Sneha Jaiswal's Blog, page 29

Maggie’s Grave Review: From Bleak Folklore to Bloody Mayhem

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

All right, so I picked up “Maggie’s Grave” by David Sodergren because “Summer of the Monsters”, another horror novel by the same author, was an easy, entertaining read, even if it wasn’t exactly ‘spine-chilling’ and was partly predictable. “Maggie’s Grave”, on the other hand, is pretty terrifying in parts – extremely violent, gory, and piling on brutal deaths in a small, obscure town haunted by a ‘witch’. In fact, the novel is also unpredictable, though some of the surprising incidents are just far-out ridiculous. But don’t worry, there will be no spoilers in this book review.

Set in the small Scottish town of Auchenmullan, “Maggie’s Grave” opens with a vicious witch-hunt of a pregnant young woman named Maggie in the 1650s, just because a little boy lies about seeing something unnatural. A frenzied mob murders Maggie mercilessly, but not before she curses the entire town and returns to haunt them in unimaginable ways. For the town’s youngsters, Maggie’s story is simply folklore, although unknown to them, the elder townsfolk have ways to keep Maggie away. But in the year 2019, something stirs up the malevolent witch’s spirit again, awakening her dormant blood-lust. Her first victims are teens who decide to hike up to the mountain to see her grave, on the worst possible night of their lives.

The story is largely told from the perspective of four teens in Auchenmullan: Beth, Grady, Steve, and Alice, all of whom are friends mostly because they don’t really have any other options. Beth and Grady are dating, though their relationship already seems strained. Beth is also starting to feel distant from her best-friend Alice, especially after Alice gives birth to a baby boy, after an unexpected teen pregnancy. The father skips town soon after finding out about the pregnancy. Meanwhile, Steve plays the role of the arrogant joker of the group.

Also Read: The Pier Falls Book Review: Grimly Eclectic

The best part about “Maggie’s Grave” is author David Sodergren’s straightforward writing style. It’s easy to read and doesn’t overdo descriptions, though he rightly describes the horrid deaths through the course of the novel with gory detail. The novel is fast-paced, with most of the action taking place within 24 hours, as Maggie’s ghost terrorizes the little town of Auchenmullan with blood, screams, and vengeance.

Toward the final chapters, “Maggie’s Grave” gets exaggeratedly silly, and there’s some tonal dissonance. The first half focuses on the teens being caught up in their own personal struggles, Beth feeling trapped in the small, suffocating town, where the only place for entertainment is a smelly bowling alley that also happens to be the only place selling beer. Auchenmullan has no pubs, hotels, movie theaters, nothing. It’s a dead town. There’s a sense of gloom and sadness in the first half.

However, the second half includes some ludicrous twists that almost veer into horror-comedy territory. In fact, there are a few hilarious horror moments, but not enough to classify “Maggie’s Grave” as a horror-comedy. That’s where the tonal dissonance shows, from starting out as a tragic tale of an innocent pregnant woman being ripped to pieces by a superstitious village, to suddenly shifting gears into toilet humor and weird sex stuff. The story gets frustrating by the end.

The climactic chapter features an overdrawn battle between Maggie and one of the main characters, which could’ve been shortened. After building up Maggie as someone who can crush humans like ants, the drawn-out one-on-one fight feels like regular, unbelievable drama. There is, however, one clever little twist at the end that’s nicely foreshadowed. The story throws in a few red herrings to keep readers guessing. So, brownie points for the ending twist and the satisfying closure to the legend of Maggie.

If you’re a horror fan stuck in a reading rut, Maggie’s Grave is a quick, entertaining one-time read.

Rating: 3 on 5. Maggie’s Grave is also on Kindle Unlimited.

Read Next: Book Review of Mary Shelley’s Frankenstein

Also Read: Love, Death & Robots Volume 4 Review (Short Audio Version Below)

Lost in Starlight Review: BGs Shinier Than Character Animation

Sneha Jaiswal (Twitter | Instagram)

‘Lost in Starlight’ might be set in 2026, but it re-imagines a much more futuristic planet earth, with air-taxis zooming in the sky, people sleeping in their self-driven cars, and hyper-realistic simulations allowing callers to jump out of video calls. Created by Han Ji-won and Kang Hyun, this is Netflix’s first original Korean animation film.

The plot of ‘Lost in Starlight’ follows Nan-young (voiced by Kim Tae-ri of The Handmaiden fame), an ambitious astronaut cooling her heels in her hometown of Seoul while serving as a backup for NASA’s mission to Mars. As Nan-young trains around the clock to secure a spot on the crew, she meets the charismatic Jay (voiced by Hong Kyung from Netflix’s Weak Hero Class 1), a musician working in a repair shop. Jay offers to fix Nan-young’s broken record player, and the two unexpectedly fall in love over music. But what happens to them if Nan-young makes it onto the Mars mission?

