landscape of the forest, but the inhumane acts of one person. This allows the victims’ families to find closure.

Apex’s ending gives a rough estimation of at least 20 victims, as revealed in a radio broadcast reporting on the investigation that started after Sasha survived. This is in line with the missing people board at the Wandarra National Parks information station, where there are at least 15 posters. We can also add one more to whatever body count is in Ben’s hideout to include his mother. Sasha would have been at least the 21st person that Ben killed, with more possible.

The detail about the ranger’s announcement that the disappearances were not the result of the harsh landscape but of a single human carries its own irony. The warning Sasha received on her way in attributed the missing persons to the environment. Nature was always innocent. The predator was always human.

In the final scene of the movie, Sasha tosses Tommy’s compass into the ocean.

This image is Apex‘s complete emotional statement, delivered in a single gesture. Tommy’s compass has been present throughout the film as a talisman — an object Sasha has been carrying not because she needed navigational assistance but because it was the last physical object that connected her to the person she let go. It was guilt made portable.

Through Sasha, the film shifts from telling a simple survival story and portrays the effects of grief and unresolved guilt. Tommy’s death still haunts Sasha and carries the weight of the part she played that led to his death. The hunt is not just a survival game but an escape from the past.

Like the wilderness, her inner turmoil is isolated, unforgiving, and impossible to control. Ben acts as the force that pushes her to confront rather than outrun her pain such as when the only way out is by climbing, when she had given up on rock climbing since his death.

She came to Australia holding a compass that belonged to a dead man, navigating by someone else’s sense of direction. She leaves standing at the ocean, holding the same compass and throwing it in. Not in grief. Not in anger. In release. The guilt she has been navigating by for five months goes into the water. She is finally unmoored, which is the only way she can begin to find her own direction again.

What Apex Is Really Doing

The film’s critical reception has been mixed, and the criticisms are not entirely wrong. Apex never quite knits together Ben’s mommy issues with Sasha’s more complicated ones, but it’s a satisfying showcase for Theron’s continued capacity as one of our most reliable action stars.

The Ben backstory , the mother as first victim, the tribal ritual as psychological scaffolding is sketched rather than excavated. The film is more interested in what Ben does than in explaining why he does it, which is a choice that frustrates some viewers and satisfies others.

Audience reactions have been divided: those who dismiss it as forgettable Netflix product and those who found Egerton’s villain genuinely unexpected, calling the cave revelation great and the performance one he “wouldn’t normally see him in.”

Both camps are responding to real things. Apex is not a film that is trying to say something new about grief or predation or the psychology of serial violence. It is a film that is trying to use those things in service of a very clean structural argument: that the act of letting go — of a rope, of a knot, of a compass, of five months of accumulated guilt — is not abandonment. It is survival.

Sasha let Tommy fall because there was no other option. Then she spent five months treating that as a crime. What the Australian wilderness and the man inside it , forced her to understand is that letting go is sometimes not a failure of love or courage but the exercise of it. You release the thing that will pull you down, or you both go down. You loosen the harness, or you die together on the cliff.

The compass enters the ocean. The film ends. Not triumphantly, not tragically but with the specific, earned quietness of someone who has finally set down something very heavy that she was never supposed to carry forever.

The Kormákur Signature and Why This Works as Survival Cinema

Baltasar Kormákur has built his career on films where the environment is not backdrop but antagonist — Everest (2015), Adrift (2018), Beast (2022). His particular skill is making physical space feel genuinely hostile without resorting to genre shorthand: the wilderness in his films doesn’t cooperate with dramatic timing, and the humans in it are constantly reminded that the landscape has no investment in their survival.

The Blue Mountains of New South Wales, where the film was shot, are not just a beautiful location for a film like Apex, where the elements and terrain are characters that loom just as large as the movie stars battling in it, the Australian wilderness was essential.

Theron, as ever, is the film’s most reliable element. The performances in Apex are excellent. Charlize Theron gives a primal, vulnerable, and restrained turn as Sasha, whose sheer exhaustion after a grueling battle is palpable.

She has been doing this ; the physically committed, emotionally specific action performance since Mad Max: Fury Road, and she brings to Sasha something that the role specifically requires: the credibility of someone who might actually survive this. Without that credibility, the film’s asymmetry doesn’t work. We need to believe she can win, even when we can see that she’s losing.

The tension in Apex is built directly into the casting. Theron brings years of established credibility in survival-oriented roles and audiences believe she can endure what Sasha endures. Egerton, largely untested as a villain, makes Ben genuinely unpredictable in a way a more familiar antagonist could not.

That unpredictability ; the not-knowing what version of Egerton you’re getting in any given scene — is ultimately the film’s secret weapon. Ben’s calmness should be the most frightening thing about him. In Egerton’s hands, somehow, it is.

Finally

Apex is not a great film. It is a very good one, with a structural clarity and two performances that exceed its ambitions, arriving on Netflix at the exact moment when that kind of clean, kinetic, emotionally grounded survival thriller has a guaranteed audience. It will not leave you thinking for days. It will leave you slightly out of breath and then wondering, in the quiet after, what you would have done differently on that cliff face in Norway.

