Syntell

The Final Stretch! Coming Full Circle

We started our Who journey with Ncutti, the Fifteenth Doctor and we were compelled enough to go back to the start of the modern era and experience how it got there.

We're approaching the end of our Modern Who experience and over the next few weeks, we will be recording our reactions to BBC's Centenary Doctor Who Special, the 60th Anniversary Special Trilogy and also when we can, The War Between the Land and the Sea!


Come join the Patreon and be part of the experience where you can watch us live!

1 week ago | [YT] | 117

Syntell

What should we watach next?

2 months ago | [YT] | 47

Syntell

Which of these non Marvel/DC superhero films had the most potential?

2 months ago | [YT] | 128

Syntell

Our recent South Park S28 Ep 1 "Twisted Christian" has been taken down due to Paramounts copyright restrictions. We do offer our reaction on our Patreon page: www.patreon.com/c/syntell

We have all of the previous episodes and thousands of other raw reactions from our channel there as well. We apologize for the inconvenience but also look forward to you joining our Patreon community.

Please keep in mind you will need your own copy of the episode to watch along with our reaction.

2 months ago | [YT] | 75

Syntell

The Smashing Machine Review: A Beautifully Flat Performance

This is a story that isn’t about the opponent standing in front of you, it’s about the parts of yourself you can’t control. It’s about the sport that owns your body, the love that confuses your heart, and the addiction that controls your soul. That’s the real fight, and Benny Safdie’s latest film is a struggle fought in silence, compromise, and withdrawal.

The Rock, aka Dwayne Johnson, takes a leap outside his comfort zone to portray Mark Kerr, a real-life MMA icon whose rise to glory was matched only by his inner collapse. This isn’t the typical larger than life action hero we’re used to seeing. Johnson strips away the macho bravado, giving us a version of Kerr that’s quiet, passive, and emotionally elusive. . . perhaps too elusive.

There are moments where Johnson hints at something deeper. Glimpses of a man saddled by addiction, love, and a fading sense of purpose. Unfortunately, the film rarely lets those moments breathe. Instead, we’re offered a version of Kerr who’s always misunderstood, soft-spoken, and nice. And I’m talking nice all the damn time. While his performance is a bold departure for The Rock and will no doubt surprise longtime fans, it never fully unleashes the emotional chaos bubbling beneath the surface. It’s a beautifully flat performance.

On the other side of the ring of thespian-ism is Emily Blunt as Dawn Staples, Kerr’s partner and the undeniable heartbeat of this film. Blunt strolls into every scene with clear purpose, throwing the weight of the emotional beats on her back with well intentioned intensity. She’s captivating, infuriating, and tragically human. Sometimes you’ll root for her, other times you’ll want to scream at the screen, but ultimately you feel for her, in ways the film never quite earns for its title character. If this were a match of acting chops, Blunt hands Johnson his ass in every scene they share.

The real struggle of The Smashing Machine isn’t Johnson’s portrayal of the role, it’s the film itself. Safdie builds a story full of high stakes moments: addiction, broken relationships, the introspection of a violent career. But somehow, none of it lands with lasting impact. It’s not that the story isn’t interesting, it’s just muted. The consequences never feel permanent. The pain never cuts deep. Even the fight scenes fail to get your heart racing. For all its grit, this story seems to take the safe route when it should be playing closer to the razor’s edge. It feels like a Kanye shrug till the very end.

Where films in this genre like The Iron Claw, Creed, or Warrior, leave you emotionally battered and exhausted from the struggles inside and outside the ring, The Smashing Machine ends more like a solid ESPN 30 for 30. It’s compelling, respectful, but ultimately keeps you at a safe distance from the kind of cinematic emotional exhaustion we actually pay for. Instead, it simply leaves you… informed.

That said, there’s still value here. Johnson’s physical and emotional transformation is worthy of praise for what it says about his growth as an actor. It’s nothing groundbreaking, but his respect for the craft is undeniable. If you’re a longtime fan of his career, or someone with a deep appreciation for the roots of MMA, you’ll find some worthwhile moments. There’s a sincerity to this film that shouldn’t go unnoticed.