For animation fans, ‘Lost in Starlight‘ might feel like a mash-up of Kid Cudi’s neon-lit romance Entergalactic and Richard Linklater’s space odyssey Apollo 10½. It combines elements of both genres, offering a romantic sci-fi tale where two very different people pursue their dreams while exploring a tender, newfound connection. Nan-young and Jay share a sweet romantic progression, free from any typical ‘situationship’ woes. However, some of the coincidences that move their story forward are definitely over-the-top, K-drama level. For instance, the very first song Nan-young plays just happens to be one composed by Jay, a fact she isn’t even aware of. What are the chances? Pure K-drama magic.

When it comes to animation quality, the character designs and motion in ‘Lost in Starlight‘ are often overshadowed by its stunning BGs (backgrounds). Many animated shows and anime tend to skimp on background details; a good example is Netflix’s Blood of Zeus, it features great character designs but no grandness in its BGs. In this case, it’s the opposite. The BGs are beautifully rendered, including lots of details in the city landscape, making Seoul look like a dreamy modern city, while the character models are underwhelming and the animation lacks fluidity. Nan-young’s design is quite charming, but Jay’s appearance feels unnatural, like a K-pop star with excessive plastic surgery.

But ‘Lost in Starlight‘ isn’t just about an astronaut falling in love with a musician; it also explores Nan-young’s complex connection with her deceased mother, an astronaut who died during a Mars mission. Surprisingly, we learn nothing about Jay’s personal or family life, except that he used to be in a band and quit due to creative differences. Since music is a key ingredient, there are some really nice musical sequences and songs peppered through the runtime, including two concerts.

For a film that’s just about 90 minutes long, ‘Lost in Starlight’ is colorful, cute, and charming. But its final scenes? Maddening. The creators bizarrely decide to cut between Nan-young risking her life on Mars and Jay performing in his first concert in years, and the tonal whiplash is real. Sure, in theory, it could’ve worked: girlfriend faces death in space, boyfriend battles stage fright. Deep stuff, right? Except… NO! If the main character is literally on the verge of dying on a desolate planet, I don’t care if her Korean oppa hits his high notes or cries into a mic. Read the room, filmmakers!

Overall, it’s an entertaining animated film, delivering a heartwarming final minute, and could’ve benefited from better character designs.

Rating: 7.5 on 10. Watch ‘Lost in Starlight’ on Netflix

Read Next: The Rose of Versailles Anime Movie Review

Also Read: Love, Death & Robots Volume 4 Review (Short Audio Version Below)

Espantaho (Scarecrow) Review: Fine Cast Trapped in Poor CGI Scares

Sneha Jaiswal (Twitter | Instagram)

The 2024 Filipino horror movie ‘Espantaho‘ (English title: Scarecrow) follows Monet, a young woman who runs an antique shop with her husband, Jack, while mourning her father Pabling’s death. Jack leaves Monet to handle the nine-day vigil ceremony for her father, as he departs for his own family emergency. Left alone with her young son, Monet must battle new ghosts invading her house, and her woes worsen when her father’s first wife shows up with her children, demanding her share of the property: all of it.

Created by Chito S. Roño (director) and Chris Martinez (writer), ‘Espantaho‘ (Scarecrow) stars Judy Ann Santos as protagonist Monet, a meek young woman prone to seizures, constantly under the shadow of her domineering mother, Rosa (Lorna Tolentino). The twist? Rosa is dead, and this doesn’t count as a spoiler, because it’s revealed in the first 15 minutes of the film, though very subtly. Whoever cast Judy Ann Santos and Lorna Tolentino as the mother-daughter duo joined at the hip deserves brownie points, because they look like they’re actually related. However, it’s a completely different malevolent entity that starts to kill those around Monet, one by one, in eerie ways.

‘Espantaho‘ definitely has an intriguing primary premise, with all its supernatural activities and deaths connected to a mysteriously creepy painting that makes its way into Monet’s house. Even the mansion she lives in looks old and haunting. However, the special effects in the supernatural scenes are low-quality and comedic instead of scary, making it look like it was made in the 1990s. So the ‘fear’ factor in this horror movie is really low, unfortunately, a crucial ingredient for the genre.

Chanda Romero as Monet’s aunt Adele brings some human villainy to ‘Espantaho‘, she is devious as Pabling’s (Monet’s father) calculating, shrewd, and opportunistic wife. Adele arrives for the vigil with her son Roy (Mon Confiado) and daughter Andie (Janice De Belen), Monet’s older half-siblings, despite having been MIA the whole time Pabling was sick in the hospital. So, apart from the mystery surrounding the evil painting, there’s a whole lot of family conflict and property drama, which simply makes the plot more convoluted. Besides, the eventual twist has little to do with the familial bitterness between the main characters.