The answer, if you’re being honest, is probably nothing. Neither did Sasha. That’s the point the compass, arcing through the air toward the ocean, is trying to make.

She let go. She survived. That’s enough.

The post Apex (2026) : Full Recap, Review & Ending Explained appeared first on HexFlicks | Movies, Gaming & Books.

Lee Cronin’s The Mummy (2026) : Full Recap & Ending Explained

hexflicks-da — Tue, 28 Apr 2026 12:41:00 +0000

Let’s get the obvious question out of the way immediately: no, Brendan Fraser is not in this. No, this is not a remake of the 1932 Universal classic. No, this has nothing to do with the 2017 Tom Cruise Dark Universe catastrophe that killed a franchise before it could breathe. The Lee Cronin in the title is doing a very specific job ; it is a brand promise and a genre warning issued simultaneously.

This Mummy belongs to the director of Evil Dead Rise, produced by James Wan and Jason Blum, and it shares approximately nothing with the swashbuckling action-adventure version of the property that colonized most people’s childhoods.

Cronin’s unique vision is not for the squeamish or faint of heart. His film is an unabashedly grisly horror spectacle that often shoots for the kind of gross-out gore that will leave some audiences elated and others repulsed. It’s very much in the Evil Dead vein of horror yet with an eerie mystery element attached and a strong family component.

Lee Cronin cites Poltergeist (1982) and Se7en (1995) as influences on the story. That combination ; a family torn apart by the theft of a child, and the slow methodical unraveling of a mystery whose answer is worse than ignorance is exactly the DNA of Lee Cronin’s The Mummy. It is a film about abduction, guilt, possession, and the specific horror of getting back the thing you lost only to discover it came back wrong.

And it is, beneath all the black vomit and shed skin and scarabs emerging from fruit, a film about a father who failed once and is determined to never fail again even if keeping that promise costs him everything.

A Black Pyramid Under a Family Home

Before the Cannon family’s story begins, the film opens with a prologue in Aswan, Egypt, that establishes the mythology at the movie’s core. A man, a woman, their two sons and daughter Layla arrive home to find their pet bird dead.

The parents go to the cellar, which is revealed to be built on a buried black pyramid. Inside, a black basalt sarcophagus contains mummified human remains that begin moving, and the father is killed by a supernatural force.

The woman who orchestrated this and who survives it ; is referred to throughout the film only as the Magician, played with cold, ritualistic certainty by Hayat Kamille. She is not a villain in the conventional sense, at least not initially. She is a custodian, the latest in a long line of inheritors of an obligation she did not choose: the containment of something ancient and catastrophically dangerous.

The dead bird. The dead mummy. A new vessel is needed. The Magician has a plan.

The Cannon Family

In Cairo, investigative TV reporter Charlie Cannon lives with his pregnant wife Larissa and their children Katie and Sebastián. Katie is friends with Layla ; the Magician’s daughter m a detail the family has no reason to consider suspicious.

Charlie is on assignment in Cairo, and with him are his pregnant wife Larissa (Laia Costa) and their two children. From the outside, this is a family in a temporary state of dislocation ; a working journalist, a supportive wife, two children navigating an expatriate childhood with the particular resilience of kids who adapt because they have to.

The morning of the abduction is ordinary. Katie is visited by the woman from Aswan, known as the Magician. She identifies herself as Layla’s mother and uses candy to lure Katie away before kidnapping her. Charlie gives chase but loses them in a sandstorm.

The sandstorm is the film’s first properly supernatural beat not a coincidence of weather but the Magician’s cover, summoned or exploited to swallow the evidence of what just happened. Katie is chosen for a simple and old reason: she is innocent and young. The ritual requires purity of vessel. It requires someone with enough life ahead of them that the demon inside cannot easily exhaust the host body in years rather than decades.

Charlie watched his daughter disappear into a wall of sand and could not follow. That failure ; specific, physical, irreversible will define the next eight years of his life.

The Cannons in Albuquerque

Eight years pass with the family now living in Albuquerque, New Mexico with Larissa’s mother, Carmen (Verónica Falcón). Charlie, Larissa, Sebastián (Shylo Molina) and their youngest daughter Maud (Billie Roy) struggle to remain hopeful that Katie is still alive.

Meanwhile in Cairo, the guilt-driven Detective Dalia Zaki (May Calamawy) leads her own police investigation to track down the person responsible for Katie’s abduction.

The film shows us what their lives look like before Katie is discovered, and though there is still warmth and love, they remain impacted by her absence. Larissa has carefully maintained Katie’s room and still goes to spend time there.

Charlie clearly harbors some frustration over where his career has gone, after his dream job in New York was seemingly derailed by this tragedy. Their son Sebastián feels constricted by his parents’ fearfulness, which is causing him to miss out on a school trip to Europe.

The Cannon family is not a family that has healed.

They are a family that has learned to function around a wound. Carmen, Larissa’s mother, provides the warmth that the parents are too hollowed out to consistently provide. Larissa and Charlie remain married, but a quiet fault line of blame runs between them ; she holds him responsible, not because she has accused him, but because he has accused himself so thoroughly that the accusation hangs in the air between them permanently.

Dalia Zaki is the film’s most interesting supporting character: a detective who took Katie’s case personally, who has spent eight years in a state of professional and moral guilt, pursuing a lead that has never materialized into something concrete.

