KPop Demon Hunters-2025

KPop Demon Hunters-2025

Director Maggie Kang, Chris Appelhans

Voices Arden Cho, May Hong, Ji-young Yoo

Scott’s Review #1,524

Reviewed March 12, 2026

Grade: B+

KPop Demon Hunters (2025) has become an international hit sensation and a phenomenal crowd pleaser, winning several year-end awards in the process.

This is unsurprising, since the film is a beautifully animated/anime extravaganza, oozing with infectious energy and vibrant colors.

The film contains poignant messages of girl power, self-acceptance, and humanity that make it perfect family entertainment with a terrific soundtrack to boot.

Juicy songs like ‘Takedown’, especially ‘Golden’ and ‘Soda Pop’, are instantly memorable and hummable, celebrating universal pop boy-and-girl band sensations that kids and parents alike can appreciate.

It also incorporates a storyline about South Korean culture and ancient lore, which provides a rich international flavor.

It’s not high art nor groundbreaking cinema, but rather pure bubble gum: fun, sweet, and joyful, and it sticks with you all throughout the running time.

For this type of film, that is acceptable, and the main reason to sit back, relax, and enjoy the ride.

Between gigs as a stadium-headlining, social-media-frenzied pop sensation, the members of the girl band Huntrix use their secret identities as demon hunters to protect their fans. A constant supernatural threat hovers, posed by demons named Honmoon who roam the streets.

It’s unclear if Honmoon are spirits or if the fans can actually see them.

Each of the girls, Rumi (Arden Cho), Mira (May Hong), and Zoey (Ji-young Yoo), has a distinct personality, but Rumi is the leader of the pack with the strongest singing voice.

When a dark secret about one of the girls is revealed, it threatens to break up the group just as a rival boy band, the Saja Boys, of demons in disguise, emerges on the scene.

In teen fashion and a clear attempt to market the film to a young demographic, romance blossoms between Rumi and Jinu (Ahn Hyo-seop), the pretty leader of the Saja Boys.

Of course, they begin as rivals but form a strong alliance later in the film.

The lavish colors, many pinks, purples, and blues, make the look enticing and cotton candy-like, almost like being immersed in a sugary video game version of Candy Land with songs.

The plentiful concert sequences also score big, as the anthemic numbers are sometimes repeated. This reinforces the connection between the bands and the fans, and also the film and the fans.

A main message is one of connectivity. Community, friendship, and having each other’s backs are the main themes and an inspiration for the viewer to come together as one, as evidenced by the concert scenes.

Despite KPop Demon Hunters not being defined as an LGBTQ+ film nor having any specific LGBTQ+ characters, it still resonates on a deep level.

Rumi’s story parallels the experience of coming out, particularly regarding parental and societal expectations. The continuous lyrics focused on the struggle to hide your true self and finally be yourself are highly inspiring.

So that, while an entertaining crowd pleaser, there is more than meets the eye if one is to dig a little deeper.

Victory is achieved by KPop Demon Hunters (2025) through expressive animation, articulate lyrics, and spectacular action, resulting in a gem that’s comical, romantic, exciting, and moving all at once.

It also makes older adults feel like part of things and not embarrassed about watching a youthful film.

A sequel is planned.

Oscar Nominations: 2 wins-Best Animated Feature (won), Best Original Song-“Golden” (won)

The Fog-1980

The Fog-1980

Director John Carpenter

Starring Adrienne Barbeau, Jamie Lee Curtis, Tom Atkins

Scott’s Review #1,523

Reviewed March 9, 2026

Grade: A-

Ghost stories can be tough for a filmmaker to make interesting, let alone be successful. So much depends on atmosphere, mood, and good storytelling.

The most memorable ghost films are The Innocents (1961), The Shining (1980), and The Sixth Sense (1999), but there are bound to be others I can’t think of.

The key is to make the unbelievable believable and to make the subject matter realistic and spooky enough to avoid a mediocre or worse yet, hokey experience.

The Fog (1980) is one of the top-tier ghost stories, often mistaken for a slasher film, undoubtedly because it stars scream queen Jamie Lee Curtis and is directed by John Carpenter, who, two years earlier, had created one of the greatest slasher films, Halloween (1978).

It also stars slasher stalwarts Charles Cyphers and Nancy Loomis, and includes Halloween producer Debra Hill and Halloween editor Tommy Lee Wallace, who was once married to Loomis.

Additionally, Curtis’s mother, Janet Leigh (Psycho, 1960), is also in the cast, making the entire film an incestuous horror experience.

But it’s hardly Halloween lite.

Instead of making a patterned carbon copy, Carpenter pivots to a spooky, original story filled with exceptional jump scares, a foreboding musical score, and iridescent fog; a character in itself is so prominent.

The keyboard-tinged sounds are highly effective at delivering a downright scary mood.

One midnight hour, cleverly billed the ‘witching hour’ by sultry radio announcer Stevie (Adrienne Barbeau), strange things begin to occur as a tiny California coastal town prepares to commemorate its centenary.