From creepy-crawlies, locust swarms, and worms to borrowing from horror classics like ‘The Shining‘ by inserting ghostly little twin girls who spook Monet and others, ‘Espantaho‘ is a mishmash of familiar horror tropes. It even throws in shamans and art experts, the only thing missing is an exorcist, though this isn’t a possession story, so one wasn’t needed. If the creators could’ve raised more funds for better CGI, maybe the deaths in ‘Espantaho‘ could’ve been terrifying.

Ultimately, the film tries to juggle too many issues, and the first half feels disjointed from the second, like two different stories jammed into one. But if you don’t mind streaming a retro-styled, old-school horror flick that’s well-acted but underwhelming in the chills department, ‘Espantaho‘ might still be worth a try.

Rating: 5 on 10. Watch ‘Espantaho’ on Netflix.

Also Read: ‘Fear Street: Prom Queen’ Review: ‘Scream’ Meets ‘Mean Girls’

Read Next: Sirens Netflix Series Review (Short Audio Version below)

Home Trailer: Pete Davidson Faces Caretaker Terrors

Follow us on Twitter | Instagram

Pete Davidson in a horror movie about a creepy retirement home, where he may or may not be losing his sanity? Okay, sure, we might be ready to sign up for that!

Directed by James DeMonaco, the trailer for the upcoming horror film ‘Home’ stars Pete Davidson as Max, a young man sentenced to perform community service at a home for the elderly.

“Saw how clean this place was while coming in? Your job is to keep it that way. And no fourth floor…”

Max is immediately warned to stay away from the fourth floor of the facility, as the residents there are said to require “special” treatment. However, even without venturing onto the forbidden floor, the young man begins to witness eerie and unsettling events throughout the building. Driven by curiosity and growing dread, Max starts to investigate what might be going on, unwittingly putting himself and others in danger.

The bleak, shadowy settings of the retirement home, combined with elderly residents who look like they’re either on the brink of death or have already passed to the other side, help ‘Home’ nail its chilling atmosphere, at least based on the trailer.

What exactly is happening on the mysterious fourth floor is anyone’s guess. But given the setting, the possibilities seem narrowed: perhaps these are retirees with no surviving relatives who are being used for sinister experiments. Or, since this is a horror movie, maybe they’re demonic entities feeding off the living souls in the facility. Who knows?

It’s up to Max to uncover the truth before he becomes the next victim. And here’s hoping the filmmakers don’t pull the overused twist of revealing that Max has mental health issues and was imagining everything all along – that one’s a bit too cliché now. Although the trailer does end with a weirdly disturbing scene where Max is tied up to an operating table against his will, and his captors seem to be ready to remove his eyes! Maybe that scene shouldn’t have made it to the teaser.

From the looks of it, ‘Home’ has the potential to be a genuinely creepy addition to the horror genre. Although since this is the first time Pete Davidson is headlining a horror movie, one doesn’t know what to quite expect. Actors John Glover, Bruce Altman, and Marilee Talkington round out the cast. The film is set for a theatrical release on July 25.

You can watch the trailer on YouTube, it’s also embedded below.

We Live in Time Review: Garfield & Pugh Are Magnetic

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

‘We Live in Time‘ makes one wonder why Andrew Garfield isn’t in more sweeping romance movies. He has the chocolate-boy charm, the ‘green flag’, or rather the whole ‘green field’ persona, making it easy to believe that a cynical, independent character like Florence Pugh’s Almut has no trouble letting her guard down around him, after running him over with her car first, though. Andrew Garfield (‘Spiderman’, ‘Hacksaw Ridge’) and Florence Pugh’s (‘Dune 2’, ‘The Wonder’) chemistry in this film is absolute screen magic. They might just rekindle the dying flame of romance in the hearts of sceptics. Although, fair warning: this is R-rated, featuring nudity, and a graphic delivery scene that will make some viewers (me included) squirm in their seats.

Created by John Crowley (director) and Nick Payne (writer), We Live in Time starts off with Almut on a morning jog. She then goes home, collects eggs from her hens in a pen, whips up something, and gets her partner Tobias (Andrew Garfield), still sleeping, to wake up and taste it for her. He isn’t irritated or annoyed but indulgently gives in to her request. It’s a warm domestic scene, setting the tone for their relationship equation, which does get stormy but is largely stable, until cancer comes knocking on Almut’s ovaries. Suddenly, the rest of their lives together looks uncertain, and their first challenge is to explain the situation to their 3-year-old daughter Ella (Grace Delaney).