The guilt-driven Detective Dalia Zaki leads her own police investigation to track down the person responsible for Katie’s abduction. May Calamawy plays her with the exhaustion of someone who has never let themselves stop, and when the case breaks open, the relief and horror arrive simultaneously.

Alive in a Sarcophagus

The call comes from the United States embassy in Cairo. Katie has been found alive in a 3,000-year-old sarcophagus. Now played by Natalie Grace, the 17-year-old Katie was discovered in a catatonic state, severely malnourished and with clear signs of severe trauma.

After arriving in Cairo, Charlie and Larissa are both shocked and heartbroken at the sight of their daughter’s gnarled hands, jagged nails, dry cracking skin, and blank stare.

The condition of Katie’s body tells a story before the film fills in the mythology. The gnarled hands, the skin that looks ancient on a seventeen-year-old girl ; this is not the physical evidence of eight years of ordinary captivity. This is something else.

The doctors treat it as extreme trauma; Charlie and Larissa treat it as a medical problem to be solved with love and home comforts. Both are catastrophically wrong about the nature of what they’re dealing with.

The doctor tells Katie’s parents that her vitals are good and she’s physically strong. But it may take the comforts of home to give her the kind of psychological help she needs. So Charlie and Larissa take her back to Albuquerque, hoping a sense of family normalcy may bring their daughter back.

They are, in this moment, doing exactly what loving parents would do. They are also, unwittingly, transporting an ancient demon across an ocean and releasing it into a residential neighborhood in New Mexico.

The Nasmaranian: What Came Home With Katie

The film’s mythology is its most original contribution to the Mummy canon, and it is genuinely worth unpacking because the creature’s specific nature is what gives the horror its thematic resonance.

Through the testimony of Layla and the discovery of a videotape recorded after the kidnapping, it’s revealed that the girl’s body is now host to an ancient evil known as the Nasmaranian. Thousands of years ago, the so-called “Destroyer of Family” would move from person to person, possessing them and turning their loved ones against each other.

The Nasmaranian was widely present in the stories of its era, but after a certain point, it faded into obscurity.

The name ; the Destroyer of Family is not incidental. This is a demon whose specific supernatural function is the dismantling of the human unit that provides its hosts with the most comfort and safety. It doesn’t simply possess and murder. It possesses and corrupts using the possessed person’s body as a weapon against the people they love most, maximizing psychological damage before the carnage begins.

At some point in the distant past, the Magician’s ancestors performed a ritual that trapped the creature in a single, living body, which was then wrapped in strips of cloth featuring protection spells and interred in a sarcophagus housed in the belly of a black pyramid. In the present day, that resting place now sits beneath the Magician’s family home.

The eldest child of each generation is tasked with protecting it, and if the body shows signs of failing, the ritual must be performed again.

The Magician stated this had occurred more than 80 times since her family first came to act as guardians of the demon’s sarcophagus.

Eighty human beings, across the span of recorded history, used as living prisons for a single evil force. The Magician’s family is not a cult so much as an inherited custodianship ; an obligation passed down through generations with no option for resignation, bending morality across centuries to satisfy a responsibility nobody asked for.

New Mexico Under Siege

Back in Albuquerque, the horror begins the way the best possession films always begin not with spectacle, but with wrongness. Katie’s body is the trap of the demon Nasmaranian. Her siblings are eventually possessed, and her parents are nearly murdered.

When Katie is first reunited with her parents, doctors warn them that she is experiencing high levels of distress, resulting in violent bursts of self-injury. For this reason, they keep her sedated, making her mobility very limited.

In the early stages of her time at home, this dynamic continues. Katie proves wickedly fast whenever her sedative wears off, and though she takes plenty of opportunities to terrify or hurt others, she’s often discovered by Charlie viciously attacking herself.

Horror fans will recognize the self-mutilation as a genre staple ; The Exorcist, the Evil Dead films but Lee Cronin’s The Mummy has something more specific and structurally interesting going on. The game shifts when Larissa accidentally tears a chunk of skin off Katie’s leg while attempting to trim her toenails. This provokes another burst of violence, but more importantly, it leads to Charlie’s discovery that the discarded skin contained pieces of the cloth she was buried in, layered together and covered in writing.

The protection spell is not external to Katie’s body. It is baked into her skin itself. Being awakened and released from the sarcophagus is not the same as being freed ; the protection spell exerts its effects through the skin. This is likely why, when the body becomes as decayed as the first mummy, the demon is at risk of escape.

So, Katie’s self-harming is actually an attempt to remove the spell bindings, which still exert their effects over the Nasmaranian. This would explain why the demon’s power seems to grow after Larissa’s accident, and why, during the finale, it can fully unleash chaos after shedding most of Katie’s remaining skin.

This is genuinely clever mythology: the monster’s prison is literally the child’s body, and every act of violence against herself that horrifies the parents watching is the demon trying to break out of its own cage. The horror of watching your returned daughter harm herself lands differently when you understand what it actually means.

His cruel methods of supernatural torment, manipulation, and brutal violence become noticeable when Katie’s grandmother Carmen dies. The Nasmaranian, true to its title, begins with the people most likely to provide comfort and stability. Carmen’s death is the pivot point from “something is wrong with Katie” to “something is in Katie that is going to destroy this entire family.”

