Prime Time: Over Your Dead Body (2026)

I was hoping to make time for this after finally watching the film that it was based on (The Trip, directed by Tommy Wirkola), but sometimes things aren't meant to be. Which means I saw this was now on Amazon Prime and it seemed like the best way to spend some of my time this past weekend.

Dan (Jason Segel) and Lisa (Samara Weaving) are a married couple who don't love each other any more. Maybe a weekend break will help them. It will certainly help Dan once he's drugged and killed Lisa, then disposed of her body in the nearby lake. Dan isn't too smart though, which allows Lisa to soon cotton on to what he's planning. And she has her own plan. Both of them may try to kill one another, but they might also both be shown exactly how they should do things by three dangerous fugitives (played by Timothy Olyphant, Juliette Lewis, and Keith Jardine).

Written by Nick Kocher and Brian McElhaney, working from the screenplay co-written by Wirkola, Nick Ball, and John Niven, Over Your Dead Body is the kind of film best described as a deliciously dark comedy. It's just a shame that all of the real deliciousness and darkness appears in the third act, and doesn't quite do enough to make up for the disappointments elsewhere in the runtime.

Segel and Weaving are both great performers, but neither of them are doing their best work here. It would have been nice to have more scenes letting them be more vicious to each other, but we instead just get standard griping and poor communication underlining where they both are in their marriage (the end, they're both at the end of it). Everything picks up when a strange trio gatecrash the planned violence, thanks mainly to a typically brilliant turn from Olyphant, although he's almost matched by a lovestruck Lewis. Jardine has to play a strong idiot, which he does fine, but his character is the least interesting of the core selection. The other person to mention is Paul Guilfoyle, playing a grumpy and critical father who believes that a war would be the best thing for his son. Guilfoyle is casually dismissive and careless without seeming loathsome, and he gets a couple of great moments when he comes back into the picture after his earliest scenes.

I've enjoyed some other work from director Jorma Taccone (especially the brilliant Popstar: Never Stop Never Stopping), but I believe he works better with light and silly fare. Whether it's the source material or the very wobbly tonal tightrope here, he's not able to do as well here. Mind you, I am not sure many people would be able to spin gold from a sequence in which someone is threatened with anal rape if they don't promise to hand over enough money to help some desperate criminals finalise their escape plan.

If you like the stars then you'll get something from this, and there are some fantastic gore gags in the last 15-20 minutes, but it's just a shame that there wasn't more energy running through this. From the dialogue to the score, nothing really works in the first hour that helps it to get anywhere close to being as entertaining as the finale. I'll be interested to see if the original does it any better. 

4/10

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Ready Or Not 2: Here I Come (2026)

Anybody keen to be served up a sequel to Ready Or Not is going to be kept happy enough with this, a film helped by the fact that everyone returns to their main roles, both in front of and behind the camera, and by the fact that it seems to be even more gleefully sadistic.

Things pick up immediately from the end point of the first movie. Grace (Samara Weaving) is taken to hospital, soon to be visited by an unhappy estranged sister (Faith, played by Kathryn Newton), who only ends up there because Grace forgot to change her main emergency contact. Nobody believes Grace about the shocking events of the past day, but the worst part of it all is that her ordeal isn't over. Grace AND Faith are snatched, terms are explained by a lawyer (Elijah Wood), and it's time for a whole new bunch of rich and entitled psychopaths to hunt some human prey. They're headed up by Ursula (Sarah Michelle Gellar) and Titus Danforth (Shawn Hatosy), and they are happy to use Faith as leverage to keep Grace in line.

It's clear that Matt Bettinelli-Olpin and Tyler Gillett returned to this premise because they figured they could have more fun with it. That's exactly what they do, adapting a story about two sisters into something that writers Guy Busick and R. Christopher Murphy could easily fit into the Ready Or Not world. It's a classic case of "here's what you enjoyed, but a little bit more of it", for the most part, and the direction keeps the focus on fun in a way that makes the slightly longer runtime (this is 108 minutes compared to the 95 minutes of the first film) feel just right.

Weaving slips back into her (iconic?) character with ease, and believably becomes more badass and dangerous as she becomes more desperate to stay alive, and keep her sister in the same condition. Newton is a great addition, entertainingly unhappy with her sister, but also soon showing how much they are cut from the same cloth when things start getting bloody and deadly. Gellar and Hatosy have a lot of fun in their roles, and the former always seems very aware of, and respectful of, the genre baggage she will forever carry into any project. Wood is fun, a calm presence in the middle of a lot of madness, and there are good moments for Dan Beirne, Olivia Cheng, Nestor Carbonell, Kevin Durand, Varun Saranga, Nadeem Umar-Khitab, Antony Hall, and even a cameoing David Cronenberg.