Tobias is a sweet, laid-back representative for a cereal company, while Almut is an ambitious chef running her own restaurant. ‘We Live in Time‘ is narrated non-linearly, unfolding in three different timelines. The movie starts in the present, then immediately shifts back to the past, where the couple is navigating through Almut’s difficult pregnancy. The third timeline goes further back to tell the story of how they met: Almut accidentally runs over Tobias when he suddenly drops something on the road and tries to pick it up. A very unconventional meet-crash. Also, a genuinely interesting comedic “How I Met Your Mother” story: “Oh, I dropped some stuff on the road and was knocked unconscious when your mother’s car hit me while I was trying to pick my things up.” Spanning about a decade, the film is a moving snapshot of their evolving, tender relationship.

While the first half of ‘We Live in Time‘ is nearly flawless, making viewers cheer for Tobias and Almut at every turn, the multiple timelines soon start to disrupt the flow of the tale. Thankfully, at least the timelines aren’t confusing, especially since Almut has a distinctly different haircut in the past and is pregnant in the middle timeline despite the same hairdo. Apart from that, the second half also begins to get formulaic, foisting some relationship drama through Almut hiding something, which really wasn’t necessary and feels slightly uncharacteristic of her otherwise straightforward, no-filter, feisty persona.

One of the best things ‘We Live in Time‘ does is subtly display how humans are willing to let go of some of their own hang-ups about things for love. And like the title suggests, it’s of course a lot about living in the present rather than fussing and stressing over what the future might bring. Ironically, even though Almut is the one who believes in living in the present, she eventually succumbs to the pressures of thinking, “What would happen when I am no longer around?” But of course, that’s the paradoxical dichotomy inherent in us all. We say one thing, we might mean something else, and it’s okay to have a change of heart. There are no condescending “I told you so” rejoinders in the tale, although Tobias and Almut do have their fights and low points. The rest of the cast are just bystanders in their love story.

Andrew Garfield and Florence Pugh have exceptional chemistry in ‘We Live in Time‘, and I would love to see them cast in a romantic comedy next time, with a more certain happy ending. I remember lamenting how Garfield had no spark with his romantic interest in Tick, Tick… Boom! (a great musical, by the way), but this film casts him in a whole new light. I have yet to see a film where Florence Pugh gives viewers any reason to complain about her acting, even in the forgettable ‘Black Widow‘, she holds her own alongside showstopper Scarlett Johansson.

Seriously, just watch this movie for the lead actors. They power this 1-hour-48-minute drama and manage to wash over some of the disappointment from familiar tropes forced in the second half. The climax feels a little rushed, so this is a rare film that I think could’ve easily added a few more minutes to give viewers the chance to bid a more emotional goodbye to Tobias and Almut.

Rating: 8 on 10. We Live in Time is on Prime Video.

Also Read: Sirens Netflix Series Review (Short Audio Version below)

My Golden Blood Review: Vampires & Eye Candy Rule

Sneha Jaiswal (Twitter | Instagram)

Mark Amarittrakul, a wealthy, powerful, centuries-old vampire portrayed by Joss Way-ar Sangngern, falls in love with college fresher Tong (Fluke Gawin Caskey), a mere human, and a forbidden romance unfolds in Thai series ‘My Golden Blood’. Sounds a little like Twilight with a queer twist, doesn’t it? Well, the 2025 drama is also very 2000s-coded and will best appeal to fans who prefer shipping vampire Edward Cullen with Jacob Black and not Bella Swan.

Directed by Ark Saroj Kunatanad, the GMMTV series is based on the novel of the same name by Dawin. Episode one kicks off with a violent cold open, where unseen vampires murder a young couple while their baby survives. Gawin Caskey plays protagonist Tong, an orphan raised to believe he has a rare blood disorder, but the truth is that he possesses special blood coveted by vampires. Running through his veins is the “golden blood,” mythical in the vampiric community for the power it grants to those who consume it.

Tong has spent most of his life socially isolated, with only one friend, Tonkla (Neo Trai Nimtawat), by his side. However, when the two move to Bangkok to start their life as college students, Tong crosses paths with the handsome and enigmatic Mark while working a part-time job. His first reaction is to practically drool, and nobody is blaming him, because Joss’s Mark gets a sexy swimming pool introductory scene. Mark reveals himself to be a vampire who has been protecting Tong from a distance for years under the orders of his boss Thara Amarittrakul (Um Apasiri Nitibhon). Thara, the current boss of a powerful vampiric order, believes in peaceful coexistence with humans and refrains from drinking their blood. However, several other more ambitious vampires covet the golden blood, chief among them being Thara’s nephew, Nakan Amarittrakul (Mond Tanutchai Wijitvongtong). So, it’s Mark’s job to ensure Tong doesn’t become a vampire’s meal, but can he truly resist the temptation of biting the “golden blood” boy himself?

In their first meeting, Mark gets the classic swimming pool shot, emerging like a hot, half-naked merman from the hotel pool while Tong, working part-time at the venue, nearly drools at the view. And the drooling is completely justified. In fact, a lot of episodes in My Golden Blood are powered by a shirtless Mark. Soon, it becomes evident that the series is a low-stakes guilty-pleasure watch for fans looking for a queer vampire romance with good-looking leads. The plot turns out to be too basic, and the special effects, though used minimally, are glitchy and seem low-budget. Even the action choreography in some physical face-offs is unimpressive and cringe-inducing.