The Lure, the Scarab, and the Videotape

As the supernatural siege intensifies, the film’s detective thread — Detective Zaki’s parallel investigation in Cairo — begins to converge with the family’s horror in New Mexico.

Katie’s kidnapping was planned well in advance. After a long time of Layla becoming Katie’s secret friend and supplying her with candy, enough trust was built that the Magician was able to lure the girl in. After first giving her more of the same candy and showing her a harmless magic trick, the Magician performs real magic.

Pulling out a nectarine ; grown on her family’s farm , she chants a phrase that causes a scarab to emerge from the fruit and jump down Katie’s throat.

The nectarine detail is beautiful and horrible.

The Magician has been cultivating this relationship through sweetness, building trust with fruit from the same farm that sits on the black pyramid. Everything in Katie’s kidnapping was prepared with the patience of someone who has done this before — or whose family has done this before eighty times, handing down the technique like a recipe.

Charlie had sent Zaki a correspondence he obtained from Katie clacking her jaw. It was Morse code ; a sign his real daughter was still alive inside. It pointed to Layla. This detail ; that the real Katie is still in there, still conscious, still fighting, using her own body’s involuntary movements to send her father a message , is the film’s most affecting concept. The girl has been a prisoner in her own body for eight years, and when the chance arrives to reach her father, she finds a way.

Zaki uses the clues, locates Layla’s family, and infiltrates the cottage. Zaki shoots an aggressive Magician, appearing to kill her, and pursues an older Layla. Thankfully, Layla switches sides to assist the detective and enlighten her on the cult she’s in, using a home video.

The videotape , a cliché the film leans into with enough self-awareness to get away with it ; shows the night of the ritual: the Magician and her family wearing masks, chanting an incantation, and transferring the demon as a torrent of black liquid from the original decayed mummy’s mouth into Katie’s.

She was meant to stay in the sarcophagus for as long as the evil spirit remained safely imprisoned in her, but with the Egyptian government planning to flood the valley that houses their farm, the family had no choice but to try and move the sarcophagus.

That attempt ended with the deadly plane crash that killed Layla’s brothers and resulted in Katie’s discovery.

The logistics of evil, in this film, are finally human-scaled: the Nasmaranian was on track to stay contained indefinitely, but bureaucratic infrastructure development ; a flood project, a valley to be submerged , forced a logistical problem that ended with a plane crash and a free demon in a teenager’s body in New Mexico. The mundane grinding against the ancient, and the ancient winning.

The Finale

The final act delivers what Lee Cronin has been building toward ; a full-scale Nasmaranian unleashing once the remaining protection-spell skin has been shed. She attacks her parents and Dalia, beating Charlie and forcing a scorpion into Dalia’s throat.

Natalie Grace, throughout the film’s second and third acts, delivers a performance of remarkable physical and psychological commitment.

Natalie Grace steals the show as Katie. They put that poor girl through the ringer, and Grace just goes all in on it. The physicality demanded is extraordinary ; the gnarled movements of a body at war with its inhabitant, the sudden shifts between the demon’s cold malice and the occasional terrible moment where you can see the real Katie surfacing briefly before being suppressed again.

The ritual reversal , speaking the incantation from the Magician’s recording to transfer the Nasmaranian out of one body and into another is the film’s climactic mechanism. By reciting the words from the Magician’s recording, the Cannons and Detective Zaki are able to transfer the Nasmaranian from Katie into Charlie, renewing its binding. Katie not only survives this ordeal, but seems to be herself again and is gradually healing.

Charlie sacrifices himself to save Katie by taking on the Nasmaranian himself, protecting his daughter the way he was unable to do the first time.

This is the film’s thematic center, delivered with the full weight of everything the first two acts built: eight years of guilt, a marriage fractured by a single moment of failure, a man who has spent every day since Katie’s disappearance trying to be the person he couldn’t be in that Cairo backyard. The ritual doesn’t save Katie.

Charlie’s willingness to take the demon into himself saves Katie. He walks into the same horror he let swallow his daughter and does it voluntarily, eyes open.

The Ending Explained

Charlie is being held inside a chest in the Cannons’ basement, where the family seem to visit him regularly , very different from the heavy-duty sarcophagus that was concealed with the utmost caution. He is also, as proven by his Morse code communication with Katie, definitely conscious in there.

There is no magic scarab, and no way to administer sedatives without opening the box. It’s unclear just how long this makeshift prison could hold the evil trapped within it.

The image of Charlie in a wooden chest in the family basement ; the family dropping by to visit, presumably maintaining some form of connection to the conscious man inside is the film’s most unsettling domestic horror note.

He is technically alive. He is technically present. He is also hosting an ancient demon whose binding is considerably less sophisticated than the ritual mechanism that held it for thousands of years. The entire situation is a ticking clock dressed up as a resolution.

But Larissa is not interested in long-term containment strategy. Larissa surprises the Magician in her prison cell, with Zaki and a corrupted Charlie in tow. It becomes clear that, as revenge for Katie’s abduction, they intend to transfer the Nasmaranian from Charlie into her.

