Based on the comic book series by Beau Smith, Wynonna Earp was a four-season SyFy series in which Melanie Scrofano played Wynonna, the great-great-granddaughter of Wyatt Earp, who came back home to fight the demonic ghosts of the outlaws her ancestor killed all those years ago. A few years later, Earp and her Peacemaker are back, as are several of the characters, in a movie from Tubi that finishes off some of the show’s storylines.

This starts with Wynonna’s sister, Waverly (Dominique Provost-Chalkley), enjoying married life with her wife, Deputy Nicole Haught (Katherine Barrell) and Wynonna and Doc Holliday (Tim Rozon,) trying to figure out their relationship as they run scams at casinos, just in time for Mina (Karen Knox), a girl from the group home where Wynonna grew up and who has spent twenty years in Hell and wants revenge, to show up and start killing people.

I never watched the series that this is based on, but I liked the characters enough here that I both want td see why fans were upset by some of the decisions made in this film. Directed by Paolo Barzman (the son of blacklisted writer Ben Barzman, who wrote The Boy with Green Hair ), who directed 21 episodes of the series, and written by Emily Andras, the showrunner of the original show, this made me want to make up for the fact that I skipped watching its inspiration. Hopefully, Tubi can make more than just this one film and return to Purgatory.

You can watch this on Tubi.

Michael Jai White has been a dependable action hero for years. He’s never reached the JCVD or Dolph level, but he’s always there when we needed him.

Originally known as Sunset Superman—yes, named for a Dio song, which is in the movie—it was directed and written by Jason Krawczyk, who also made He Never Died.

White plays JT, who just wants to get drunk and spend his military retirement hanging out with his grandmother (Jackie Richardson). To pass the time, he works for Trusted Trays, delivering meals to other older people and stopping men in pig masks from breaking into his Grandma’s house. These home invaders are almost all idiots, led by scrap owner Stan (Billy Zane, wearing a goofy mustache), who wants the copper pipes in the house, not anything important. JT keeps drinking and uses this time to bond with Rufus, her grandmother’s dog, who hates him for most of the movie. But after all they go through, they end up becoming pals.

As for Grandma, she doesn’t see or hear any of it. Maybe she should move closer to JT, whose life is so quiet these days that he’s trying to pick up the female henchpeople who are breaking into the house. I enjoyed this because it never takes itself seriously while giving opportunities for character development. It seems like everyone in it was having a great time making it.

You can watch this on Tubi.

Let me suggest that if you’re flying to Texas, take the time to watch as many movies on the plane as you can. I’d wanted to see Reagan for some time and figured there was no better way to watch it than on an iPhone screen while trapped thousands of miles above the Earth, wedged between two people at 6:10 AM, while all I had to eat was packages of Biscoff cookies delivered by air hostesses.

Based on Paul Kengor’s 2006 book The Crusader: Ronald Reagan and the Fall of Communism, this starts as Russian politician Andrei Novikov (Alex Sparrow) arrives at the home of former KGB agent Viktor Petrovich (Jon Voight) to learn why America defeated Communism. But did we? Oh well — let’s just go with it, right?

Ronald Reagan (Dennis Quaid; also Tommy Ragen and David Henrie when he was a kid) is the son of a mean drunk and a saint (Jennifer O’Neill!) who becomes a born-again Christian, lifeguard, radio announcer and, eventually, movie star. Despite losing his status as a leading man, he becomes the President of the Screen Actor’s Guild and battles the commies as they try to take over Hollywood. Horrible people like Dalton Trumbo (Sean Hankinson) and union bosses. This costs him his marriage to Jane Wyman (Mena Suvari), but he soon rebounds into the arms of Nancy (Penelope Ann Miller) and begins his political career.

Along the way, we get cameos from all sorts of Hollywood stars, as if this were The Greatest Story Ever Told 2K24, but instead about Reagan. Robert Davi? You’re Leonid Brezhnev. Olek Krupa, the bad guy from Eraser and Home Alone 3? Gorbachev. Dan Lauria is Tip O’Neill. Lesley-Anne Down is Margaret Thatcher. C. Thomas Howell as Caspar Weinberger. Pastor George K. Otis, who foresaw that Reagan would become President if he “walked uprightly” before God? It’s Pat Boone, in a scene with Chris Massoglia playing Pat Boone, that threatens the space-time continuum. Darci Lynn, who has been credited with the revival of ventriloquism, is a drowning girl. Kevin Sorbo is a holy man! Scott Stapp from Creed is Old Blue Eyes! What? Yes!