Much like the first film, there are no scares here, and there's very little actual tension, but you get some inventive kills and a whole lot of bloodshed. One or two sequences are drawn out into a showcase of violence and pain, many others are all about the hilarity of how quickly some people can be killed when they're not hidden away in a protective bubble. Everything is very enjoyable for those who were eager to rejoin Weaving in another bit of deadly gameplay.

And special recognition has to go to costume designer Avery Plewes on the outstanding dress that makes an important appearance in the very last scenes. You'll know what I'm on about when you see it. It's a stunning look, but also nicely in line with the journey that the main character has been on.

7/10

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Eenie Meanie (2025)

Written and directed by Shawn Simmons, Eenie Meanie has the air of something given to someone finally allowed a shot at feature film-making after years spent helping to create entertainment for the small screen. A quick glance through the filmography of Simmons confirms that, yes, that's exactly what has happened. Simmons has his name on about 30 or 40 various TV show episodes, but this is his first major film credit. He helps himself immensely by getting Samara Weaving for the main role. Sadly, he spends a lot of the movie then working against himself.

Weaving plays Edie (nicknamed Eenie Meanie by some). Edie used to be the best getaway driver in the business, but she got out of that life. Unfortunately, her on/off boyfriend, John (Karl Glusman), didn't. He now owes Nico (Andy Garcia) a large debt, and Nico has a plan for John to repay that debt with a major score. It will need an excellent getaway driver though.

There's nothing new here. The super-skilled getaway driver has been done in a number of movies. The ex-criminal unable to go straight because they've been manipulated into one last job has been done in almost every other crime flick from the past hundred years. And daring heists that have people using skill and a bit of luck to defy impossible odds? Well, I'm sure you can name a few films with that main plot point. So the only real novelty here is having Weaving as the central figure, and it's her charisma and talent that make this more watchable than it otherwise would be.

Simmons makes the mistake of not really nailing down the tone, which doesn't help. Some moments are fun, some moments are thrilling, and some moments take viewers on a hard turn into a road called downbeat street. If these different strands flowed and blended well then Eenie Meanie could have been a pleasant surprise, but they do not. None of the fun moments reach their full potential as viewers are reminded of the high stakes, the same goes for the thrills (a couple of expected driving stunts aside), and the most downbeat moments feel as if they've been spliced in from another film entirely.

Weaving is great. When is she not? That's rhetorical. Don't answer, especially as I anxiously try to remember the many film appearances she has racked up that aren't deserving of her good work. Glusman is fine, although he has to struggle at portraying a character who feels quite irredeemable. He's a greedy and selfish idiot, and doesn't get any big moment to turn things around. Garcia delivers the goods in a few scenes that are real highlights, and the rest of the supporting cast members - including Steve Zahn, Jermaine Fowler, Marshawn Lynch, Randall Park, Mike O'Malley, and Chris Bauer - are almost all wasted. Nobody is given enough time or character development, which is more annoying when it means more time spent in the company of Glusman's character.

There's a nice muscle car being put through its paces in the third act, the score is decent, and Weaving gets to carry the film. It's just a shame that there's nothing more to it, and it's a shame that I was thinking about twenty better movies I could have rewatched instead of giving this one 106 minutes of my time. 

5/10

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Shudder Saturday: Azrael (2024)

The fact that Azrael is described in some places as an action horror should be enough to get the makers in trouble with the Trade Descriptions Act. There's no decent action, and there's also a distinct lack of any horror. There's a decent end scene, but it's a punchline that isn't even worth the relatively meagre 86 minutes that you have to waste on the full runtime.

Things start off with a bit of text explaining that the movie is set years after the Rapture. Yes, THAT Rapture. Many of those left behind believe that speech is a sin, which leads to them trying to live in relative silence. That should also help them avoid some demonic creatures that try to hunt and eat them. One person trying to avoid such a fate is Azrael (Samara Weaving).

I was going to try and add some more detail there, give you something to at least pique your curiosity, but I can't. This film gives viewers nothing, and then continues to deliver a whole lot of extra nothing throughout. It's bad in a way that is hard to understand, because it feels like someone had to continually make one bad decision after another, all the way to just before the end credits.

