Movies
[Review] ‘Bad Blood’ Is An Effective But Uninspired Thriller
Having writers as protagonists is a long-standing tradition in the horror genre, with Stephen King being largely responsible for this trope’s boost in popularity over the years. While some critics argue that these characters are nothing more than bland author surrogates, the idea has some merit to it. Creative people are the perfect choice for stories that deal with the unsettling fusion of fiction and reality, and David Pulbrook’s slow-burn Australian thriller Bad Blood is definitely one of these.
Starring Xavier Samuel as Vincent, a successful novelist who is milking the success of his first book as he’s reluctant to start a new one, Bad Blood chronicles the author’s struggles as his relationship with his fiancé Carrie (Morgan Griffin) is threatened by a mysterious stranger. With his life slowly spiraling out of control, Vincent must confront his own dark past in order to be rid of this deadly yet familiar threat.
On the surface, this setup shares a few similarities with other thrillers like Secret Window and Enemy, but the film goes in a much more literal direction. I can’t say much without spoiling the movie’s plentiful twists and turns, but the script isn’t quite as original or smart as it presents itself to be. There isn’t much here that hasn’t been seen before, and most of the story beats are predictable, though that doesn’t necessarily ruin the experience.
Despite its narrative flaws, this is still a well-executed film, with some intense chase sequences and some atmospheric locations, not to mention at least a few effective surprises in store. The main characters are also unexpectedly well rounded and likable, though that’s mostly due to Xavier and Morgan’s excellent chemistry. The rest of the cast doesn’t really have much to work within the way of character depth or motivations, but the script is to blame here, not the actors.
Bad Blood would be an exceedingly average thriller with a clever but mostly uninspired story and a few great performances were it not for the hair-raising final act, where things take a turn for the worst and all tension goes through the roof. These exciting final moments can only be described as an extended chase sequence comparable to that in the best slasher movies, and are what elevate the film, making it recommendable despite lacking more memorable moments.
Ultimately, Pulbrook’s film is still worth a watch if you can stomach a mostly by-the-numbers thriller until you reach the surprisingly exhilarating conclusion. With a few tweaks to the script (and perhaps a greater focus on the homicidal mystery behind Vincent’s plight), this could have been a great flick. As it stands, Bad Blood is competently and a fun time, but not much else.
Bad Blood will be playing in select Cinemark theaters on October 12th as a part of Thursday Nights at The Asylum!
Movies
‘Dante’ Review – A Paramedic’s Night Shift Turns Into A Blood-Soaked Nightmare [Tribeca 2026]
There’s something very special about horror stories that depict a single night that gets progressively out of hand and covers a lifetime of woe by the time the sun rises.
It’s a difficult balancing act, but one that’s magical when it’s properly executed, and this claustrophobic structure connects. Hugo Ruiz (One Night with Adela) rises to the challenge with Dante, a chaotic experience that’s pumping adrenaline, burning rubber, and snorting drugs from frame one and then rarely lets up. It feels like it starts in the middle of a film’s third act and then pushes itself to go to even more radical and exciting places.
Ruiz’s Dante is even more confident and accomplished than his freshman feature. It feels like a spaghetti western that’s trapped in a slaughterhouse. It’s Bringing Out the Dead by way of Quentin Tarantino after he’s come off a giallo binge session. It’s a white-knuckle, blood-soaked ride into hell that keeps its audience on edge until the credits roll.
Ruiz accomplishes something quite remarkable with Dante, a subversive take on Dante’s Inferno in which a paramedic ambulance driver, Eduardo (Chino Darin), gets embroiled in a vicious crime caper that pushes everyone involved closer to salvation. Dante, as its title suggests, isn’t exactly subtle with its allusions to Dante’s Inferno. That being said, none of the film’s efforts to match its source material’s themes and tone ever feels forced. It’s a bold, risky adaptation of the classic 14th-century epic poem, but it’s also a distinct film that stands on its own and becomes an incredibly satisfying sophomore entry in Ruiz’s career.
Eduardo innocently responds to a standard emergency call, only to find himself tending to a crime boss’s wounds and caught in the middle of a deadly feud between two erratic rival kingpins. Dante digs into an impossibly tense situation with a small cast of larger-than-life characters who really feel like they’re trapped in some layer of hell. Every minor victory is met with yet another physical trial and morality test for Eduardo to overcome. It also distills this harrowing encounter down to its most exciting elements so that Dante is a fast, easy watch that’s beautifully paced and always finds the right moment to heighten its mayhem.
There’s a shocking brutality here. It’s a visceral, gross, oozing horror film that’s often hard to look at. It’s a movie that lingers on not just pain, but how the human body can become such a disgusting mess. Ruiz lingers on gross visuals that reduce people to raw meat and emotion. However, this screaming, bloody mess is also an intimate chamber piece and character study. All this extreme subject matter serves a grander purpose and builds to a sweeping salvation rather than purely existing to be sensational. Dante is vicious, but it’s the film’s heart that stands out the most when everything is said and done.
Among the criminal capitulations is a deeper commentary on faith, passion, and identity. Eduardo is repeatedly confused for a doctor throughout, which is just one of several instances that reflect its themes regarding duality and labels. Eduardo’s wild night highlights life’s transactional nature and how everyone is the same in death. It’s the ultimate equalizer. Alternatively, Dante looks at the weird, unpredictable places in which people can find humanity, connection, and purpose in life, even if it’s surrounded by death and darkness. Everyone is looking for that spark and light that helps us heal.
In a film full of strong performances, Darin’s work as Eduardo is really spectacular. It’s a performance that’s so deceptively layered that it makes you want to immediately watch the film again as soon as it’s ended. Ruiz’s film is also really smart in response to when it digs deeper into Eduardo’s life and personality. It’s easy to picture Dante beginning with Eduardo carrying out several normal rounds to get a better sense of who he is before danger strikes with Mario. The film also excels as it asks the audience to make their own conclusions on this blank slate before the film begins to pull back the curtain on him.
Eduardo is a compelling moral compass throughout this dark night of the soul, albeit a character who is hardly infallible. Some of Dante’s strongest moments are when Eduardo’s mental state is unclear, and the audience is left to wonder if he’s actually getting a rush from this on some level. Eduardo is left to process many heightened emotions on his own. However, there’s also a real camaraderie between Eduardo and Mak (Ester Expósito) that’s genuinely sweet and progresses in a very natural, effortless manner. Their chemistry helps power the second half.
At one point, Eduardo muses that “a director must take risks.” This is a film that certainly adheres to its own advice.
Dante reaches a satisfying conclusion that feels like the natural endpoint of this story, only to then launch into such a wild turn that transforms the film into something considerably darker and a powerful meditation on the pervasiveness of pain and suffering. The ending guarantees that this is a movie that’s destined to be debated by both its lovers and haters.
There’s thankfully a lot more going on here so that Dante doesn’t live or die based on its ending alone. It’s just a brave step forward that reiterates why Hugo Ruiz is a filmmaker to look out for.
Dante made its world premiere at Tribeca 2026; release info TBD.
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