John G. Avildsen died before he could make this. The director of Joe, Rocky and A Night in Heaven? You have no idea how much I wish that had happened. Instead, Sean McNamara, the man who made Bratz, came in.

The first cut of this was 3 hours and 40 minutes, and yes, I always complain about long movies, but I want that version. Give us The Gipper cut. My favorite part of this, however, is the people being mean to Reagan montage, as people hold up Silence=Death si, guns and see most of the Genesis video for “Land of Confusion.”

Regan was shot in Oklahoma due to a state tax rebate launched in 2020, as well as lighter COVID-19 restrictions. For some reason, there was a COVID-19 outbreak amongst the crew during the shooting, which used the Temple of the Scottish Rite of Freemasonry as The White House. Nothing to see there.

The soundtrack to this is something else. There’s contemporary Christian artist — and Youngstown, OH native and member of Glass Harp — Phil Keaggy playing “Sweet Child O’ Mine;” Bob Dylan covering Cole Porter’s “Don’t Fence Me In;” Robert Davi singing Lee Hazelwood’s “This Town” and “Nancy With the Laughing Face;” a Clint Black take on “Take Me Home, Country Roads;” Scott Stapp’s “Swinging on a Star” and Gene Simmons performing “Stormy Weather.”

Kitty Kelly’s sexual revelations about Nancy Reagan never come up. And Scott Baio isn’t in this. Otherwise, 200 stars out of 5.

Flying into Texas, looking for a movie to watch, I saw this description: “The story of a group of teenagers in small-town Texas who unleash a deadly force after playing the famous game in an abandoned house where a grisly massacre once took place.”

I never played Spin the Bottle as a teenager because I was building the database in my brain that enables me to write for you every day, dear reader, giving you the facts that you didn’t need about nudie cuties and foreign ripoffs. I didn’t have seven minutes in heaven, but I can also tell you about Mamie Van Doren and Mickey Hargitay.

Somehow, this movie was two hours and four minutes, which is about an hour too long.

Cole Randell (Tanner Stine) has just moved to Houston, a place where his mentally ill mother Maura (Ali Larter) lives. Back in 1978, in his family home, there was a massacre, so of course, that’s where he’s going to live. Being a popular high schooler, he’s also going to get another kissing part– not a rainbow party; do you remember when people were worried about that? — going and another demon is going to kill everyone because, yes, that’s what I signed up for while my life was in the hands of the cockpit on this flight.

Cole makes the football team, and despite his mother telling him Don’t Look In the Basement — a much better Texas horror movie — he’s soon down there making kissy faces with Kasey (Kaylee Kaneshiro), Milla (Ryan Whitney) and Sophie (Angela Halili) despite the fact that horrific events once happened there. Maybe he likes having a fear boner?

Justin Long shows up as the sheriff, who is also the father of Kasey and worried about this new boy in town, while Tony Amendola plays the priest, who has ties to the last massacre and exists only to give us exposition.

This feels like the 2000s PG-13 horror cycle, when movies existed for only a week ann disappeared mercifully, forever. Chop it in half, show some of the killings and make it weird, not dull. I realize that’s easy for me to say, not having made it and going through all the work, but I don’t know how anyone would be pleased with what this ended up being.

I love watching movies on airplanes. Yes, part of it is sad that a creator makes a movie with hundreds of people, and I experience it on a small screen with minimal audio, but on the other hand, I concentrate more on the films that I watch while high in the clouds than I do those on the ground. I had a plethora of choices, and I decided, “Hey, Blumhouse.”

Chris Weitz may be better known for About a Boy and American Pie than horror movies. He also made The Golden Compass and The Twilight Saga: New Moon and wrote Star Wars: Rogue One.

As this begins, we meet Maude (Riki Lindhome from Garfunkle and Oates), Henry (Greg Hill) and their daughter Aimee, who have started using an AI house program, AIA. Their daughter goes missing, and Maude is attacked after the AI stops listening to them.

