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Season 3 of THE WALKING DEAD: DARYL DIXON wastes no time reminding you why these characters earned such longevity in the first place. There’s a confidence to this chapter, the kind that only emerges when a series knows its identity and trusts its cast to carry emotion without forcing spectacle. The return of Carol makes this even clearer; she doesn’t simply rejoin the story — she reorients it. The season carries the energy of a long-delayed conversation finally happening, the kind that personalizes every step Daryl and Carol take across a Europe that feels both expansive and claustrophobic. There’s real comfort in their reunion, but also an earned tension in how differently they’re approaching the idea of “home,” turning what could have been straightforward fan service into something richer.

Some sports documentaries feel like they’re just there to inform, and others feel like coming home again. THE SHUFFLE easily falls into the second category, wrapping itself in Chicago pride and decades-old memories of a team that didn’t just win — they dominated, they entertained, and they embraced a swagger the NFL had never seen before (or since.) For anyone who grew up with the 1985 Bears as mythology or who still references “The Super Bowl Shuffle” as if it were a sacred text, this short documentary plays like a time capsule cracked open at exactly the right moment. And with the Bears finally having a good, if not great season again (not on the level of the ‘85 Bears, but beating the Super Bowl champs from last year ain’t nothing), watching this film feels like a celebration more than a history lesson.

Some films work best when they make you feel like you’ve wandered somewhere you shouldn’t be, and THE HOUSE WITH LAUGHING WINDOWS thrives in that space. It’s a film that doesn’t need cheap shocks or exaggerated theatrics to keep you unsettled. Instead, it grounds its horror in isolation, suspicion, and the sinking realization that some communities hide rot beneath a perfectly still surface. Watching it today, restored in 4K and given the level of care Arrow Video reserves for films with genuine artistic vision, it becomes clear why this title quietly earned its reputation as one of the most disturbing entries in Italian horror — not because of what it shows, but because of what it makes your mind fill in.

SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA earns its cult status reputation through sheer, unapologetic chaos. This is a movie with no interest in restraint, perfection, or logic; instead, it embraces the kind of charm that defined late-night cable horror throughout the ’80s. It’s crude, clumsy, horny, and relentlessly silly — and that’s exactly why it has endured for decades among the trash-cinema faithful.

ANIMAL TALES OF CHRISTMAS MAGIC is built with a very specific audience in mind — and it’s an audience that responds to motion, colors, and stories told in broad strokes meant to comfort more than challenge. This animated anthology collects five shorts created by a team of women directors from several countries, each contributing a standalone winter-themed tale centered around kindness, generosity, and simple emotional lessons. The result is a quieter, lighter experience crafted for the smallest viewers, those still enchanted by snowflakes, animals in scarves, and uncomplicated messages about doing good.

WALUD begins with the kind of grounded, unvarnished simplicity that often hides something devastating beneath its surface. There’s no dramatic overture, no forced urgency — just the Syrian desert, a woman’s daily routine, and the sense that the world around her is closing in. It’s this lived-in presentation that gives the film its punch. The story follows Amuna, a middle-aged woman living under ISIS rule with her husband Aziz, whose authority is built on dogma and fear rather than true power. When he returns home with a much younger second wife, the fragile order of Amuna’s life splinters in ways neither she nor her oppressor can fully control.

WILD STYLE exists in a category of its own. Even calling it a film feels slightly restrictive because it operates as something more fluid—a document, a collaboration, and a street-level snapshot of a culture forming its identity. Watching the new 4K restoration, what stands out immediately is how much of its power comes from its authenticity. It isn’t about arranging the early hip-hop scene into a perfect narrative; it’s about capturing it as honestly, messily, and vibrantly as it existed in 82.

