Jeffrey Manchester (Channing Tatum) is a divorced U.S. Army veteran living in North Carolina who decides to rob McDonald’s to pay for his kids’ welfare. He knows how to break in at night and be ready for the next morning. He treats people well and uses his powers of observation, but is still a criminal. When the police catch on, he’s arrested at his daughter’s birthday party. That doesn’t stop him, as he escapes from jail and lives inside a Toys ‘R Us before starting to rebuild his life with his widow, Leigh Wainscott (Kirsten Dunst).

Directed by Derek Cianfrance, this is an incredibly sweet movie that may just humanize the real Manchester, who really did commit these crimes and then escaped from prison twice more. In an article in The Charlotte Observer, Elaine Snyder, who worked at one of the restaurants that Manchester robbed, said, “I just don’t understand why they would want to praise him and give him all this recognition for something very devastating to some people. I’m not sure that I agree with that.” In the same article, the real-life Leigh Wainscott said, “I just hold onto the good stuff. I just know what a kind, sensitive, caring person he is.”

Corrections 1, a website devoted to law enforcement that states that it is “the leading online community and resource for corrections worldwide”, said “The film wants audiences to like Tatum’s Manchester despite overwhelming evidence they shouldn’t. It attempts balance but misses the mark entirely, divorced from the reality corrections professionals cannot escape: charm is often predation, circumstances are context, not justification, and every crime has material consequences the camera never captures.”

As nice as Tatum seems, I couldn’t help thinking about the people that the protagonist charmed and how he would soon let them down. Maybe I watched this in the wrong mood, but I came away thinking he was the villain, not the dashing Robin Hood. 

The Paramount 4K UHD of this movie has featurettes, deleted scenes and alternate scenes. You can get it from Deep Discount.

Is Spinal Tap II strictly for the devotees who can recite the exact dimensions of a Stonehenge prop? Probably. But as a card-carrying member of the Tap-heads, I couldn’t care less. Getting eighty more minutes with Nigel Tufnel, David St. Hubbins, and Derek Smalls feels less like a movie and more like a family reunion where everyone is slightly more deaf and significantly more delusional.

The plot kicks off with a brilliant piece of continuity: Hope Faith (a pitch-perfect Kerry Godliman), the daughter of the band’s legendary, cricket-bat-wielding manager Ian Faith. She’s inherited the band’s contract, which is a legal albatross that forces the trio into one final show.

The problem is that Nigel and David won’t speak to each other. They may not even know why. At this point, Nigel owns a cheese-and-guitar shop; David is making music for true-crime podcasts and on-hold messages; and Derek is still into rock operas like Hell Toupee and running a glue museum.

Despite struggling to find a drummer — no one wants to die of misadventure or choking on someone else’s vomit — Didi Crockett (Valerie Franco, whose girlfriend Annie Gordenier also shows up in the movie as her parner) joins up and adds the positivity the band needs as they nevigate growing old, advice from Paul McCartney and nearly murdering Elton John during a performance of “Stonehenge.”

Sadly, live concert footage was filmed at Stonehenge, Wiltshire, for the concert Spinal Tap at Stonehenge: The Final Finale. The project was delayed indefinitely after Rob Reiner, who directed and played director Marty DiBergi, and his wife Michele Singer Reiner were killed.

Seeing Paul Shaffer’s Artie Fufkin still looking for a kick in the ass, Fran Drescher’s Bobbi Flekman still holding it together as a Buddhist and June Chadwick’s Jeanine Pettibone trading her zodiac charts for a nun’s habit made me smile.

I didn’t think too deeply about any of this. I just wanted to laugh and, as always, Tap provides.

Over the course of this movie, the Taylor family will be destroyed.

At first, they get together for the parents’ 25th wedding anniversary. Georgetown professor Ellen (Diane Lane) and restaurateur Paul (Kyle Chandler), attended by their four children: lawyer Cynthia (Zoey Deutch) and her husband Rob (Daryl McCormack); out lesbian stand up Anna (Madeline Brewer); young scientist Birdie (Mckenna Grace) and failed writer Josh (Dylan O’Brien) and his fiancee Liz (Phoebe Dynevor), who was once one of Ellen’s students.