I guess the person to get most of the blame is writer Simon Barrett. Barrett is someone who has written some fantastic films, but he's also done his share of some not-so-fantastic films. His other not-so-fantastic films are easier to understand though, often making use of too much CGI or too many jump scares in ways that epitomise the worst habits of modern movie-making. This is another level, however, with a lack of detail, an apparent lack of logic (at times), and nothing to truly reward viewers who read that opening text, shrug, and decide to go along with the ridiculousness of the central conceit.

Maybe, and it's a very big maybe, things would have been easier to go along with if director E. L. Katz had been able to present the material in a way that was more entertaining and distracting. Katz has made a couple of fill features before this, and has been involved with a few decent horror genre TV shows, which explains why this doesn't even have the accidental positive of laughable incompetence. A complete newcomer may have failed with more amusing results, or even succeeded beyond anything they could comprehend, whereas someone with more experience would know to either stay away from the script or change whatever needed changing to give it even half a chance to work.

Weaving can't do anything much to help. As good an actress as she is, she's dragged down into the mud here by the script. Her character isn't ever someone we get to know, aside from her will to survive, and she's only worth rooting for, I guess, because she's Samara Weaving. I understand that Barrett probably wanted to challenge himself, and cinema is predominantly a visual medium, but making the central character such a blank page (perhaps literally) does nobody any favours.

I didn't like Azrael, I know that I have made that much clear, but I want to underline how angry it made me. I resent the fact that I watched this bloody thing, which limped along from one stupid and improbable moment to the next, without the feeling of anyone involved having ever once pushed aside their own sense of smugness to make an effort to draw people into the world and premise depicted onscreen.

2/10

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Snake Eyes (2021)

AKA Snake Eyes: G. I. Joe Origins.

Directed by Robert Schwentke, who very possibly thinks it a minor miracle every time he is handed another film project, and written by Joe Shrapnel, Anna Waterhouse, and Evan Spiliotopoulos (the first two having worked together on many films before this one), Snake Eyes isn't a film with many signs of greatness from the list of names who worked on it. But it's a lead role for Henry Golding, and another film giving some screentime to Samara Weaving, so I decided to give it a go. 

It's not good.

It's not really that bad either. It's just there, not as much fun as the first live action G.I. Joe movie, but a bit better than the second one (which was weighed down by the presence of a somnambulistic Bruce Willis, who actually appears in dictionaries now right beside the definition of somnambulism). Annoyingly, this had potential. Some key characters are cast well, others not so much, and I'd love to see Golding get a vehicle that takes him to the superstar level he deserves. This isn't that.

Golding plays Snake Eyes, of course, a young man out to avenge the death of his father. He'll do anything to find his father's killer, and that journey places him alongside a powerful clan that includes Tommy (Andrew Koji), Akiko (Haruka Abe), Sen (Eri Ishida), and a powerful jewel which is desired by the dangerous Kenta (Takehiro Hira). Snake Eyes is tested a number of times, in challenges that involve characters played by Iko Uwais and Peter Mensah, and the second half of the film also brings in familiar characters such as the Baroness (Úrsula Corberó) and Scarlett (Samara Weaving).

There’s some stuff to like here. Golding being the main highlight, but also Abe, Ishida, Uwais, and Weaving. That’s a good selection of players. Unfortunately, they are alongside Koji, who drags down almost every scene he is in, saddled with a character who has to do little more than look brooding and wait to take on the name that fans of this property will know is coming. 

The action isn’t terribly done, but you wouldn’t always know that when the editing gets in the way of it. Whether out of necessity, to cover up some limitations from cast members, or due to a misjudged idea of stylisation, the editing gets in the way of most of the energetic set-pieces. It is far from the worst we have seen in this kind of fare, but this material was crying out for more fixed camera shots that could highlight the fluidity and speed of the fighters. 

The other disappointing main element here is the lack of wit. People may not want their action films to be overfilled with humour, but being too serious throughout feels just as bad, especially when you’re presenting a film developed from a toy line. The only person who gets to really have fun is Weaving, which then makes it feel as if she has wandered in from another movie. 

I know that I will end up watching this again, and probably owning it at some point, but that is more to do with my completist approach to movies. I wouldn’t really recommend it to many other people though, unless you are as big a fan of Golding as I am (which you should be). Maybe next time he will get a better script, or better director, or maybe he needs a better agent.