HOUSE ON HAUNTED HILL knew what it wanted to be, a movie designed not to terrify with realism but to entertain through mood, timing, and mischief. It’s the rare mid-century shocker in which the craft behind the scares becomes part of the fun, amplifying a sense of playful menace that still holds up decades later. With a newly restored limited-edition Blu-ray giving the film a polished presentation, this classic William Castle offering feels reinvigorated rather than merely preserved. (ironically, the 1999 remake was one of those rare instances where I appreciated the remake as much as the original.)

PAIKAR begins with a confrontation—one that has lived in the filmmaker’s body for years. Dawood Hilmandi returns to the world he left behind to face the man whose silence shaped him, and in doing so, the film becomes an exploration of everything exile fails to erase. The title, a family nickname meaning “war” or “warrior,” mirrors the story's tone. It speaks to the cultural and emotional armor passed down through generations, the kind that grows heavier the longer it goes unexamined. The documentary moves with the patience of someone trying to understand the parts of himself that were inherited rather than chosen.

THE SHIPWRECKED unfolds like a long, unbroken breath—one held for thirty years and released in a film that carries the weight of distance, homesickness, and the ache of leaving a country that shapes you even after you’ve built a life somewhere else. Diego Gutiérrez returns to Mexico not with the intention of reclaiming the life he once had, but with the quiet, painful awareness that returning does not heal everything. Instead, he observes. He listens. He records people whose stories reflect the fractures, hopes, and contradictions of a place both familiar and forever altered. The result is a documentary that operates on a deeply human level, anchored in contemplation rather than urgency.

THE DISINVITED taps into something painfully human before it taps into anything horrifying: the sting of no longer belonging. Before the violence, before the unraveling, before the final descent into outright nightmare, the film establishes something more recognizable than most thrillers dare to touch. A revoked wedding invitation. A circle of friends who have quietly moved on without you. A desperate need to reclaim even one piece of the identity you lost. Director/co-writer Devin Lawrence takes that emotional fracture and follows it to its harshest conclusion, building a film that thrives on discomfort rather than theatrics.

TANGLED UP IN CHRISTMAS leans straight into the familiar territory of holiday storytelling, but where it finds its footing is in the dynamic between two sisters who couldn’t be more opposite. At its core, this is a small-scale Christmas movie that blends family tension, personal growth, and a budding romance – all packed inside a frantic 48-hour timeframe. The result is a story that understands exactly what its audience wants: a slice of warmth, a dose of chaos, and a reminder that the holidays rarely go according to plan.

ILSA: HAREM KEEPER OF THE OIL SHEIKS offers up the energy you expect from a follow-up to one of the most notorious exploitation films ever made. This sequel wastes no time shifting its setting, tone, or sense of morality. Instead, it leans harder into the heightened absurdity that made the original so infamous, while also developing its own flavor of desert-soaked chaos. It’s a film that never pretends to be respectable, never hides behind restraint, and never tries to reinvent its own notoriety. It doubles down — proudly and without apology. For viewers who have a soft spot for exploitation cinema, that brazenness is the pull.

PAUL arrives with the energy of a public-access sci-fi legend that escaped into a studio movie, and that’s part of why it still works. It’s built on a familiar premise — two comic-book obsessives on a road trip accidentally pick up an alien — but Greg Mottola leans into that simplicity rather than pretending it needs to evolve into something bigger. What emerges is a comedy that isn’t chasing genre reinvention. It’s interesting how friendship, fandom, and accidental responsibility collide when circumstances shift from fantasy to real-world stakes. The result is a film that feels unmistakably rooted in its era while also carving out a tone that hasn’t aged as quickly as one might expect.

FRENZY MOON arrives with an unapologetic confidence in what it wants to be: a creature feature built on practical effects, contained chaos, and a love for old-school monster filmmaking that refuses to fade. Director Gregory Lamberson has been part of the underground horror landscape long enough to know exactly what he’s reaching for, and his intention is crystal clear. He openly states his desire to create a werewolf film without leaning on digital shortcuts. That spirit flows through every frame — from the full-body suits to the puppetry work to the constant attempt to keep something tactile and unpredictable on screen.