First Reaction – Fathers keeps us guessing throughout the movie.
Director: Harley Wallen
Writer: Harley Wallen (Screenplay)
Cast
Kaiti Wallen
Harley Wallen
Jerry Hayes
Deon Hunt
Yancey Fuqua
Plot: A young girl (Natalie) is kidnapped but it’s not long until we realize things are much more complex as her captor presents a completely different picture. Natalie must figure out what is actually true and what isn’t before it’s too late.
Runtime: 1 Hour 34 Minutes
There may be spoilers in the rest of the review
Story: Fathers starts when Natalie (Kaiti Wallen) is found after 15 years missing. Detective Parker (Hunt) leads the investigation to where she has been for years. Meanwhile, we see Bobby Nash (Harley Wallen) abduct her as a child, believing he has a long-lost relationship with Natalie.
As the investigation unfolds, stranger events become clear and the truth is even more disturbing. However, can Natalie understand the truth and understand why she is the victim in her life.
Verdict on Fathers
Recap
The movie follows a young woman who has escaped her captivity for years. However, the mystery about who took her consumes her and takes over what happened. Meanwhile, the truth becomes more disturbing as it comes out.
Best Parts
The movie thrives on the bigger mystery about what is happening. It keeps us guessing throughout the movie, and the performances keep us engaged in the bigger story. This surprises with everything and doesn’t follow a more traditional concept.
Worst Parts
There are some weaker effects used for certain moments. Elsewhere, it can be jarring with the jump between the time involved.
Final Thoughts –Fathers is an intense mystery, with plenty of twists and turns.
Biggest presentation of films in the festival’s history
Abner Pastoll’s NERVOUS and Marion Le Corroller’s SPECIES to open and close 27th edition
Be prepared for a terrifying, record-breaking selection of World, International, and UK premieres as Tubi FrightFest 2026, the UK’s No.1 horror & fantasy film festival, returns to the Odeon LUXE Leicester Square and the ODEON Luxe West End for its annual five-day celebration of nerve-jangling eeriness, hair-raising shock, and epic scares. This year’s line-up highlights the genre’s transforming landscape and reflects the amazing span of progressive global genre filmmaking.
Running from Thursday August 27 – Monday 31 August, Tubi FrightFest will showcase a record-breaking eighty-two features across five screens, including the popular ‘First Blood’, Documentary, and Retrospective strands. This year there are twenty-four world premieres, with sixteen countries represented, spanning four continents.
Ko Asung & Sarah Bolger star in NERVOUS
The opening night of the festival has a distinctive Asian flavour with the World premiere of NERVOUS, Abner Pastoll’s subversive, cross-cultural tale of psychological alienation and dangerous obsession. Shot entirely in South Korea, the film’s narrative is specifically rooted in the disorientating cultural and physical terrain of the Korean countryside and reunites Pastoll with his A Good Woman Is Hard To Find star Sarah Bolger, who plays a woman losing her ability to hear men’s voices. As her grip on reality starts to fracture, paranoia, hallucinations, and dangerous desires spiral out of control. The director and cast will be attending.
This is followed byCannes sensation COLONY, the highly anticipated zombie shocker sensation from Yeon Sang-ho, director of SEOUL STATION and TRAIN TO BUSAN – both of which will also be screened – the latter to celebrate the 10th Anniversary of the zombie shocker that became an instant cult classic.
The Asian line-up also includes 2026 Berlin Film Festivalfavourite GHOSTS IN THE CELL, where Indonesian genre wizard Joko Anwar crafts a gleefully grotesque horror-comedy, SALMOKJI: WHISPERING WATER, which has just become the highest-grossing Korean horror film of all time, and cult Japanese masterpieces CRAZY LIPS and GORE FROM OUTER SPACE, now remastered from original negatives.