6/10

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Prime Time: Guns Akimbo (2019)

If you want to see a prime example of how to completely derail your new movie, career, and any feelings of goodwill that people may have for you then do check out the story of Jason Lei Howden, writer-director of Guns Akimbo. He has delivered a fun, frenetic, film here. I don’t think anyone is holding their breath for his next one though.

With that noted, let’s move to the actual content of the film itself. Daniel Radcliffe plays Miles, a young man who seems to be the definition of “a bit of a loser”. He spends his days working for a company that creates mobile phone games, has separated from his girlfriend, and spends a lot of his free time getting drunk and trolling people online, especially those who comment while watching Skizm, a videogame that takes real people and puts them against one another. His latest antics get him notices by Riktor (Ned Dennehy), the crazy boss of Skizm. That leads to Miles being caught, drugged, and waking up with a gun bolted to each hand. He has 50 bullets in each gun, no great shooting skills, and very low odds of surviving against the reigning champ, Nix (Samara Weaving).

Having previously given us the excellent Deathgasm, Howden has shown that he has a talent for comedy. While that film blended horror with the comedy, this is an action film that never strays too far away from absurdity. Even the first main sequence showing Miles trying to adapt to life with guns bolted to his hands provides some chuckles as the threat of accidentally shooting himself becomes immediately apparent while he tries to get dressed. The action is enjoyably over the top and some of the moments that highlight the difference between being a videogame player and being capable enough to handle any confrontation in the real world work really well.

Radcliffe is a lot of fun in the main role, absolutely useless for most of the runtime until he finds the courage to embrace his new form. Weaving is as good as she has been in most movies over the past few years, given a makeover here that makes her look even more badass and scarier than usual. Dennehy is good fun, Natasha Liu Bordizzo is just fine as the ex-girlfriend seeing a new side of Miles, and there’s a hilarious cameo from the brilliant Rhys Darby.

The big problem that Guns Akimbo has is the lack of proper focus. The action scenes are shot well, but they’re also deliberately stylised and unbelievable, putting them at odds with the level of development needed for Miles to stay alive. The comment on videogames and the ease with which we can find and pick fights online is potentially interesting, but dropped quite quickly (or, at least, buried by the rest of the plot and the gunfights). And the way the plot unfolds should be easy to predict if you have watched any action thriller made since the 1980s.

It’s definitely still worth your time though, very easy to watch and enjoy when you want something funny and violent that won’t cause you to overthink anything or delve into a period of introspection. The fact that it is a bit of a mess doesn’t matter as much as it rushes from one set-piece to the next, and everyone involved at least knows exactly what kind of film they’re participating in. 

7/10

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Bill And Ted Face The Music (2020)

There's a sweet message at the heart of Bill And Ted Save The Music. In fact, there are a couple of sweet messages. This will come as no surprise to fans of the previous two movies, in which our hapless heroes stumbled on adventures with a kindness and optimism to make up for their lack of intelligence. The film itself may be the weakest of the three, but maybe it's just what we need in the midst of the dumpster fire that is 2020.

The plot doesn't take long to get going at all. Bill (Alex Winter) and Ted (Keanu Reeves) are still friends, and still married to the two princesses (Joanna, played by Jayma Mays this time, and Elizabeth, played by Erinn Hayes). There are also two daughters, Billie (Brigette Lundy-Paine) and Thea (Samara Weaving). They also still have yet to write and perform the one song that will keep time and space holding together, something that becomes a much more pressing concern when they are visited from the future by Kelly (Kristen Schaal) and informed that the song is needed in a matter of hours. Unable to think of anything, Bill and Ted come up with the idea of travelling to see their future selves to get the song they will know by then. Things start to get complicated.

Written once again by Chris Matheson and Ed Solomon, and bringing back a lot of the same cast members able to reprise supporting roles (including William Sadler as Death, Hal Landon Jr. as Ted's father, and even Amy Stoch as Missy), this is a film that feels made by people with their heart in the right place. Director Dean Parisot should also be a good choice, and he handles everything well enough.

It's a hard film to dislike, and I don't. It's also hard for me to pin down exactly why I didn't love it. The characters feel too old for their shenanigans this time around, but that is kind of the point. The plot does complex in a childishly simple way, but that is also part of the appeal. It has plenty of little touches for fans to enjoy while never keeping newcomers in the dark. What's not to appreciate about that?

I'm really not sure. There was just something that felt odd this time, and I am not completely unconvinced that my own mixed feelings to the film don't stem from the sweetness of it being juxtaposed against what may well be the personal worst year of my life (so far).