In the end, The Smashing Machine feels like a well-intentioned jab that never quite lands clean. It’s not a knockout, but it also isn’t a flop. It’s a film that probably had a plan in its first draft… but realized it wasn’t ready once it got hit in the mouth.

I truly applaud the effort. But I’d be lying if I didn’t say I wished for something with more impact. Something with a little more fight.

2 months ago | [YT] | 139

Syntell

One Battle After Another: A Family Drama Wrapped in a Molotov Cocktail - Review

From the brilliant and twisted mind of Paul Thomas Anderson comes One Battle After Another. Part social drama, part political satire, maybe a conversation on parenting, and a wild road trip through the American apocalypse. It’s a film of this generation. It’s a lot. But somehow, it all works.

At its core, this movie is about protection. Protection of your family, your ideology, your identity, your sanity. It’s about love and rebellion, regret and reckoning. And above all else, it’s about how far you’re willing to go when the world you helped burn down comes knocking at your door.

The story opens with a group of freedom fighters in the middle of a tactical demonstration. Bob, a stoner only rivaled by The Dude, is helmed by Leonardo DiCaprio. And Perfidia, played with unflinching chaos by Teyana Taylor, is a lover only rivaled by the Joker and Harley Quinn. They believe in the cause, but they also believe in each other. Even if it’s clearly going to kill them both. That intensity takes a hard turn after the birth of their daughter, Willa. And their lives are changed forever.

Bob and Willa find themselves living a different life, free from his past. But the life Bob tried to outrun finds him again sixteen years later, when Colonel Steven Lockjaw, yes you heard that right, rolls into town with a literal army. Sean Penn plays the Colonel like a man who’s had a proverbial stick up his ass preserved in pickle juice. He is both terrifying and ridiculous. Which, honestly, is kind of the point.

Despite its hefty 2 hour and 41 minute runtime, this film moves fast. The pacing is non-stop. From the opening scene, you’re dropped into chaos and left to claw your way toward some kind of understanding. Don’t expect long exposition or backstory monologues. You’re running, ducking, hiding, and holding your breath. The tension never lets up.

One particularly difficult scene involves a group of immigrants desperately fleeing to safety. It’s harrowing, brilliantly shot, and scored to perfection. The intensity is so real you can feel it in your chest. The movie doesn’t just show you danger, it immerses you in the dread and exhaustion of constantly being hunted. It’s a masterful look at the trauma of survival, especially when you’re just trying to exist.

The film pulls no punches when it comes to politics either. The far left gets skewered. The far right gets dragged. There’s even a moment where you peek behind the curtain into a secret society of old white guys running the nation like a country club built for Grand Dragons and Goosesteppers. It’s outrageous. It’s uncomfortable. And yes, it’s funny but only in the way absurdity can be tragic if you think about it too long.

The cast? Incredible. Everyone’s dialed in. DiCaprio brings something new to Bob. He’s disheveled, over it, high out of his mind, and somehow still a man you root for. Every one of his frustrations feels like a comedic exhale. Teyana Taylor as Perfidia is pure mayhem. She’s beautifully broken and wildly unpredictable. It could be a career defining performance that deserves serious award buzz. Benicio Del Toro steps in as Sensai Sergio, Bob’s slightly mystical and mildly unhinged mentor, and every scene they share is pure magic. Calm meets chaos. It’s like Yoda meets The Dude, and I loved every minute.

Listen, we have to talk about Chase Infiniti, who plays Willa. She is a revelation. Wide eyed, fierce, confused, naïve, and maybe a little dangerous. You can feel every ounce of her youth and trauma as she navigates a world no one could be prepared for. You’ll want to leap into the screen and protect her. This young actress is going places.

Visually, the film is stunning. I caught it in IMAX, and it was absolutely worth it. The trailers didn’t scream “watch this on the biggest screen possible,” but Anderson uses every inch of the frame to amplify emotion. Wide, sweeping shots of tension filled landscapes give way to quiet moments that pierce your heart. It’s cinematic in all the right ways, big when it needs to be, and beautifully restrained when it counts most.

By the end, you’ll feel like you’ve been through something. The dust will settle. The noise will fade. And what lingers is a story that examines both the heart and the head. You’ll want to talk about it. You’ll want to see it again.

One Battle After Another is dark, absurd, hilarious, and explosive. And it might just be Paul Thomas Anderson’s most important work in years.

3 months ago | [YT] | 145

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Review: HIM (2025)

First off, let’s be clear, the NFL will NOT be putting its logo on this one.

Justin Tipping’s HIM is a dark and unsettling exploration of faith, fame, and the kind of sacrifices that don’t just cost you your body, but maybe your soul. While Jordan Peele had no hand in the project, his influence is undeniable. This is a film under the same umbrella as Get Out and Us, one where the horror creeps in not with loud bangs, but with cultural rot slowly seeping through the cracks.

At the center of this film is Cameron Cade, played by Tyriq Withers, a freakishly talented young quarterback on the cusp of greatness. He’s invited to a secluded training camp where he’s mentored by Isaiah White, a fading football icon portrayed with eerie intensity by Marlon Wayans. And yes, you read that right, Marlon Wayans. But this isn’t the goofball from Scary Movie. This is a full-force dramatic performance, where he commands every scene with an unsettling mix of authority, charisma, and dread. He’s part coach, part prophet, part warning from the future.

As Cam trains under Isaiah, it becomes clear that football in this world isn’t just a sport, it’s a religion. The name of the team is The Saviors for crying out loud. The quarterback isn’t just a player he’s a vessel. And this isn’t just training, it’s indoctrination. As the story unfolds, we see just how deep the roots of this cult-like culture go. There’s an understanding that true greatness demands sacrifice, not just of time and talent, but of something far more precious and spiritual.

Throughout the film, we’re pulled deeper into the darker rituals and warped expectations that accompany superstardom in this world. Isaiah constantly keeps Cam off balance, pushing him past his limits and into dangerous territory. The deeper Cam goes, the more he begins to see the cracks in the game and life. The unsettling philosophies of teammates and trainers, the obsessive behavior of fans, the eerie reverence that surrounds those who achieve GOAT status. It’s not long before it becomes clear that something truly diabolical is lurking beneath the turf. You’ll need holy water thrown on you like a post game gatorade celebration.

And that’s where the horror lives. Not in jump scares or gore (though there’s a bit of both), but in the disturbing idea that our heroes might be chosen by forces we don’t fully understand. The film leans hard into demonic imagery, religious symbolism, and the idea that the playbook may not be written by coaches, but by something much older and much darker. It’s heavy handed at times, this movie doesn’t whisper its themes; it screams them from the locker room. But the images are effective, and the weight of the atmosphere is real.

That said, HIM may not have stuck the landing. The horror elements are sometimes overshadowed by the film’s eagerness to be profound. There are moments where the pacing slows, the symbolism stacks too high, and the narrative loses clarity. The final act, in particular, feels ambiguous, leaving you wondering what the film really wanted to say. But maybe that’s part of the point. Maybe it’s meant to be debated, rewatched, and reexamined.

What does land, without question, is Marlon Wayans. His performance is unforgettable. If you’ve ever doubted his dramatic range, this will change your mind. Watching him play a fallen legend mentoring the next generation, while hiding “demons” of his own is worth the ticket price alone.

HIM is not a traditional horror film. It’s more of a parable, a cautionary tale, and a cultural critique all wrapped into one. It asks what we’re really cheering for when we worship athletes, what we’re willing to overlook in the pursuit of greatness, and what we risk when we give people, and ourselves, godlike status.

You may leave the theater confused, disturbed, or even slightly amused by how far it’s willing to go. But one thing’s for sure: you’ll never look at football the same way again. And the next time someone calls a quarterback the chosen one, you just might check for horns.