Larissa is finally able to see her three children playing together peacefully, and is finally able to forgive her husband and sets out to free him by punishing the one person she can’t forgive.

It is an ending of just desserts that is also, if you think about it for more than thirty seconds, potentially catastrophic.

Though it will save Charlie, it’s unclear what the Cannons intend to do with the Magician after this ritual, and this kind of thinking isn’t really what the movie is after with this scene. But given how little we actually know about all this, it’s worth wondering whether this is a smart choice. There must be a new tradition of containing the Nasmaranian from here on out, and eliminating the one person on Earth who knows the most about the previous one seems like a tremendous risk.

At the same time, it may not matter , what if putting the demon in the body of a woman who already knows magic only makes it impossible to ever trap it again?

The Magician’s tattooed hands, in this final sequence, recall previous Mummy movie iconography in what feels like a deliberate visual rhyme: the woman who trafficked in ancient evil is now the vessel for it. Whether this is poetic justice or the worst possible outcome handing the Nasmaranian to the one living human who has the deepest knowledge of how to use it , the film leaves deliberately unresolved.

The Nasmaranian is the “Destroyer of Family,” and indeed does many awful things to defile the bond between the Cannons. What the Magician does, ritual aside, is much more realistic. In the world of the film, she is as worthy of the Nasmaranian’s moniker, and their being combined is the demon finding its rightful resting place.

What the Film Is Really Doing

As much as this is a fun, gross thrill-ride, Lee Cronin’s The Mummy is quite upfront with what it’s really about: family.

The Nasmaranian is called the Destroyer of Family. It is also, in structural terms, the film’s externalization of what the Cannon family has been living with for eight years without any supernatural assistance: guilt as a corrosive force, absence as a wound that deforms everything around it, the specific anguish of a parent who couldn’t protect their child in the one critical moment that counted.

Charlie didn’t lose Katie to ancient evil. He lost Katie because he was inside making a phone call while she was in the backyard. That is the failure ; mundane, irrecoverable, the kind that doesn’t get better with time, only quieter. The demon simply weaponizes and externalizes what was already destroying this family from the inside.

Lee Cronin goes for the jugular with this wonderfully warped reimagining that is more than a simple retread of the various other Mummy films. It’s a movie that delights as it disgusts, which will be right up the alley of certain horror audiences.

The Blumhouse/Atomic Monster combination ; Jason Blum’s genre efficiency and James Wan’s mythology-building instincts gives the film its commercial spine. Lee Cronin’s identity as a filmmaker , the commitment to bodily horror, the Evil Dead lineage that runs through every frame gives it its texture. Cronin clearly has a knack for the grim, gory, and gooey.

Whether this constitutes a franchise launch is the question the ending is clearly designed to leave open. The Nasmaranian is not destroyed.

It is transferred, to a new host, in a basement in New Mexico, with no established mythos for what comes next. The Magician who knew everything about containing it is now its vessel. Layla, the only other living person with institutional knowledge of the ritual, is presumably somewhere in Cairo trying to put her life back together.

The Evil Dead universe connection ; teased at in post-screening comments from Cronin himself would suggest that the black pyramid and the Nasmaranian may eventually encounter the Kandarian demons of the Evil Dead mythology.

Ancient Egyptian demons, Kandarian demons, ancient Sumerian texts bound in human flesh and inked in blood all connected. That would be either the most ambitious horror universe expansion since the original Universal Monsters, or an overcrowded mythology that collapses under its own weight. Given what Cronin built here, the optimistic reading seems more warranted.

Final Verdict

Lee Cronin’s The Mummy is exactly what its name promises: a Lee Cronin film wearing a Mummy costume, which means practical effects that will genuinely disturb you, a possession mythology that is more carefully constructed than the genre typically demands, and a family drama underneath the body horror that gives the carnage actual emotional stakes. It is not the most plausible film. It does not care about being the most plausible film.

It’s hard to dwell on that when the movie is consciously pushing itself to such bonkers places. The fully committed cast, gnarly makeup and effects, and stellar camerawork and sound design puts an eerie exclamation point on this satisfying genre gem.

Jack Reynor carries the weight of Charlie’s guilt with the authenticity the role demands. Natalie Grace performs what may be the most physically punishing lead performance of 2026 with complete commitment.

May Calamawy anchors the film’s procedural thread with intelligence and earned emotion. And Natalie Grace’s final moments ; Katie, scarred and recovering, watching her siblings play , land with the quiet devastation of a horror film that remembered, against all genre odds, to make you genuinely care whether the child lived.

She lived. Her father is in a chest in the basement. The demon is in a prison cell in Cairo, wearing the face of the woman who created the problem in the first place.

That is not a happy ending. It is a very, very Lee Cronin ending.

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Psycho Killer (2026) : Full Recap & Ending Explained

hexflicks-da — Tue, 14 Apr 2026 08:52:51 +0000

There is a version of Psycho Killer that earns its title and its writer’s legacy. It’s a version where Jane’s grief is given room to corrode her, where Reeves’ ideology is excavated rather than gestured at, where the nuclear finale feels like the inevitable conclusion of something rather than a genre pivot the script needed to reach its runtime.