Liz surprises Ellen by gifting her with her new book, written with Josh’s help: The Change: The New Social Contract. The cover shows an American flag with the stars centered, supposedly to represent Americans uniting around the political center. Instead, it leads to a one-party system that is somehow even more fascist than the fascist state we live in right now.

Within a few years, The Change has taken over the United States, and everyone worries about the future. Liz gives Birdie a password to a noted virology database to help her in her career and eventually gets her an internship with the Cumberland Corporation, which has sponsored this movement. Yet Ellen won’t play nice; she vandalizes The Change flags and eventually gets confronted so many times that she goes missing.

As time passes, Josh becomes more assured and changes into nearly an archenemy to the family. Cynthia gets pregnant but aborts the child without telling her husband. As if these family gatherings couldn’t be more tense, Ellen tells Liz that if she messes with her family, she will kill her.

Eventually, The Change has taken over the country and soon, the world. Enumerators come to the house, looking for Anna, while Cynthia is drugged out of her mind. Birdie uses her knowledge of viruses to suicide bomb a bio-weapon attack at the Washington, D.C., Cumberland headquarters while the family is gathered for the 30th anniversary. Police arrive and begin attacking people; Cynthia stabs Josh, and the parents are arrested, their heads bound like the painting they met in front of, René Magritte’s The Lovers.

Wow, right?

Directed by Oscar nominee Jan Komasa (Corpus Christi, The Hater), the film is a brutal political allegory that uses a 10-year timeline to show how quickly civilized society can pivot into authoritarianism through the lens of one family’s collapse. The tension between Ellen and Liz  isn’t just political. It’s a personal vendetta. Liz was a former student whom Ellen once publicly humiliated for her radical one-party thesis. The Change movement is, in many ways, Liz’s long-game revenge against her former mentor.

Interestingly, the film never specifies if The Change is far-right or far-left. Komasa intentionally kept the ideology vague to focus on the mechanics of fascism: the vertical flags, the stars in the center (symbolizing the death of federalism) and the way neighbors turn on neighbors.

I saw this on a plane and had no expectations. Obviously, Lionsgate buried this. How would you sell it today? Polish director Jan Komasa makes this melodramatic yet in the finest ways. It’s a powder keg, and I couldn’t believe these things were happening in a modern film. Do what you can to find this.

If you’ve watched as much true crime as the B&S About Movies house, you know that this is about Bryan Kohberger, who murdered four University of Idaho students by the names of Madison Mogen, Kaylee Goncalves, Ethan Chapin and Xana Kernodle.  Lots of shows, from Dateline and 20/20 to 48 Hours, have told this story. How will this Tubi Original hold up?

It’s hard to say. Instead of leaning into one narrative approach — Is this a dramatic retelling? Is it interviews? Is it visiting with the media who told the original story? — it does all of them and therefore, none of them well. Or am I the problem, having heard this so many times that I wonder if I know the tale better than the people telling it? If I feel like that, is it because  I’ve followed the exact same extensive media coverage that this documentary critiques?

The big difference is that for the first time ever, viewers are shown images from inside the house at 1122 King Road. This includes bodycam footage from the first responding officers, who described the scene as a nightmare scenario. You also hear from a survivor, Dylan, and the actual 911 call from another roommate who made it out, Bethany, where she frantically reports that something just happened. 

You can watch this on Tubi.

The rapid-fire world of professional tennis meets the raw reality of new motherhood in The Second Set, a documentary that proves even a four-time Grand Slam champion isn’t immune to the what now? The moment that follows childbirth. While many sports docs focus on the glory of the comeback, director Kathleen Jayme captures the quieter, more harrowing struggle of Naomi Osaka navigating postpartum depression while the world of tennis demands she return to elite form.

Produced by a powerhouse lineup including Nike, LeBron James’ SpringHill and Osaka’s own Hana Kuma, this isn’t just a highlight reel of aces and trophies. It’s an intimate, often heavy look at a woman rebuilding her identity from the ground up. We see Osaka just six months after giving birth, grappling with the fear that her first set of fame might have been the peak, and wondering if she can still find that killer instinct while her heart is focused on her daughter, Shai.

