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Pet Sematary April 11, 2019 By: Button Hunter Friesen What if you had the option to bring someone back from the dead? Would you seize the opportunity to get a second chance or would you turn away and leave the dead as they were In his 1983 cult book, Pet Sematary , author Stephen King posed and gave a grisly answer to this very question. Centering around the Creed family, the story begins with them having just moved to Maine. They live in a quaint country home that just so happens to have an eerie burial ground for long-deceased pets that sits in their backyard. Just days after moving in, the family cat is found dead. Not wanting to upset his daughter, Louis decides to bury the animal before she finds out. Lending a hand is neighbor Judd, who shows Louis a spot above the burial ground that possesses power beyond human reason. Suddenly the cat is back from the dead, but this time it is much more mean and mangy. After some time, another major tragedy strikes the family. Distraught from his loss, Louis goes back to the supernatural spot in order to bring his loved one back. Louis does get his wish, but it doesn’t turn out the way he wanted, resulting in a lesson that teaches that death always wins in the end. Directed by partners Kevin Kölsch and Dennis Widmyer, Pet Sematary is a film that tells a tale of two halves in terms of pacing and excitement. The first half turns out to be quite boring as the story is slowly unfolded in order to touch on the most minute of details. After the pivotal moment that climaxes the buildup, the second half picks up speed and is able to be the horror film it wants to be. Just like the runtime, the scare tactics used in the first half very much pale compared to the latter half. The first hour consisted solely of identically structured jump scares that became more and more predictable as they kept happening. But once the recycled startling is over, the real horror sets in as Kölsch and Widmyer do great work by authentically building up terror through the atmosphere and actor performances. Almost identical to the quality of the directing is the writing by Jeff Buhler. Despite being a pretty simple concept for audiences to grasp, Buhler spends a fairly large chunk of the film tediously explaining every fact surrounding the narrative. This incessant need for overly expositive storytelling grinds the film to a crawl and made me feel like I was in a glorified lecture where the professor would never stop talking. Before I had mentioned that the first hour is filled with recycled jump scares. While some of that blame can be put on the directors for not trying hard enough, much of it goes to Buhler for not giving the directors enough to work with. Each scare consisted of the same steps: a character would hear a noise coming from a low-lit area, they would slowly walk over to it, open a door or cupboard, the music cuts out and then suddenly a loud noise jolts you. You would think adapting a Stephen King would give Buhler a good supply of material to scare people with and stop him from writing a series of mindless startles that everybody experiences on a daily level, but it turns out you’d be wrong. Contrary to most horror films, Pet Sematary boasts some quality acting within its tight-knit cast. Jason Clarke does a respectable job as the tormented father Louis. Even though his character is the most boring - which is attributable to the writing - Clarke is able to develop his character past the limitations posed to him. Amy Seimetz does great work as Rachel Creed. Her character has an interesting backstory that she uses to its fullest potential, especially in her closeup reaction shots. John Lithgow plays Judd and turns in a good performance as a weathered old man who unintentionally starts and eventually gets caught up in the bloody mess. Finally, considering the amount of work she has to do and the quality of the material given to her, child actor Jeté Laurence ends up being surprisingly outstanding as the young daughter, Ellie. Just like the concept it explores, Pet Sematary is a film that lays dormant in its first half but is able to resurrect itself and deliver the thrills and chills it promised. You could do worse at finding a horror film that chews up a few hours out of your day. But you could also do better. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

2023 Losers January 2, 2024 By: Hunter Friesen We’ve crowned our winners for the year, so now it’s time to perform the autopsies on some of this past year’s biggest victims. No one should want to see pain inflicted on others, but some of these parties got what was coming to them, and may have deserved worse. The best-case scenario is that they all use their failures as motivation for 2024, or take it as a sign to pack it up and change course. Disney In true monkey’s paw fashion, the Mouse House grabbed a ton of headlines during their 100th-anniversary celebration as almost all of their blockbusters went belly up. After producing 7 $1 billion hits in 2019, the studio wasn’t able to churn out a single one in 2023. Their losses may have reached as high as $1 billion between the lackluster results of Indiana Jones and the Dial of Destiny , The Marvels , and Wish . A string of delays and reworkings means Inside 2, Deadpool 3 , and Mufasa: The Lion King will be their only offerings in 2024. The Future of the MCU 2023 turned out to be the straw that broke the camel’s back for the MCU, with silver screen projects like Ant-Man and the Wasp: Quantumania and The Marvels falling well below expectations, both creatively and financially. Even the one shining light that was Guardians of the Galaxy Vol. 3 can’t be touted too heavily as that was a franchise conclusion. Interest and optimism are at an all-time low, with no direction or clear finish line in sight. Whether it was out of necessity or fear (or a bit of both), the delaying of almost all their future projects leaves Deadpool 3 as the lone property in 2024. Here’s hoping Kevin Feige can use the time he bought himself. WB's Reptuation (If They Had Any) Each year it seems that WB is trying to one-up itself as the most hated studio to both creatives and fans. Between elongating the WGA and SAG-AFTRA strikes, significantly reducing the HBO Max catalog, shelving the already completed Coyote vs. Acme , and cutting funding for TCM, this year turned out to be their best at producing hatred. The world isn’t prepared for the witchcraft CEO David Zaslav is cooking up in 2024. The AMPTP Corporations didn’t earn much credibility in 2023, and the AMPTP did everything in its power to destroy whatever minuscule amount they had. No one was ever going to be on its side during the WGA and SAG strikes, but its tone-deaf messaging and bully tactics made it impossible for anyone to see their side of the argument. They’ve shown their hand when it comes to AI, with the future not looking too bright for creatives. Belated Sequels Top Gun: Maverick and Avatar: The Way of Water proved that long-in-development sequels can make just as much, if not more, money than their predecessors. Studios took that lesson to heart in 2023, except they forgot the part where you have to make a good movie. Magic Mike's Last Dance , Indiana Jones and the Dial of Destiny , Expend4bles , My Big Fat Greek Wedding 