That version would have interrogated what it means to be consumed by the hunt for someone who represents pure, uncompromising beliefeven monstrous belief when you yourself are operating from the morally murkier ground of personal vengeance dressed up as justice. That’s Se7en territory. That’s where Walker operates at his best.

Instead, Reeves drives across the country killing people in various ways until he tries to blow up Three Mile Island, and Jane shoots him through bulletproof glass.

Campbell heroically plays Archer like there’s something to actually play. It’s tragic when a movie gives a talented performer nothing, and it’s admirable that Campbell tries, at least, to make nothingade.

She very nearly pulls it off. The movie, unfortunately, does not.

Psycho Killer (2026) : Full Movie Recap & Ending Explained — Hexflicks

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★★★★★

Psycho Killer (2026) : Full Recap & Ending Explained: When the Writer of Se7en Forgets What Made Se7en Work

Director: Gavin Polone | Studio: 20th Century Studios | Runtime: 92 minutes | Stars: Georgina Campbell, James Preston Rogers, Malcolm McDowell, Logan Miller

There is a particular kind of disappointment that only cinema can deliver, and it requires a very specific setup: you need a truly promising premise, a writer with genuine pedigree, a lead actress doing everything right, and then everything else doing everything wrong. Psycho Killer is that experience in concentrated form. It is not the worst film of 2026.

It is, in some ways, more frustrating than the worst film of 2026 because you can see, in almost every scene, the superior movie that was sitting right there, waiting to be made, while Gavin Polone made a different one instead.

The story follows a police officer on her mission to take down a serial killer known as the Satanic Slasher after he murdered her state trooper husband. It was written by Andrew Kevin Walker ; the man who wrote Se7en and directed by Gavin Polone in his feature film debut.

That combination of credentials should produce something lean, dark, and corrosive. What it produces is a film that ultimately lands with a thud and a Rotten Tomatoes consensus that delivers the most elegantly savage verdict in recent critical memory: Qu'est-ce que c'est? Better run, run, run, run, run, run, run away.

Even the Talking Heads disown it. At least the summary is accurate.

Meet Jane Archer and the Killer Who Shatters Her World

Kansas Highway Patrol officer Jane Archer is married to Mike, also a state trooper. One day, Mike pulls over a driver on a remote road in Colby, Kansas. Jane is driving past, catches sight of Mike's stop, and exchanges pleasantries with her husband before continuing on but something about the scene feels off, and she lingers.

Her instinct is right, and her timing is catastrophic. Jane witnesses her husband Mike being murdered by the serial killer dubbed by the media as the "Satanic Slasher" due to the occult symbols left behind at the crime scenes.

Mike doesn't get a death scene full of gravitas. He gets shot. And Jane is left standing on a Kansas roadside watching a killer disappear into the distance, with no ability to stop it and no way to process what just happened.

It is, genuinely, a strong opening. The proximity is cruel and specific — this isn't Jane learning about her husband's death from a phone call or a detective on her doorstep. She witnesses it, in real time, unable to intervene.

As a result, she throws herself headfirst into hunting down this psychotic serial killer. She recognizes that it won't bring her husband back, but she needs to stop this psycho killer from his mission of murder.

So far, so Se7en. The machinery of grief-as-obsession is properly loaded. Now watch the film fail to fire it.

The film also reveals early on that Jane is pregnant with Mike's baby. This detail is introduced and then largely used as a background reminder that the stakes are even higher ; a choice that, in a more ambitious film, could have driven something genuinely complex about motherhood, grief, and survival. Here, it mostly serves as a periodic reminder that Jane is doing something physically reckless for someone in her condition.

The Satanic Slasher

Before we go further, we need to sit with Richard Joshua Reeves because he is both the film's most fascinating element and its most crippling failure simultaneously.

Little is known of Reeves' background. He says a priest "made him the man he is today" but never elaborates.

By 1999, as a teenager, Reeves was a devout Satanist. He attacked a church in Harrisburg, Pennsylvania, and held the congregation hostage. By the time police breached the church and arrested him, he had murdered all twelve congregants and the priest in a Black Mass.

His death was faked either he survived the shooting or it never happened at all. He was instead taken to a government black site in Death Valley to be experimented on and trained as a killer. He remained incarcerated there for fifteen years. A few days before the beginning of the movie, Reeves escaped the black site and immediately began traveling east in a succession of stolen cars, randomly killing people as he went and leaving Satanic symbols at each crime scene.

That backstory ; a government-weaponized Satanic mass murderer who faked his own death and escaped a black site is genuinely wild and potentially compelling. The film buries it. We never see his face outside of shadows, and we never get to learn any more about this villain. Seemingly, his only motivation is that he's a Satanist, and that's what Satanists do in movies.

Physically, Reeves is played by former professional wrestler James Preston Rogers as a towering, masked figure whose voice has been modulated into something that audiences have described in a wide critical consensus as sounding somewhere between Cookie Monster, Mufasa, and a Halloween toy voice changer. The killer has an obscene amount of demonic imagery tattooed on his body, and he uses either his own blood or the blood of his victims to draw occult symbols at his crime scenes. Even the mask he wears has a red goat drawn on it to emphasize how much this man loves Satan.

On paper, this is vivid iconography. In practice, it tips into unintentional comedy faster than the film can manage.