The biggest strength of My Golden Blood is the visual pairing of Gawin Caskey and Joss Way-ar Sangngern as Tong and Mark. They look great together, and their onscreen chemistry is quite steamy, although in some scenes, the sparks falter a bit. Last seen as the romantic lead in the time-travel drama Be My Favorite, Gawin Caskey does more of the emotional heavy lifting as the young, sensitive, confused Tong, just out of school and thrown face-first into a violent world of bloodthirsty vampires. He is further confused by the hunky Mark, especially when the older vampire enrolls in his class and tails him around the clock. Sexual tension brews between the two, although Tong cannot figure out if Mark is really drawn to him or just his special golden blood. Regardless, the progression of their love story is often cheesy-cute, and the series largely unfolds like a college romance, with Mark ‘learning’ what it means to love a human for the first time in his life. Most of the conflict is reserved for the second half of the show, with Mark finding himself in a serious race to protect Tong from power-hungry vampires. Although the pair also bickers over Mark’s trust issues with Tong’s best-friend Tonkla, especially since Nakan can hypnotize people.

As far as looks go, Joss Way-ar Sangngern is perfect as the romantic vampiric lead and often looks at Tong like he really would devour him. The romantic current isn’t always intense between them, and honestly, given how the first few episodes keep parading Mark nearly naked, My Golden Blood isn’t as steamy as a guilty-pleasure romance with a weak plot should be. But viewers do get some over-the-top candle-lit romantic rose baths, and the original music score is memorably good.

Mond Tanutchai Wijitvongtong as antagonist Nakan, a powerful businessman hunting for Tong’s golden blood, does have the “bad guy” persona, though perhaps a slightly older actor would have been more apt for the role. Interestingly, he isn’t an exaggerated black-and-white villain, often indulging in mind games with both Tong and Mark, leaving everyone confused about his real intent. Um Apasiri Nitibhon as vampire boss Thara, however, is perhaps the weakest link in ‘My Golden Blood’. While she looks the part of a powerful supernatural being, always dressed in sharp, elegant suits, there’s no life or charm in her portrayal of the character.

‘My Golden Blood’ also suffers from major plot inconsistencies. For instance, Mark possesses the power to heal people, wounds and all, but he uses this power very sparingly, as if he sometimes forgets he has that ability. One of the biggest plot holes is delivered through a key flashback, where a vampire is shown draining the blood of a young human with golden blood. This incident takes place in the past in a private room, with no frills, just a superior creature casually killing its prey on a sofa like a cat shredding a mouse. However, a ridiculous amount of fuss is made for the next golden blood consumption, with an elaborate cult-like ceremony.

It’s surprising how the cinematography in My Golden Blood looks relatively low-budget compared to other contemporary GMMTV shows like Peaceful Property or Ossan’s Love Thailand. Given that this is a fantasy show, the executives should’ve earmarked more funds for it, or the writers should’ve tweaked the script to match the budget. For example, the climactic episode has two or three sequences that clearly look like they were done on a green screen. They are so low quality that they made me laugh out loud. How could they do that in the last episode?

Seriously, the climactic episode was predictable, partly emotional, and the rest had me laughing on the floor. However, a nearly fairy-tale twist at the end might redeem the show for some viewers who don’t have lofty standards. Overall, ‘My Golden Blood’ remains a guilty-pleasure watch for vampire and gay romance genre fans.

Rating: 6 out of 10. My Golden Blood is available on YouTube and iQIYI.

Read Next: Overcompensating Review: ‘Love, Victor’ Meets ‘American Pie’, Sort of

Also Read: Sirens Netflix Series Review (Short Audio Version below)

Stolen Trailer Promises a Brutal Thriller led by Abhishek Banerjee

Follow us on Twitter | Instagram

A stolen baby, two brothers on the run, and a mother whose desperation hides something more disturbing than grief, “Stolen” doesn’t just drop a trailer, it throws us into a full-blown nightmare.

The teaser opens with the kind of chaos that instantly hooks you. Picture an unusually quiet Indian railway station, early morning, bleakly lit, and the jarring noise of an approaching train cutting through the air. A baby vanishes in the blink of an eye. In the next frame, we see Abhishek Banerjee (yes, the guy who’s been stealing scenes in everything lately, from big hits like ‘Stree’ to the underrated comedy-series ‘The Great Weddings of Munnes’) being shoved and yelled at by a raging mob. Is he the kidnapper? Or just in the wrong place at the worst possible time?

From here, the trailer goes full throttle.