3 , and The Exorcist: Believer were just some of the warmed-over leftovers studios thought would pass for full course meals. Audiences rejected them, and will hopefully do the same in 2024. Fan Screenings Studios are already having a tough time getting audiences in seats, so it seemed like a brain-dead idea to confuse people as to when a movie would be available to them. Sony originally announced wide releases for Gran Turismo and Dumb Money before changing course to platform releases with later wide expansions. All audience interest vanished by the time of wide release, leaving these bombs hanging out to dry. None of those compared to the debacle that was The Flash , with over a dozen fan screenings taking place weeks before the general release. All of that work amounted to one of the biggest bombs in history. Comedians Going to Film Nothing’s worse than a comedy that isn’t funny, which is what these comedians delivered this year on the silver screen. Bill Burr and Charlie Day unsuccessfully tried their hand at directing with Old Dads and Fool’s Paradise , respectively. Sebastian Maniscalco ( About My Father ), Brett Kreischer ( The Machine ), and Please Don’t Destroy ( The Treasure of Foggy Mountain ) also missed the mark. There’s nothing funny about failure, although that might have been the best joke each of them wrote this year. Streaming Action Movies Let’s get one thing straight: Extraction 2 was pretty good. But it was made to look like Citizen Kane when compared to everything else that was available. Netflix may have scored decent viewership with The Mother and Heart of Stone , although I’d bet an unseemly amount of money that almost all those viewers couldn’t remember a single thing that happened. But at least those titles got eyeballs, as Apple’s Ghosted and Amazon’s Shotgun Wedding may as well have never existed. Movie Posters Were poster artists given the year off? From terrible photoshopping to uninspired designs (anyone up for the millionth floating head layout?), no one was flocking to see some of these movies based on their artwork. My Big Fat Greek Wedding 3 easily took the cake as none of the actors’ heads were connected to their bodies. But even big-name projects like Oppenheimer and Killers of the Flower Moon were left with boring layouts. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

The Batman March 7, 2022 By: Button Hunter Friesen It can be quite difficult these days to parse through the DC Cinematic Universe. While Marvel has been steady as she goes for nearly a decade and a half, DC has puttered along, shooting misfire after misfire. Man of Steel was certainly not the way things should have started, and neither was Justice League the way things should have come together. And then there’s the whole debacle around Zack Snyder’s Justice League (is it canon, or just a director’s cut?) and The Suicide Squad , which is somehow both a reboot and a sequel. Somewhere during their productions, Warner Brothers decided they should differentiate their slate from Marvel by producing smaller-scale, filmmaker-focused films (no disrespect to Marvel, but there isn’t a single film in their universe with a clear authorial voice). First came Todd Phillips' Joker , which, for better and for worse, made quite the statement. The next is Matt Reeves’ The Batman , which steps outside of the current cinematic universe hellscape and exists on its terms as an ultra-dark and ultra-noir-inspired thriller. Batman has been fighting crime for close to two years now, with not much to show for it. The streets are still filled with garbage, both in the form of flesh and debris. The criminals may fear Batman, but not enough to stop committing crimes altogether. So, the endless cycle of carnage continues. That is until a new face appears on the block in the form of The Riddler, who’s brutally murdering Gotham’s top officials, and also murders their reputations by exposing their scandals to the public. As his name would suggest, the culprit leaves behind riddles addressed “To the Batman,” made to mock The Caped Crusader as he pieces together this intricately pieced puzzle. Just like Phillips took (a little too much) inspiration from Martin Scorsese’s Taxi Driver and The King of Comedy when crafting his character study of the mentally insane for Joker , writer/director Matt Reeves borrows heavily from the work of David Fincher, particularly Se7en and Zodiac . The Riddler may as well be the Zodiac killer, as Paul Dano’s performance channels the character’s brilliance and insanity. The tension he builds is unparalleled and makes you feel that you're witnessing someone who’s truly gone off the deep end. And with a runtime just five minutes shy of three hours, The Batman has plenty of time to unravel its grand mystery. It’s a thickly layered plot tracing corruption back to the days of Thomas Wayne. The best compliment that I can give any comic book movie is that even if you replace the superheroes with regular people, you still have an interesting story to tell. It’s something that Christopher Nolan was able to accomplish with his Dark Knight trilogy, as well as Sam Raimi with his Spider-Man films. Things may get lost in the shuffle from time to time here, and the ending may leave a bad taste in your mouth, but there’s a lot to love on the page. But with Robert Pattinson as Batman, it’s hard to imagine him not in this movie, as he delivers yet another undeniable performance. Nearly every actor cast as Batman has had their fair share of naysayers, from Michael Keaton to Ben Affleck. With this role, Pattinson is finally able to show the general public his true talent, with most casual moviegoers remembering him only as the sparkly vampire from the T wilight series. Pattinson has always excelled at playing uncomfortable characters, with his work on Good Time and The Lighthouse being prime examples. There’s a restless edge to his version of Batman, something that's been eating away the character’s soul after years of sleepless nights. And in those nights, DP Greig Fraser, hot off his Oscar nomination for his work on Dune , crafts some immaculate imagery. Silhouettes and shadows haunt the dark city streets, with the neon lights drenched in rain providing stark contrast. This is not just one of the best-looking comic-book movies, it’s one of the best-looking movies ever. Fraser does get help from Production Designer James Chinlund, who seamlessly merges New York and Chicago architecture to make Gotham the cesspool that it is. At its core, The Batman is not much of a Batman movie, and that’s what makes it so great. Reeves has taken all the familiar trappings and given them a fresh new look. It may only be March, but the bar for the rest of the films this year just got raised a bit higher. And unlike every other DC film to come out in the past couple of years, I’m excited to see where this story goes next. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Cannes 2024 Predictions - Part 1: The Question Marks April 5, 2024 By: Hunter Friesen With Oscar season firmly behind us (although it never really ends), it’s time to set our sights on the next white whale barreling toward us: festival season! Sundance and SXSW have provided the appetizer with their concentration of indies and spring studio releases, opening the doors for Cannes to take center stage with glitzy red carpets and world-class talent. Last year’s edition proved to be one of its best, with Palme d’Or winner Anatomy of a Fall and Grand Prize winner The Zone of Interest being two of the most acclaimed and rewarded films of the year. Also featured were About Dry Grasses , Fallen Leaves , La Chimera , May December , and The Taste of Things . Last year’s SAG and WGA strikes will likely put a damper on the presence of Hollywood on the Croisette (and potentially at the later fall festivals), but it shouldn’t prevent Delegate General Thierry Fremaux and his team from assembling some of the best that world cinema has to offer. The festival will announce its full lineup on April 11. Until then, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it up the coveted steps this year. The first of three parts of this series looks deeper into the fog. There’s a multitude of reasons why these projects are slotted here, all of them very much deserving of a selection spot. There could have been production delays due to the strikes, distributors have a different release strategy, or the pedigree of the director/stars may not be at the level Cannes desires. But miracles have happened, so we’ll keep our fingers crossed. Because of the uncertainty surrounding so many projects, there had to be a cap on how many I could include. Festival favorite directors such as François Ozon, Apichatpong Weerasethakul, and Jia Zhangke have been reported or rumored to be working on new films, but the information is too sparse and unsubstantiated for them to be considered. The Apprentice A Donald Trump biopic doesn’t sound like the most commercial project in an election year such as this. But it may be enough of a button pusher to garner the juicy headlines that Cannes craves. Director Ali Abbasi made a name for himself at the festival in the 2018 Un Certain Regard section with Border , which led him to be promoted to the Official Competition in 2022 with Holy Spider . Sebastian Stan will play a young Donald Trump, with Jeremy Strong as Roy Cohn, and Maria Bakalova as Ivana Trump. Wherever this premieres, controversy will surely follow. The Way of the Wind There’s no way to precisely know when a Terrence Malick film will be released. All you can do is wait and pray. Malick premiered his last film, A Hidden Life , at Cannes in 2019, and he also won the Palme d’Or for his magnum opus The Tree of Life in 2011. He once again has saddled himself with another weighty topic, as The Way of the Wind will tell several episodes of the life of Jesus Christ, led by a cast of Mark Rylance, Ben Kingsley, Joseph Fiennes, and Matthias Schoenaerts. Several of Malick’s films have been delayed for years as he endlessly tinkers in the editing room, with this one (shot in 2019) being just as likely to come out later than sooner. Chocobar Lucrecia Martel’s Zama was one of the most acclaimed films of 2017 and appeared on several “Best of the 2010s” lists. She’s been relatively silent since, plugging away at her new film, which marks her first venture into non-fiction storytelling as it explores “The murder of indigenous activist Javier Chocobar and the removal of his community from their ancestral land in Argentina.” While Cannes has been more averse to admitting documentary films into their official selection compared to other major festivals, they have opened up in the past few years, most notably last year with Four Daughters and Youth (Spring) . Martel is a festival veteran, but she recently presided over the jury at the Venice Film Festival in 2019, the landing spot for Zama . Like Terrence Malick’s The Way of the Wind , it could be a few more years until we get an answer to this question. Blitz Cannes president Thierry Fremaux let it slip last year during the Occupied City Q&A that McQueen’s WWII epic will potentially premiere in this year’s competition. That fact should come as no surprise considering McQueen has been a regular at Cannes since 2008’s Hunger . Apple TV+ has big Oscar prospects for this film, and a glitzy premiere on the Croisette would put the right foot forward. Of course, a more conventional awards path starts at the fall festivals, so it’s still up in the air. Father, Mother, Sister, Brother When thinking of established American directors to make Cannes their home, you’d tend to think of the Coens and Wes Anderson. But it’s actually Jim Jarmusch that deserves to be at (or at least near) the top of that list as he’s premiered eleven feature films on the Croisette since 1984. His highest point was 2005’s Broken Flowers , which took home the Grand Prix. He began shooting his new film in the fall and late winter, recruiting the trio of Cate Blanchett, Charlotte Rampling, and Vicky Krieps. With production delayed due to the strikes last year, Jarmusch will have to work around the clock to get it submitted in time. If he is able to accomplish that, there’s no doubt Fremeaux will extend an invitation to one of the festival’s most cherished figures. The Balconettes Noémie Merlant is stepping behind the camera for a second time with a Marseille-set comedy-horror film she co-wrote with her Portrait of a Lady on Fire director Céline Sciamma. Merlant will also be starring in the film along with Souheila Yacoub (just seen in Dune: Part Two ) and Sanda Codreanu. Her debut directorial feature, Mi Iubita Mon Amour , played at the Special Screenings section in 2021. With both this and her starring role in Audrey Diwan’s Emmanuelle , Merlant could be the big talking point of this year’s festival. Hand of Dante With a cast composed of Oscar Isaac, Jason Momoa, Gerard Butler, Gal Gadot, Al Pacino, John Malkovich, and Martin Scorsese, Julian Schnabel’s crime drama will surely grab headlines wherever it debuts. Venice would be the likely landing spot based on precedent, with all but one of Schnabel’s films premiering on the Lido. The Diving Bell and the Butterfly remains the outlier, which netted the festival prize for Best Director. Fremeaux will at least make a push to grab that assemblage of stars for his red carpet. Emmanuelle Audrey Diwan rose her stock considerably after winning the Golden Lion at the 2021 Venice Film Festival with Happening , which also received numerous nominations/awards from groups such as the BAFTAs and Césars. She’s enlisted Noémie Merlant and Naomi Watts to headline her new film, an adaptation of the famous erotic novel she co-adapted with Rebecca Zlotowski. Diwan likely now has the pedigree to be extended an invite to her native festival, but she may opt to return to Venice in hopes of repeating her past success. Rumours Winnipeg’s Guy Maddin has been puzzling cinephiles for years with his often non-linear and perplexing arthouse pieces. He’s sizing up to blockbuster levels (at least in the context of the rest of his filmography) with his newest work to be co-directed with usual partners Evan and Galen Johnson. Cate Blanchett, Alicia Vikander, Takehiro Hira, Charles Dance, and Denis Ménochet play world leaders who “get lost in the woods while drafting a statement on a global crisis, facing danger as they attempt to find their way out.” Maddin has never played Cannes before, nor, opting between Venice or Toronto. His longstanding reputation within the industry and this cast may beckon him over to the Croisette. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Fly Me to the Moon July 10, 2024 By: Button Hunter Friesen The spirit of Rob Reiner lives gloriously within Fly Me to the Moon , a winning combination of heart and humor aimed squarely at adults. Of course, Reiner is still alive and kicking out films pretty regularly, but the quality has dipped so dramatically that you’d be hard-pressed to know they even exist. I might be the only person in the world who holds the distinction of seeing LBJ and Shock and Awe in a theater, both times having the room all to myself. Director Greg Berlanti and screenwriter Rose Gilroy are here to pick up the slack, emulating the kind of energy Reiner and Aaron Sorkin produced so delightfully in The American President . The only unconvincing thing about Scarlett Johansson’s performance is her wig, which often carries the same spoofy look as Kristen Wiig’s Target Lady. But selling stuff that’s unconvincing is her job, with the first time we meet her character Kelly is at a Mad Men -esque advertising meeting where she sports a fake baby bump and correctly “guesses” (she bribed their secretaries) which cars each of the men drive. This is Johansson firmly in true movie star mode, her first time doing so away from the character of Black Widow in over a decade. It’s a lot of fun to see her be the brightest and most confident person in the room, often finishing the sentences of Cole Davis (Channing Tatum) as he races to keep up with her. Despite working for America’s preeminent government agency, Cole finds himself in the same position as any director of a nonprofit: underfunded, understaffed, and facing the pressure of the political machine. Public interest in space exploration has crashed back down to Earth after several failed attempts, the most notable being the death of three astronauts from Apollo 1. It also doesn’t help that Vietnam is still raging on and social upheaval is commanding the streets. Here to put a positive spin on everything is Kelly, which includes ad tie-ins and “punched up” biographies for all those involved. That thin line between lying and selling is what bothers Cole, who has made it his life's work to pull off the hardest task in the history of mankind with both the honor and integrity he believes America has. Things really come to a head when the government deems the Apollo 11 moon landing mission to be too big to fail, which means a contingency plan has to be put in place in the form of a fake recording. Berlanti and Gilroy have fun with the conspiracy-laden idea of the moon landing being faked, including a few jokes about Stanley Kubrick, who’s referred to as an overblown wunderkind who’s only made one good movie. Jim Rash gets more than a few moments to shine as a brash commercial director who’s more than happy to put in the powerful position of faking one of America’a finest moments. Berlanti and Gilroy don’t put too much stock into the ideological tension between Kelly and Cole. There are debates here and there about how Cole is doing this for idealism and Kelly is mucking it up by treating this like the Thanksgiving Day parade, all while those marketing dollars keep the lights on. What’s more important is the chemistry that Johansson and Tatum have at all times, which is never less than effortlessly charming. The translation into this time period might have been aided by the pair’s appearance in the Coen’s Hollywood Golden Age comedy Hail, Caesar! a few years back, although I’m pretty sure they didn’t share any substantial scenes. The horrendous poster and limited marketing would give you the impression that this is some straight-to-streaming cash grab, but real money has been spent on this production. There’s a ‘60s Jetsons sheen to everything, including a giddy Oliver Stone-inspired opening montage about America’s history with space up to this moment. The sets and costumes are light and airy, and so is Daniel Pemberton’s score. Cinematographer Darius Wolski, often seen helming Ridley Scott films, even gets to mimic the famous vacuum of space shot from First Man , only this time more comedically. Fly Me to the Moon is about people and a process, both of which serve as the main attractions. If there was a “They Don't Make 'Em Like They Used To” category at the Academy Awards, this would be a strong contender to win. Now I hope people show up so we can start making more of these again. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Us March 28, 2019 By: Button Hunter Friesen When you hear the name Jordan Peele these days, you instinctively think of his 2017 breakout hit Get Out . Through impeccable directing and writing, Peele created a pop culture moment around a film that was able to be entertaining and thought-provoking. It was so good that the only real critique people had was that it really wasn’t that scary. Us is Peele’s response to that critique as he delivers an out-and-out horror film that is still able to make you think while it scares the pants off you. In 1986, a young girl named Adelaide wandered into a hall of mirrors and encountered what seemed to be an evil version of herself. Never really convinced of what she had seen, the little girl turned mute and for years wasn’t able to express herself. Now thirty years later, Adelaide and her husband Gabe take their children, Zora and Jason, to that same beach where the incident happened. Adelaide tries to keep calm for her family, but the thought of that childhood moment keeps lingering in her. Unfortunately, only a day into the vacation, that evil doppelganger returns to get its revenge, and this time it has an identical family all armed with scissors. With his second directorial gig, Jordan Peele proves that Get Out was not a one-hit-wonder and that he is a fully accomplished director. While still delivering the scares, he takes the home-invasion thriller genre and gives it a much larger scope. This feat is accomplished through his expert use of camerawork, which is used to push the narrative as much as possible. A mixture of long takes and pan shots is used to keep the story moving and give off a constant feeling of suspense. When opting for quicker shots during bursts of violence, Peele incorporates well-timed cuts that perfectly match the tone of the scene. As noted in Get Out , Peele knows how to use music as a storytelling tool. That skill is put on full display here as he combines usual horror music with modern pop hits such “I Got 5 On It” and NWA’s “F--- Tha Police”. Every music choice here is just right and heightens the power of each scene. *It is quite hard to critique certain story elements as they would reveal essential spoilers that would ruin the viewing experience. In service of this, I will be quite vague when it comes to specific details.