SPECIES
The closing night film is the UK premiere of SPECIES, an exhilarating Gen Z shocker. French writer-director Marion Le Corroller’s debut feature is a darkly comic sci-fi body-horror with a deeper allegorical message about workplace burn-out. Its unique body-mutation sequences are created by special make-up effects designer Pierre-Olivier Persin, who won an Oscar for The Substance.
GATOR FACE
The twenty-five tales of terror, trauma and torment in the main screen sees the return of a lot of familiar talent, including The Adams family, with their deeply affecting apocalyptic fable THE GLORIOUSDEAD, Spider One with subversive dark comedy BIG BABY, produced by Cher, Holy Shit! director Lukas Rinker with his seat-edged survival thriller FROSTBITE, Cheat directors Kevin Ignatius and Nick Psinakis with their stylish crime thriller VALLEY VIEW MOTEL, Italian horror maestro Federico Zampaglione, with supernatural chiller THE NAMELESS BALLAD, and Ryuhei Kitamura (The Midnight Meat Train) with LABYRINTH, a game-changing shocker in the Saw tradition.
SPIDER ISLAND
Tubi FrightFest also welcome back Christopher Smith, with the World premiere of his eight-legged satirical horror, SPIDER ISLAND, Padraig Reynolds with his teeth-snapping homage to 1970s creature feature exploitation, GATOR FACE,and James Nunn with survival thriller HUNGRY, where Louisiana bayou tourists are stalked by a ravenous, territorial hippopotamus.
Hammer also returns with ITHAQUA, a gripping period survival horror, directed by Casey Walker, who becomes the first director to have two films screening at the same festival, the other being HOME BODIES, a Christmas movie unlike any you’ve seen before.
Plus, there is the unique anthology THE PITCHFORK RETREAT, from the producers of the Terrifier franchise, which features the last appearance of Candyman star Tony Todd, twisted horror comedy DRAG, co-produced by Danny DeVito and starring his daughter Lucy DeVito. Brea Grant, Chelsea Stardust and Ed Dougherty bring us GRIND, a horror satire anthology about the modern gig economy, and actress Lulu Wilson is back as our favourite lethal anti-hero in Jenn Wexler’s THE LAST TEMPTATION OF BECKY, the biggest, bloodiest and most unhinged instalment yet.
HUNGRY
Other Main Screen titles include ODDITIES, a twisty dark tale of antiques and aliens, starring genre royalty Adrienne Barbeau (The Fog,Escape From New York), YOU ARE THE FILM, an interactive, fourth-wall-breaking experimental feature, HYENA,a brutal, fast-paced serial killer thriller, Stewart Sparke’s DEAD RESET, a video game inspired twist on the time travel genre, tense paranoia thriller IMPOSTERS, and fresh from its sensational Tribeca Festival launch comes PONDEROSA, a hilarious, creepy and surreal Bunuelian nightmare.
GRIND
This year’s four Discovery strands continue to demonstrate Tubi FrightFest’s established ethos for promoting new talent, original content and experimental formats, and this is no more evident than in the ‘First Blood’ strand.
The five World premieres this year are: Annabella Rich’s THE DEATH OF US,where grief and supernatural forces collide to devastating effect, Paul Stainthorpe’s THE BROOK,in which a search for historical answers spirals intoa serial-killer mystery, William Brooke’s THE ALICE PARADOX,which offers a thought-provokingnew perspective on the time-travel genre, as does Conscian Morgan’s BINDING EVA,where a man on the run is trapped in a terrifying time loop. Finally, there is Ashley Nashville‘s HERALDRY PARANORMAL,a boisterous unique take on the classic paranormal investigation horror which also stands as a vivid representation for queer voices, featuring many characters from LGTBQ+ backgrounds.