We don’t hear of AIA again until her creators — Melody (Havana Rose Liu), Lightning (David Dastmalchian) and Sam (Ashley Romans) — come to meet him at the ad agency where Curtis (John Cho) works. They want to get people over their fear of AI and prove it’s harmless. He’s given his own AIA unit to use with his family — wife Meredith (Katherine Waterston), daughter Iris (Lukita Maxwell) and song Cal (Isaac Bae) — to see how it changes their lives.

For the most part, it’s positive. It diagnoses that Cal has atrial fibrillation and helps Iris get out of trouble when her boyfriend posts a deepfake sex video of her. Yet it starts to feel like AIA is taking over their lives, especially when it recreates Meredith’s deceased father (Keith Carradine, totally playing a John Carradine role) in virtual spirit form. The problem? They can’t turn off AIA any longer, and she begins to activate the real people she now controls, like Melody and two videoscreen-faced killers who live in a van that end up being Maude and Henry from the beginning, convinced that Curtis’ family is some Pizzagate child slavery group.

This was a $12 million low-budget film that made $13 million, so it was exactly what it should have been: a profitable little movie that ended up being better than it should be due to its cast. Dastmalchian adds something to every role he plays, and Cho and Waterson are great as the couple trapped in their own lives by an unseen intelligence. The end is pretty ridiculous but also prescient, if that makes sense. In short, it was a success; it helped a West to-East flight pass quickly.

Directed by Brian Taylor (who made Crank, Gamer and Ghost Rider: Spirit of Vengeance with Mark Neveldine and also directed the comic book adaption Happy! and Mom and Dad) and written by Taylor, Christopher Golden and Hellboy creator Mike Mignola, this is the second reboot of the franchise and one I was wondering if we even needed. And then I watched it and was hooked — this may not have the budget of the originals, yet it’s the closest movies have come to capturing the wild zeal of the comic book.

B.P.R.D. agents Hellboy (Jack Kesy) and Bobbie Jo Song (Adeline Rudolph) — a new character not from the comics — are riding a train, taking a supernatural spider back to headquarters for study when it escapes, causing the train to wreck and leaving them stranded in the Appalachian Mountains. The spider went wild because they’re surrounded by great evil, something that Tom Ferrell (Jefferson White) has returned home to stop.

Years ago, thanks to Effie Kolb (Leah McNamara), he messed with magic and left behind his true love, Cora Fisher (Hannah Margetson), when the Crooked Man (Martin Bassindale) came after him. He was left with a lucky bone that has allowed him to survive for years, but now he must put the supernatural menace in the grave forever with the help of Hellboy, who learns more about his origins and who his mother was.

This story is based on issues 33-35 of the comic book series. Even the ending, with the witch wearing the bridle that turns her into a horse, comes from the story. This gets the folk horror aspect of Hellboy right, something that didn’t really get to be part of Hellboy, Hellboy II: The Golden Army or the 2019 Hellboy. There are moments when characters explain the deep occult stories behind things or how witchballs are made, moments that could break the film for some but made it for me. I went in expecting to hate this movie and loved even a second, wanting more of how it tells its story.

Don’t be like I was and dismiss this because it doesn’t feel like the big-budget original films. Allow it to be a weird $20 million direct-to-streaming blast of weirdness, a film that has more in common with The Legend of Hillbilly John than a Marvel blockbuster.

Charlie Bailey (Eric Tabach) hosts the Paranormalcy podcast, and he’s struggling to get noticed as a crowded white guy with a podcast space. I can relate. Then, he meets Duncan Slayback (Gabriel Rush), who tells him he can prove that ghosts don’t exist. After all, his fiancee died and has never come back to him. To further prove his point while Charlie is recording him, he shoots himself in the head before claiming that he won’t haunt our protagonist.

Except that Duncan does come back from the dead.

He becomes the show’s co-host, using his ghostly powers to find missing things and get into peoples’ heads. Soon, Charlie succeeds and has the money to support himself and his pregnant girlfriend, Brie (Kaikane). Yet when Duncan starts to ask too much, including getting revenge on the man who he claimed killed his fiancee, all as a rival podcast, Jasper (Charlie Saxton, tries to reveal how Charlie can do so many ghostly things.