Banerjee’s character, Gautam, teams up with his younger brother Raman (played by Shubham Bansal), trying to make sense of the accusation, but the deeper they dig, the messier it gets. Bloodied, breathless, and barely staying ahead of the next blow, the brothers are thrown headfirst into a gritty chase filled with ruthless goons baying for their blood. The plot thickens not with revelations, but with more questions. What were the brothers even doing there? Why does the mother, Jhumpa (played by the riveting Mia Maelzer), alternate between victim and enigma? And are we sure the baby was even taken by strangers?

And just when you think you’ve figured out the direction the trailer’s headed, it punches you with brutal imagery: a bloodied Abhishek Banerjee being beaten mercilessly, wide-eyed with fear and confusion. There’s something deeply unsettling about these moments. That’s probably where director Karan Tejpal wants us: uncomfortably invested.

Backing Tejpal’s directorial vision is a powerhouse production team featuring names like Anurag Kashyap, Kiran Rao, Nikkhil Advani, and Vikramaditya Motwane. With that kind of backing, we are going to assume and hope that “Stolen” is not aiming for your average thriller template. This looks like the kind of indie-leaning, high-intensity ride that brings commentary and chaos in equal measure.

According to the official synopsis, the story starts with Gautam arriving at a station to pick up his brother for a wedding. But instead of a family reunion, he’s caught in a stranger’s tragedy, a baby’s disappearance, a mother’s cry for help, and a mistaken identity that turns his day upside down. Raman wants to do the right thing. Gautam? Not so much. But soon, it’s too late to opt out.

Is this a tale of social injustice and profiling? Or a layered con where everyone’s motives are murky? “Stolen” looks grounded, grim, and eerily realistic. If the trailer is anything to go by, it is not just about a missing baby. The film is scheduled for a June 4 release, you can watch the trailer on YouTube, it’s also embedded below.

Superfreaks Comic Book Review: ‘Teen Titans’ With Training Wheels

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

A bunch of teen hero sidekicks, trained only to fetch coffee for their big-name bosses, are left to save planet Earth when the senior heroes suddenly disappear one day in the comic-book series Superfreaks by Elsa Charretier, Pierrick Colinet, and Margaux Saltel.

Unlike Superman, who comes from a different planet, or other popular superheroes in the comic-book world who were ‘experiments gone wrong,’ the superheroes of Superfreaks are created by a mysterious van that simply appears on Earth one day and starts shooting beams at random, granting special powers to whoever is hit by its light. This essentially spawns a whole new religion, with the van becoming the planet’s new ‘God’ or savior, and the superheroes, of course, the guardians of Earth, fighting crime and all that.

Narrated by an unknown voice, whose identity is only revealed toward the end, “Superfreaks” begins with some exposition, letting readers know that it’s been 50 years since the ‘van’ began spawning generations of superheroes. But over time, the senior heroes grow insecure, greedy, and refuse to train or step aside for newer generations. You know, a little like the corporate superheroes in “The Boys”, more interested in fame, glory, and money than actual heroism.

The primary protagonist of Superfreaks is a sidekick named Blue Aura, a powerful but grossly under-confident teen hero whose only job is to run errands for her boss. “Be small,” she keeps telling herself, despite being a big girl capable of amazing things – held back only because the adults around her constantly belittle her. That’s true for all her peers, who are never allowed to do anything meaningful. So, when all the top heroes vanish, the media calls the younger generation “clowns” (well, not in as many words) who are incapable of saving the day. To make matters worse, a massive alien spaceship begins attacking Earth. Its primary goal? To steal the magic van! Blue Aura and her superpowered friends must band together to stop the alien threat, even though no one, not even their own families, believes in them.

One of my favorite scenes in Superfreaks is when a reporter interviews a priest about the ongoing alien crisis inside a church. Instead of a statue of Jesus at the altar, there’s a replica of the van. Yes, it’s the cult of the van that’s captivated the earth as one of the biggest religions in this alternate universe. Even the media representation was funny in the series, with some anchors being too loud and borderline mean in their criticism of the younger heroes. To make things worse, a faction of ‘evil’ superheroes immediately start causing trouble for the surviving team. Luckily, the van creates a new superhero called ‘Savage’, adding a helping hand to the good guys in times of crisis.

Superfreaks is a cutesy, chaotic comic book series with an upbeat Teen Titans energy, even though the characters themselves aren’t particularly memorable. Its biggest flaw is that the creators don’t give each hero a distinct introduction. And for a five-part comic series where each issue is under 30 pages, the plot tries to cram in too many characters, making it hard to keep track of who’s who or register their personalities.

If the artwork had been sharper, I would’ve probably enjoyed Superfreaks a lot more. But the coloring and design style ended up being more distracting than engaging (and I’m usually a super fan of colorful, glossy comics). Although, some of the character designs in the comics were cool, especially that of Blue Aura’s. I could see some readers enjoying the artwork more than the plot, it just wasn’t to my liking.