Winter and Reeves are great in the lead roles, as expected. They may have a little less energy this time around, in their main incarnations, but they certainly love these characters, and clearly have fun. Weaving and Lundy-Paine are saddled with having to do impressions of their onscreen dads, which is something performed better by the former than the latter. Sadler is yet again a highlight, Schaal is a good time-travelling agent, and Jillian Bell is a lot of fun in her small role (playing a marriage counsellor). Anthony Carrigan is less enjoyable, playing a killer robot sent to take care of Bill and Ted, and the portrayals of Jimi Hendrix and Louis Armstrong feel a bit off, but these characters are all offset by everything else going on.

You also get some fun cameos, plenty of unexpected wisdom from Kid Cudi, and impressive plotting that leads us to an ending that manages to be both slightly unexpected and yet also quite predictable and satisfying (I hope that makes sense when you see it).

Lots of people loved this. I liked it. I think it is a distraction that many people will enjoy just now, more for the fact that it's appropriately available at a time when it feels almost needed than the actual quality of the final product. 

6/10

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Netflix And Chill: The Babysitter: Killer Queen (2020)

Everyone was surprised by just how good The Babysitter was. Despite my own ability to tolerate his work, even I could see why McG had become so hated by film fans. Perhaps now is the time for some to realise he's actually never been THAT bad. Although it doesn't change the fact that he credits himself as McG.

Anyway, this sequel to The Babysitter brings back all of the main players. That may surprise people who remember the events of the first film, but the trailer gives you all the info you need. There's a deal with the devil that allows the dangerous youngsters from the first film to return for one night and once again terrorise Cole (Judah Lewis). There are also some new extra characters involved in the madness this time, including an attractive and resourceful young woman named Phoebe (Jenna Ortega).

The approach may not work for everyone, but The Babysitter: Killer Queen has a lot of fun trying to cram in as much fun, and as many movie references as possible, into every scene. Whether it's a running comment about the very few sequels that surpass the originals, the use of "Apache" in one key scene, or the evocative score from Risky Business underpinning some scenes in which we see Cole both afraid and yet also enjoying his time with Phoebe.

Brian Duffield may not have returned to the writing duties, but Dan Lagana, Brad Morris, Jimmy Warden, and also McG himself, do well by all of the central characters, maintaining the tone of the first film, peppering everything with a mix of new gags and fun callbacks. This may not be better than the original, but it comes close enough to be rated on a par with it. It's just a shame that the excellent Samara Weaving has a lot less screentime this time around, understandably so.

The direction is as lively and irreverent as it was in the first film, with the subtitles returning when a point is being made, and some quick flashbacks for most of the main characters. It's not quite as successful this time, simply due to the familiarity with the form, but McG definitely seems to be having fun, which is passed on to viewers.

Lewis and Ortega are a decent pair of leads, with the former having the added characterisation now of working through the PTSD of a traumatic incident that so many people don't believe. Emily Alyn Lind is a lot of fun as Melanie, another girl that our lead character likes, even if his chances of anything actually happening with her look slim to none, and it's hard to pick a favourite from Robbie Amell, Hana Mae Lee, Bella Thorne, and Andrew Bachelor, who are all generally involved in some fun and gory death scenes. It's also worth mentioning the increased screentime for Ken Marino and Leslie Bibb, with the former managing to deliver many more laughs with his wonderful narrative strand.

It's not better than the first film, but if you liked that then you're bound to enjoy this. And patience is rewarded whenever Weaving appears. Her shadow falls over the whole movie, but it moves up a notch whenever she's there in person. I am glad we got a second outing for these characters. I hope they don't try to stretch things for a third outing though.

8/10

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Ready Or Not (2019)

If you haven't seen Ready Or Not yet then what have you been up to? Oh, I get it, you have just been too busy, like myself, dealing with life stuff. It's not always easy to get along to the cinema, even when something is being raved about, as this was.

Samara Weaving plays Grace, a young woman who is taken to the family home by her hubby-to-be, Alex (Mark O'Brien). The wedding arrangements allow for the usual mix of friendliness, civility, barbed comments, and resentment, but things take a turn for the worse when Grace is asked that evening to draw a card, one which will decide on a game the family has to play. She draws one that says "hide and seek", and it turns out that this means the family has to hunt and kill her before sunrise, or they believe they will be struck by a deadly curse.