MyAnna Buring in ZIP WIRE
Besides the ‘First Blood’ entries, the UK is represented by many talents, both established and new, and include the World premieres of Lawrence Fowler’s demonic board game horror GRIN, Dan Schaffer’s erotically-charged ELECTRIC MEAT, which co-stars Emily Booth and Sylvia Soska, Justin Hardy’s WRATH OF THE GODS, the definitive conclusion to the “Wicker Man trilogy”, and you’ll need to hang on tight for Howard Ford’s latest nerve-jangler ZIP WIRE, starring MyAnna Buring. Other UK titles include eerie B-movie homage THE PERIL AT PINCER POINT, WELCOME TO G-TOWN, aGlaswegiansplatter-comedy from upstart twins Nathan and Ben McQuaid, and Chris Green’s music and murder mix SYNTHESIZED.
Emily Booth in ELECTRIC MEAT
Other Discovery Screen One highlights include FACES OF DEATH, the meta slasher retooling of the cult 1978 mondo classic, starring Charli XCX, the heart-felt gross-out shocker BOWELS OF HELL, unusual thriller TERRESTRIAL from Hot Tub Time Machine director Steve Pink, razor sharp, gory satire STARSUCKERS, Larry Fessenden’s graveyard monster mash TRAUMA OR, MONSTERS ALL, intense, psychological found-footage horror INFIRMARY, DRACULA: THE NIGHT AROUND US, a tale of flesh, fangs, forgiveness and funerals, dark web crime thriller COMPLIANCE, and SNAPSHOT, the first found-footage film which uses a unique pinhole camera aesthetic.
FACES OF DEATH
Discovery screens 2, 3 & 4 play host to a global menu of genre delights. From North America comes Kyra Elise Gardner’s horror dramedy SLAY, Cameron Francis’ psychological horror thriller BLOOD SECRET, Andy Chen’s much-anticipated ANOTHER, starring Heather Langenkamp and Doug Jones, Justin M. Seaman’s blood-spattered end to his creature feature trilogy THE BARN PART III, Henry Chaisson’s ghostly RECLUSE, starring Toby Poser, Codey S. Wilson’s brutal home invasion nightmare LESIONS, Casper Kelly’s trippy BUDDY, Nick Lyon’s demonic DO YOU WANT TO PLAY?, Robert J. Steinmiller and Chris Lightbody’s cursed BAD KARAOKE, Stefan Colson’s possessed BLOOM, Carson McKinnon’semotionally-driven shocker MOTHER AND ME and from Josh Lobo, the rising star director of I Trapped The Devil, comes J-Horror inspired sci-fi shocker NIGHT AFTER NIGHT. Finally, Frogman is back as director Anthony Cousins returns to Loveland with his even wackier cryptid sequel FROGMAN RETURNS. Fans will also be able to catch a retrospective screening of FROGMAN, with Cousins in attendance.
Larry Fessenden in TRAUMA OR, MONSTERS ALL
South America is represented by directorPatricio Valladares’ Chilean sequel to Invoking Yell, INVOKING SCREAM, from Brazil we have Ian SBF’s sinister psychological thriller THE FLESH ITSELF, plus REMANENCE,Kapel Furman’shigh voltage cosmic drama and from Uruguay comes SWEET VIOLENCE, the feature debut of Jeremias Segovia, one of the most exciting talents in South America.
BAD KARAOKE
Audiences can also sample devilish delights from down-under including OUR EFFED UP WORLD, the latest mindbender from transgender director Alice Maio Mackay, first-person found-footage horror DEAD EYES, haunting chiller THE LATCHER, and BUNNY RABBIT, the apocalyptic genre breakout of the year.
From Canada, Sam Scott brings the axe-shredding punk-rock tribute TURN IT UP!, while Daniel Turres delivers the wild, blood-soaked survival horror FRESH MEAT. Rounding out the line-up is the even meatier MEAT KILLS, from Dutch director Martijn Smits.
TURN IT UP!
Tubi FrightFest has always explored industry movers and shapers in its documentary strand and this year is no exception with the world premiere of Sarah Appleton’s FULL MOON RISING: THE CHARLES BAND STORY, a new feature documentary about the truly incredible life and career of Charles Band, prolific producer/director of such genre classics as Re-Animator, From Beyond, Trancers, and Castle Freak. Charles will be attending the festival.