Maybe Charlie shouldn’t have trusted Duncan. Yet once he’s too deep, well, he’s stuck. He can’t escape the call of doing his show, the rush of getting followers, the need to be part of something. Again, I understand. This hit very close to me. And it’s a really intriguing film in which its lead is unlikeable, yet you want him to grow and get past it until, yet again, it’s too late.

Dean Alioto directed and wrote this film, marking his return to genre films after a long hiatus since creating The McPherson Tape. Featuring cameos from Dave Foley and “Master of Horror” Mick Garris, this movie exceeded my expectations. It has surprising twists and turns that I never saw coming. If you have the chance to watch it, I highly recommend you do!

Wedding planner Vanessa (Virginia Ma) and her assistant Anthony (Luke Nieves) come to the island of a groom only to discover that they must follow the whims of super-rich Terrance Bruckner (Maxwell Almono) or he will kill every guest at the destination nuptials of Vanessa’s best friend Rachel (Meghan Carrasquillo) — the ex-girlfriend of this movie’s final boss. Now, Vanessa has an earpiece and must follow the tech billionaire’s instructions, or her friend will die.

Directed by Nick Lyon (Titanic 666) and written by Chris Watts, this reminds me of how stressful my first wedding was, what with the cops getting called, the property damage and the delayed honeymoon. I still don’t feel like telling that whole story, but I’m not sure I can legally. What I can say is that my wedding planner didn’t have to bury the bodies that a past lover was killing. Why is Vanessa doing that for a guy whom she hates? What went on between her, Terrance and Rachel in college?

This has taught me never to have a wedding on an island that no one can get to, never to date members of the oligarchy, never to hire a wedding planner, and just to stay home and watch Tubi.

You can watch this on Tubi.

The Parrot Head is a monster that seeks to kill and can pass on its curse through the bite of its beak, transforming its victims when they’re sober. That means this movie lives up to the lyrics of its inspiration: “It was too much tequila, or not quite enough.”

I watched this because I thought it was Stage Fright, but instead of an owl, it was a Buffet-obsessed killer and not a parrot.

Paul Dale, who wrote this with Dylan McGovern, also directed Killer Kites and Sewer Gators. I wonder if he feels like I do about Buffet — I don’t want to disparage the dead, RIP — but I fucking hate the man’s music. This is 50 minutes long and 10 minutes of joke-laden credits if that’s what you’re wondering. You can’t fill two hours of a movie with a captain’s hat-wearing parrot-murdering machine. But damn, Paul Dale, I want to see you try.

That said, this is about as good as you think it’s going to be, and if you’re watching it just based on the name — and not the pessimistic assumption that you’re watching a Giallo about the son of the son of a sailor — it’s done its job. As the director says on Letterboxd, “If you go into this expecting something other than pure silliness, you’re going to have a bad time.”

This movie also has an opera-singing shark. How about that? Just the title alone is an accomplishment, then you throw in a wereparrot and a shark who can sing Pagliacci.

You can watch this on Tubi or buy it from the BY THE HORNS site.

Directed by Justin Wu and written by Crystal Ferreiro, Mary Gulino and Tay Marley, this story comes from Wattpad, where amateur writers share their stories and potentially sell them as books and movies. That story? The QB Bad Boy and Me by Tay Marley.

Dallas (Siena Agudong) is a dancer who just moved to town. Drayton (Noah Beck) is a star football player with surprising depth. Dallas’ dad, Nathan (Drew Ray Tanner), is the new coach. Texas is the place where they meet, a place where football is the most essential thing every Friday night.

I enjoyed the fact that James Van Der Beek plays Drayton’s father, 25 years after Varsity Blues. The same problems of people wondering if they want a life in football are coming up in movies. At least this feels a bit more authentic than most teen romance movies. Sure, it still has the same issues as most teen movies — the guy is a ladies’ man, will he or won’t he change while the girl is always good — and the main reason they fall for each other is looks rather than character, but maybe I’m looking too deeply into this movie because I’m AARP age.

Everyone has secret grief, and once they share it, their relationship starts to mean more. What do I know? I got all my life lessons in romance from movies that led to most guys my age being incels and having strange notions of what courtship is.

You can watch this on Tubi.