* As a whole, Us is a bit of a step back for Peele. His script is filled with questions referring to themes of classism in America and the duality of man. Little answers are given for these big questions, seemingly on purpose in an effort to let the imagination of the viewer run wild. Unfortunately, while I do respect Peele’s honorable intent, I feel that he has set his sights too high and isn’t able to come full circle on his ideas. A few plot holes pop up from time to time, most notably during the third act when Peele decides to exposition dump in one short sequence. Little payoff was given for important questions that had been building since the beginning, leaving me with an unsatisfying feeling. Coupling this misstep with the ambiguous ending quickly makes the narrative lose its luster. Many questions I had came more from the film’s faults rather than its merits. Lupita Nyong’o is absolutely perfect in her dual roles. Her performance as the conflicted heroine of Adelaide is top-notch. Equally great, if not better, is her turn as the doppelganger Red where she is downright terrifying as she moves around the screen with menacing precision. Winston Duke is great as Gabe, who offers some comedic relief from time to time. Duke ingeniously uses his physicality for both roles as he loafs around to make his human character seem like a teddy bear and stands tall and bulky for his fearful doppelganger. Both the child performances by Shahadi Wright Joseph and Evan Alex deserve applause. They don’t fall into the usual trap of overacting and are able to make the audience genuinely care for them. The rest of the cast, consisting of Elisabeth Moss and Tim Heidecker, are fine in their own right but hold nothing compared to the main troupe While it could be considered slightly inferior to his previous film, Peele’s Us is still leagues ahead of the usual movies that file under the horror genre. Best seen going in as blind as possible, this film will have you captivated during its two-hour runtime along with the subsequent days proceeding. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Ant-Man and The Wasp: Quantumania February 16, 2023 By: Button Hunter Friesen So, whose idea was it to make Ant-Man less fun? This is a franchise that was initially going to begin with Edgar Wright in the director’s chair (who still got credit for the screenplay, along with Adam McKay and star Paul Rudd) and had its sights set on delivering size-shifting hijinks within a low-stakes environment. This strategy worked pretty well thanks to the positioning of the first and second entries immediately after the cataclysmic events in Avengers: Age of Ultron and Avengers: Infinity War , respectively. Now with Quantumania , those humorously tinged roots have been upended and mangled into one of the most overly serious and ugliest films within the entire 31-film catalog of the Marvel Cinematic Universe. Turn on your listening ears kids because it’s time to learn about the Quantum Realm and the multiverse for the umpteenth time. After being a small man within a large world, Scott Lang becomes a big man in a super small world as he and his Ant-Man family are transported down into the Quantum Realm. Inside this realm is a collection of creatures, some that look exactly human (so that they can be played by famous actors, such as Bill Murray in a brief so-so cameo) and some that possess physical form beyond simple anatomy. At the top of the food chain is Kang the Conqueror, who has a complicated past with Janet Van Dyne during her long years of being stranded. Filled with such classic lines as “There’s something I need to tell you,” “You haven’t told them?,” “What else have you been lying about?,” and “I was trying to protect you,” the script by Rick and Morty alum Jeff Loveness capitalizes on every opportunity it can to deliver the most cliché lines about characters not being able to communicate properly. It’s a frustratingly weak way to build suspense for the exposition-dumped reveals and contradicts the genius-level intellect many of these characters are supposed to have. Much of the humor is absent since the first two outings. This is in “service” to raise the stakes of this lightweight hero and have him introduce us to the new Thanos-level threat in Kang. Jonathan Majors, already having a stellar 2023 with physically imposing roles in the Sundance title Magazine Dreams and Creed III , plays the conqueror with a menacing calmness. The character himself may not have won me over yet, but Majors in the role has intrigued me about the future. Fairing much worse than the writing is the cinematography by the usually-dependable Bill Pope, last seen producing decent work in Shang-Chi and the Legend of the Ten Rings (remember when that was also supposed to be a part of this universe?). With backdrops that make George Lucas’ Star Wars prequel trilogy look photorealistic and drabby brown shadings, Quantumania easily takes the cake as one of the worst-looking blockbuster films of the past few years. Actors are obviously running within fully green-screened sets, and the fully-digital creatures are weightless. And don’t even get me started on one actor’s horrendously superimposed face (you’ll definitely know what I’m talking about when you see it), which incited the most laughs from the audience, although that might not have been intended. Rudd does the good work that is expected from him, and Evangeline Lilly gets next to nothing to do despite her character being in the title. Kathryn Newton is a welcome addition to the slowly-building Young Avengers. The Ant-Man franchise has mostly been unnecessary but provided fun escapism. Quantumania is the inverse of that by being both required reading material and not fun, which essentially makes it homework. This has been the antithesis of Marvel during Phases 4 and 5, where the effort needed to keep up is not being properly compensated, both on the small-scale levels of individual films and the large-scale shared narrative. I’ve been on this train since day one, and have a completionist mindset (at least when it comes to the movies), so I’m kind of stuck in my seat. Although now I’m really starting to have serious doubts about all the picturesque promises the conductors have been making about the destination. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Rebel Ridge September 5, 2024 By: Button Hunter Friesen To say that writer/director Jeremy Saulnier had to traverse quite the bumpy road to bring Rebel Ridge , his first film in five years, over the finish line would be quite the understatement. John Boyega was initially slated to star in the leading role, with things progressing far enough for a material amount of the film to be shot in 2021 before he mysteriously backed out . Fresh off roles in Old , The Underground Railroad , and Brother , Aaron Pierre came in as the substitute (a welcome upgrade, which I’ll talk about later) and filming resumed almost a year later. A series of reshoots and pickups followed, with the budget ballooning from the originally reported $25 million to nearly $40 million. Even with all those bad omens, the less-than-stellar release strategy, and not seeing a single frame of the finished product, I knew there was no way that Saulnier would deliver a worse Netflix film with “rebel” in the title than what Zack Snyder has done with his four (two original cuts and two director’s cuts) Rebel Moon features. I realize that that statement doesn’t indicate much praise, so let me be clear: Rebel Ridge will be one of the better/best films that very few people are going to talk about in 2024. I also would like to mention that I intend no disrespect to Boyega and what he would have delivered in this role, as his previous performances outside the Star Wars universe ( Breaking , The Woman King , They Cloned Tyrone ) have their merits thanks to the physicality and emotional depth he brings. However, I also don’t think Boyega would have ever been