Peter Martin
@peteramartin
Film & TV: editor, reviewer, feature writer. Managing Editor: @screenanarchy.bsky.social. Editor: DallasFilmNow.com. Creator: EverythingButHorror.com.
OVER YOUR DEAD BODY (2026; d. Jorma Taccone): Good translation of Tommy Wirkola's THE TRIP, never stinting on the blood and gore. #SundanceNow @amcplus.com
... even though all 10 episodes are now available, I'm savoring one episode at a time. ... Now, I want it to last as long as possible, so, even though all 10 episodes are now available, I'm savoring one episode at a time.
FURIOUS, EP 1-3 (#Hulu, 2026): Inspired by Ronald Bass' BLACK WIDOW screenplay, creator/writer Elizabeth Meriwether has fashioned a series that, in its first 3 episodes, becomes increasingly gripping, thanks to the increasingly compelling performance by Emmy Rossum. I need to decompress now.
THE TAKING OF PELHAM ONE-TWO-THREE (1974; d. Joseph Sargeant): Magnificent. This movie made me want to move to NYC, and then, after I moved there, it was just as I had dreamed: dirty, grotty, vibrant, and vivid. It feels throughly alive, its heart beating in tune with the city, above and below...
MARATHON MAN (1976; d. John Schlesinger): Just when you thought it was safe to go to the dentist. Muscular thriller, with a sweaty, 39-year-old Dustin Hoffman as a graduate student (?!), Roy Scheider as a mysterious person, William DeVane as the mysterious person's boss, and Laurence Olivier ...
Crackling thriller. My opinion surged upward on this rewatch, perhaps because of the 4K transfer, perhaps because Mr. Redford has passed on. Or perhaps because it really is quite well-made. The central issue plaguing it, of course, is also a quintessential mid 70s issue: ...
LEE CRONIN'S THE MUMMY (2026): Deeply unsettling and genuinely terrifying. Becomes excruciating to watch, as any story with a helpless child as its victim should be. Exquisitely made and performed, which makes it even more nerve-jangling. I need to decompress. (Via @hbomax.bsky.social)
I'm no expert, of course, but after two episodes, I'm liking what I see and where it's going, mostly because I love my little sister too. @netflix.com
Stayed up late last night to listen to the audio commentary and watch the special features and, somehow, no one mentioned what you can see in the final shot! (I guess it was too obvious to everyone.) Anyway, great movie; review forthcoming. From @criterion.bsky.social -- another great release.
MINIONS & MONSTERS (2026): Absolutely loved the first 30 minutes, a wonderful series of tributes to classic films and classic scenes, reminding me of ZELIG (1983) -- sorry! -- but with greater contagious wit.
ASTRO BOY (1963): First episode is rather stupendous. Tells backstory, establishes premise (less than 9 minutes), then covers death, birth, training, adjusting to life as a robot boy, conflicts with his demanding human father, saving lives, ends on a cliffhanger. Super!
Since she first arrived on Earth, her powers have dwarfed those of ordinary humans. On her home planet, though, she became well acquainted with pain and suffering. She can deal with that; she knows how to endure pain and suffering, no matter how great, even when others die, or abandon her. (3/4)
HONEY BUNCH: Really like the atmosphere, which is just a little bit "off" -- nothing major, yet nothing seems quite right. Resolves with bittersweet poignance, avoiding the harshness that was readily available with this type of scenario. #NowStreaming @shudder.com
THE VOICES OF OUR MOTHER: Typically, actors who also write and direct favor their words and the performances. Mark O'Brien, however, constructs a scenario that is disorienting before it appears to become a straightforward dysfunctional-family trauma drama. (1/2)
... More of a pointed socially-conscious dramatic thriller than straight horror, though it becomes a horror thriller.
WHISTLE (2026; d. Corin Hardy): Good performances, good photography, and good production values bolster the excellent script by Owen Egerton, revolving around a mythology that is well-considered and leads to Deep Thoughts, ...
THE BRIDE! (2026; d. Maggie Gyllenhaal): Ambitious and audacious, I loved the wild reimagining of the Frankenstein mythology, given a fresh whupping here and deconstructed from The Bride's POV. ...
THE ICE TOWER (2025; d. Lucile Hadzihalilovic): Now streaming on @shudder.com, its evanescent beauty and melancholy pace creates a lovely atmosphere to soak in its mysterious characters and developing narrative. Loved it, as with the filmmaker's previous works, which defy facile descriptions.
TOMORROW NEVER DIES (1997; d. Roger Spottiswode): Pierce Brosnan's 2nd go at James Bond is absolutely splendid, buoyed by Michelle Yeoh (despite 007 'rescuing' her more than needed) and
ROBOCOP (1987; d. Paul Verhoeven): Rewatched on Criterion Channel, initially just to sample the out-of-print audio commentary, then couldn't stop watching/listening. I had the DVD once upon a time. What an amazing movie - briskly paced, yet visionary and impactful! www.criterionchannel.com/robocop
Filmed in Mexico. Music by Ennio Morricone (?!). BTW, Shirley gets top billing in the movie itself, but not on the poster.
Just arrived this morning. Very excited to watch, and then listen to Oliver Stone's 'feature commentary' !! #WarnerArchive #Blu-ray
Mmm, #LaCarreta Salvadoran restaurant in Dallas. Here’s my breakfast: