Spooky Pictures, the horror-centric banner led by Steven Schneider and Roy Lee, has entered into a multi-year, multi-picture partnership with Fandomodo Films, the boutique film and television development, production and financing company.
The deal has a two part aspect. It will allow Schneider and Lee to mine the independent studio’s library of graphic novels it acquired in 2018 from former Relativity Media exec-turned-producer Roger Mincheff. It also aims to get Fandomodo to a point where it can greenlight three to five films every 12-18 months based on materials developed by the producers. Not every project will originate from the IP library.
All films will be independently financed by Fandomodo Films and released with Spooky Pictures. The partnership is the first substantial deal negotiated by McKenzie Van Dorne Rice, Fandomodo’s newly appointed COO.
“Steven is the master of horror, and together with Roy they have redefined what genre films can achieve both creatively and commercially,” said Fandomodo CEO Anthony Kaan. “That ability to get inside an audience’s head will be the driving force behind the upcoming slate.”
The deal comes with its first project already pinpointed. The companies are developing horror feature Sundowning with writer-director Ian McDonald (Woman of the Hour) on board and which is eying to begin production in the first quarter of 2026 in Vancouver.
The story centers on a young woman with gerontophobia who goes to work at a hospice after neglecting her dying parents. Looking for a way to redeem herself, she soon discovers that redemption may come with a cost, as the hospice hides a terrifying secret. It has been described as being a tonal cross of Suspiria and Saint Maud. It is not based on any comic book but rather a new idea by McDonald. Schneider and Lee will produce for Spooky while Kaan and Van Dorne-Rice will produce for Fandomodo. Steve Crawford, Andrew Deane, and Spooky Pictures-Image Nation’s Ben Ross will executive produce.
Stated Schneider, “We’re always looking for projects that can surprise and capture audiences in new ways. With Fandomodo’s resources and IP, we have an amazing opportunity to deliver those experiences at scale.”
Spooky is coming off of a, um, fantastic showing at genre film festival Fantastic Fest, where the company premiered three movies, The Plague, The Vile, and VHS Halloween. Its movies also won two awards: Plague, a psychological thriller from writer-director Charlie Polinger, won best picture in the main competition while Vile, by Majid Al Anssari, won the best horror prize.
Fandomodo is currently developing Taonga, a Moari-centric drama that has James Cameron executive producing. It is also working on an untitled Calypso Project with producer/actor Carolyn Michelle Smith (The Chi).
A serial killer dressed as Santa Claus hacks his way through a small Minnesota town. Along the way, he also falls in love with a local business owner. He’s evil; he should be the villain, but in Silent Night, Deadly Night, we’re forced to consider, maybe he’s not?
Written and directed by Mike P. Nelson, Silent Night, Deadly Night is a remake of the 1984 cult classic of the same name by Charles E. Sellier Jr. That film also followed a man dressed as Santa who thinks he’s killing for good, but, in this remake, things get even deeper, as the film paints its central character as a hero with a fatal flaw, instead of a psychopath. And in that balance is where the film loses its way.
Each Christmas, Billy (Rohan Campbell of Halloween Ends) puts on a Santa suit and kills one person every day leading up to the holiday. He’s done this for years, inspired in large part by the man who killed his parents in front of him as a child, who subsequently possessed him. Now, Billy lives with a killer inside him, who talks to him about life, love, murder, and more. On the run from his latest killing spree, Billy lands in a small town and becomes instantly infatuated with Pamela (Ruby Modine), who works in the local Christmas shop. The two strike up a friendship, then a romance, as Billy simultaneously begins killing the people around her.
While Billy’s motivations seem sinister at first, we quickly learn that he and his serial killer subconscious are choosing victims based on their past transgressions. They are sometimes just as naughty as he is. So, as the film goes forward, his axe murders are presented less as evil and more as stopping evil. The issue with that is the film is infinitely more interesting when Billy has to struggle with hiding his evil side. Watching a killer masquerade as a nice, normal guy gives the film some stakes and drama. Once it pulls the curtain back on his true motivations, all that goes away, and any kind of mystery or tension just becomes about killing.
And, with this being a horror movie, that should be okay. But Silent Night, Deadly Night never really wows us with its violence or gore. It’s just there. Billy sneaks around, kills someone, and goes back to his day. One scene does stand out as you actively root for Billy against a particular set of characters, but for the most part, the kills are kind of quick, easy, and frankly boring.
Which, unfortunately, becomes the tone of the whole film. The movie slogs on as Billy kills, tries to hide it from Pamela, and then slowly that changes, too. It coasts on the idea that seeing a person killing people as Santa Claus with an axe is enough, especially if there’s a very loose story around it with a hint of character motivation. But it’s not. It gets stale very quickly, especially since Campbell plays every facet of his character exactly the same. Modine brings life and likability to Pamela, which is welcome, but she is rarely given much to do. Things do get a little more interesting by the end as a large mystery gets wrapped in, but by that point, it’s hard to forgive everything that’s come before.
I’ve never seen the original Silent Night, Deadly Night (I know, I know), so it’s impossible for me to compare the two. What I can do is say this remake had a few good ideas in it, one or two decent scenes, but was much too familiar and monotonous to impress. If anything, it did make me want to finally watch the original, just to see how far away from center this had to go to be this disappointing.
Silent Night, Deadly Night had its world premiere at Fantastic Fest 2025. It’s coming to theaters on December 12.
More often than not, horror sequels are weak imitations of the original, a cheap, quick, cash grab that hits the same beats in a slightly different way. Black Phone 2 is not that. It’s a sequel that changes and elevates the original in ways you’d never expect. You learn more about the world, the characters, the killer, and by the end, it’s almost as if the original was merely a table setting for the horrors of its follow-up.
Once again directed by Scott Derrickson, based on a script by him and C. Robert Cargill, Black Phone 2 picks up four years after the original. In that film, Finney (Mason Thames) was kidnapped by The Grabber (Ethan Hawke), whom he eventually killed with the help of the ghosts of The Grabber’s other victims, and the paranormal abilities of his little sister Gwen (Madeleine McGraw). Gwen’s bravery and plucky personality were highlights of that movie, but she was largely relegated to the sidelines. Here, not only do we get more of her, Black Phone 2 is basically her movie, and it’s better off for it.
The original film also killed The Grabber pretty definitively, so when Gwen starts dreaming about an old set of murders, and Finney starts getting phone calls from him, things instantly change. They’re no longer dealing with a real-life person in their neighborhood—it’s now something scarier, and with a history that goes back decades.
Black Phone 2 has a lot to establish at the start, and, for that reason, it takes a while to get going. We spend time with Finney and Gwen in their high school, which is more violent, but also more romantic. We see what the events of the first movie have done to them and the world around them. There’s also the whole new story, which centers on a winter camp that Gwen keeps dreaming of. The film has to clearly establish why this brother and sister would willingly go to this camp, knowing the horror that might await. Eventually, there’s a very good hook, but that then requires even more exposition to flesh out.
Once Black Phone 2 does get to the camp, though, everything changes. Not just in the story, but in the nature of the film itself. The first Black Phone was largely a supernatural thriller where we chewed at our fingernails hoping Finney and the ghosts could outsmart The Grabber. Now, The Grabber is dead, so his contacting the siblings constitutes a whole new brand of horror. And when you filter that through Gwen’s dreams, there are more than a few shades of Freddy Krueger along the way.
Beyond that, the film borrows quite liberally (but never distractingly) from other classic horror films of the 1970s and 1980s. The snowy setting brings to mind The Shining; that it’s a camp near a lake brings to mind Friday the 13th. (In addition to Nightmare on Elm Street, there are other winks and nods throughout.) This all works in tandem to make Black Phone 2’s transformation from a thriller like the original into a more of a slasher movie feel seamless. It works beautifully, and lets the gore start flowing in ways that go well beyond the original film.
Most importantly, the best thing about Black Phone 2 is Finney and Gwen. Their relationship was the best part of the original, and here they’re together for the entire film. Thames is excellent as the hardened Finney, a boy completely changed by everything he’s gone through. But the true star is McGraw, whose potty-mouthed, religious-leaning dream warrior is funny, heartbreaking, heroic, and delightful all at once. Every time we’re with either of them (or preferably both), the film shines that much brighter. Throw in Demián Bichir as the head of the camp, Jeremy Davies returning as the father, and the original film’s star Miguel Mora—who played the kick-ass Robin in that film and returns here as his brother Ernesto—and you’ve got more than enough to bring Black Phone 2 to entirely new levels.