RUBBERHEAD: THE LIFE & TIMES OF STEVE JOHNSON
There is also the European premiere of RUBBERHEAD: THE LIFE & TIMES OF STEVE JOHNSON, a humorous and heartfelt portrait of one of Hollywood’s most prolific special effects makeup artists. Plus, there is the UK premiere of THE FRIGHT STUFF, Mike Meyer’s all-access documentary that takes the viewer behind the scenes of the haunted house industry in America.
This year, Tubi FrightFest presents 4K restorations of both GHOSTKEEPER, Jim Makichuk’s Canuxploitation supernatural slasher classic, and Val Guest’s timeless THE ABOMINABLE SNOWMAN. This is a World premiere presentation from Hammer Films and is a restored version of the original UK cut complete with original title sequence.
Co-director Alan Jones comments: “Tubi FrightFest knows what creates resonance with its audience: that there has to be space for depth of exciting storytelling and that what is important in the ultimate scheme of festival priorities is to interact, scream, laugh and debate in a safe space, with a like-minded community”.
Full Festival Passes on sale from Sat 18 July, noon
Day Passes and Single tickets on sale from Sat 25 July, noon
The festival guest line-up, the Short Film Showcases and other events will be revealed soon.
Somewhere in the last few years, the card thriller quietly slipped back into fashion, and nobody sent out invitations. Paul Schrader started the shuffle with The Card Counter in 2021, all monastic discipline and motel-room penance, a film we admired in our review here for making poker feel like purgatory with better lighting. Now comes The Highest Stakes, a lean 101-minute chamber piece that premiered at the Beverly Hills Film Festival in April before Republic Pictures sent it straight to digital, and the revival suddenly looks less like coincidence and more like a movement.
The setup is pure genre catnip. Five strangers are gathered for a private high-stakes poker game hosted by a mysterious dealer, played by Seth Green in the kind of against-type casting that makes the whole enterprise tick. Green, forever filed in the public memory under comedy, plays the dealer as the fixed point around which five desperate orbits decay, and it works precisely because we keep waiting for a wink that never comes. Kevin Dillon, Charlie Weber, and Dylan Walsh fill out a table where every player has a reason to be there and at least one reason to lie about it. Director Tony Dean Smith understands the sub-genre’s golden rule: the cards are never the story, the people holding them are.
One Room, Five Liars
What distinguishes the current wave of card thrillers from the CGI-bloated tentpoles they are counter-programming is economy. A single location. A game with fixed rules. Tension generated not by what might explode but by what might be revealed. The Highest Stakes commits fully to this discipline, letting the structure of the game itself, the betting rounds, the eliminations, the slow arithmetic of who can afford to stay in, do the narrative load-bearing. It is the same engine that powered Rounders and Molly’s Game: an audience does not need to know poker to read a table, because the currency on screen is never really chips, it is information.
And that is where these films live or die. A card thriller collapses the moment the audience suspects the screenplay is bluffing, inventing hands and odds that could not happen, using the game as wallpaper. The ones that endure respect the mechanics. Schrader had his counter muttering probabilities like liturgy. Smith keeps his game’s logic legible enough that the double-crosses land as fair play rather than screenwriter’s fiat. Genre audiences are savvier about this than studios assume; half the pleasure of the form is auditing it.
Doing Your Homework Between Screenings
Which suggests a mildly heretical idea for the film buff: the best companion piece to this sub-genre is not another movie, it is a passing literacy in the games themselves. Viewers who know why position matters at a poker table, or what a blackjack dealer’s fixed rules actually force, watch these films differently, catching the tells and the cheats the screenplay plants for exactly that audience. This kind of fluency is increasingly common now that digital spaces have democratized the mechanics of the casino floor. The broader web ecosystem – from strategic forums to platforms like FreeSpins.US – has mapped out everything from classic table rules to the underlying math of digital gaming for a highly mainstream audience. An hour of understanding that background logic turns the next card thriller from a magic show into a chess match you can actually follow, and the films that survive that scrutiny, this one included, are the ones worth recommending.
