If you saw The Assistant, you know that Dr. Raven Fields (Erica Mena) hired an assistant named Annie Dotson (Parker McKenna Posey) who ended up nearly taking away everything she held dear. But hey — did Annie get killed at the end of that movie? Well, when Dr. Raven delivered Annie as a baby, it turns out that her sister Heather actually survived, as a nurse stole her body and brought it back to life. She’s been raised without ever knowing she had a sister.

Now, Heather — who is now known as Raven (also Parker McKenna Posey) — is coming after the killer of her sister, Tiyana (Erica Hubbard), who has twins of her own with Mark. Seeing as how they need a nanny, our antagonist decides to become a childcare expert and I guess she’s an assistant, because that’s what this movie is called.

This is the kind of movie where adopted kids yell at biological children while only caring about shopping with their adopted father’s Amex card. The last movie is also referred to as “The Assistant Massacre” and we get to see a flashback of Raven being saved before her mother tries to explain how she stole her from the hospital. Oh man, she even says, “Your mom was diagnosed with multiple personality disorder. She was schizophrenic. She was also bipolar.” Mom gives Raven a file with all the info as I wonder, how did they ever get a social security number for this dead baby?

Now, just like the last movie, Raven wishes she had Annie for a twin sister. So Raven stops taking her pills and starts seeing her twin sister as a ghost. And of course, she puts together a plot where she puts Tiyana at odds with everyone, from her husband to his ex-girlfriend and now best friend Savanna, all to get the babies and have the life she’s always wanted. Now Raven is the nerdy Donna, here to make everyone’s life easier but, of course, also here to have spectacular fistfights through the mansion. Seriously, these are the best fisticuffs that director Chris Stokes has captured and really make the end of this movie off the charts.

This is also the most meta movie he’s made so far, as Mark works as a film executive for Tubi.  Raven responds by saying, “What? I love Tubi. I cannot get enough of those Stepmothers.”

The way this ends, this needs one more movie. The only bad thing about that moment of mentioning that Tubi exists in this universe is that we now feel further away from Stokes bringing his cinematic universe for an Avengers: Endgame on Tubi crossover.

You can watch this on Tubi.

Chris Stokes changes up his normal relationship drama in this, a film where Robbin (Serayah) has succeeded in getting out of her old neighborhood, going to a good school and moving on up to the kind of job she can be proud of at a bank. Yet when she’s accused of stealing money, she learns that the people who had her back when she was young — and who she left behind — were more trustworthy than the businesspeople she worked for.

She assembles a team that includes the pregnant Camilla (Leli Hernandez), Trina (Gavin Turek), Q (Jadah Blue) and Shawna (Erica Pinkett), who took over as the leader of the gang after Robbin went legit. They all have their own problems, too. Shawna is about to be evicted and if she gets busted one more time, even their friend on the police force Kelli (Robinne Lee) won’t be able to keep her out of prison.

For as smart as Robbin is supposed to be, she plans a maskless and gloveless heist, which seems to be a recipe for going back to jail. That said, she doesn’t, so maybe she really is as smart as this movie claims that she is.

This is very much like a less depressing — and well-made — Set It Off. But hey, Stokes will be back next month with something new and I will — as always — give him another chance.

You can watch this on Tubi.

The funniest part of this video is watching Melvin Townsend III act like a maniac to fellow passengers while drunk on a JetBlue trip from San Francisco to Florida. He followed this by harassing Mike Tyson, who responded as he should, by repeatedly punching the man in the face. Look — if you’re on a JetBlue flight and want to act like a loser, don’t do it when one of the most dangerous fighters ever is within striking distance.

This special would have been better if several people with boxing abilities were let loose to repeatedly smack, punch and smack the TMZ crew as they loudly speak and laugh. It would have added some meta content to the whole thing instead of watching iPhone videos of rap celebrities slap boxing in the streets.

I call BS on this whole thing, because where is the best celebrity beatdown ever, when Bjork realizes that reporter Julie Kaufman has followed her to Bangkok and responds to “Welcome to Bangkok!” by delivering the kind of critical beat down that you would never expect from her singing voice.

You can watch this on Tubi.

Famous people are no longer suing Celebrity Skin or upset about sex tapes leaking. Now, thanks to OnlyFans, they’re doing it themselves. But is this a good thing for them or bad? Is the money worth it?