And it does go to all new levels. Without spoiling too much, Black Phone 2 not only evolves the nature of the franchise, but it also adds more mythology and depth to it. We learn things here that recontextualize everything we saw in the original, which yes, largely has to do with how and why The Grabber became so incredibly evil. In that aim, Ethan Hawke is as terrifying as ever, even as we mostly see him in the mask.
Black Phone 2 may take a while to get going, but its lead performances, primary relationship, and twists make it well worth the trip. It’s filled with great horror moments, a few laughs, and even a nice shot of emotion to tie everything together. The first film was certainly solid, but this one is excellent. The rare sequel that outshines its predecessor.
Black Phone 2 had its world premiere at Fantastic Fest 2025 and opens everywhere on October 17.
Polly acquires a mysterious box. In this box, she must put three things: something she hates, something she needs, and something she loves. That’s the basic premise of Vicious, the new film from writer-director Bryan Bertino (The Strangers) starring Dakota Fanning, and it’s incredibly alluring. Instantly, it brings to mind a slew of questions. Where did the box come from? How does it work? What happens if you fail to comply? And can a movie actually pay off something so terribly tantalizing?
Well, after seeing Vicious during its world premiere at Fantastic Fest 2025, we can answer that last one: no, it cannot pay everything off. In fact, Vicious fails to answer almost every question about its premise, instead haphazardly throwing ideas at a wall that undercut and frustrate. Fanning is excellent, as one might expect, but she’s handcuffed by a killer idea handled horribly.
As Vicious starts, we do get one answer, namely how how Fanning’s character Polly gets the box. Soon after, she learns the rules, but what the film lacks from there is almost everything else. The box is basically its own character; it claims its victim will die if Polly doesn’t comply, but it never quite explains how or why that would happen. Instead, if the box doesn’t like what she’s doing, it literally phones her to explain itself, telling her exactly what it wants her to sacrifice, and it can even lie to her. As a result, all cohesion in the movie goes away. If the box knows what it wants, where’s the drama? Why would we care about any of this if everything is preordained? Why do we need a box at all if this curse can use the phone or TV to terrorize its victims? And if the box can lie, why would anyone trust it?
For the majority of the runtime, we merely watch Polly torture herself with no end in sight. It’s a minor spoiler, but even after she does exactly what the box wants her to do, the movie keeps going, bringing into question if any of this was actually worth it at all. This all might be okay if we had some big, overarching theme about sacrifice or love to consider, but there’s basically nothing there. In the end, the film tries to shoehorn some kind of thematic sentiment, but by that time, we’re so frustrated about how everything can, does, and will change from scene to scene, so it fails to stick.
There is some disgusting gore throughout, and in its best moments, the film allows us to think about what we’d do with the box. But most of the time, that’s when the phone rings, telling Polly exactly what to do, so any of that potential self-reflection or relatability goes away. Instead, we’re left with an excellent lead performance in a maddening movie that never delivers in the way we’d hope.
Vicious had its world premiere at Fantastic Fest 2025 and will debut on Paramount+ on October 10.
One of the best things about the found footage genre can also be one of its most frustrating. By its very nature, classic found footage movies can never answer all your questions because the camera has to stop. The footage almost always ends with some big, scary revelation, but things can’t go beyond that because….well, the footage had to be found. On one hand, that can make for terrifying moments, and imagination will often be scarier than reality. On the other hand, it would be nice to learn exactly why that guy was standing in the corner from time to time.
Shelby Oaks, the feature debut of YouTube film critic Chris Stuckmann, does both. Starting things in both found footage and faux documentary styles, the film builds an intriguing, creepy mystery before totally changing the point of view and becoming a traditional narrative film. The choice gives the audience the best of both worlds as we get all sorts of creepy found footage moments, but also actual concrete answers about how and why it’s all happening. It’s a transition that’s a little awkward, but ultimately works because the story it’s telling keeps us engaged.
That story centers on Mia (Camille Sullivan), a young woman being filmed for a documentary about her missing sister, Riley (Sarah Durn). Riley was part of a four-person paranormal hunting YouTube team who all went missing. Three were eventually found, but Riley was not—and for over a decade, Mia has held out hope of finding her.
