Destry Allyn Spielberg is the youngest biological child of director Steven Spielberg and his second wife, actress Kate Capshaw. She’s been a model, an actress and grew up on film sets, which is how she was inspired to become a director. This is her first full-length movie.

I kind of love this “Parents Need to Know” from Common Sense Media: “Parents need to know that the horror film Please Don’t Feed the Children stars Michelle Dockery and contains significant violence and jump scares as well as swearing. Variations on “f–k,” “s–t,” “ass,” and “bitch” are used throughout. A virus is turning adults into cannibals, while child carriers are being hunted down and killed. Characters are chased, captured, drugged, tortured, and killed. They experience fear and witness the cold-blooded killings of their loved ones, including younger siblings. People are stabbed, shocked via a collar, shot at close range, and killed. The movie has themes of cannibalism and lots of blood. Wounds are shown in close-up. Two young people kiss, and people are glimpsed in their underwear.”

All the cannibalism is fine. It’s the underwear we need to be concerned about!

Mary (Zoe Colletti) is trying to escape the government officials who are trapping and killing kids, the carriers of a virus that turns people into cannibals. She joins up with Vicky (Regan Aliyah), Ben (Andrew Liner), Seth (Josh Melnick), Jeffy (Dean Scott Vazquez), and Crystal (Emma Meisel), who are trying to get as far away as possible and attempt to cross the border into Mexico. After some injuries, they seek safety at Clara’s (Michelle Dockery) house. She claims to be a nurse and even offers to make them cookies, but the truth is much more sinister. Not everyone will survive, obviously.

No one can trust each other, but when you live in a world where the government is killing adults, blaming children and locking down the world, well…would you? Mary just wants the kids to herself to replace her kids, who died as a result of the virus. She’s helped by a cop named Fitz (Giancarlo Esposito) whose loyalties seem to shift between helping and harming the group.

Spoiler: This is another movie that concludes with a young girl setting a house on fire.

Written by Paul Bertino, this film was allowed to continue filming during the SAG-AFTRA strike last year because it was not tied to a studio. It also had some issues with funding and paying its cast, but that’s how low-budget films go.,

You can watch this on Tubi.

After visiting a house in Amityville, real estate agent Keith (Chris Lohman) finds himself in another dimension within the home. He is trapped, constantly finding himself in the same room, no matter which door he takes.

What are backrooms?

Between 2011 and 2018, a photograph of a large, carpeted room with fluorescent lights and dividing walls circulated on 4chan, and it just felt off. An anonymous user desribed this space like this: “If you’re not careful and you noclip out of reality in the wrong areas, you’ll end up in the Backrooms, where it’s nothing but the stink of old moist carpet, the madness of mono-yellow, the endless background noise of fluorescent lights at maximum hum-buzz, and approximately six hundred million square miles of randomly segmented empty rooms to be trapped in God save you if you hear something wandering around nearby, because it sure as hell has heard you.”

It’s actually a photo of the second floor of what was once Rohner’s Home Furnishings in Oshkosh, Wisconsin, that has been converted into a HobbyTown. Now, that strange image is the home to an RC racing area, Revolution Racing.

Also known as liminal space, backrooms often are “a place or state of change or transition; this may be physical (a doorway) or psychological (the period of a olescence). Liminal space imagery often depicts this sense of “in between,” capturing transitional places (such as stairwells, roads, corridors, or hotels) unsettlingly devoid of people.”

As for this movie, you will feel like you’re in a liminal space that never ends, as it takes 68 minutes for an Amityville movie set in California to unfold, with one person screaming and talking to himself while TV news fills the gaps, or, as we say, pads the film.

Also: That dude takes a piss at one point.

You can watch this on Tubi.

Director, writer, and actor Joe Hollow’s new film is all about Jack Russo (Hollow), who suffers from a severe case of writer’s block that he hopes can be resolved by a retreat to the woods of Quebec and a trip to his family home with his wife, Sienna (Debbie Rochon). She may have cheated on him with his best friend, she may have ruined their marriage — he may have ignored her, to be fair — but she’s also gotten involved with the Death Dealer (also Hollow), a demon who sends a VHS tape — Violent Love — in the mail marked “Inspiration.” As a writer, I get it — I know what it’s like to not know what to write next, but I’ve never watched a snuff tape to get it together.