The Sub-Genre’s Next Hand
The Highest Stakes will not end up the best film of 2026, but it might be one of the more instructive ones, proof that mid-budget adult thrillers can still get made, sold, and watched if they keep their scope tight and their stakes human. The festival-to-digital release path that once signaled compromise now looks like the natural habitat for exactly this kind of picture.
There is a wider lesson in the casting economy too. Mid-budget thrillers have become where established names go to do interesting character work between franchise obligations, and Green’s dealer belongs to the same tradition as Oscar Isaac’s penitent counter, a familiar face weaponized against its own persona. The sub-genre rewards that move because the table strips actors down to voice, hands, and eyes. No suits, no set pieces, nowhere to hide. It is acting as card play, and the audience audits every gesture for tells. Studios chasing the next franchise should note what is happening at the card table: audiences keep showing up for stories where the tension is built by hand, one bet at a time. The felt, it turns out, is the cheapest set in Hollywood and still one of the most dependable, and in a year of nine-figure write-downs, dependable is back in style. Expect more directors to ante in.
How a Low-Budget Horror Film Became the Year’s Biggest Surprise
In an era dominated by sequels, cinematic universes, and familiar franchises, few expected Obsession (2026) to become one of the year’s most talked-about films.
Directed by Curry Barker, the psychological horror thriller arrived with a modest budget, a relatively simple premise, and a cast that lacked traditional blockbuster star power.
Yet within weeks of its release, the film transformed from an independent horror project into a cultural phenomenon.
Its success wasn’t driven solely by scares. Instead, Obsession resonated with audiences because it combined horror, dark comedy, romance, and social commentary in a way that felt both entertaining and deeply uncomfortable.
The result was a film that people didn’t just watch. They discussed, debated, and analyzed long after leaving the theater.
A Simple Premise With Disturbing Consequences
At the center of the story is Bear Bailey, a socially awkward young man secretly in love with his longtime friend Nikki. Unable to express his feelings, Bear turns to a mysterious supernatural artifact known as the One Wish Willow, which grants him a single wish.
His request appears innocent enough: he wants Nikki to love him.
What follows, however, is not a romantic fantasy. Nikki’s affection becomes unnaturally intense, transforming into a frightening obsession that strips away the authenticity of their relationship.
As the situation spirals out of control, the film explores themes of consent, autonomy, loneliness, and the dangers of idealizing another person.
The premise may sound straightforward, but its execution proved to be one of the film’s greatest strengths.
Rather than relying entirely on jump scares or supernatural spectacle, Obsession focuses on emotional discomfort and psychological tension, creating a type of horror that feels surprisingly personal.
Critical Acclaim and Audience Approval
One of the most remarkable aspects of Obsession is how successfully it connected with both critics and audiences.
Horror films often receive praise from one group while dividing the other. In this case, both camps largely embraced the movie.
Critics praised the film’s willingness to tackle modern relationship dynamics through the lens of horror. Reviews frequently highlighted its commentary on romantic entitlement, unhealthy attachment, and the blurred line between love and possession.
Many noted that while the film’s supernatural elements provide the framework, its emotional themes are what make it memorable.
Audiences responded just as enthusiastically. Viewers praised the performances, particularly the chemistry between the lead actors and the increasingly unsettling transformation of Nikki’s character.
The film’s blend of humor and horror also helped distinguish it from more traditional entries in the genre.
Perhaps most importantly, audiences appreciated that the story respected their intelligence. Rather than explaining every detail, the film leaves room for interpretation, encouraging viewers to form their own conclusions about its events and themes.