The Killing Spree

The film's mid-section follows two parallel trajectories: Jane's investigation widening across state lines, and the Slasher conducting his increasingly theatrical murders as he moves east with apparent purpose.

The Slasher murders a female pharmacist in a small town and raids the pharmacy for a variety of antidepressants and other drugs, which he consumes in large quantities. Later, he murders two stranded motorists on a country road, before violently killing a Catholic priest and drinking his blood.

The priest murder deserves particular attention for its specificity: the Slasher stops at a church for confession, kills the priest in the confessional booth with a pipe, and then drinks his victim's blood through it.

This is the film at its most effectively depraved ; a moment of genuinely unsettling ritualism that hints at the movie Psycho Killer could have been if it had the courage of its nastier instincts throughout.

Two stranded motorists also meet their end when the Slasher corners them: he bludgeons the boyfriend with a sledgehammer before the girlfriend runs. She tries to flag down a truck for help, but the driver brakes too hard, flips the truck over, and crushes the woman before it explodes.

It is precisely as over-the-top as it sounds. The CGI blood, which critics have universally noted looks like something generated by a PlayStation 2 cutscene, does not help.

Meanwhile, Jane's investigation is assembling its puzzle pieces. She goes to the FBI office to shadow Agent Zolan while he works the Slasher case, but he declines to let her join. She is later contacted by Agent Becky Collins (Grace Dove), who is sympathetic to Jane's situation and gives her the info she has on the Slasher: he broke into a pharmacy and killed an employee before taking a ton of drugs, and also killed a gun store owner before taking a huge cache of guns and explosives.

Jane pieces together the Reeves connection through an unexpected channel: a heavy metal band called Demon Fist, which has a song titled The Ballad of Richard Joshua Reeves and an album cover depicting the church where Reeves conducted his massacre.

It is, by some margin, the most creative investigative beat in the film — and it's gone almost as quickly as it arrives.

The Motel Confrontation and the Coded Ad

The Slasher later puts out a coded classified ad in the newspaper. Jane tracks him down to a motel where a man has registered under the name Mr. Reeves. Upon sneaking into the man's room, she notices the coded classified ad in a newspaper on a table. Reeves suddenly attacks Jane. A violent struggle ensues, but it ends with Reeves escaping and Jane injured.

This is their first direct encounter, and it should crackle with the electricity of a cat-and-mouse thriller finally revealing its teeth. Instead, the few encounters Jane and the killer have are largely forgettable outside the stark red color palette and satanic iconography. The scene exists less to advance their dynamic than to move both characters to the next plot point.

What the motel does accomplish is pushing the film into its most structurally interesting section: the Pendleton mansion sequence.

Jane and Reeves separately connect the coded classified ad with a coded response in another newspaper. Cracking the code reveals a phone number and then an address belonging to Mr. Pendleton, the magus of a Satanic cult.

Reeves needs something from Pendleton's network. Jane needs to find what that something is before he gets it.

Malcolm McDowell's Living Room

Mr. Pendleton's loyal acolyte Marvin (Logan Miller) welcomes Reeves when he arrives at Pendleton's estate. As Pendleton hosts a drug-fueled dinner, Reeves explains he searched for like-minded Satanists so he could get help finding a particular person.

Malcolm McDowell, playing Pendleton with the energy of a man who read the script, cashed the check, and decided to enjoy himself anyway, presides over a debauched Satanic gathering that functions less as genuine menace and more as an expensive excuse to give the film a recognizable face. The scene feels as though it exists only because the filmmakers managed to get Malcolm McDowell to appear in their movie.

But the Pendleton sequence does serve a narratively important function, even if the execution is messy. It establishes something genuinely interesting about Reeves' theology: he is not a hedonistic Satanist. He despises hedonism. The Slasher killed Pendleton and the orgy participants because they represented a corrupt, self-indulgent form of Satanism that contrasted with his own rigid, violent ideology. While Pendleton ran a hedonistic operation focused on excess, the Slasher viewed his own mission as a holy crusade to "open the gates of Hell" through nuclear annihilation. He had no patience for their indulgence and viewed them as false practitioners.

This is, genuinely, an interesting ideological distinction ; a Satanic true believer contemptuous of dilettantes, weaponizing his faith toward an actual apocalyptic goal rather than just using it as a lifestyle accessory. It's the most substantive character note Reeves gets, and it arrives about two-thirds of the way through a film that should have been building toward it from the first frame.

Marvin uses a private detective to identify the person Reeves needs as Leonard Wilkes, an engineer at the Three Mile Island power plant in Pennsylvania. Upon receiving the information, Reeves reveals himself as the Satanic Slasher. Acknowledging Marvin as a true believer in Satan, Reeves allows Marvin to leave. He then slaughters Pendleton and his prostitutes with an ax and sets fire to his mansion.

And now the film reveals its hand.

Three Mile Island

Jane's research into the occult symbols and phrases leads her to Reeves's old church. On the walls, she sees a spray-painting of 3MI ; Three Mile Island, the site of a nuclear disaster in Harrisburg, Pennsylvania. She stakes out the church alongside undercover officers but notices additional clues that reveal the actual location of the next event will be the Three Mile Island power plant, where Reeves believes he can open a gateway to Hell by triggering a nuclear meltdown on the anniversary of the Three Mile Island disaster.