Friendship, team-work, and self-love are some of the primary themes of ‘Superfreaks’, with almost each teen battling with their self-esteem and relying on each other’s support to defeat the alien spaceship. There’s some hint of romance in the plot too, although panic and fighting dominate page space.

The climactic chapter introduces a surprising twist in the tale, which finally explains the origin of the van and it was quite out of the box. At the same time, the details are slightly sketchy, with the creators rushing the flashbacks and letting readers fill in the blanks. But just like all good superhero tales, the ‘Superfreaks’ do manage to save the day in a very unconventional way, upsetting a lot of naysayers, but winning themselves a new generation of admirers.

Rating: 3 on 5. ‘Superfreaks’ is also on Kindle Unlimited.

Read Next: Book Review of Mary Shelley’s Frankenstein

Also Read: Love, Death & Robots Volume 4 Review (Short Audio Version Below)

Harry Potter Cast For New HBO Series Unveiled, Meet The Magic 3!

Follow us on Twitter | Instagram

The generation that grew up reading Harry Potter as it came out, waking up early and lining up outside bookstores on release day, is now well into their 30s or even 40s. Yet, the boy wizard’s influence hasn’t waned. More than a decade since the final live-action film, Harry Potter and the Deathly Hallows – Part 2, released on July 15, 2011, the magical universe continues to cast its spell on new readers across the globe. With HBO and Max officially greenlighting a reboot series, fans old and new are inching closer to experiencing the Wizarding World all over again.

After months of speculation and anticipation, the studio finally introduced the new Harry Potter cast, three fresh faces who will take on the legendary trio: Dominic McLaughlin as the titular Harry Potter, Arabella Stanton as the clever and courageous Hermione Granger, and Alastair Stout as the ever-loyal Ron Weasley. In a charming reveal post across social media, HBO Max addressed them in the classic Hogwarts acceptance letter format: “Dear Mr. Potter, Miss Granger, and Mr. Weasley: We are pleased to inform you that you have a place at Hogwarts School of Witchcraft and Wizardry.”

This announcement has stirred excitement as well as curiosity. Recasting characters so deeply embedded in pop culture is no small feat. For many, Daniel Radcliffe, Emma Watson, and Rupert Grint are Harry, Hermione, and Ron. However, HBO’s new adaptation of the Harry Potter series promises a more book-accurate retelling, spread over multiple seasons, giving more room to flesh out subplots and character arcs that the movies had to condense or skip altogether.

The decision to reboot the franchise as a series rather than a movie was met with mixed reactions when first revealed. On one hand, it gives a new generation of storytellers and performers a chance to step into this beloved world. On the other, it risks direct comparisons with the massively successful Warner Bros. film series that grossed over $7 billion worldwide. Nevertheless, the announcement of the young leads has reignited the enthusiasm of Potterheads everywhere, signaling that the magic is ready to be reborn. The franchise previously expanded with the stage play Harry Potter and the Cursed Child, set years after the original series, though reactions to it have remained mixed among fans.

Joining the trio are a slate of seasoned actors taking on some of the most pivotal adult roles. Legendary actor John Lithgow has been cast as the enigmatic and wise Albus Dumbledore, bringing with him a gravitas and warmth that fans hope will do justice to the role once portrayed by both Richard Harris and Michael Gambon. Janet McTeer, known for her powerful performances in Ozark and Albert Nobbs, steps into the sharp-witted shoes of Professor Minerva McGonagall. Meanwhile, comedic favorite Nick Frost will take on the beloved half-giant Hagrid, a role originally played by the late Robbie Coltrane.

While the casting choices have generated buzz, they’ve also sparked passionate debates. The legacy of Harry Potter is layered, filled with nostalgia, but also entangled in controversies surrounding the franchise’s creator. Some fans remain conflicted, eager to revisit Hogwarts, yet wary of supporting new projects tied to J.K. Rowling. HBO has so far remained firm in its decision to involve her as an executive producer, given her ownership of the source material, but has stated that the focus will be on the books and the characters that captured the hearts of millions.

The upcoming series is expected to launch sometime in 2026, with each season dedicated to a specific book in the seven-part saga. This serialized approach opens up vast storytelling possibilities. For example, early seasons may finally give justice to characters like Peeves the Poltergeist, Ludo Bagman, or Winky the house-elf, all of whom were omitted from the films due to time constraints. It also means a deeper dive into the complexities of the wizarding world, from the socio-political structure of the Ministry of Magic to the nuanced friendships and rivalries that shaped Harry’s journey.

Behind the scenes, the production is being helmed by a team of industry veterans and rising talents, with HBO reportedly investing heavily in visual effects, set design, and creature development. The idea is to make the series feel grand and immersive, yet distinct from the movies. Rather than attempt to replicate the original, HBO aims to reimagine the saga for a new generation, in line with contemporary storytelling sensibilities.