Directed by the talented duo of Matt Bettinelli-Olpin and Tyler Gillett, Ready Or Not is a fun and bloody romp (yes, I used the word romp here - deal with it) that is boosted by a few select talented cast members helping to raise the material. The canny casting is essential, as what could have been a sharp and witty script is surprisingly weak. Guy Busick and Ryan Murphy (AKA R. Christopher Murphy) do a good job of getting everyone into place and delivering the little morsels of exposition throughout, but they fail to do enough to raise this above a number of similar genre films from recent years (including the enjoyable Mayhem, which also starred Weaving). For those who have seen the film and don't agree with me at all, I'd like you to consider a) whether or not you enjoyed certain characters because of how they acted or because of who was portraying them, and b) how much worse this would have been with someone in the main role who didn't have the charisma of Weaving.

Fortunately, we DO have the charisma of Weaving, who seems to have been poised on the very edge of proper stardom for a couple of years now. She's consistently brilliant in this, moving believably from someone understandably freaked out by events to someone determined to survive. O'Brien is okay as the love of her life, despite showing no hint of what someone might see in him. Thankfully, you get a wonderfully wry turn from Adam Brody, trying to stay drunk while he wearies of the family traditions, Henry Czerny is superb as the patriarch of the family, and Andie MacDowell is amusingly unfazed by anything that happens. Her role may be a relatively small one, but it's her best in some time.

What works here is the commitment to lining up the gory surprises as people are killed off, one by one, some of them directly involved in the whole scheme and some of them just "innocent" bystanders. Plenty of blood is spattered over people, with most of it ending up on Weaving, and there's a nice balance of moments to make you wince and moments to make you laugh aloud, but I would once again emphasise that it all seems to work as well as it does thanks to the direction and the way the main players sell it.

A good time is guaranteed for most genre fans, but if you have cast your net far and wide in the past year then I'll be very surprised if this ends up as your absolute favourite horror of 2019. It might even be struggling to get into a Top 5 for some voracious cinephiles.

7/10

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Shudder Saturday: Mayhem (2017)

The second film in a short space of time to focus on a bout of extreme violence in an office environment (the other being The Belko Experiment), Mayhem may have suffered thanks to the timing of its release. Maybe. It also may have suffered due to the fact that not many people found it all that enjoyable. Once again, I find myself in the minority.

Steven Yeun is Derek Cho an ambitious white collar worker in your standard dog-eat-dog corporate environment. His day starts off badly (he can't find his favourite coffee cup), becomes slightly worse with a meeting that he takes in his stride as someone (Melanie, played by Samara Weaving) desperately tries to save their home from foreclosure, and then he is thrown under a bus by a colleague, which leads to him being sacked and removed from the building. Well, due to be removed from the building. That has to be delayed when the entire building is placed under quarantine, due to the presence of a virus that causes people to act unashamedly on their baser urges. This gives Derek the time, and necessary attitude, to try and make his way up to the boardroom and win back his job.

Written by Matias Caruso and directed by Joe Lynch, Mayhem is a hugely entertaining mix of workplace tensions and cathartic violence. The effect of the virus may not be quite what you expect, especially when compared to the over the top opening sequence that explains how it changes people, but all of the decisions made work in favour of a better story, and lead characters that are easier to root for than mindless psychopaths. Despite the film being set in a densely-populated office building, the plot only makes use of a core group of characters, and most of the people who end up the most bruised and bloodied (and murder death killed) are the ones that we strongly dislike from their earliest appearances onscreen. There's a lot of madness shown going on in the background, however, and plentiful doses of pain and bloodshed.

Yeun is great in the lead role, helped by the script that allows him to also narrate exposition and notes of his own failings, and Weaving gives another very likable turn, initially opposed to Yeun and quickly realising that it is best for them to work together. Caroline Chikezie is the one who ruins Yeun's life, Steven Brand is the big boss man, Dallas Roberts is the man sent in to meet people when it is time for their tenure with the company to end,  and Kerry Fox is a senior board member. All of them are amusingly easy to loathe, each one for a slightly different reason, although it all amounts to self-preservation in a corporate environment.

I really enjoyed this. It was a lot funnier than I expected it to be, Yeun and Weaving are a big plus in their main roles, and it strikes just the right balance between satire and visceral thrills. Some may dislike it because it doesn't have enough of the titular noun, some may dislike it in (unfair) comparison to The Belko Experiment, and some may just dislike it because, well, individual taste is subjective, of course. I hope a few others check it out, and maybe one or two of them will agree with my minority opinion.

8/10

You can buy Mayhem here.
Americans can buy the movie here.