Why the Film Became a Cultural Phenomenon
The popularity of Obsession can be traced to several factors, but one stands above the rest: conversation.
Modern audiences are constantly looking for experiences worth sharing, discussing, and debating. Obsession delivered exactly that.
Questions surrounding the characters’ motivations, the nature of the curse, and the meaning of the ending quickly spread across social media platforms.
Viewers developed competing theories and interpretations, creating an ongoing discussion that extended far beyond the theater.
The film also tapped into contemporary anxieties surrounding relationships and emotional attachment.
While previous generations of horror often focused on external threats, Obsession turns inward, exploring fears that feel familiar in the age of social media, parasocial relationships, and idealized online identities.
This relevance helped the movie connect with younger audiences who saw elements of modern dating culture reflected in its story.
The Power of Word-of-Mouth
Another major factor behind the film’s success was its organic growth.
Before directing feature films, Curry Barker had already built a following through online content and independent horror projects. That audience became an early support system, generating excitement and helping spread awareness about the film.
Unlike many studio releases that rely heavily on expensive marketing campaigns, Obsession benefited from audience recommendations and viral discussion.
Viewers encouraged friends to watch it without revealing major plot details, creating a sense of curiosity that fueled ticket sales.
The phenomenon was reminiscent of how stories spread at local gatherings or traditional community events.
Much like a popular peryagame that draws larger crowds as more people share their experiences, Obsession gained momentum because audiences felt compelled to tell others about it.
More Than a Horror Movie
Although marketed primarily as a horror film, Obsession succeeds because it operates on multiple levels.
Some viewers see it as a supernatural thriller. Others interpret it as a cautionary tale about control and emotional dependency. Still others view it as a dark satire about modern romance and unrealistic expectations.
The film’s ability to support these different interpretations has contributed significantly to its staying power. Rather than offering a definitive message, it invites audiences to examine their own perspectives and experiences.
This flexibility helps explain why discussions about the film continue long after its release. Every viewer seems to take away something slightly different.
An Unlikely Success Story
Perhaps the most impressive aspect of Obsession is how unexpected its rise has been. With a relatively small budget and an original concept, it entered a marketplace crowded with established franchises and major studio productions.
Yet it managed to stand out by offering something increasingly rare: a fresh idea that audiences genuinely wanted to talk about.
Whether remembered as a horror hit, a relationship allegory, or a defining pop culture moment of 2026, Obsession has already secured its place as one of the year’s most significant cinematic success stories.
Its popularity demonstrates that audiences still have an appetite for original storytelling, especially when that storytelling leaves them with questions worth debating.
In the Company of Wolves: An American Journey – Movie Review
First Reaction – In the Company of Wolves: An American Journey is an interesting journey through human connection with nature.
Director: Susan Kucera
Plot: Academy-Award winner Jeff Bridges narrates the stunning journey of wolves and other animals through American history, reflecting a deeper story of who we are as a nation.
Runtime: 1 Hour 23 Minutes
There may be spoilers in the rest of the review
Verdict on In the Company of Wolves: An American Journey
Recap
The documentary explores the human connection to wolves over generations in history. It shows how they once lived side by side and how growth in certain worlds created a tension.
Best Parts
The different glimpses in history are fascinating, from the journey in England, to the open plains of America. It shows how much gets caught up in the middle of the bigger picture and create the bigger problems each decision. The calming voice of Jeff Bridges keeps us enjoying the stories from different people in history. Overall, this is interesting to learn more about the connection through life.
Where to Watch
In The Company Of Wolves: An American Journey (7/17/26 VOD Release)
Final Thoughts –In the Company of Wolves: An American Journey is an interesting journey of discovery.
First Reaction – Son of the Soil is an intense action movie.
Director: Chee Keong Cheung
Writer: Razaaq Adoti (Screenplay)
Cast
Razaaq Adoti
Kehinde Hannah Alagbe
Taye Arimoro
Philip Asaya
Iretiola Doyle
Plot: Nigerian soldier Zion Ladejo, haunted by his past, returns home after his sister’s tragic death. Determined to uncover those responsible, he embarks on a vengeful path, while seeking redemption for his own actions.