3 months ago | [YT] | 136

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Review: Demon Slayer: Infinity Castle
Or: The Final Battle Just Teleported Into a Kaleidoscope of Trauma and Swordplay

Let’s be clear from the jump: Demon Slayer: Infinity Castle is not easing you back into the story with a gentle warm-up. It opens with the death of a beloved leader (RIP Kagaya Ubuyashiki), slingshots you into a gravity-defying murder mansion, and doesn’t look back. This is part one of the anime’s grand finale, and it’s here to remind you why this franchise became a global phenomenon in the first place. Stunning animation, gut-punching emotion, and battles that feel like boss fights from your favorite Playstation game.

After Kagaya’s self-sacrifice, Muzan, the demon boss with the Michael Jackson rizz teleports all the remaining Demon Slayers into the Infinity Castle. And that is where things get gangsta. This place is less a castle and more an interdimensional Rubik’s Cube from hell. Walls shift, ceilings flip, and demon hordes seem to be on every floor like they’re guarding the world’s most psychedelic fun house.

The slayers are split up, each facing off in duels (and occasional tag teams) against the Upper Rank demons. This is where the movie absolutely thrives. Every frame during the fights feels hand crafted by someone who said, “Yes, I got time today” And bless them for it.

The real showstoppers?
• Shinobu vs. Doma delivers some of the most poetic rage you’ll see animated this year.
• Zenitsu vs. Kaigaku is the “on sight” fight no one saw coming. Our wildly annoying, nervous wreck of a boy puts his best foot forward and clocks in, for real.
• And the emotional gut check? Tanjiro and Giyu vs. Akaza, which dives deep into the demon’s past, blurring the line between villain and victim. A common trope in the series.

Be prepared, this movie isn’t afraid to slow it way down. If you’re not caught up with the manga, some of the extended flashbacks may feel like hitting the brakes on a speeding bullet train. The film dips heavily into some character backstory, and while that’s expected for longtime fans, casual viewers might find themselves checking their phones.

At 2.5 hours, it’s a chunky meal. I’m talking full course with dessert chunky. It’s the cinematic equivalent of trying to eat a pot of grandmas gumbo in one sitting type of grubbing, but overwhelming if you’re not pacing yourself. You may find yourself wondering which parts could’ve just been an episode in the regular series. (Spoiler: quite a few.)

That said, once you kick your feet up to the experience, accept the firehose of content, sip your soda, and stop trying to remember everyone’s tragic backstory, it becomes something special. Demon Slayer: Infinity Castle doesn’t just show you a battle. It immerses you in a world where grief, love, regret, and vengeance all collide with fireworks and sword smoke. And I mean all the smoke.

Final Thought:
You might leave the theater a little tired, a little teary, or over caffeinated on Mountain Dew, but you won’t leave disappointed.

3 months ago | [YT] | 70

Syntell

Review: The Long Walk (2025)
Or: How to Emotionally Destroy an Audience, One Mile at a Time

If you ever thought, “What if Stand By Me, The Hunger Games, and Lord of the Flies all went on a death march together?”—The Long Walk is your answer. Based on the Stephen King novel (originally written under the Richard Bachman alias), this film drags you, willingly, through a dystopian marathon that’s more existential crisis than action flick. And it’s fantastic.

The setup is simple and awful: in a war-torn future, the government hosts an annual “long walk” where willing teenage boys must walk nonstop at 3 mph. Stop too long? You’re executed. Fall behind? Executed. Bathroom break? You better poo with purpose. The last one standing gets a cash prize and a wish from the government. You know, light stuff.

We follow Raymond Garraty (#47), played by Cooper Hoffman, a kid with questionable motivation and quiet determination. His closest companion is Peter McVries (#23), played with heartbreaking clarity by David Jonsson. Peter is that rare cinematic character: the voice of reason marching toward his own doom. He’s the guy you want to root for, which is a cruel trick in a movie like this.