Full stop. The film that began as a grief-driven procedural about a Kansas highway patrol officer hunting a Satanic serial killer has become a movie about preventing a nuclear apocalypse as a demonic ritual. This is either a genre-collapsing creative swing or a catastrophic loss of tonal control, depending on your tolerance for midnight movie logic.

Most critics landed on the latter. The weirdest, most egregious decision was to flip the killer's motivation in the last fifteen minutes. It just negates the entire film leading up to this point ; he didn't need to do any of his spree killing if this was his ultimate goal.

And that's the problem in a sentence. Every murder between Kansas and Pennsylvania now retroactively looks like a very enthusiastic warm-up act for a plan that had nothing to do with any of those victims.

Reeves kidnaps Leonard Wilkes and his wife from their home. He then forces Wilkes to escort him into the power plant where he conducts a violent assault to get to the control room.

Over security cameras, the guards observe Reeves in the control room wearing a TNT vest, grenade in hand, fully committed to his singular vision of thermally-assisted Satanic transcendence.

The Ending Explained

In the last act, Jane follows the Slasher to the nuclear facility control room. Even though she is pregnant and has been told to stay off the case, she decides to go alone. The Slasher has dynamite attached to his body and is holding a grenade ; he is ready to blow up the plant.

What follows is the film's most divisive sequence ; a showdown that pits an injured, pregnant highway patrol officer from Kansas against a government-trained Satanic mass murderer in a nuclear power plant control room, separated by reinforced glass, with the fate of the Eastern Seaboard nominally at stake.

Jane managed to sound the alarm, warning the plant's security guards just as the Slasher, using the terrified Leonard Wilkes as a human shield and means of entry, forced his way into the control room to set off his explosives. In a final, desperate act, Jane smashed through the reinforced window of the control room. Focusing her trauma and resolve into a single moment, she fired her weapon, incapacitating the Slasher and stopping his apocalyptic plan mere seconds before he could succeed.

Jane is left traumatized from her ordeal, while the Slasher is revealed to be Reeves, who is brought to a prison in Death Valley, California where his spree began.

The Death Valley coda is the film's final touch of bleak circularity: Reeves came from Death Valley.

That's where he was imprisoned and experimented on. That's where the government created whatever he became. And that is, apparently, where he is returned which either gestures at some larger institutional accountability the film has no interest in exploring, or is just a bit of symbolic geography that sounds ominous and means nothing. Given everything that preceded it, the latter seems more likely.

What Psycho Killer Gets Right, Gets Wrong, and Gets Inexcusably Wrong

The film is not without defenders, and their defense isn't entirely wrong. To me, not being able to fully recognize the killer never seeing his face was a brilliant move. Not being able to fully recognize someone often makes it scarier. The visual grammar of concealment ; the shadows, the fragments, the absence of a face to make him human is the film's strongest sustained decision.

The film also looks good. There is competency and care behind the camera, and you can tell that at least people wanted this thing to be good looking. Georgina Campbell delivers a solid performance as a woman desperate for another shot, literally and figuratively, at the killer ; subconsciously trying to prove herself in a male-dominated workforce that doesn't take much of what she says seriously.

Logan Miller as Marvin, the reluctant Satanist acolyte caught between his genuine belief and his terror upon realizing who he's actually dealing with, injects warmth and a sense of humor in his brief supporting role, teasing a much stronger and more entertaining film than the one we actually got.

But the film's foundational problem is one that no amount of atmospheric lighting or committed lead performance can paper over: Andrew Kevin Walker wrote Se7en ; a film that understood that a serial killer narrative is only as powerful as the moral weight it places on every act of violence, and the psychological cost it extracts from the people chasing that violence.

Psycho Killer has a villain who kills for reasons the film reveals too late and develops too little, and a protagonist whose grief is told rather than felt, whose obsession has no edges or consequences, and whose pregnancy exists primarily as a periodic reminder that the audience should worry about her.

The climax proves thoroughly ridiculous, but by that point you've given up on the film anyway.

The Talking Heads wrote one of the greatest songs about the psychology of violence, identity fracture, and the terrifying internal logic of a killer. The movie named after their song can't be bothered to license it even once. That says everything.

The Real Question the Film Raises

There is a version of Psycho Killer that earns its title and its writer's legacy. It's a version where Jane's grief is given room to corrode her, where Reeves' ideology is excavated rather than gestured at, where the nuclear finale feels like the inevitable conclusion of something rather than a genre pivot the script needed to reach its runtime.

That version would have interrogated what it means to be consumed by the hunt for someone who represents pure, uncompromising beliefeven monstrous belief when you yourself are operating from the morally murkier ground of personal vengeance dressed up as justice. That's Se7en territory. That's where Walker operates at his best.

Instead, Reeves drives across the country killing people in various ways until he tries to blow up Three Mile Island, and Jane shoots him through bulletproof glass.

Campbell heroically plays Archer like there's something to actually play. It's tragic when a movie gives a talented performer nothing, and it's admirable that Campbell tries, at least, to make nothingade.

She very nearly pulls it off. The movie, unfortunately, does not.

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