I don’t know much about tennis, but this was still an amazing film. It’s one thing to go through the sport, but realizing all the real-life pressures gave me an insight I would never have otherwise. You don’t need to know the difference between a cross-court forehand and a double fault to feel the weight of Osaka’s anxiety. It’s a universal story about the terrifying transition into parenthood.

You can watch this on Tubi.

If you’re watching this, you already know who Gary Ridgeway, Wesley Brownlee, Juan David Ortiz and Khalil Wheeler-Weaver are. But how do you think you would do against them if it came down to it? Yes, this Tubi special will ask you to confront yourself with that every question.

Directed by Victoria Duley and written by Ben Greguoli, this is the kind of show that plays in my house all day and night. My wife will eventually murder me, make no mistake, and all of these shows have given her the know-how to do it. I mean, when she went to Seattle this year, she toured the Green River Killer’s dumping grounds and brought back water from the river, which sits on our bookshelf. She’s going to put antifreeze in my beer, eyedrops in my Turner’s iced tea, and trap the steps to the movie basement. Look for all my really prized Blu-rays on eBay soon or at the many local used stores. A lifetime of collecting Tinto Brass movies will pay off for you and not me, because I’ll be dead.

This movie highlights that no one expects to become a target until it happens, forcing viewers to consider their own survival instincts. It features firsthand accounts from individuals who escaped attackers like Brownlee, who was out hunting and ambushing people late at night in Stockton. Survivors describe the intense physical and mental battle for their lives, with one recounting being choked so hard they were spitting teeth.

I soon will know what that is like as I am suffocated or shot in the back of the head, my life cut short and everything I own liquidated into TJ Maxx and Hobby Lobby gift cards.

Remember me.

You can watch this on Tubi.

Frank Grady (Leo Rossi) isn’t just a dirty cop. He’s a man whose expiration date just got moved up to tomorrow morning. The Internal Affairs interrogation serves as the ticking clock. In true noir fashion, Grady isn’t seeking redemption—he’s seeking an exit strategy.

When he confronts Murray (Ron Perlman), the dynamic shifts from business partners to predator and prey. Perlman excels at playing capos who view loyalty as a transactional commodity. Instead of a suitcase full of cash, Murray hands Grady a suicide mission: clean the streets of every rival in a single night. It’s a classic one last job, but fueled by the adrenaline of a man who has absolutely nothing left to lose.

Does a girl get involved in this noir? You know it. Sydney (Terese Celeste) is just another reason for him to take the money and run. Adding to the danger? She’s Murray’s girl.

Directed and co-written (with Rossi and Chad Law) by Tom DeNucci, this has the look of the 80s — well, at least the movie version — as well as a synth score to go with. At times, like the close, it feels almost dream-like. Think rain-slicked pavement reflecting pink and blue neon. It captures that specific 1980s cinematic grit where the night never seems to end. 

Without spoiling it, the finale drifts away from gritty realism into something more ethereal, a common trait in Loser Noir where the protagonist’s reality begins to fracture under the pressure.

If you’re a Sons of Anarchy fan, you’ve probably already seen this, as Rossi, Perlman and Kim Coates played Juice, Clay and Tig on the TV series. If not, they’re all great actors and really give it their all here.

Also: This is not the André de Toth or Shane Black movies of the same name that came out in 2025.

You can watch this on Tubi.

Ken Brewer clearly has a favorite hiking spot, and unfortunately for the local population, it’s filled with body bags. With nine films now under his belt, Brewer’s Death Park saga has officially transitioned from a low-budget slasher series into a sprawling indie epic. By returning to the familiar, scenic grounds of Santa Carla Regional Park, Return to Death Park leans into the comfort food of horror: beautiful foliage, questionable law enforcement and a high body count.

This time around, The Death Park Killer’s body (Brewer and/or  Robert Allen Mukes) has vanished from a morgue and new murders have begun. To stop this once and for all, Chloe (Josi Kat) leads a posse of bounty hunters after a $50,000 reward, while survivors Hunter (Doug Waught), Willie and Shady (Linnea Swanson) also return. As Shady and Chloe have both lost sisters to the killer, they have some level of kinship.