able to match what Pierre is putting on the table here. Saulnier was spoiled for choice, and he landed on the better of two good options. Pierre plays Terry Richmond, an ex-Marine who finds himself in a small Louisiana town posting bail for his cousin. He’s blasting his heavy metal playlist on his ten-speed bike when he’s driven off the road by a pair of local cops looking to get their daily power trip. Through a convenient loophole in the local justice system, any property seized by the cops under suspicion becomes police property, which means the $36,000 in cash in Terry’s backpack now stays within precinct walls. It doesn’t matter if Terry has receipts for how he acquired it, as the process for fighting the accusation will take months of paperwork that he doesn’t have. Everyone within city hall is either oblivious, complicit, or scared by the corruption. The local sheriff (Don Johnson, continuing his streak of playing conservative scumbags) and his goons keep a tight leash on everything going on within the community, going so far as to threaten and blackmail. But Terry isn’t just any ex-Marine, he’s a martial arts and survival expert who isn’t afraid to chase down a prison bus on a highway with his bike. He doesn’t take a hotel room during his impromptu layover, instead opting to camp in the woods and catch fish with his bare hands. Terry is destined to be the new star of every “alpha bro” account on TikTok, with his ease in kicking ass and taking names being just the sort of thing that attracts the crowd that identifies as lone wolves. But Saulnier doesn’t paint Terry in that light, which has been done so many times before, often poorly. He is one man fighting against a corrupt system, but violence isn’t going to change the entire culture suddenly. Saulnier’s signature visceral violence is still fully on display, only this time with a little more restraint compared to Green Room and Hold the Dark . Bones still snap with furiosity and broken noses gush with blood. But it’s a lot easier to justify murdering Nazis and rogue bounty hunters than boys in blue, no matter how much they’ve turned themselves into a profiteering militia. While Terry does the dirty work, up-and-coming lawyer Summer (AnnaSophia Robb) digs into the litany of paperwork that’s been created to cover up this mess. She and Terry find a connection through what this town has taken from them, and what they must do (and not do) to make things right again. Rebel Ridge is as much a Rambo audition for Pierre and Saulnier as anything that’s come out over the past few years. But both of them have a little more on their mind than just musclebound carnage, leaving us with something both entertaining in its action and engaging with its ideas. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

The Old Man & the Gun November 1, 2018 By: Button Hunter Friesen Robert Redford has built a successful decade-spanning career as a charming actor who can play any type of character with a heart of gold. It seems fitting that in his final performance in the new film The Old Man & the Gun , Redford plays Forrest Tucker, a man who was born to rob banks. Except he’s not your typical bank robber, he’s the most polite and happy criminal around. Now at the age of seventy-four, Tucker becomes nationally famous and must continue his passion while eluding the pursuit of detective John Hunt, who becomes enraptured by the legend of one man living his dream despite the consequences it may bring. Director David Lowery isn’t a household name, but the thirty-eight-year-old has made some quality films such as his 2017 indie hit A Ghost Story and Pete’s Dragon in 2016 (also starring Redford). Lowery goes for the sweet and simple approach when it comes to directing this film. He keeps the feel of the film feeling like a cool, light breeze and keeps the main plot centered on detail at a time. He also nails the look and feel of the film to fit the 80s setting. The film doesn’t just feel like it's set in the 80s, it's like it was made during that time period. He uses very grainy film stock to shoot the movie, giving it a very nostalgic feel. There is also an abundance of old classic songs of that era that perfectly fit the tone. The simple approach Lowery uses also has its minor drawbacks. The overall story of the film felt a little shallow and could have used more buildup and stakes in order to build suspense. There could have also been more interaction between characters in order to develop relationships as some don’t feel as genuine as they should have. Lowery also adapts the screenplay from a real-life biographical article written about Forrest Tucker in The New Yorker by David Grann. Lowery matches his writing with his approach to directing. The script is filled with tender moments that work wonders with the actors involved. The diner scenes between Redford and Sissy Spacek are the best as they simply just enjoy each other and talk about life in old age. With only a little bit of effort and some magic, the two actors and the dialogue they share are able to keep us engaged throughout. Below the surface, however, is where Lowery’s script suffers from the same problems as his directing. The overall story told feels too simple to satisfyingly fit a feature-length film. More background and supporting details could have been used to tell the story with more depth. Many important events happen with little to no explanation, which proves very distracting by the end as they cut down on the overall believability. Redford essentially plays a culmination of every part he’s previously played in his fifty-plus-year career. He works magic with his confidence and overall physical presence in each scene. It’s a testament to his skill that you never actually see the gun he uses during the robberies, rather his charisma and charm are the only weapons he needs. Even with all his misdoings, you end up rooting for him by the end of the film. Partnering up with Redford in a supporting role is Sissy Spacek as Jewel, a widow whom Forrest takes an interest in. Jewel finds herself romantically caught up with Tucker and just can’t seem to shake him off despite knowing what he does for a living. Spacek and Redford have excellent chemistry together and keep us thoroughly entertained in even the most mundane of scenes. Every criminal needs a cop to be his nemesis, and filling that role is Casey Affleck as John Hunt. Affleck provides a counterbalance to Redford’s glee as his character glumly deals with the thought of getting older in a static career. Affleck middlingly works throughout but never matches Redford’s ability to make us care about his character. The Old Man & the Gun is similar to that of a Sunday drive out into the country. It doesn’t really know where it’s going from time to time, but it doesn’t really matter because the ride itself is more enjoyable than the final destination. In his farewell performance, Redford shows us that he can win over any crowd and rides out into the sunset and leaves us with his legend and unforgettable skill as an actor. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Conclave September 9, 2024 By: Button Hunter Friesen Conclave had its International Premiere at the 2024 Toronto International Film Festival. Focus Features will release it in theaters on October 25. Saints and sinners live among us, even in the holiest of places. As the old saying goes, it can be impossible to discern between a sheep and a wolf. And as a cardinal puts it within Conclave , no sane man would desire the papacy, and no man that seeks it should deserve it. Now that the pope is unexpectedly dead, several candidates are vying for the most powerful position in the world, one that will wield the lives of billions and thousands of years of precedent. Cardinal Bellini asks if he can keep the pope’s chessboard as a memento, a bold signifier of the game that’s about to be played. The term that the film gets its title from is what the process of electing a new pope is referred to. Over one hundred cardinals from all over the world converge in the holy home of the Catholic church, each with their own agenda of how the church should be steered. For Cardinal Tedesco (Sergio Castellitto), the church needs to bring back the conservative views of the past. Cardinal Bellini (Stanley Tucci), while reluctant to even be considered for the position, sees an opportunity for a more progressive church that fits with the time. Somewhere along that ideological spectrum sits Cardinal Tremblay (John Lithgow) and Cardinal Adeyemi (Lucian Msamati), both of whom have gathered enough support to be viable candidates. Appointed to oversee this transitional period is Cardinal Lawrence (Ralph Fiennes), who must balance egos, ambitions, and media scrutiny just as much as his faith that the man most fit to serve God will prevail. He’s practically the producer for an awards show, scurrying around marble corridors as his assistants feed him every bit of news and each cardinal tries to get a peek behind the curtain. Much of the cast and crew behind this production will likely find themselves attending awards shows through the winter. Director Edward Berger, wildly hot off the success of his adaptation of All Quiet on the Western Front , once again shows a great command of the literary material he inherited. He and editor Nick Emerson keep a slow-burning, yet propulsive energy to the proceedings. Sequences of backdoor politics and revelations of long-buried secrets cumulate into the multiple rounds of official voting. The tension is wound tight enough to cut through steel, with the score from Volker Bertelmann, aka Hauschka, providing the booming layer of intrigue. Peter Straughan, previously Oscar-nominated for Tinker Tailor Soldier Spy (its director, Tomas Alfredson, serves as a producer on this project), keeps the balance between thrills and social critique just as pristine as it was in Robert Harris’ novel. It doesn’t take a politically inundated American such as myself to see the real-world parallels between parties filled with brash conservatives and reluctant progressives. There are also hints of humor within this deadly serious debate, such as a Cardinal being accused of misconduct denying all wrongdoing while struggling to operate a Keurig machine. Longstanding acting royalty fill the cast, with the highest laurels going to Fiennes. He maintains a quiet dignity as a web of lies and deceit begins to unspool right in front of him. His faith in the church as an organization is also shaken, largely because of what the eyes and ears of Sister Agnes (Isabella Rossellini) pick up as she remains hidden in plain sight. A little more time devoted to her and Tucci would have been much appreciated, mostly because they make such a meal out of the small portions doled upon them. For someone who seemed to appear out of nowhere with All Quiet on the Western Front , Berger has quickly strung together two of the finer films of the past few years. Conclave is a soap opera with as much page-turning substance as it has a prestige-like style, perfect for both the faithful and skeptics alike. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Top 10 Films of 2021 January 24, 2022 By: Hunter Friesen In the movie world, 2021 was a year to be thankful for what we have because sometimes you never know how much you appreciate something until you’ve lost it. This year brought back a slight return to normalcy, with theaters reopening and new films of all shapes and sizes demanding your attention. And while not everything that came out this year was a slam dunk, there are some truly incredible films that deserve some special praise. So, after seeing nearly one-hundred new films in 2021, here are the ten best in my eyes. Some of these films I expected to be on this list, while others came out of left field. It goes to show that you can experience something truly incredible if you dig a little deeper. Honorable Mentions The Dig Licorice Pizza A Hero Belfast The Tragedy of Macbeth 10. Pig I’m as surprised as you are that a Nicolas Cage film appears on this list. But Pig is something special, a film that truly subverted my expectations. Along with Cage’s outstanding performance, equal credit should go to first-time feature writer/director Michael Sarnoski for taking the film down a different path. It only makes sense that in the year 2021, the best film about regret and grief would also be about the search for a lost truffle pig. 9. The Worst Person in the World Norway’s The Worst Person in the World packs a richly emotional story fitting to its title. With a killer soundtrack and an amazing performance from Renate Reinsve, writer/director Joachim Trier is able to balance tone and time to deliver something equal to more than the sum of its parts. A perfect piece for anyone dealing with the crisis of not knowing where they are in life. 8. The Power of the Dog Jane Campion’s The Power of the Dog is one of the most violent films of the year – and of the Western genre – all without featuring a gun, knife, or fistfight. Instead, the violence that the film harbors is purely emotional and under the surface, carrying far more damaging effects than any external wound. And with a career-best Benedict Cumberbatch and a surprise turn by Kodi Smit-McPhee, it makes this film the equivalent of fine wine, as it’s near-perfect at the moment, and will only get better with age. Full Review 7. Swan Song Can a clone – even the most perfect one imaginable – seamlessly take the place of a human? And is it better to lie to your loved ones to protect them from grief than to leave them with the ugly truth? These are the weighty questions at hand in Benjamin Cleary’s film, which features Mahershala Ali in dual roles. It’s a slow burn with a lot going on behind the scenes. It buries itself in your head while watching as you wrestle with it in the moment and continue to interact with it long after it’s over. Full Review 6. The Father Like Schindler’s List and Requiem for a Dream , The Father is a superb film that you will only want to watch once. Its subject matter may hit too close to home for some viewers, or be an introduction for others. No matter your familiarity, the film’s take on dementia and the toll it places on everyone involved is so incredibly well done that it demands to be seen. Full Review 5. Judas and the Black Messiah Debuting all the way back in January, this is an all-powerful work from director Shaka King and the two leads of Daniel Kaluuya and LaKeith Stanfield (both Oscar-nominated, with the former winning). It’s both historical and timely, with the tragically short life story of Fred Hampton delivered with spine-chilling