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A year after the death of his partner, Manel (Francisco Ortiz) lives alone in Galicia with his beloved cat, Lúculo, when a rabies-like disease begins to spread across Europe. His sister, Belén (Marta Poveda), is evacuated to the Canary Islands due to her husband’s military involvement. With flights grounded and the virus rapidly escalating, Belén urges Manel to stay put and wait it out. However, as food supplies dwindle, he makes the perilous decision to journey to the Canary Islands—with Lúculo by his side.

As far as zombie outbreak films go, Apocalypse Z doesn’t reinvent the genre, but it holds its own with confidence. The infected are fast, the virus mutates quickly, and the transformation process is terrifyingly swift. Despite familiar tropes, the film remains gripping, thanks to its intense pacing and strong emotional core.

I was fully invested in Manel’s survival—and, just as importantly, in the fate of his cat. The performances across the board are excellent, drawing you deeper into the desperate fight for survival. Director Carles Torrens (PET) does a superb job adapting Manel Loureiro’s novel, delivering a tense, pulse-pounding horror experience that pulls no punches.

With two more books in the Apocalypse Z series, the film leaves the door wide open for a sequel.

Final Verdict

Spanish horror consistently delivers some true gems, and Apocalypse Z: The Beginning of the End is no exception. If you love zombie films, you won’t be disappointed. The addition of a feline companion—much like A Quiet Place: Day One—adds an extra layer of emotional investment. And for those worried about Lúculo’s fate, rest assured: he survives.

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Iris (Sophie Thatcher) is madly in love with Josh (Jack Quaid). Their picture-perfect meet-cute blossoms into a relationship that leads them to a weekend getaway at an isolated cabin with Josh’s friends. However, the purpose of this trip is not what Iris expected, unraveling a web of truths, lies, and murder— proving that love really does hurt.

Writer-director Drew Hancock has crafted a cinematic masterpiece of black comedy. Sophie Thatcher delivers a brilliant, mesmerizing performance as Iris, while Jack Quaid fully embraces his sinister side— a role that suits him surprisingly well. Companion has a story to tell, offering a thought-provoking social critique without force-feeding its message.

The film’s gore is well-executed, enhancing its dark, atmospheric tone. It’s a clever, sharply made film with a solid cast who bring a strong sense of credibility to their roles. The tight editing keeps the pacing fast and engaging, ensuring the audience remains focused while throwing in bursts of unexpected violence to heighten the tension.

The film leaves you questioning: If given the opportunity, would you make the same choices? With the way the future is progressing, the ethical dilemmas presented in Companion may not be as far-fetched as they seem. As with anything, it all comes down to who is in control.

I won’t spoil anything, because Companion is best experienced knowing as little as possible before watching. Thatcher continues to prove herself as a rising star, with standout performances in Yellowjackets and, more recently, Hereticalongside Hugh Grant. She’s an actor to watch.

Final Verdict

If you love black comedies with stylish violence, gore, and a plot that keeps on giving, then Companion is a must-see— and one I’ll definitely be adding to my physical media collection.

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Dead End Drive-In (1986) – An Ozploitation Classic more Relevant than ever.

Dead End Drive-In is an under-rated Australian cult film that blends dystopian Sci-Fi, social satire, and Ozploitation into one mind-blowing package. Directed by Brian Trenchard-Smith, the film takes a desolate but crazily entertaining look at a future where society has given up on its undesirables by imprisoning them in a rundown drive-in which has been turned into a government-controlled detention centre.

The story follows Jimmy (Ned Manning) and his girlfriend, Carmen (Natalie McCurry) as they go to the drive-in for what should be a good night out. Instead, they find themselves captive when their car’s wheels are stolen—a trap staged by the government to keep the unemployed and delinquents contained. What evolves is a vividly stunning descent into a punk-infused fever dream, where the youth learn to adapt to their new prison in surprising ways.

 Dead End Drive-In is soaked in vibrant colours, graffiti-covered cars, and the classic punk/new-wave fashion style that screams ‘80s to the extreme. The soundtrack engulfs the anarchic energy, and Trenchard-Smith’s direction sees the film remains fast-paced and visually spectacular.

Overall Dead End Drive-In is a social commentary. It scrutinises a society that willingly distracts itself with entertainment while the government quietly locks away those deemed unfit for society. This film encompasses youth disillusionment, materialism, media control and shadowy government bodies, all topics so relevant to now.

Director Brian Trenchard-Smith is an Australian filmmaker known for his contribution to genre cinema, particularly Ozploitation. His career, which spans several decades, is defined by his ability to craft high-energy and visually stunning films, culminating in classics such as The Man from Hong Kong and Turkey Shoot.

Final Verdict:

If you love Ozploitation films and dystopian cinema, Dead End Drive-In sits on top of the must-see Australian classic movies. In today’s political and social climate, its storyline and social commentary make it a must-watch film.

From the Editor:

While Dead End Drive-In is available on various streaming platforms around the world, we recommend you look for the 4K UHD release.

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