Let’s talk about that performance. David Jonsson was my heart and soul in this movie. He gives Peter depth, sorrow, warmth, and a surprising sense of humor all while sweating through hours of screen time. There’s one decision Peter makes toward the end that is going to spark curious debate, and rightfully so.

And then, there’s Mark Hamill, who makes the role of “The Major” sound like Satan took a voiceover workshop. It’s not a large part, but every time he speaks, it feels like someone poured ice water over your shoulders. That voice? Always Chef's kiss.

Director Francis Lawrence is no stranger to dystopia. With I Am Legend, Constantine, See, and The Hunger Games under his belt, this film feels like a stripped-down evolution of all those projects. No lavish set pieces or CGI armies here. Just a road. A never-ending road. And boys slowly breaking under the weight of survival.

In fact, the film is so focused on the walk that everything else, landscapes, spectators, even the guards fade into the background. The road is the star. Which makes you wonder… could this have been a stage play? Honestly, yes. And it might’ve hit just as hard.

Stylistically, the film isn’t flashy. But that’s by design. The horror here isn’t jump scares or gore, it’s the slow psychological erosion of kids who signed up for glory and ended up bargaining with death. It’s uncomfortable. It’s bleak. And it’s brilliant.

There’s even a moment that brushes up against the old “magical negro” trope with Peter McVries, but the film handles it with enough grace and nuance to keep it grounded in authenticity, not stereotype. It’s a refreshing pivot that deserves credit.

Now, this isn’t going to be a box office juggernaut. Too slow for action fans, too brutal for casual viewers. But give it time. The Long Walk is going to live online, in think pieces, late-night rewatches, and film school essays. It’s a cinephile’s dream and a streaming platform’s future cult hit.

The Long Walk doesn’t sprint. It trudges. It aches. It dares you to care about people who are never getting out alive. By the time the credits roll, you’ll feel like you walked with them, and you’re just as tired.

3 months ago (edited) | [YT] | 195

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Caught Stealing Review - A Cat, a Crime, and a Director in Disguise

Caught Stealing follows Hank Thompson (Austin Butler), a bartender trying to piece his life back together with his partner Yvonne (Zoë Kravitz). Being the good guy he is, Hank agrees to cat-sit for his neighbor Russ (Matt Smith) while he’s out of town. But when a pair of goons show up at Russ’s apartment looking for him, Hank tries to cover for him and all hell breaks loose. People die, chaos ensues, and Hank is left holding the bag. A whole cast of shady characters begin hunting for Russ, forcing Hank to find answers in a world he doesn’t understand.

If this film had debuted 30 years ago, it might’ve made serious waves—before the wit of Guy Ritchie, the chaos of Tarantino, and the immersive grit of Scorsese’s New York. Caught Stealing tries to pay homage to all three, but it misses the mark in reverence and execution. It feels like a movie that desperately wants to sit at the “cool kids” table, but forgets that its director, Darren Aronofsky, already has his own seat… at a weirder, more wonderful table that many of us grew up admiring.

Aronofsky doesn’t need to prove anything, and we love him for that. But this? This feels like that awkward meme of Steve Buscemi with the backwards cap and skateboard: a legend cosplaying as someone else. And that’s a shame, because the cast is stacked. Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio—even Bad Bunny. The problem is not the talent. It’s the tone.

Most of the characters feel like echoes of earlier genre tropes. Whatever unique quirks they possess are dulled in service of style over substance. We’ve seen many films tread this familiar path, but the ones that stand out have a distinct creative fingerprint. Caught Stealing lacks Aronofsky’s. I kept waiting for Darren to show up.

We’ve had creative giants return this year with bold, signature work. Spike Lee with Highest to Lowest, Wes Anderson with The Phoenician Scheme, each unmistakably their own. Caught Stealing doesn’t feel like that. It feels like something Aronofsky made, but not something he owned.

That said, the film isn’t without its merits. Lack of originality aside, the story is engaging. It moves. There’s no dead air. Every scene throws something unexpected at Hank, keeping him, and us, off balance. And that, at least, is worth the watch.

3 months ago | [YT] | 73