Reverend Malone (Hal Holbrook) stumbles upon a dark secret about the town’s past while reading his grandfather’s diary, and town resident Nick Castle (Tom Atkins) and hitchhiker Elizabeth (Curtis) try to save others from death as the body count begins to climb.

Savvy Halloween fans know that Nick Castle was a stuntman who played the Shape in the film. And, Carpenter makes a cameo as Bennett Tramer, a character in the Halloween franchise.

At a quick ninety minutes of running time, The Fog hardly has time to lag and almost feels like a short anthology. The brevity is to its advantage despite the many characters featured.

A common theme in horror, the film opens with a campfire story told around a campfire by an older man, Mr. Machen (John Houseman), to a group of startled kids about a doomed clipper ship that crashed into rocks a hundred years ago.

With the stage perfectly set, the killings ensue in rapid form first aboard a fisher boat and subsequently when deadly lepor beings rap loudly on their victim’s doors in the hopes of being answered.

The casting is an exceptional part of the fun. Atkins joins Holbrook, Curtis, Leigh, Loomis, Cyphers, and Barbeau to round out a phenomenal cast. I only wish mother and daughter, Curtis and Leigh, shared more screentime.

The special effects need to be seen in light of the 1980s cheesiness. Yes, in 2026, more CGI would be used, but the misty rolling fog and the shimmering light are quite impressive.

Unsure if Curtis or Barbeau is considered the lead (Barbeau gets my vote, but Curtis gets the cover shot), Curtis was a bankable horror film star, so perhaps an attempt to grab the younger demographic was the motivation.

Jump out of the seat, moments like a falling dead body, a hand on a shoulder, and a gruesome-looking hand smashing through glass are highly effective moments aided by perfectly placed synthesizer sounds.

A well-crafted, intelligent, though underappreciated horror effort, The Fog (1980) is more of a cult classic than a bona fide classic, which is a shame because it’s a very good film.

A dismal remake followed in 2005 and should be avoided.

Gorky Park-1983

Gorky Park-1983

Director Michael Apted

Starring William Hurt, Lee Marvin, Joanna Pacula

Scott’s Review #1,522

Reviewed March 8, 2026

Grade: B+

Gorky Park (1983) is an aptly named thriller set in Moscow, Russia, involving a mysterious triple murder of three young adults while ice skating at the titled central park. In addition to being murdered, their faces have been skinned and their fingerprints removed.

Russian detective Arkady Renko (William Hurt) uncovers a network of deceit and intrigue when he investigates the murders.

As he tries to make progress on the case, it becomes apparent that the KGB doesn’t want the homicide to be solved, and Renko needs to know why. He eventually meets an American businessman, Jack Osborne (Lee Marvin), who offers some clues, but Renko soon realizes that Osborne may be involved in the plot.

He also meets and falls in love with a mysterious young woman, Irina Asanova (Joanna Pacula), who owned the ice skates found on one of the victims.

The film succeeds in outlining a compelling story that doesn’t lag and in providing a cold, wintry atmosphere, just what one would expect from the drab Russian environment. The audience knows deadly shananigans have occurred, and the film is fun to watch as it tries to connect the dots.

Even though the action is palpable, the ensuing mystery can feel overly complicated at times and hard to follow, leading to an overwhelming feeling.

Accepting Hurt, an American actor, as a Russian police investigator takes some time. For the first thirty minutes, I thought he was an American character.  He sometimes shows hints of an English accent and no Russian at all.

Once I accepted this, Hurt does a very good job at leading the film, which is a tough ask given the complexities of the story. He is handsome and a good guy wanting to do the right thing, so he’s easy to root for.

The film is adapted from the 1981 novel written by Martin Cruz Smith.

While most of the film is set in Moscow, the action later shifts to Stockholm, Sweden, a city I adore. Due to the Cold War conflicts between the Soviet Union and the United States, the film was obviously not shot in Moscow.

Finland and Sweden were the chosen filming locations.

As hard as I tried to follow the main plot, my mind occasionally wandered because there are KGB elements, Jack Osborne, Irina, and an American detective, William Kurwill, in the mix, as well as various colleagues and connections to Renko.

Any or all of these characters or organizations could be involved in the murders, and minor red herrings like the creepy Professor who recreates the victim’s heads and Irina, who comes off as a cold and unfeeling, emerge as the story goes along.

Despite the story’s complexities, Gorky Park is filmed very well and rises above the ranks of mediocrity it could have fallen into, since countless other political and crime thrillers have used the tired Russia/United States rivalry.

The elements are the best part because numerous snowy and bleak sequences enhance the overall story and atmosphere. A scene in woodsy Sweden is wonderfully cold and white, with the woods and a shack coming into play.

The romantic storyline between Renko and Irina is more plot-driven than anything fresh. It’s predictable from the moment the characters meet as they delve into a strong dislike that becomes a love formula.

While there are some cliches to endure, like menacing ‘type’ characters and the overuse of the word ‘comrade’, the film surprisingly feels crisp, and the big reveal and the hows and whys of a sable fur smuggling organization, though years later, feel dated, are interesting.

I’m not sure I need to see Gorky Park (1983) again, but considering it’s a political/crime thriller amid hundreds of similar films, it stands a bit above the rest.