moments that educate and entertain. Full Review 4. The Last Duel Bolstered by spectacle and substance, Ridley Scott’s (who also had House of Gucci this year) medieval tale of betrayal is one of his finest films. It was one of the few films to exceed my already lofty expectations, and one of the few blockbusters of the modern age to be propelled by collaborative artistry, rather than preconceived properties and overblown budgets. Full Review 3. Annette From the visionary minds of The Sparks Brothers and director Leos Carax comes a rock musical of pure boldness. Stars Adam Driver and Marion Cotillard grab onto that boldness and run with it, creating several musical numbers that need to be seen to be believed. With Carax’s output being irregular, each of his features is something to treasure, especially when they’re this good. 2. West Side Story With The Great Musical War of 2021 coming to a close, Steven Spielberg has emerged as the predictable winner. Perfectly melding the work of Bernstein and Sondheim with the newfound talents of Ariana DeBose, Mike Faist, and Rachel Zegler, this new West Side Story makes the case for why some remakes should be allowed to happen. Because sometimes, they can meet (or surpass) the original, such as how this one does by bringing classic cinema into the modern world. Full Review 1. The French Dispatch A visual masterpiece bursting at the seams with talent both on and off the screen, The French Dispatch is a film by a filmmaker working at the absolute height of their powers. And while I’m not a proponent of rewatching films, I’ve seen this specific one three times in as many months, and will surely be watching it on a regular basis for the foreseeable future. I worry about how Wes Anderson will be able to top this with his next film (which is due this year). But until then, I’ll stay in the present and be thankful that something this magical is allowed to exist in a world that only seems to get bleaker. Full Review More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Challengers April 12, 2024 By: Button Hunter Friesen If there’s one thing that Luca Guadagnino understands about sports, it’s the sex appeal. Muscles are perpetually firm and clenched, sweat hangs on the brow and slips off perfectly chiseled jaws, and outbursts of enthusiasm share the same primal feelings from the bedroom. It’s something that Tashi Duncan (Zendaya) alludes to early in Challengers , calling tennis “a relationship.” There are moments in a match where the competitors aren’t on Earth anymore, rather, they’re on another plane of existence fully intertwined. Of course, Guadagino finding the eroticism in something shouldn’t come as a surprise to anyone familiar with his filmography. This is the same man who looked at a peach and knew just what to do with it in Call Me By Your Name , and also found a tender way to express the intersection between pleasure and violence in his (vastly superior) remake of Suspiria and Bones and All . There’s always a beautiful balance between every emotion within his films, pulling you in deep while also keeping you guessing at what’s going to happen next. Challengers follows that same strategy, with Guadagnino veering his sights away from the arthouse and into the multiplex with his most commercial project yet. But fear not any of you who think he’s “going Hollywood,” as there are still several moments where his poetic past merges with the visual panache that a studio allows. Take for instance the pivotal tennis match between Tashi’s husband Art (Mike Faist) and her former boyfriend/his former best friend Patrick (Josh O’Connor). The camera takes the form of all shapes and sizes, morphing seamlessly between the first-person viewpoints of the competitors, the tennis ball, and the spectators. Then the camera will swirl and burrow itself underneath the surface to give a worm’s eye view (I guess that’s the best way to describe it) of the action. It’s all so relentless and highly energizing, effortlessly capturing the kinetic rhythm of the match. But how did we get to this match of former friends and lovers now turned enemies? It all began a little over thirteen years ago when Art and Patrick were dominating the doubles junior circuit in their senior year of high school. After one of the victories, they decide to hang back and watch the next match, which just so happens to feature Tashi Duncan, the most talked-about phenom on the scene. “It wasn’t even tennis, it was a completely different sport,” says Art, with both him and Patrick awestruck by her magnetism on and off the court. A litany of poke-and-jab flirtations continues throughout the night, capping with the beginning of a years-long ménage à trois. Through a series of tragedies and screw-ups, Tashi prematurely retires from tennis and takes up the position of Art’s coach and wife. Patrick goes his separate way on the professional tour, sporadically coming back into the fold to remind everyone of the good ol’ days. “When we were teenagers” is a line said by each of them to excuse the past, but none of them seem to be over it. One of the wonderful things about Justin Kuritzkes’ script (his feature debut!) is its ability to keep things fresh while dizzyingly spinning in circles. Much of that comes from the complex structure of the proceedings, almost emulating a Christopher Nolan-esque style by jumping back and forth within the thirteen years. One moment you’re on the court during the pivotal match, the next you’re in the Stanford dormitory, being given a clue to a payoff later down the road. There are no lines or roles for supporting players, just the central trio, meaning there’s a limited amount of combinations for character interactions. There’s a snapping bite to much of the dialogue, which doesn’t try to emulate the pace of Aaron Sorkin's dialogue, but instead lets a moment hang between words. But when things do get rapid, Trent Reznor and Atticus Ross’ incredible rave-like score is right there to push things over the edge. Not that there was much debate beforehand, but between Dune: Part Two and this, Zendaya has reached the level of a certified movie star. The confident vulnerability of Chani extends here, being combined with a physically athletic swagger. She’s a chess master forced to play with her hands tied behind her back, but that challenge only emboldens her flare. Faist steps into a role all fans of Steven Spielberg’s 2021 remake of West Side Story dreamt of. He and O’Connor certainly level up with their work here, with a special mention also going to casting director Francine Maisler for recruiting performers who can seamlessly switch between the ages of 18-34. And Gudagnino certainly knows what people want to see with these actors on the court, incorporating almost as much slow-motion as Zack Snyder, something that I didn’t think was possible. In his ironically typical fashion, Guadagnino will quickly pivot from Challengers over to an adaptation of William S. Burroughs Queer , telling the story of an insecure and haunted gay former GI played by Daniel Craig. Consistency in subject matter and filmmaking techniques may not be in Gudagnino’s wheelhouse, but the outcomes always turn out the same: excellent. 2024 will surely be his year, and we’re all going to have a fun time basking in it. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen