If you’re an Industry fan (HBO series), these latest two scorecard movies have some easter eggs for you. The founders of SternTao, the notorious short-only hedge fund, have entered the multiverse.
Here’s what we have for you this week:
Concession Stand Scorecard: They Will Kill You
Watchlist Worthy: R Patt and Zendaya
Friends We Recommend: Josh on another episode with World Beyond Worlds
This week’s movie - They Will Kill You
Letterboxd Description:
Let them try.
A woman answers a help wanted ad to be a housekeeper in a mysterious high-rise in New York City, not realizing she is entering a community that has seen a number of disappearances over the years and may be under the grip of a Satanic cult.
Best Watched With
Siblings. Or someone in the same tax bracket as you.
End Credit Thoughts
This movie is not for anyone who does not mess with Satanic stuff or bloody brawls. We knew it would be violent. We knew it would be gory. Yes, all this was either written in the description or shown in the trailer. But we underestimated Asia Reeves’ (Zazie Beetz) tenacity to ensure, by any means necessary, that her sister (Myha'la) would be safe.
The highlight of the movie is its stylized approach. The choreography of the fights is innovative, and the over-the-top deaths, like getting blasted by a sawed-off double-barreled shotgun, propel the victim across the room, setting the tone of absurdity. Limbs are lost, and there’s a mix of Wes Craven amounts of blood with Quintin Tarantino blood-mist and splatters. There is definitely a vision of unrealistic physics and an expectation of belief suspension. So we needed to buckle up and let the ride take us where it wanted.
Zazzie Beetz is a force and a bright shining star of this show. Fueled by vengeance and regret, she puts high-octane gas into this performance. Patricia Arquette is great at putting on a very punchable attitude. Tom Felton was a great surprise in this kind of movie, and a good-hearted human who can also turn into a punchable face as soon as action is called.
The story is pretty cookie-cutter. Bad things happen, family is split, and years later, the main character finds out where her sibling is and vows to find them. But after the intro scene, we were thrown into a world where we discovered how things worked and what the hell was happening, little by little. We appreciate a good show, not tell exposition. With the use of fun, quippy flashbacks, outrageous fight sequences, and a Tekken-level throwdown in the third act, we were mostly entertained the whole time. The audience was engaged and laughing out loud at the audacity.
Those who are into this style and genre will love seeing this on a giant screen. But for the most part, if your theater tickets are $17+, this movie can be enjoyably thrown on the tube on a Saturday afternoon when it streams.
Josh Jump Scare Count: 4
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Wild Horse Nine by Martin McDonagh
Letterboxd Description:
Shortly before the 1973 Chilean coup, CIA agents Chris and Lee are dispatched from Santiago to Easter Island by their bureau chief, MJ. Amongst the Island’s iconic statues, and as the longtime partners wrestle with their dark pasts and present conspiracies, Chris’s newfound bond with a pair of rebellious students threatens to send everyone’s trip to this remote paradise sideways.
MARTIN MCDONAGH AND SAM ROCKWELL ARE BACK!! I watched the trailer and I still am not too sure what is happening, but it doesn’t matter because, personally, this guy does not miss. And it’s set on Rapa Nui aka Easter Island, and what is going on out there?
I don’t know what to say other than I will be sat. I will be biased. I will say this movie is better than it is with no guilt whatsoever.
-jp :)
Also Directed by Martin McDonagh:
In Bruges (2008)
Three Billboards Outside of Ebbing, Missouri (2017)
The Banshee of Inersherin (2022)
Worlds Beyond Worlds
Home for explorations of how religion, race, and speculative fiction (sci-fi and fantasy) all intersect to create different visions of how to be human
Patrick J. D’Silva introduces the Worlds Beyond Worlds podcast with the first of three conversations with former students from his course “Race, Religion, and Science Fiction,” focused on both the course’s themes and what it felt like to have autonomy in learning.
He reunites with Kim, Josh, and Gus, who share their academic backgrounds and why they enrolled, then discuss the course’s flexible structure—choosing readings from curated options, shaping discussions, and using alternative formats like podcasts—in contrast to rigid, top-down classes that can penalize students for life circumstances.
They describe how units and peer perspectives reframed topics like cyberpunk, disability, and worldbuilding, and they explain their final creative projects: Kim’s mushroom-based fiction, Josh’s non-linear story about identity, language, and land, and Gus’s narrative critiquing Christian worldviews and oppression.
Tune in next week for | The Drama
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