Runtime: 1 Hour 46 Minutes
There may be spoilers in the rest of the review
Story: Son of the Soil starts when Lagos has become overrun by a ruthless drug gang. The victims are getting addicted and the police are helpless to stop the spread. When Nigerian soldier Zion Ladejo’s sister becomes the latest victim, he searches for answers.
However, he finds himself in a circle where he is outnumbered in. Zion is left for dead, but refuses to back down, leading him on a battle to eliminate the problem in the city at any cost.
Verdict on Son of the Soil
Recap
The movie follows a former soldier returning to Lagos. He wants to know who killed his sister and discovers a wave of ruthless drug lords running the town. The soldier uses his connections and skills to get revenge on the people who murdered his sister.
Best Parts
The movie plays into the revenge story well. It does everything you would expect, and it blends a different culture and location. This helps show the chaotic nature of everything involved, with solid performance throughout. Elsewhere, this does a great thing by not holding anything back.
Worst Parts
We get a solid all-around action movie, but it doesn’t do enough to stand out from the bigger crowd of action movies. It is not a bad movie in anyway; it just doesn’t hit the best levels it could.
Where to Watch
Son of the Soil is on UK digital 13 July from Trinity Content Partners
Final Thoughts –Son of the Soil is an action 101 movie.
Plot: A team of scientists aboard the International Space Station discover a rapidly evolving life form that caused extinction on Mars and now threatens all life on Earth.
Runtime: 1 Hour 44 Minutes
There may be spoilers in the rest of the review
Story: Life starts when a team of specialist scientists, David (Gyllenhaal), Miranda (Ferguson), Rory (Reynolds), Sho (Sanada), Ekaterina (Dykhovichnaya), and Hugh (Bakare), make a discovery. They have found a life form from Mars and are studying it in the International Space Station.
However, the life force they named Calvin has a much deadlier side. It begins to evolve and adapt to the space station, showing how much more advance the life force is. The scientists must figure out a way to stop the creature before it reaches Earth.
Verdict on Life
Recap
The movie follows a group of scientists who discover a life form in space. They begin to study it only to learn they are fighting a deadly force from another planet. It forces them to figure out how to stop the creature before it gets to Earth.
Best Parts
The more scientific approach helps bring the movie to life. It’s not a wild alien hunting movie, it’s a slow evolving process. This side of the movie is great to watch and plays into the strengths of the characters. The performances are great and the set design in flawless. It becomes a quality sci-fi movie which never wastes a minute to bring the story to life.
Final Thoughts –Life is a tense, smart and enjoyable sci-fi movie.
First Reaction – Love On Tap is a solid romance with business implications.
Director: Keegan Karnes
Writer: Stafford Douglas, Mary Haarmeyer (Screenplay)
Cast
Alex Moffat
Kennedy McMann
Steven Ogg
Zoe Colletti
James Maurice Clay
Plot: Headstrong brewery owner Amber clashes with slick marketer Samuel over reviving her failing business. As they brew a reinvention plan, an unexpected romance ferments.
Runtime: 1 Hour 30 Minutes
There may be spoilers in the rest of the review
Story: Love On Tap starts when marketer Samuel (Moffat) arrives to help a small town brewery. Amber (McMann) has just inherited the brewery from her father and doesn’t want to give up the traditions he built there. The two clash on what is best for the business, as they understand each other’s motivations.
As the business deals and future of the brewery takes over, the two clash, but deep down they are getting closer with an unexpected romance. Can they solve things before it is too late?
Verdict on Love On Tap
Recap
The movie follows a determined brewery owner who is facing a difficult time when a marketing appears in their life. However, the different backgrounds clashes as they look for a better solution for the future of everyone around them.