Neon
For the first act of the film, the point of view is that of the documentary’s director as we learn about Riley and her YouTube channel, Mia’s struggles with losing her sister, and the background of the town they went missing in, Shelby Oaks. But when something completely changes the direction of the documentary, Struckmann completely changes his point of view. All the faux documentary we watched that inlcuded lots of found footage of Riley and her team’s final mission goes away. Suddenly, Shelby Oaks is a normal film where the characters aren’t aware there is a camera because in their world, there isn’t.
From there, the point of view flips back and forth a few times depending on which best serves the story. Considering how we’ve become so accustomed to faux documentaries, found footage films, and narrative films each on their own, moving between the three styles can feel jarring at times. But the mystery of this missing YouTube group is too delicious to ignore, especially as new revelations come to light.
What helps even more is that at every stage, Stuckmann finds ways to keep us on the edge of our seats. Sometimes it’s a jump scare or a character noticing something in a reflection of footage. Other times, it’s as simple as keeping the camera lingering on something for a few beats longer than usual, just to let our eye wander and see what we discover. Often there’s nothing, but once in a while there’s something, and not knowing keeps the scares fresh and interesting.
As the film reaches its conclusion, a few overly coincidental incidents risk hurting the film, but the way the script pays them off by the end covers all that. Ultimately, Shelby Oaks cares about two things: creating a mystery that scares us, and giving us answers that are potentially even scarier. It takes a few leaps of faith and messy transitions to get there, but by the end, that doesn’t change the result. This is a horror film for and by the YouTube generation: one that’s inspired by many horror films of the past, with little regard for when or how to borrow from them. As long as it’s cool and scary. Which Shelby Oaks is.
Shelby Oaks just had its U.S. premiere at Fantastic Fest 2025, and opens in theaters on October 24.
What makes attending Fantastic Fest difficult, though, is that every single movie sounds awesome. It was curated that way. So how do you choose what to see? Well, this year, as always, a few movies have names you’ve heard of—stuff like the horror sequel Black Phone 2 or the streaming anthology V/H/S/Halloween. But beyond that, you just have to go with your gut.
I’ve been attending Fantastic Fest for about 15 years and, over that time, I’ve come up with my own unique system to pick out which films I want to see most. First, I go through the entire list of feature films and read about every single one. I then rank them based on a) what I think the readers of io9 will be interested in, and b) what I want to watch. Then, I start at the top of the nearly 100-film list and attempt to work my way down it.
What follows are the 15 films currently at the top of that list, which also happen to be a great example of just how weird and wonderful Fantastic Fest can be. The festival runs from September 18 to 25 in Austin, Texas. Click here for more. And stay tuned to io9 for our coverage from the festival.
Ben Wheatley’s new movie, Bulk. – Fantastic Fest
Bulk
Director Ben Wheatley (Kill List, Meg 2) is back with a bonkers-sounding movie about a man who is sent to find someone in a house but realizes that every door in the house opens to a new dimension. As a huge fan of alternate realities, multiple timelines, and all that kind of Primer/Back to the Future Part II stuff, this sounds like that fused with House of Leaves. Sign me up.
Vicious
Dakota Fanning stars in this film that is actually being released by Paramount, but I wasn’t quite aware of it yet. Fanning plays a girl who is presented with a box. Inside the box, she is to put three things: something she needs, something she hates, and something she loves. And, apparently, all hell breaks loose.
Bad Haircut
Getting a haircut can be one of the most relaxing, invigorating things ever. That is, unless it’s a bad one. And in Bad Haircut, not only does someone get a bad haircut, they get it from a barber they slowly realize is completely psychotic and maybe supernatural, and, well, we are in.
Disforia
Teasing shades of Funny Games and Hostel, Disforia is set in a dystopian future where a family is targeted by a group that pays to watch humans torture other humans. Yeah, like I said, Fantastic Fest can be messed up.
Whistle
Director Corin Hardy (The Nun) is at the helm of this simple, scary-sounding movie about a group of students who find a whistle. A whistle that, when you blow it, your death immediately starts coming for you.
Don’t Leave the Kids Alone, good title and rule to live by. – Fantastic Fest
Don’t Leave the Kids Alone
Imagine you’re a kid. Your parents just bought a new house and scheduled a babysitter so they can go out. The babysitter cancels. So, your parents leave you home alone for a few hours. What could go wrong? Well, then you find out your new house is haunted, and it’s just you at home? A lot. This is nightmare fuel at its finest.
Appofeniacs
Sean Gunn and Jermaine Fowler lead an ensemble cast in the story of a hacker who causes violent havoc by creating and releasing deepfake videos all over the world.
The Curse
Inspired by films like The Ring and The Grudge, The Curse is about a woman who investigates her friend’s death, only to realize the truth may lie in some sort of social media-driven evil.
A Useful Ghost
All ghosts don’t have to be bad, right? Case in point, this film is about a man who loses his wife, only to discover that she is reincarnated as their vacuum cleaner. The Fantastic Fest site tagged this one with the phrase “vacuum sex.” What else needs to be said?
The Plague
Joel Edgerton co-stars in this film about a group of tight-knit, upper-middle-class kids, many of whom have a mysterious skin disease that infects you if you touch it.
Obsession is playing at Fantastic Fest 2025. – Fantastic Fest
Obsession
A man with a crush on a co-worker buys something that allows him to make one wish. He wishes for the co-worker to like him, which unleashes an otherworldly force neither of them is ready to deal with.
Dolly
Seann William Scott and Ethan Suplee co-star in the film about a couple who are abducted and subsequently put through hell by a murderous psychopath wearing a giant doll mask.
Beast of War
Think of the USS Indianapolis speech from Jaws, but as its own movie. That’s the vibe we get from Beast of War, which follows a group of downed soldiers during World War II who have to deal with a killer shark.
Decorado
Imagine an animated version of The Truman Show with a mouse. That’s what Decorado sounds like, as an animated mouse must try to escape a world he believes to be false.
The Ice Tower
Marion Cotillard stars in a reimagining of The Ice Princess set in the 1970s French film industry. She’s an actress making a version of the story who is befriended by a runaway orphan. What does that even mean? I can’t wait to find out.
And that’s just a few of the movies we’re interested in seeing. Fantastic Fest runs from September 18 to 25, so keep checking io9 for more reactions, reviews, and more.
One of the kings of horror is Mike Flanagan and when he brought his film, Gerald’s Game, to Fantastic Fest, icon Carla Gugino took to the Austin premiere! So for our celebration of the 20 years of Fantastic Fest and the women who make it special, we’re celebrating the icon.
Gugino has been working with Flanagan for a while but it started with Gerald’s Game. The Stephen King adaptation led to Gugino starring in The Haunting of Hill House, Flanagan’s take on The Fall of the House of Usher, and even her brief cameo in The Life of Chuck. And it is a working collaboration that is one of my favorites in all of film and television. Gugino was at Fantastic Fest with her Fall of the House of Usher co-star, Bruce Greenwood.
Flanagan loves to use the same faces in his work but what was so amazing about his first collaboration with Gugino in Gerald’s Game was that fans got to see her shine in his particular brand of storytelling. For many fans, Gugino became a household name with her role as Ingrid Cortez in the Spy Kids movies. Fans fell in love with her and whenever she would appear in something, it was going to be a great time.
Much like her work in Watchmen as Sally Jupiter. But I love seeing Gugino exist in the horror genre. There is something comforting about her and that makes for a great presence in a horror film. Whether she’s playing a protagonist or the villain, I still am taken in by the characters she’s playing and I think that’s special. And getting to see Gugino take to Fantastic Fest for her work with Flanagan is pretty amazing.
You can see our celebration of all the women of Fantastic Fest here and get ready to cheer on the genre festival for 20 years of great films, big stars, and fun!
Rachel Leishman (She/Her) is an Assistant Editor at the Mary Sue. She’s been a writer professionally since 2016 but was always obsessed with movies and television and writing about them growing up. A lover of Spider-Man and Wanda Maximoff’s biggest defender, she has interests in all things nerdy and a cat named Benjamin Wyatt the cat. If you want to talk classic rock music or all things Harrison Ford, she’s your girl but her interests span far and wide. Yes, she knows she looks like Florence Pugh. She has multiple podcasts, normally has opinions on any bit of pop culture, and can tell you can actors entire filmography off the top of her head. Her current obsession is Glen Powell’s dog, Brisket.
Her work at the Mary Sue often includes Star Wars, Marvel, DC, movie reviews, and interviews.
The queen of screams herself, Jamie Lee Curtis, attended Fantastic Fest in 2018 to celebrate the release of Halloween. So why not celebrate one of the most influential women in horror and the reason we have the “final girl” trope?!