Of course and yes.

This TMZ documentary features some folks you may know — Sopranos star Drea de Matteo, Danity Kane singer Aubrey O’Day and Bella Thorne — with other you may not, like former UFC fighter Paige VanZant, creator of INSANITY Shaun T, Wizards of Waverly Place actor Dan Benson, Ultimate Queer Love reality star Lexi Goldberg, model Carlotta Champagne, former national champion amateur wrestler Georgio Poullas, tall woman Marie Temara, “Cash me outside” Bhad Bhabie and model Belle Delphine.

You’ll discover their reasons for doing this, the good and bad, and why they keep doing it. It’s refreshing that this doc is so sex positive and doesn’t shame anyone involved.

You can watch this on Tubi.

What makes a man? Is it physical strength? Success? Money? This VICE special tries to get to the bottom of that, from seminars that are meant to help men harness their true nature to infamous cases where masculinity goes too far.

One of them is Andrew Tate, former professional kickboxer and social media personality. The king of toxic masculinity has nearly 10 million followers on Twitter and is well-known for his misogynistic views. He’s made his money with webcam models and online courses. Things fell to pieces at the end of 2022, as Tate and his brother were arrested in Romania as part of an investigation that started with rape, human trafficking and sexually exploiting women and has expanded to charges of trafficking minors, sex with a minor, money laundering and attempting to influence witnesses.

This is a strange trip into the manosphere, a place of alpha masculinity, misogyny and anti-feminism. From incels and Men Going Their Own Way (MGTOW) to pick-up artists (PUA) and fathers’ rights groups, these groups are all about pushing back against what they see as feminists and their hatred of men.

According to journalist Caitlin Dewey, you can reduce the complexities of the manosphere to these two simple truths: They believe that “the corruption of modern society by feminism, in violation of inherent sex differences between men and women and the ability of men to save society or achieve sexual prowess by adopting a hyper-masculine role and forcing women to submit to them.”

This is, at times, a rough watch. To me, there is no strength in this type of mindset. Watch it and make up your mind yourself.

You can watch this on Tubi.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

If you want to see what Donald Pleasence movies I’ve seen, here’s the Letterboxd list. I love him because he was a working actor. Like John Carradine, he was there when you needed him. And at times, he’d show just how good he was. But he’s a workmanlike — in a good way — presence in so many movies.

Directed by Lee Madden (The Night God Screamed, the Alan Smithee who made Ghost Fever) and written by Hugh Smith (second unit director of Abby, writer of The Glove), Night Creature has Pleasence as Axel MacGregor, a writer and big game hunter who has unleashed a deadly black panther and doomed everyone around him which is a real problem as his daughters Leslie (Nancy Kwan, Wonder Women) and Georgia (Jennifer Rhodes) have just come to town along with Ross (Ross Hagen, who also produced this movie), a guide who seems pretty sleazy.

All this movie should be about is Pleasence hunting this animal that has already hurt him and he’s brought it to his turf for one last battle. You have the great thespian monologuing and trying to imitate the big beast and man, his eyes bugging out and him snarling and that’s the best.

At times, I’m given to just yelling out Pleasence line reads, like “The evil is gone” and “I shot him six times.” I celebrate him eating at a salad bar in 90s giallo. I’ve read that he drank through this entire movie and I in no way want to judge him for that. My memories of the actor are always wonderful and he lives again every time someone watches one of his films, whether he’s playing a President, the devil or a preacher who turns into a warthog.

This was released by Dimension Pictures and rereleased by 21st Century.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

The Forest is unlike any other slasher you’ve ever seen. Sure, it has murders in the woods, campers and stalking scenes. But it gets weirder than almost any other slasher would dare, pushing itself to the edge of absurdity while subverting anything you’d expect.

The killer — John — is played by Gary Kent, a stuntman whose work extends from his debut in Battle Flame through the films of Al Adamson and Roger Corman, emerging as the inspiration for Cliff Booth in Once…Upon A Time In Hollywood and the subject of the documentary Danger God. He’s not just a killer in this. He’s not just a cannibal. He’s a killer cannibal haunted by the wife and children that he murdered in a fit of rage.

Two couples — Steve and Sharon plus Charlie and Teddi — have decided to go into the woods for a vacation. The girls meet the ghosts the first evening, as they first meet the kids and then are confronted by their mother. If a ghost can be insane, hers definitely is.