As the franchise prepares for this next chapter, one thing is clear: the world is watching. Whether the new Harry, Hermione, and Ron will soar on broomsticks into fan hearts or stumble under the weight of expectations remains to be seen. But for now, excitement brews like a cauldron in a Hogwarts dungeon.

Read Next: Sirens Netflix Series Review (Short Audio Version below)

Overcompensating Review: ‘Love, Victor’ Meets ‘American Pie’, Sort of

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Well, long review short, the 2025 Prime Video series “Overcompensating” is a mash of “American Pie” and “Love, Victor”, so it flits being an over-the-top comedy, while swinging to delivering some heartfelt emotions here and there. A cute guy, who is still in the closet, tries to date a girl so that people won’t find out the truth about him? That’s “Love, Victor” season one right there, but instead of being a high-school drama, “Overcompensating” is set in a fictional University called “Yates”, following college freshman Benny (Benito Skinner), as he tries to hook up with Carmen (Wally Baram) on the first night, even though he’d rather be in bed with the dreamy Miles (Rish Shah).

Spread over eight episodes, the first episode of “Overcompensating” kicks off with Benny’s parents (Kyle MacLachlan and Connie Britton) dropping him off at college, emotional about letting their golden boy go. Benny’s older sister, Grace (Mary Beth Barone), isn’t thrilled to see her younger brother coming to study at the same college, but her boyfriend Peter (Adam DiMarco), a popular campus senior, welcomes Benny warmly and gives him a mission: get laid on the first day if he wants to avoid social death.

“Overcompensating” flips the classic ‘friends to lovers’ trope, following Benny and Carmen’s journey from pretend lovers to actual friends. The two try to hook up on their first day of college, purely due to peer pressure, though Carmen assumes Benny might genuinely be into her. They continue to hang out, and people around them simply assume they’re a couple. Neither of them corrects it, since being seen as a ‘thing’ makes them seem ‘cool’. Meanwhile, they try to climb the college social ladder by attempting to join an elite, exclusive campus secret society typically reserved for rich kids with connections.

Benny is the one who does most of the overcompensating in the series, desperately trying to conform to heteronormative actions, which usually results in comically awkward moments. For instance, at a dorm party, while all the male students rap ‘dude songs’, Benny hilariously raps to Nicki Minaj’s “Super Bass,” while the others look on, confused. Carmen mostly just gets swept up in Benny’s world of wild college parties and secret society shenanigans.

Benito Skinner and Wally Baram make an oddly cute lead duo, despite being ‘only friends’ for most of the series. While Benny’s struggle with his sexuality is far more engaging, Wally’s Carmen gets a rather clichéd character arc, indulging in familiar teen drama behavior that ends up hurting her friends. So there’s a bit where she tries to join and blend in with the ‘Mean Girls’ clique on her campus, going as far as eating things she is allergic too, just to please them. Ugh. Where’s your self-preservation instinct, girl?

Among the supporting cast, actor Holmes is the most entertaining as Carmen’s boisterous roommate Hailee, almost always overdressed and up to something weird. Holmes has great comedic presence and timing, and reminded me of a young Jennifer Coolidge. Rish Shah feels underutilized as Benny’s campus crush, Miles. Although the two share great chemistry, there’s not much substance to their subplot, since Miles is too scared to act on his feelings. ‘Overcompensating’ is largely about Benny figuring out what he really wants, including his academic path. He starts off as a business major only because his dad wants him to but begins gravitating toward film studies (mostly because Miles takes the class).

Mary Beth Barone, as his older sister Grace, starts off as a cold meanie, but the second half of the show gives her more depth. Honestly, it didn’t seem like Grace and her boyfriend Peter would be pivotal to the plot, but they are. Adam DiMarco’s portrayal of Peter lacks punch, his character is a confusing mess: on one hand, he is shown to be an arrogant ‘bad boy’ who treats his girlfriend like dirt, on the other, he has his own existential crisis due to insecurities over his prospects and dipping popularity.

The most surprising element of ‘Overcompensating’ is a fun cameo by Charli XCX, who appears as herself performing at a college concert in Yates. Fans of the singer get to see her belt out her hit songs on the show. Even otherwise, the series features a lively soundtrack packed with popular numbers.

Overall, the show may feel slightly dated at times, but it delivers plenty of comedic moments and makes for a solid pick if you’re looking for a not-too-serious coming-of-age campus comedy, with a few raunchy bits thrown in. The climactic episode was a mess, ending with a twist that doesn’t flow smoothly and feels jammed in for dramatic effect. While underwhelming, the cliffhanger in episode eight of ‘Overcompensating‘ leaves plenty of scope for a season 2.

Rating: 3 on 5 stars. Overcompensating is on Prime Video.

Read Next: Sirens Netflix Series Review (Short Audio Version below)