While Fantastic Fest as a whole is a genre festival, horror does thrive there. So premiering the new Halloween there was a pretty fantastic choice. The 2018 take on the Michael Myers slasher films brought Curtis back into the world. Curtis plays Laurie Strode, a young girl who was terrorized by the serial killer Michael Myers one halloween night back in the 70s.
The John Carpenter film has ushered in multiple spin-offs, lore that is a bit wishy washy, and a general fear of William Shatner masks all thanks to the 1978 film that Curtis starred in. Her connection to the Halloween movies has also led to some of the funniest moments in pop culture history. May we never forget Curtis heading to The Real Housewives of Beverly Hills where her Halloween co-star, Kyle Richards, kept making comments about how they knew each other.
But Curtis taking the new trilogy to Fantastic Fest is such an iconic move. The new movies, which started with that 2018 film, were all directed by David Gordon Green. After the release of Halloween, fans were treated with Halloween Kills and then the trilogy completed with the 2022 film Halloween Ends which, of course, had a pretty epic showdown between Michael and Laurie (even if they weren’t siblings again).
What makes Jamie Lee Curtis such an amazing person is watching as she promotes her films. She knows how to get people to come out and see her work and taking an iconic franchise like the Halloween movies to Austin for Fantastic Fest is definitely the best move!
Rachel Leishman (She/Her) is an Assistant Editor at the Mary Sue. She’s been a writer professionally since 2016 but was always obsessed with movies and television and writing about them growing up. A lover of Spider-Man and Wanda Maximoff’s biggest defender, she has interests in all things nerdy and a cat named Benjamin Wyatt the cat. If you want to talk classic rock music or all things Harrison Ford, she’s your girl but her interests span far and wide. Yes, she knows she looks like Florence Pugh. She has multiple podcasts, normally has opinions on any bit of pop culture, and can tell you can actors entire filmography off the top of her head. Her current obsession is Glen Powell’s dog, Brisket.
Her work at the Mary Sue often includes Star Wars, Marvel, DC, movie reviews, and interviews.
Not all of the women who have taken the trip to Austin for Fantastic Fest are there because of movies. Some go to the festival for the other events and just because it is one of the best festivals!
As part of our spotlight on the women of Fantastic Fest, we’re shouting out Michelle Rodriguez! Rodriguez was there back in 2010 as part of their Fantastic Debates. In a debate between Michelle Rodriguez vs. Alamo Drafthouse founder Tim League, the two boxed it out and it was an epic way to celebrate the festival and how badass Michelle Rodriguez is!
Rodriguez has been in some of our favorite shows and movies. She played Ana Lucia Cortez in the hit show Lost and then went on to star opposite Vin Diesel in The Fast and the Furious Franchise. Her best entry into genre film to me though is her role as Holga Kilgore in the 2023 film Dungeons & Dragons: Honor Among Thieves.
And that’s what makes Rodriguez’s career so special. She is always taking on new projects and trying new things and seeing her celebrate Fantastic Fest as part of the debates is just really cool! And luckily, there is a video of Rodriguez getting ready to fight League and look, I think it is pretty iconic that she is so ready to box him. And if Rodriguez said that she’d could kick someone’s ass, you better believe that it is true.
Sometimes, the amazing women of Fantastic Fest are there because the festival itself is just that cool and if it means we get great boxing matches, even better.
You can celebrate the women who make Fantastic Fest well….fantastic with us each day leading up to the festival this year and celebrate 20 years of the beloved genre film festival!
Rachel Leishman (She/Her) is an Assistant Editor at the Mary Sue. She’s been a writer professionally since 2016 but was always obsessed with movies and television and writing about them growing up. A lover of Spider-Man and Wanda Maximoff’s biggest defender, she has interests in all things nerdy and a cat named Benjamin Wyatt the cat. If you want to talk classic rock music or all things Harrison Ford, she’s your girl but her interests span far and wide. Yes, she knows she looks like Florence Pugh. She has multiple podcasts, normally has opinions on any bit of pop culture, and can tell you can actors entire filmography off the top of her head. Her current obsession is Glen Powell’s dog, Brisket.
Her work at the Mary Sue often includes Star Wars, Marvel, DC, movie reviews, and interviews.