When they were all still alive, the woman slept around on her husband to the point that he killed her, took off for the woods with his kids and watched them commit suicide, which was finally made him lose his mind and became the hermit human flesheater we meet in this film, the kind of maniac who’d feed a man his girlfriend.

The craziest thing about this movie is that Sharon ends up being the real hero — not just a final girl — and the two men are shown to be, at best, victims and at worst, total morons. Only she is capable, strong and able to survive, perhaps because she has connected to the dead children of the killer.

Even stranger, she was played by Tomi Barrett, who was the wife of Kent.

Shot in 13 days, this movie doesn’t get mentioned enough. Don Jones, the writer and director, would also Who Killed Cock Robin?, The Love Butcher, Schoolgirls In Chains and Sweater Girls — all quality films.

21st Century rereleased this as Terror In the Forest.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

American-International Pictures’ Blacula was a big success. Its director, William Crain, and AIP wanted to make more black films that were classic stories retold for a new audience. What’s interesting here that while adapting Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, the evil side of Dr. Henry Pride (Bernie Casey) appears to be a mix of King Kong, Frankenstein’s Monster and an evil white man.

Pride may be a celebrated and wealthy African American medical doctor, but as he fails to discover a cure for cirrhosis of the liver — along with his colleague Dr. Billie Worth (Rosalind Cash) — he begins to experiment on himself and others. Coming just a few years after the way our government treated the Tuskegee airmen with their syphilis experiments, this feels like not only a crime against nature, but a black man attacking his very race.

By the end, he’s killing sex workers and their pimps, leading the police to Watts Towers, where he climbs upward — again, like King Kong — before being shot and falling to his death.

This also had the working titles The Watts Monster, Hyde, Serum and Decision for Doom. Along with the aforementioned Blacula, Scream Blacula Scream, Sugar Hill, Blackenstein, JD’s Revenge, Abby, Ganja and Hess and Petey Wheatstraw, there are some other black-themed horror films from this era but not enough. Later films in the genre that I would recommend are Bones, Def by Temptation and Tales from the Hood.

How incredible is it that the South Korean VHS release of this had the Iron Maiden artwork from Killers on its back cover?

21st Century rereleased this as The Watts Monster.

You can watch this on Tubi.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

Supposedly, The Devil’s Wedding Night (AKA Full Moon of the Virgins) was all Mark Damon’s idea. After being in House of Usher, Damon had moved to Italy and appeared in movies like Black Sabbath and Johnny Yuma.

Perhaps this idea was the start of his producing career, which was more successful than his acting job. Damon was planning on selling the movie an American production company. Luigi Batzella (Nude for Satan, The Beast In Heat) was picked to direct, but most people believe that Joe D’Amato stepped in and finished the film.

I’m a firm believer in this theory because there’s a moment near the end of this movie where an otherworldly Countess Dolingen De Vries rises from a bathtub of blood and fog and writhes near nude on the screen and somehow going beyond the confines of the screen to destroy my mind. I generally try my best not to turn reviews of movies with atrractive women into male gaze spectacles, but Rosalba Neri is absoutely iconic in this moment, a perfect scene that is never discussed nearly enough.

There’s also a magic vampire ring of the Nibelungen, which is gigantic costume jewelery and therefore better than any Hollywood baubles, village girls with sacred amulets of Pazuzu (yes, really), five virgins getting sacrificed all at once in an express line of bloodletting magic, three different twist endings in a row, tripped out Dr. Who looking tunnel moments, D’Amato billing himself as Michael Holloway and going absolutely wlld capturing every inch of womanly curves and an incredible setting, the Castello Piccolomini Balsorano, the same place Lady Frankenstein, Bloody Pit of Horror, Crypt of the Vampire, The Lickerish Quartet, The Blade Master, Sister Emanuelle, The Bloodsucker Leads the Dance, The Reincarnation of Isabel, Farfallon, Pensiero d’amore, Lady Barbara, 7 Golden Women Against Two 07: Treasure Hunt, C’è un fantasma nel mio letto, Baby Love and Put Your Devil Into My Hell were all shot at.

Plus, Xiro Papas, the monster of Frankenstein 80, plays a vampiric giant.

If you’re a fan of the harder side of Hammer, then allow this female vampire to obsess you as well.