This has a huge cast, from one-eyed groundkeeper Willie Loomis (Joe D’Aguanno) and Detective Frank Ricardo (Rich Gordon), who are just searching the park, to the entire posse that comes in guns drawn, shooting for that big paycheck. who steps up to talk to the group. He warns them not to go to the park with guns as the place is being patrolled by undercover police, and they will be arrested. There may be two killers, but there’s definitely a “Matrix Guy” (John Ozuna), who can teleport before getting his head smashed in with a sledgehammer.

Brewer understands the assignment: if you have a massive cast and a legendary killer, you give the people what they want. And that’s confrontation. The tension between the heavily armed bounty hunters and the undercover police patrolling the park creates a powder keg environment where the killer isn’t the only threat.

You can get this from Livid Media.

Directed by Shaun Silva (who also directed Jason Aldean’s video for “Try That In a Small Town”) and written by Travis J. Opgenorth, this stars Zack Roerig as lawman John Dorsey, who is about to lose not only his job but his wife to his deputy, Danny Raise (Britton Webb). Against his will, he teams with U.S. Marshall Butch Hayden (Billy Zane) to hold outlaw Emily Rusk (Cara Jade Myers) hostage. A battle of wills ensues as Emily turns the posse on themselves, but as her marauding husband Kyle (Scott Adkins!) and his gang get closer, Emily and John realize they will need each other to survive.

Hayden and Rusk have already had a shootout at a motel, and the body count is piling up. Hayden is even using Big Buck’s (Trace Adkins) biker gang as part of his militia. Beyond Adkins, the inclusion of Yelawolf and Struggle Jennings (grandson of Waylon Jennings) gives the film a distinct outlaw-country texture that complements the Southern Gothic vibe of the motel shootouts and biker militias.

Nearly a Western, this has all the twists and turns you’d expect and maybe a few you won’t. While the marketing pushes the action, the meat of the story is the Stockholm Syndrome-adjacent dynamic between Zack Roerig and Cara Jade Myers as the lines of morality blur because the hero is essentially a man who has already lost his dignity at home. By the time the gang closes in, the film shifts from a chase movie into a siege film, reminiscent of Assault on Precinct 13 or 3:10 to Yuma.

Scott Adkins is widely considered one of the best modern martial arts stars (the Boyka series, John Wick 4), so seeing him as a marauding husband is interesting. He has only one fight scene, which is strange and may not be the best use of him. 

You can watch this on Tubi.

Match is directed by Danishka Esterhazy, who remade Slumber Party Massacre. It’s all about Paola (Humberly González), whose first date with a man she met online takes place inside a terrifying house and involves a way-too-long tea with his mother, ending with her knocked out and tied up. What’s next?

Lucille (Diane Simpson) lives in a suburban home that’s really a prison for multiple people, including her deformed son Henry, whom Paolo thinks she’s been talking to the entire time. Instead, she’s been chatting with Lucille, who is looking for the perfect woman to mate with her beloved boy.

All along, Paola’s sister, Maria (Shaeane Jimenez), has been telling her there are so many red flags. When her sister doesn’t return in time to see their father before his surgery, she starts to worry. That brings her to the same house of horrors, where another date.

The reveal that Lucille has been catfishing as her son Henry adds a layer of psychological voyeurism. It’s not just a kidnapping; it’s a mother’s twisted attempt at curating a bloodline. Diane Simpson’s performance as Lucille is genuinely unsettling, oscillating between a doting mother and a predatory architect of a human breeding program.

Written by Al and Jon Kaplan (Zombeavers, Lowlifes), this has two scenes that are guaranteed to blow your mind. In one, Lucille explains sex to Henry while jerking off her son and another where Paolo stops Henry from assaulting her by, well, snapping a mousetrap on his meat. I’ve never seen that before!

What motivates Lucille to create this twisted breeding program for her son? How does Paola’s sister, Maria, react when she discovers the truth about what happened to her? What consequences will Paola face after her harrowing experience in Lucille’s home? So many questions. Don’t pass this one up just because it’s a low-budget Tubi original. There’s something good here.

You can watch this on Tubi.