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.

Remember how wild Adopted was? I mean, it ended up with ten-year-old Dylan (Jayden Aguirre) facing a literal firing squad of cops. I’m so excited that Chris Stokes is back with a sequel, because that movie earned one.

Dylan starts the movie inside a mental health facility. But he soon escapes and finds his way inside the home of another family, a place where he can be so sweet until the time when he loses it, yet again, and threatens everyone’s life.

Directed by Chris Stokes and written by Marques Houston, who returns as Detective Dante Miller, this finds the Andrews family — Ava (Princess Love Norwood), Caleb (Don Benjamin) and Mason (Preston Best) — repeating the pattern of Dylan: at first, he’s so full of love. By the end, he’s shotgunning blasting your favorite aunt. They’re just getting over the loss of a son, and now, they’ve let a total wildman into their home.

While many sequels try to reinvent the wheel, Chris Stokes and Marques Houston know exactly what their audience wants: high-stakes melodrama and a child who embodies true evil. Aguirre plays Dylan with a terrifying on/off switch. One moment, he’s the healing balm for a mother’s broken heart; the next, he’s a tactical mastermind wielding a shotgun with the efficiency of a seasoned action star.

Look, this is almost the same movie as the first, but that doesn’t mean that I won’t watch the third.

You can watch this on Tubi.

Director and writer Jem Garrard has made R.L. Stine’s Pumpkinhead, the Invasive movies and Slay for Tubi. All of these movies are in the upper tier of originals made for the streamer, so when I see their names above the credits, I know I’m about to watch something unique.

Nova (N’kone Mametja) is the anchor of a scuzzy, fluorescent-lit diner that seems to be held together by grease and broken dreams. It’s the kind of 2 A.M. haunt where the coffee is burnt, and the hope is non-existent. The tension ramps up when Nova becomes convinced that the silent, unassuming man at Table 5 isn’t just a late-night regular. He’s the serial killer currently dominating the local news cycles.

The evidence is mounting: a suspicious car, a body-shaped bundle in the backseat, and a demeanor that screams predator. But Garrard pivots from a standard slasher into something much more cynical. Once Nova’s co-workers catch wind of the massive bounty on the killer’s head, the diner transforms into a pressure cooker. To these wage slaves, the man at table 5 isn’t a threat to be feared; he’s a winning lottery ticket wrapped in a blood-stained jacket.

Shot in South Africa, this feels like it could be anywhere in America, a lonely place where no one cares about anyone. There’s no future, and that lack of future could end a lot sooner than anyone believes. I really enjoyed the downtrodden nature of this, as well as the constant twists.

You can almost smell the stale cigarettes and floor cleaner. Garrard balances this grim reality with a relentless series of twists that force the audience to constantly re-evaluate who the real villain is: the man with the dead body, or the “normal” people willing to do anything to escape their poverty. As with their other films, Garrard has made something special here.

You can watch this on Tubi.

Directed by Amara Cash and written by Arland Digirolamo and Alana Wexler, Get Off My Lawn starts with Jackie (Camila Banus) and Jason (Tahj Mowry) getting a too good to be true deal on the house of their dreams. That’s until they meet Alec Todd (Jonah Hwang), the next-door neighbor who believes their home should be his.

That’s because his grandfather had promised it to him. However, his father, Denny (Max E. Williams), wanted it sold, so Alec convinces his mother, Denny (Max E. Williams), to sell to the young couple, hoping to get them to move quickly. Every single thing they do enrages him, from moving Gramps ‘ rules of the house off the mantle to getting rid of the backyard memorial to him. 

While Alec’s best friend Ethan (Tyler Lofton) and girlfriend Ray (Kayla Maisonet) are normal teenagers, he’s stuck in the 1950s and seems as prim and proper as anyone could be. He repeats, many times, that “rules must be followed or there will be consequences.” That seems to mean using his friends to prank the married couple out of their new home. One wonders how he keeps his girlfriend, or if the villain even cares.

I love my mom’s house and want her to stay in it as long as she can. So I get how it feels to lose a home that you love so much. That said, I would not go as murder-crazy as Alec, but man, he’s a great character. Alec’s behavior quickly shifts from creepy to dangerous. He leaves a dead rat on their doorstep and claims his grandfather is buried in their yard. He grows increasingly insane as the film progresses, and without him, this movie would fall flat.

You can watch this on Tubi.