There are two other demons, Mr. Grimm (yes, Hollow), who has a mirrored face that resembles another Canadian film, The Mask, and the laughing harlequin called Livina (Adriana Uchishiba), who is also involved in this, as well as moments taken from Driller Killer. There’s also Vivienne (August Kyss), a woman who decides to take her own life — a theme throughout this — but is given one more chance at life or something like it by the Death Dealer.

It’s easy to dismiss microbudget horror as cheap and poorly acted. Sure, most of it can be. But when it’s something interesting like this film, these movies can transcend budget and allow you to fully see the vision that its creator had in mind, even with limitations. Sure, some of the bad guys’ voices are hard to decipher, the editing is a bit all over the place, and sometimes things look really well-lit and color-balanced, and at others, like a basic cable movie, but so what? Experiencing low-budget films means leaving your mind open and being a bit more understanding, just like when we used to watch regional horror films.

Flesh of the Unforgiven is now streaming on Amazon Prime and Apple TV+. You can learn more at the official Facebook page.

ABOUT THE AUTHOR: Joseph Perry writes for the film websites Gruesome Magazine, The Scariest Things, Horror Fuel, The Good, the Bad and the Verdict and Diabolique Magazine; for the film magazines Phantom of the Movies’ VideoScope and Drive-In Asylum; and for the pop culture websites When It Was Cool and Uphill Both Ways. He is also one of the hosts of When It Was Cool’s exclusive Uphill Both Ways podcast and can occasionally be heard as a cohost on Gruesome Magazine’s Decades of Horror: The Classic Era podcast.

Official synopsis: We’ve seen them fight, we’ve seen them chill, but in BABY ASSASSINS 3, we see Chisato (Akari Takaishi) and Mahiro (Saori Izawa) at the apex of their skills as they take on a brutally nihilistic freelance killer who aims to take their place atop the assassin food chain. Director Sakamoto Yugo and action director Sonomura Kensuke are back with the most exciting and dangerous chapter in the Baby Assassins saga to date. This time, it’s a fight for their lives.

The Baby Assassins films rawk mightily, with loads of incredible, beautifully choreographed martial arts set pieces and terrific performances by the two leads,  Akari Takaishi as the highly extroverted Chisato and Saori Izawa as the more reticent Mahiro, both working together as a duo of professional killers. Obviously the third entry in the series, Baby Assassins 3 (though formerly titled Baby Assassins: Nice Days) finds writer/director Yugo Sakamoto delivering what may arguably be the most accessible of the trilogy. This is due in part to toning down the more annoying aspects of the characters’ personalities a bit — they are often more sullen and hot-tempered in the previous films — and some of the zaniness that goes along with that. But hey, the series wouldn’t have made it to a third entry if viewers didn’t love their chemistry. 

Though this is certainly the darkest film in the trilogy, not to worry, as plenty of comedy is still in the mix to balance out the proceedings quite effectively. Sôsuke Ikematsu co-stars as unhinged freelance killer-for-hire Kaede Fuyumura, whose target for his 150th kill is the same as the girls’ next assigned job. 

Action director Kensuke Sonomura delivers jaw-dropping fight choreography, including frenetic, mesmerizing set pieces, from close-quarters martial arts inside a tight hallway to wide-open gunplay sequences involving chases down multiple floors. Baby Assassins 3 is worth watching for its action alone, but the performances from Takaishi, Izawa, Ikematsu, and the fine supporting players are all highly commendable as well, and Sakamoto invests the relationship between Chisato and Mahiro with impressive dramatic weight. 

Baby Assassins 3 is an absolute blast. Whereas in many action sequels we can expect the protagonists to survive whatever is thrown their way, making viewers less invested in fight scenes because of predictable outcomes, Sakamoto delivers tension multiple times in this entry as to whether either young woman will live to see Mahiro’s quickly upcoming 21st birthday. Action film devotees, action comedy fans, and Japanese comedy aficionados should consider Baby Assassins 3 a must-see viewing. 

Baby Assassins 3, from Well Go USA, debuts on Digital and Blu-ray on August 26, 2025.