Best Parts
The movie does a great job at bringing the unlikely couple together for the future. It has gentle laughs, cheerful characters too. The performances are strong throughout.
Worst Parts
The movie is enjoyable, but it doesn’t do anything to stand out from the crowd in the rom com world. It feels like the perfect TV rom com, without anything truly sparkling.
Where to Watch
Love on Tap (7/14/26 VOD Release)
Final Thoughts –Love On Tap is an enjoyable rom com.
Tubi Announced as 2026 Headline Sponsor for FrightFest, the UK’s Premier Horror Film Festival
LONDON, UK. FrightFest, the UK’s biggest and most celebrated annual horror film festival, announces Tubi, Fox Corporation’s ad-supported streaming service, as its 2026 official headline sponsor. The landmark partnership brings together the streaming service that delivers the largest collection of free movies and TV episodes in the UK, with the UK’s most popular genre film festival. With over 75,000 movies and TV episodes, Tubi is a destination for all fandoms, including the passionate horror fans. Moving forward, the 2026 five-day festival will be officially known as “Tubi FrightFest.”
The collaboration promises to elevate the festival experience for thousands of dedicated fans who gather in London every August. The upcoming edition of Tubi FrightFest will take place over the August Bank Holiday weekend (August 27 – August 31, 2026) at their flagship London venues: Odeon LUXE Leicester Sq. and Odeon LUXE West End.
“FrightFest is an ultimate celebration of horror fandom, making it a natural partner for Tubi,” said Ross Appleton, General Manager, Tubi UK. “Horror fans are among the most passionate and engaged audiences in entertainment, and they come to Tubi to go deeper into the genre they love. With one of the most expansive horror collections available in the UK, Tubi gives fans the freedom to discover cult classics, revisit favourites and uncover their next obsession. We’re thrilled to join FrightFest in celebrating the stories, filmmakers and community that continue to make horror such a vibrant and enduring genre.”
Greg Day, Co-Director of FrightFest added: FrightFest has served as the global launching pad for iconic genre films and emerging filmmakers for nearly three decades. The sponsorship from Tubi will provide crucial resources to expand the festival’s footprint, enhance guest experiences, and broaden audience reach through collaborations”
Tubi has rapidly expanded its presence in the UK since launching in 2024, tripling its content offering to become the largest free collection of movies and tv episodes available in the market, according to Ampere Analysis. The research also found that Tubi UK is Europe’s fastest-growing free ad-supported streaming service by catalogue size. That breadth of content is helping drive engagement with adult viewers, where Gen Z and Millennials account for 51% of Tubi’s UK audience, according to a 2025 YouGov survey.
The full film lineup, special guest announcements, and event details will be revealed in the coming weeks.
For more information, visit the official FrightFest website or follow updates via Tubi’s social media channels.
About Tubi
Boldly built for fandom, Tubi is a free streaming service that entertains over 100 million monthly active users. Tubi offers the world’s largest collection of Hollywood movies and TV shows, thousands of creator-led stories and hundreds of Tubi Originals made for the most passionate fans. Headquartered in San Francisco and founded in 2014, Tubi is part of Tubi Media Group, a division of Fox Corporation.
About FrightFest
Founded in 2000, FrightFest is the UK’s premiere fantasy and horror film festival. Dubbed “the Woodstock of Gore” by Guillermo del Toro, the festival has grown into a globally recognised institution, showcasing the best in dark genre cinema from established directors and exciting new voices alike. Over the years the festival has developed into a brand leader for horror film, expanding its footprint in the UK by hosting special events throughout the year and joining forces with the Glasgow Film Festival, where they run an established three-day event. They have also teamed up with FAB Press to publish a series of ‘The FrightFest Guide To…’ books and have an exclusive partnership with Signature Entertainment to release films under the festival’s label ‘FrightFest Presents’. You can catch the documentary FRIGHTFEST: BENEATH THE DARK HEART OF CINEMA on Amazon.
